Amazon.com

When three of our finest singer/songwriters join together in a musical ménage à trois, the least they could do is sing their own material. Yet Richard Shindell, Dar Williams, and Lucy Kaplansky have pulled off a perfect, perverse triumph on Cry Cry Cry, a tribute to fellow tunesmiths from Robert Earl Keen to Greg Brown to Julie Miller. Though the disc begins with a bona fide chart buster, R.E.M.'s "Fall on Me" (with ringing guitars and astonishingly audible lyrics no less), most of the cuts come from such unsung artists as James Keelaghan (a dark, brilliant ballad inspired by Norman MacLean's Young Men and Fire) and Jim Armenti. All three members of this folk music dream team are in excellent voice, alternating ensemble pieces with honed call-and-response. Yet these polished, hush-inducing performances never lose their edge and urgency--this is really what they mean by harmonic convergence. --Kerry Fried ... Read more

Reviews (65)

I can't stop listening
Can't believe how great this CD is. Dar Williams, Lucy Kaplansky and Richard Shindell make a powerhouse team. My favorites are Cold Missouri Waters, By Way of Sorrow and Mary Magdalen....but they're all fantastic. It's a rare CD that I can listen to continually and like the music more than I did the first few times but that's what's happened here. Hope they do more together. This is definitely a 5 star musical creation. I like it so much I'm afraid this one is going to wear out! Buy it.

The ultimate folk super group...
Cry, Cry, Cry was truly a folk supergroup, consisting of Dar Williams, Richard Shindell, and Lucy Kaplansky. All of them have successful solo careers, and they hail from very different backgrounds. Named after a Johnny Cash song which oddly isn't on the CD (although it was sometimes performed in concert), this CD was recorded by three richly talented people who admired each other but had never sung together until shortly before they walked into the recording studio! Their common ground was songs that they loved, songs by less famous songwriters, perhaps, but songs which are as profound and beautiful as any ever written. Cry, Cry, Cry is as much about compassion and good storytelling as it is about music, but the music here is divine. Williams, Shindell, and Kaplansky compared notes about songs which they loved, decided which to record, and hoped that their experiment would work.

What an amazing feat. Their harmonies are interwoven beautifully in every song; there are no weak songs on this CD. The songs they picked are brutally honest, feel like windows into people's lives, and will have meaning for people across many stages of life. Even though Cry, Cry, Cry broke up eventually, they toured for about a year (maybe longer) and reinvented these songs (and others, equally wonderful) on stages across America. I keep wishing that a live CD will one day be released of some of these performances, for they were profoundly moving. It doesn't seem likely that Cry, Cry, Cry will record another CD in the studio, but that shouldn't deter anyone from picking up this one. It's one of the best acoustic folk CDs ever made.

Stunningly meaningful
Like another reviewer, I heard "Cold Missouri Waters" and was stopped in my tracks. This couldn't be made up, I thought, this must be a real story. A little searching on Google and I had the answer. A powerful, gripping story of real lives lost and poetically told in a song. The rest of the songs on this album are equally powerful. The sound has a raw, almost under-produced quality, in keeping with this genre I suspect. The artists are brilliant in their craft, and the vocals and guitar work will draw you in inexorably. But again, as regards the songs in and of themselves, I cannot conceive of a better collection of more stunningly meaningful material.

Just keeps getting better the more you listen
I bought this for "Cold Missouri Waters" but the entire CD has since become one of my very favorites. It's a testament to the depth of the artists that the songs not only grow on you, but become more interesting and complex the more you hear them. This is one CD I can listen to over and over again without it growing stale. I've given a copy to my sister and to a friend, and they each said the same thing: this is one of the most wonderful CDs they own.

Loved it, loved it, and loved it some more.
I got this c.d. just over a week ago, and have been listening to it almost non-stop since then. I love it. I will admit, there are a few songs that I'm not a HUGE fan of, but the others more than make up for that. I definitely recommend this to everyone! ... Read more

Amazon.com

No less a suspect pop-culture authority than Howard Stern has repeatedly proclaimed that "everyone loves lesbians!" But what do lesbians love? Rhino Records boldly claims to know the musical answer to that question on this richly eclectic collection of female artists compiled for a lesbian audience. And if that's a bold--if readily transparent--marketing move, it shouldn't distract one from the charms of this cross-genre compilation. The songs here run the gamut from acoustic angst (Ani DiFranco) to pop (Wendy and Lisa, Jill Sobule), MOR (Taylor Dayne), folk (Two Nice Girls), and dance (Fem 2 Fem). k.d. lang contributes "Just Keep Me Moving," while cult fave Phranc gives Herman's Hermits hoary"Mrs. Brown You've Got a Lovely Daughter" a new slant. The emotions range from intense eroticism (particularly Janis Ian's sultry "Ride Me Like a Wave") to the steely pragmatism of Sandra Bernhard's remake of Paul Simon's "Fifty Ways to Leave Your Lover."-Jerry McCulley ... Read more

Reviews (11)

My Kind Of Music
After listening to this album I struggled to reach a decision on my overall view, but generally the album is very good and is worth buying. With the eception of K.D.Lang I hadn't heard of any of the artists before and now I wonder why? I love track 5. Cool as I am - Dar Williams and it is the one I play the most. Other tracks I would recommend are, 3. I kissed a girl - Jill Sobule, 9. I'll be your shelter- Taylor Dayne, 10. Prey to you - Kristen Hall and 16. Twist in my sobriety - Tanita Tikaram. The only songs that I disliked were the last two, 50 ways to leave your lover - Sandra Bernhard and I spent my last $10.00 (on birth control and beer)- Two Nice Girls. All in all its a good album that every girl should have.

Not just for women.
I'm a straight guy. Matter of fact, I look like the bouncer who wouldn't let you into that bar in college. That having been said, let's chuck all stereotypes, theirs no room for them in music. I know the average buyer would dismiss this title without giving it a second look. But, Lesbian Favorites earns, at least a peak. We all know and respect K.D. Lang, Taylor Dayne, and Ani DiFranco. If you're a fan, chances are you already have these songs. But, it's the artistes who've been hiding in the periphery that make this collection required listening for folk/rock fans. Case in point: Gretchen Phillips who gained notoriety with Two Nice Girls in the early nineties. You remember, she was the architect behind the alt classic "I spent my last $10.00 on birth control and beer." What? Haven't heard it. No problem, it's track 18. As for Grech's previously unissued cut "Swimming", take my word that it would challenge the eroticism of any other song on the market. Another notable is Disappear Fear. A nifty duet from Maryland, that lives halfway between the Indigo Girls and Shawn Colvin. Others such as: Jane Siberry, Farron, Dar Williams, and Janis Ian have been making great music for a long time and deserve their day in court. If you're a folk/rock fan then check out this groovy sample of first-rate musicians.

I am not a lesbian, but this album may change my mind!
I love this album. I first became interested in female music when I heard Roshan Murthy sing about dookie. Basically, I hate this cd, but its worth listening to. Check it out and maybe you too will become a lesbian. Being a man, I dont think its possible for me to have any common interests with these women, but more power to you. I have guy friends who are interested in other guys....so I think I can understand the the women's struggle for equality.

More of a Bi favorites CD
My sister had the CD, and I loved it. I actually got it for the last song by 2 nice girls, but have enjoyed most of the cd. Many of the songs could easily be sung about a man or a woman, and some of them will appeal to both Bi's and lesbians. Perhaps because I am not a lesbian, about a fourth of the songs grated on my nerves after a few minutes, but the first five tracks and the last four are a good reason for any bi or straight woman to get this cd, or maybe a man who wants to encourage his girlfriend to try women.

Very Misleading
I bought this cd hoping for hot lesbian confessions, or at least a bunch of women moaning, and all I got was so terrible music. I guess a couple of the songs were good, but overall, it was just a waste of my money. No good lesbian stuff here. ... Read more

Amazon.com

Rare is the voice that is both as deep and as warm as Greg Brown's. Though the veteran troubadour boasts the most weather-beaten baritone this side of Johnny Cash, there's sunshine in the smile of his wry phrasing and a disarming playfulness in his work. This two-disc set includes recordings from six years of California's annual Kate Wolf Music Festival and, while it lacks the flow of a single performance, the easy intimacy that the Iowa bard enjoys with his audience offsets any disjointedness from track to track. The generous selection of material (more than two and a half hours) includes nine songs Brown has never recorded before. Highlights range from the sly sensuality of "The Way My Baby Calls My Name" and "Slow Food" to the social commentary of "I Want My Country Back" and the droll evocation of life's ironies in "Where Is Maria." The conviction he brings to Smokey Robinson's "You Really Got a Hold on Me" and the Beatles' "Don't Let Me Down" transforms familiar favorites into testaments of faith. --Don McLeese ... Read more

Amazon.com essential recording

This two-disc, 49-song collection combines Lightfoot's firstfour albums into one specially priced package and offers acomprehensive look at the Canadian singer-songwriter before he achievedpop stardom. These late-1960s recordings are more pared down than hisbetter-known 1970s work, showing Lightfoot to be a thoughtfulsongwriter who was equally comfortable with personal love songs andmore political fare. A much stronger folkie sensibility is on displayhere, which may be a revelation to those only familiar to his glossierfolk-pop work, but a boon to his longtime followers. --MarcGreilsamer ... Read more

Reviews (27)

2 CD's Gordon's great early work
This compilation consists of Gordon's first four albums over 150 minutes, 49 songs which is a great deal and great listening. As noted in other reviews of this compilation, this includes the work that he recorded in 1966-1968. The singing and songwriting on this is classic and artists ranging from Marty Robbins, Peter, Paul & Mary, Bob Dylan, Elvis, Barbra Streisand, Sarah MacLachlan, George Hamilton IV, Glen Campbell, Kingston Trio and many artists have covered much of this work over the years. "Canadian Railroad Trilogy" is arguably one of the greatest songs Gordon ever wrote. He did re-record some highlights from this set on Gord's Gold but these versions remain the best versions of these songs. You can get this music on import CD's but you'll only be spending more money and also "Black Day In July" is a must hear protest song and is one of my favorite early Lightfoot songs.

A Bargain Classic
Even if you purchased Gordon Lightfoot's sprawling 4-disc Songbook box set like I did (which includes 17 of these songs), you will want to add this to your collection too. This set collects Lightfoot's four United Artists albums in their entirety beginning with his 1966 debut.

You get classic Lightfoot songs like "For Lovin' Me," "Early Mornin' Rain," "Canadian Railroad Trilogy" and "Did She Mention My Name." Also, the box set includes a live medley of "I'm Not Sayin'/Ribbon of Darkness" from the live album Sunday Concert. On this release you get the original studio versions.

Quite simply, Lightfoot is one of the best singer-songwriters of the last forty years and this belongs in any serious music library. HIGHLY RECOMMENDED

the best songsmith ever
My musical tastes have changed alot over the years but I have always apreciated great songs. You could spend a fortune and not have a better compilation of songs than this two cd set. This is early Lightfoot,with bare recording techniques that strip away the layers of pop overproduction and leave just a Man and his wonderful music. Lightfoot was obviously younger here and his songs reflect that. from lost loves to social injustice, boredom and restlessness, Lightfoots songwriting skills combined with beautiful guitar work and his rich baritone create a listening experience I have never equalled on any cd. Just listen. What a treasure, and what an underappreciated musical talent.

the best work ever recorded by Gordon Lightfoot
This is a terrific collection of Gordon Lightfoot. To me, the wonderful guitar work and songs make this the best work of his career (along with "If You Could Read My Mind"). These early recordings have a very special, almost magical quality about them.

There are a few songs (mainly on the second CD) that are a little weaker than the others; so it is not totally consistent. But there is a lot of music here (4 albums) and overall it is very, very good.

All...
If ever I read a better song-writer, it has long escaped me. Mr. Lightfoot, you carried me through many a tough year and I do walk the high silent places you sing of. More?
Richard Charles Doucette. ... Read more

Amazon.com

Artists like Iris DeMent aren't supposed to exist anymore in this cynical world. Singing unironically about family, forgiveness, and other real-life mysteries, DeMent is accompanied on this great debut by little more than acoustic guitar, upright bass, piano, and an occasional fiddle. But the songs (especially the bittersweet "Our Town" and the grand dreams of "Mama's Opry") are more than smart and honest enough to bear standing so naked. And her singing--highlighting a sweet Ozark twang--is that rarest of gifts: a wise, friendly voice that can break your heart even as it's making it swell with a reason to love again.--David Cantwell ... Read more

Reviews (54)

As close to perfection as anything I've heard...
It's hard to find fault in Iris DeMent's first album. Her style is refreshingly simple and honest. Her melodies are oftimes breathtaking. And her lyrics: she has such an original way of expressing herself, and yet the listener will relate instinctively. Her voice... indescribable, but I'll try.

DeMent writes that she never thought of herself as a spectacular singer, and in one sense of that word her assessment is correct. She doesn't have one of those bursting-at-the-seams LeAnn Rimes voices. But what she has instead is much more extraordinary: DeMent has a set of vocal chords that can express a depth of emotion that will keep your heart in your throat for the course of the album.

The only fault you might find with Iris DeMent is her unfailingly positive vision of the world. One has to wonder is she naive or does she love life so much she sees it always for its possibilities and not its imperfect reality?

At any rate, Infamous Angel is as close to perfection as anything I've heard.

Sweet voice, beautifully simple arrangements.
Iris DeMent has one of the most beautiful country voices I've ever heard. The songs on this CD are sweet, simple and sound like they could have been written fifty years ago.

I bought this CD after hearing "Our Town" played as the final song on the television series Northern Exposure. If you enjoyed that series you will love this CD. It will make you feel like you're sitting in the Brick with Maggie, listening to Chris on KBHR, waiting for Holling to bring you a beer.

Great
THis young lady is great. A wonderfully refreshing voice, and a story to tell. She is a breath of fresh air.

Interesting to Listen to But........
No doubt Iris Dement has an interesting sound. And no doubt she can tell a story in song that can keep your interest. However, I don't need to be preached to on every track. Seems as though every song is about death and/or dying and/or going to a better place. After awhile, enough is enough, and you just want to hear something that isn't inspirational. But it never comes. And the last track, Higher Ground, is more of an homage to her late mother, with Iris lost in the "choir". I wish she hadn't bothered. Iris has a better voice than her mother.
While I would listen to the CD again, I would have to be in a special mood. Sometimes it hurts to be hit over the head with the same ideas over and over again.

But it all
There are not enough stars to award Iris DeMent's work. The other Amazon reviews will testify to this. Her's is the truest and most lovely American voice extant. Lovely. Buy everything by her available.
I wish she'd do "The Last Thing on My Mind," "Funny How Time Slips Away," "Today I Started Loving You Again," as well as any number of traditional gospel songs. ... Read more

Reviews (20)

One of Dylan's Best
this was my favorite dylan album for the longest time.
i have sice taken a greater liking HIGHWAY 61 REVISITED and BLOOD ON THE TRACKS, but this is still one of the greatest albums ever made (and, of course, dylan's first album with rocks songs).

"subterranean homesick blues" opens the album with bullets flying. this social commentary is clever and hits so quick with rapid wordplay that it'll take you a few listens before you're able to digest most of the lyrics (5/5).
"she belongs to me" depicts a controlling woman that seems to cast a shadow over her lover's life. dylan's first mellow rock song (4/5).
"maggie's farm" is a brilliant song with brilliant use of symobolism. similar rock feel to "subterranean homesick blues" but dylan's vocals are very different. amazing song (5/5).
"love minus zero/no limit" has a slow tempo. one of dylan's most underrated songs poetically speaking and most underrated period (5/5).
"outlaw blues" is a fun song. it has a real backroad rock feel, and the lyrics are very bluesy. the song ends with a very interesting social message as well (4/5).
"on the road again" is silly. like a more focused rock version of "i shall be free." just a fun song (3.5/5).
"bob dylan's 115th dream" is another song that's far from serious. it is very intricate and interesting, but overall, it's just a good time (4.5/5).
"mr. tambourine man" is simply one of the greatest songs ever. "let me forget about today untile tomorrow." this can't be properly described (5/5).
"gates of eden" is a surreal song. great imagery and interesting insights (4.75/5).
"it's alright ma (i'm only bleeding)" is another one of the best songs ever written (5/5).
"it's all over now baby blue" was my favorite dylan song for a while. it's perfect (5/5).

BRINING IT ALL BACK HOME is definitely one of dylan's top three albums in my mind.

If you only own ONE
If you only own one Dylan album, make "Bringing It All Back Home" the one you own! It's a good even mix of folk/rock and folk. Every song is an instant classic and the songs that had a message back in 1965 still hold relevance today. The most well-written song on this package has to be "It's Alright Ma (I'm Only Bleeding)". As you listen to these lyrics and think about modern times you realise that Bob is STILL onto something. This album also features the hits: "Subterranean Homesick Blues" and "Mr. Tambourine Man".

The turning point
This album is so many things at once it's hard to keep up. It's one of Dylan's most important albums, because it shows him shifting from folk to rock; it represents a point where his breathtaking creativity was hitting its stride; and it is, moment for moment, one of his best albums--some would argue, musically, it presents the most representative picture of his work of any disc.

Thank goodness the remastering process has given us this revelatory new recording of such a classic. The new clarity of the sound allows the deceptively simple complexity of the instrumentation on the album to shine, and Dylan's voice is shocking. He doesn't just deliver the lyrics--he's actually singing! Many Dylan recordings did his work, and his voice, little justice, but the original transfer of Bringing It All Back Home was among the worst. If you only buy one of the 15 new remastered hybrid super audio CDs, this is the one to get. From the subversive opening notes of "Subterranean Homesick Blues" to the quiet closing strains of "It's All Over Now, Baby Blue," this album is a gem not only of artistic genius but of the power of a dedicated remastering effort.

Okay but not much else.
Ive never really liked early Bob Dylan except or a few songs.I mean hes a talented writer in that he can write words that go well with each other but sadly his early work just doesnt speak to me except for the more well known tracks.It just all sounds like a bunch of nonsense that isnt even amusing.I think this album is a waste of time to listen to except for a few songs and I dont understand what is so good about it.Its boring.

Great, but transitional recording.
One of Dylan's 3 best recordings from the 1960s and marked his complete break with the folk movement. Just a 5. ... Read more

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Although Kings of Convenience are keen to play down any blatantly self-evident similarities to Nick Drake, Simon and Garfunkel, and Belle and Sebastian, the winsome and placidity-favoring Norwegian duo of Erlend Oye and Eirik Glambek Boe have probably already got the subway buskers of tomorrow lining up to lend an ear. Studentlike in appearance (one of them has a duffel coat and John Major specs) and unashamed to softly impart such nonrock lyrics as "put the kettle on" and "using The Guardian as a shield to cover my thighs against the rain," the weightless and airy acoustic guitar muse of Quiet Is the New Loud isn't a million miles from Radiohead's "Nice Dream" or Pink Floyd's "If" with a subliminal swish of bossa-nova rhythm. A contentedly purring cello, a plaintive touch of piano, and the muffled sound of a trumpet add necessary sonic depth, and the results are as pleasant and civilized as a little light conversation over tea in the drawing room. But what a shame they chose to name themselves after a lavatory. --Kevin Maidment ... Read more

Reviews (42)

Startlingly mellow must-have music
I've just come back from a Summer house in Norway identical to the fjord in the cover photo of this beautiful album. I'd heard about Kings of Convenience because of their widespread coverage in the UK where I normally live. But until a couple of days ago, I didn't realise they were Norwegian (doh!). These two geeky looking Simon and Garfunkel wannabees make the most exquisite, gentle, painful, whistful music I've heard in a very long time. 'Winning a battle...' is a perfect piece of acoustic pop that will become a classic. 'Singing softly to me' is a bossa-nova masterpiece. This is the record I'll be playing all Summer and giving to all my friends. This is what the phrase 'mood music' was invented for. Kings of Convenience are Norway's best invention since skiing.

Quiet is definitely the new loud
There is definitely a burgeoning scene coming out of the UK. Artists and bands like Badly Drawn Boy, Coldplay, Turin Brakes, and Travis are embracing folk music and incorporating it with pop and rock. Kings of Convience is the next band to come out with a cd filled with melodic folk/rock. A lot of reviewers has compared this band with the late artist Nick Drake which I can totally hear through out the entire cd.

To be perfectly honest, I really don't know what to make of this album so far. I have only listened to it twice. Compared to Turin Brakes, I much prefer Turin Brakes over Kings of Convience. I found this cd a bit too mellow for my tastes. Even Travis rocks out on a few songs on their latest album. Perhaps I just need to listen to "Quiet is the New Loud" a few more times to enjoy it more.

Beautiful. Sweet. The Best Cd of it's kind.
The only good thing that came out of a 1/2 hearted relationship that I had was hearing this cd. I could listen to it all day. This cd has bottled my emotions and let me revisit them again and again.

Kings of Emotion
You can always judge a CD by its first, second, and last songs. Quiet is the new loud? Well, I heard it loud and clear. These two guys can really use accoustic guitars and evocative lyrics to express such emotion. The cords will have you floored, especially on "I Don't Know What I Can Save You From" and "Parallel Lines".
Don't be afraid to buy this CD only to like a few songs...You will have the calming music haunting you, begging to be listened to again. And if 'Quiet' is not loud enough for you or you love 'Quiet' try 'Versus'. They remixed most of the songs to be sound more upbeat, putting you in a good mood while driving.

Simply amazing.
Modern Folk is always good...and what's even better is modern folk with those lovable European voices (Belle and Sebastian, Nick Drake, etc) that we all love. Good stuff. ... Read more

Amazon.com

Canadian folksingers Tegan and Sara's debut album debut album on fellow Canuck Neil Young's Vapor Records is a formidable first effort betraying a startling maturity for two 19-year-olds. There is enough depth in the lyrics of "Come On" or "Frozen" to bear repeated listenings, while the mainly acoustic-based instrumentation provides a spare yet rhythmically interesting backdrop for the sisters' musings on life and love. There is also a defiance in some of the lyrics (witness "Proud": "Freedom and blood/ I make my mark and fight for tomorrow"). While there is still evidence of room to grow as each sister betrays a distinct influence (Tracy Chapman for one and Ani DiFranco the other), this decidedly fresh debut is a step toward a very bright future indeed. Apparently they are utterly captivating live as well so expect this duo to stick around for quite some time. --Ike Bolton ... Read more

Reviews (45)

reviews rendered useless by listing to above samples
This CD is really something special. Ever since first seeing Tegan & Sara at a festival we have here for the socially conscious folks (...)three or four years ago, I've been quite a fan. When they were hyped with radio and video play here in Canada I was torn. While I wanted as many people to know about them as possible and experience the magic of the live show, I didn't want the media machine to take over and focus on something other than the fantastic songwriting. The last show I saw them perform (...) featured masses of people talking loudly throughout it- perhaps their decision to attend was driven by hyped curiosity rather than being really stoked. Frustrating. There isn't a weak track on this album. Fantastic production from another great Canadian songwriter, Hawksley Workman.
A lot of people seem to want to make the connection, but I would say the only real similarities to an Ani album would be to Puddle Dive, and these songs are better.. gasp! Will I be struck down? Buy this. It's not only inspiring and thought provoking, but also way too fun.

Amazing talent
Well, first I need to correct one of the review: the twin sisters were born in 1980, so they are 20 years old, not 16. Second, well, let me tell you that the talent they have is incredible. I saw them live in a small bar, with only two acoustic guitars, and fell in love right away with their music. You can hear the samples up there, or you can go to their website http://www.teganandsara.com to download the full mp3 of their song "The First". I bought the CD right at this concert and listen to it almost everyday. I am telling you, this is not going to be their last album - with no accident, I predict a very nice future to their music. Tubes from Tegan and Sara will be everywhere soon!

Deserves way more than just 5 stars
This quite possibly could be the best cd I own. I don't even really know how to describe it, their music can't be compaired to anyone elses. I've had this cd for years now and I'm still not tired of it, which is amazing 'cause I get bored really easily. This cd is perfect. Don't miss out on it! It's amazing beyond words. T&S rock!

Better than clean underwear. Well, maybe not that good...
I say move over all you wishy-washy, lyrically transient, vocally programmed army of female "singer/songwriters." Tegan and Sara are more than just a wrinkle in the fabric of music (or lint in a belly-button), they are more like those huge creases that are left in the shirts ironed by coping husbands when their wives are sick. The only thing better than Tegan and Sara's "This Business of Art" is licking brownie batter off your fingers. But licking brownie batter off your fingers would only rock to its fullest potential if you were listening to Tegan and Sara while doing your best Homer Simpson hoovering impression.

Another under rated canadian act
I'm an american living in canada and was once under the mistaken idea that all the good acts come from the states!
I was introduced to this album by a girlfriend - I can't say I was a willing participant in that I thought this would be another "chick" album. But in fact these two sisters put out awsome music and lyrics. The album is solid from beginning to end. I highly recommend this album - and their second album (if it was you) builds off the first. Discover these two before everyone else does! ... Read more

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For his third album, John Prine returned to the fuller sound of his landmark debut while venturing into increasingly cryptic lyrical terrain. Songs such as "Mexican Home," "Accident (Things Could Be Worse)," and "Blue Umbrella" are open-to-interpretation explorations that reveal the songsmith's intrepid reflections; they're also among the 12-song set's best numbers. "Dear Abby" is a comical novelty number while "Christmas in Prison" is a doleful in-the-clink carol. The openhearted "A Good Time" slipped into the shadows after Sweet Revenge (like Prine's other Atlantic albums) failed to hit commercial paydirt, but it's as touching as anything Prine has penned. This outing isn't as musically distinctive as Prine's other albums from his early period, but as collections of songs go, it's first-rate. --Steven Stolder ... Read more

Reviews (11)

My number-one favorite pop album
I have loved John Prine ever since being introduced to him by way of "Sweet Revenge" back in 1973 when I was a college senior. I haven't heard this album in a while but dug it out and played it again tonight. I still love it.

First and foremost, John Prine is a poet. The words to many of his songs could stand very well on their own, without music; in fact, I'd love to see a book published of just the lyrics he has written over the years. Many of his songs are about the lives of everyday people, in some cases people forgotten by society, but he manages to find deep social truths in their lives. Therefore, John Prine's songs certainly do repay close attention to the words. And such humor! Lines such as "All of my friends are not dead or in jail" from the title track are even funnier to me now than they were back when I first heard the song.

However, even though the words to many of his songs are sufficient unto themselves as poetry, his unique voice certainly adds an extra welcome dimension to them. And don't be fooled; he may sound as though he is just tossing these songs off, but behind that facade (and that craggy voice) is a fantastic musician who knows exactly what he wants from each song in terms of shading, dynamics and the rest.

Certainly the funniest number on the album is "Dear Abby," which also gives us a glimpse of John's throwaway spoken humor. My first reaction to this song, many years ago, was "She's giving the same advice to each person," but when I finally stopped to think about it, I realized that John, through the imaginary words of Dear Abby, is saying that many of us are the cause of our own problems, and often for the very same reasons. For John Prine, even humor has its serious side.

On the other end of the spectrum is my favorite track on the album, "Christmas in Prison." This song, which reflects the thoughts and experiences of a man who is incarcerated, is about a topic that is obviously very dear to John: the love relationship that, because of circumstances, is forced to exist mainly in the mind of the lovers for the time being; he also explored this subject in "Donald and Lydia" from his first, self-titled album. While the words resemble some of those "Redneck-Valentine's-Day-card"-type jokes that have been circulating on the internet recently, and certainly the song has its humorous aspect, the sincerity of John's voice and delivery raise the song way above the level of a mere joke. And the final line of the chorus, "We're rolling, my sweetheart, we're flowing, by God," shows us the narrator's ability to still be one with his beloved despite the enforced separation between them.

But each song brings its own unique perspective to the mix. "The Accident" is an early and humorous statement of the current cliche, "Don't sweat the small stuff; everything is small stuff." "A Good Time" is a touching and very understated love song. And so forth.

But the neat thing is about John Prine's art is that the songs can be appreciated without reference to their deep meanings. I can appreciate just about all of them for their surface value alone: the words in themselves are clever as words, while at the same time not drawing attention to themselves merely for being clever, as, for example, some country songs do.

John Prine often ends his albums with a song that someone else has made famous; it is here that we get to see a little of what he considers to be his roots. The final track of "Sweet Revenge" is "Nine Pound Hammer" by Merle Travis. While I most enjoy hearing John Prine performing his own unique material, it's still great to hear what he can do with another's music. But hell, I'd probably even enjoy hearing him invading Pavarotti's territory and singing "La donna e mobile" from Rigoletto.

John Prine is an artist, poet and musician well worth your time. And I personally can't think of a better place to start investigating his work than with "Sweet Revenge." But then again, since this album is where I started, I'm a little bit prejudiced.

John Prine "Sweet Revenge"
"Sweet Revenge" 5/5
"Please Don't Bury Me" 5/5
"Christmas In Prison" 5/5
"Dear Abby" 5/5
"Blue Umbrella" 4/5
"Often Is A Word I Seldom Use" 4/5
"Onomatopoeia" 4/5
"Grandpa Was A Carpenter" 4/5
"The Accident (Things Could Be Worse)" 3/5
"Mexican Home" 2/5
"A Good Time" 2/5
"Nine Pound Hammer" 3/5

"Sweet Revenge," the third album from John Prine, is a great effort. The album is littered with awesome songs, with the first four being among his best. Definately a record to check out.

Overall rating: Three and a half stars.

Songs' value lost in production
I love John Prine. He has the ability to make you laugh while you're crying. His songs are masterful blends of dark sorrow and light humor. Howerver, that magic is lost for me on most of this album. The production is way too thick for my attention to pierce to access songs like Blue Umbrella amd Mexican Home. These songs are better realized on "John Prine Live". Granpa Was a Carpenter and Please Don't Bury Me are staple Prine but in my opinion, best aquired in a collection like Prime Prine. Leave this one 'til last.

I got kicked off of Noah's Ark....
With this line John begins to take us on a wonderful ride of emotions, wit and sadness in the span of about 40 minutes. You might say "hey, this dude never had a hit record in his life" and you are right but that's one of his better qualities as far as I'm concerned. His slice-of-life songs are so memorable that you'll have a hard time forgetting them. "The Accident" and "Dear Abbey" are hilarious. "A Good Time" and "Christmas in Prison" are breathtaking. I could go on and on but the best advice is to just listen and soak it all up.

classic funky folk
Sweet Revenge was the first jp album I heard way back when.It was the way he told his stories that struck me I was always a fan of songwriter singers,like Kristofferson,but John Prine was a different brand.My favorites are the accident and dear abby.I really regret I dont have the opportunity to tell this fun loving musical genius how much enjoyment and smiles,he has given me over the last 20 years.I know this one isnt from Sweet Revenge,but it is a GREAT song,Jesus,the missing years,Ilove it.You can tell he really enjoys writing and performing these gems,its obvious in his voice! ... Read more

Amazon.com essential recording

Kentucky-born, Chicago-bred singer-songwriter John Prine was a battle-scarred veteran of the '70s "new Dylan" club and a superb craftsman whose modest commercial success found him without a major label deal in the '80s. Prine's solution was to move to Nashville and roll his own, setting up the tiny Oh Boy imprint and making records he wanted to hear, a survival game that paid off handsomely with this 1991 set, produced by Heartbreaker bassist Howie Epstein and boasting cameos from Phil Everly, Divinyls' Christina Amphlett, Tom Petty, old pal Bonnie Raitt, and another "new Dylan" alum, Bruce Springsteen. But it's Prine himself who holds your attention here, with his reliably fine songs mixing droll, dead-on narratives of recognizable Everymen, sweetly goofy parables, and unvarnished love songs that his craggy drawl inhabits with touching authority. --Sam Sutherland ... Read more

Reviews (15)

John Prine Misses Nothing on "Missing Years"
The Missing years is another great work from John Prine. Even among his true followers (of which I'm one), there clearly had been a spark missing in some albums preceeding this one. Like Dylan, Prine has at time made albums when he really had little to say. Such is not the case with the Missing Years. The songs are catchy, touching, and thoughtful. An album that you won't quickly outgrow.

The best John Prine album
John Prine hit his creative peak with "The Missing Years." There are so many fine songs, it is hard to choose a favorite. Prine has never been in better voice and his normally creative folk songwriting is particularly witty here. The verbal workout "The Sins of Memphisto," the playful "Daddy's Little Pumpkin," and the rockin' "Take a Look at My Heart" are among the best tracks. This is simply one of the best examples of folk rock available.

Another great album from a premier singer-songwriter
John Prine is one of those rare singer/songwriters whose literate work is more popular with fellow artists than with the listening public (Phil Everly, Tom Petty, Bonnie Raitt, and Bruce Springsteen show up to do background vocals on this album). Prine's work started with acoustic folk and then headed off in the direction of country, but the common denominator remains his quotable lyrics (e.g., "Unlonely") and his wry comic take on the world in which we live (e.g., "Daddy's Little Pumpkin"). Even when Prince gets a bit caustic, as with "All the Best," it is still a treat, but "It's a Big Old Goofy World" with all its clichés is more to my liking. Other songs, such as "Way Back Then" and "Everything is Cool", provide the emotional revelation that is Prine's true hallmark. "The Missing Years" is one of Prine's best albums (1991 Grammy Award for Best Contemporary Folk Album), a shade short of his first self-title work but as good as "Sweet Revenge," "Bruised Orange," and the more recent "In Spite of Ourselves." Of course, Prine had a built in advantage with "The Missing Years" because it had been about five years since his previous album and the result was, as you would suspect, a stronger body of work.

A Prine masterpiece
This was a comeback album for John and in my opinion, it's his best ever, and boy oh boy,(no pun intended) that's saying plenty. This guy's responsible for my switch in music genre's some years ago with his early stuff. I never thought he'd top his classic self- titled and "Bruised Orange" releases, but he did it. The smartest storyteller around. Thanks John, "you got gold" inside of you.

A Prine materpiece
This was a comeback album for John and in my opinion, it's his best ever, and boy oh boy,(get it?) that's saying plenty. This guy's responsible for my switch in music genre's some years ago with his early stuff. To be honest, I never thought he'd top his classic self- titled and "Bruised Orange" releases, but he did it. The smartest storyteller around. Thanks John, "you got gold" inside of you. ... Read more

Amazon.com

At the beginning of Time Out of Mind, Bob Dylan finds himself in the same dead-day world as on 1964's "One Too Many Mornings." By now, though, he can't be bothered to romanticize the street and the distant dogs' barking; he can only moan about how sick he is of love, of himself. Saying it seems to give him the strength to go on, and go on he does, over 11 songs that are among his most plainspoken and musically eloquent. The reconstituted bottle-blues that sparked the early '90s acoustic masterpieces Good As I Been to You and World Gone Wrong carries over to Daniel Lanois's carefully dirty production and a groove that tops anything Dylan's done in a studio since, at least, Blood on the Tracks. No matter how lousy he feels, this is the work of a mighty, mighty man. --Rickey Wright ... Read more

Reviews (148)

OVERRATED BUT NICE
I'm the biggest dylan fan, although he HAS come out with some sorry albums to say the least. When "Time oOut Of Mind" was realeased it won a Grammy and the word was it was his best albums. This isn't true. His best albums would put this album to shame. Don't get me wrong, this is a damn good album and it could have been better if some of the filler songs were removed. "Highlands" for one is like around 14 or 15 minutes and it may very well qualify as the worst song on the entire 73 minute album. It's slow and boreing and that's all there is to it. That's just an example, there are others. Some songs are awsome though. For instance, "To make you feel my love," is a faverate. Another is the bitter "Love Sick." You have to keep in mind as well that he's an old man now so he is becomeing aware of his mortality. "Not Dark Yet" shares his feelings, its terrific-highly personal. His voice is now even more scratchy and lower but usually it favors his bluesy songs. Not his best by all means, and as far as the comparasons to "Blood On The Track" I don't see any. Good for those who already have his essential.

The Grammys were deserved -- extremely memorable
A stunning album in which Dylan builds on 1989's Oh Mercy and 1993's World Gone Wrong to create a musical landmark that transcends genre, though if you had to classify it it is more blues than anything else -- a raw, juke-joint blues whose apparent spontaneity of performance coexists with incredible songwriting artistry.

There are no wasted words here, and Dylan is even more direct than on Oh Mercy or Blood on the Tracks. His ravaged voice is still amazingly expressive and musically precise. Every song is strong, but deserving special mention are Highlands (for its hilarious restaurant scene and powerful emotional journey), and the masterpiece Not Dark Yet, a devastating portrait of the singer's awareness of his dwindling emotional and spiritual resources. Dylan's vocal on this song is extraordinarily accurate, capturing both subtle tonal gradations and large tonal slides in a way musical notation can't reproduce.

Very good.
Best Dylan album since "Blood on the Tracks".....That one I'd give a 10 if possible.

Ripper dipper return to form
Time Out Of Mind is a ripper dipper return to some sort of form from da mang who had set his sails for pissing his reputation away for good, but for me it is a tad too bleak and a little samish all da way through... it be a brilliant album don't get me wrong, n I can see why everyone hails it as a masterpiece n schitt, but I don;t know it's too similar for me all the way through... joo know, slow ballady song followed by dark fast blues song followed by ballady song followed by dark fast blues song followed by ballady song followed by dark fast blues songballady song followed by dark fast blues songballady song followed by dark fast blues songballady song followed by dark fast blues song, etc.

In Bob We Trust
This album's loveliness has wounded me - I'm reelin from the blow... Yes I'm a dedicated Bob fan and this is a definitive piece that is not even remotely depressing to me. Bob has always defied traditional songwriting and this is no exception. 'Highlands' is in fact a hilarious song/spoken word that is an example of the man's brilliant diversity. No other artist could win a Grammy for such inanity. This one ranks up there with the best of his works if not at the top. ... Read more

Amazon.com

Peter, Paul and Mary weren't the first folk group to scale the music charts in the early 1960s, but they were far and away the most commercially successful. Carry It On is a four-CD (plus one DVD) box set that gathers all of their hits, along with generous helpings of rarities, B-sides, and previously unreleased songs. Although they had a magical vocal sound, a camera-ready image, and strong songwriting chops of their own, perhaps the trio's greatest strength was their ability to recognize outstanding songs from then-unknown composers. They were the first major group to cover songs by Bob Dylan, Gordon Lightfoot, Laura Nyro, John Denver, and Tom Paxton, which helped introduce the work of these songwriters to a wider audience. Carry It On is a worthy testament to the legendary group that proved you could make a career out of singing songs of social protest, ancient ballads, modern heartbreak, and even magic dragons, as long as you did so with sincerity, humor, and gorgeous three-part harmonies. --Michael John Simmons ... Read more

Reviews (7)

Who mastered this evil piece of guano? Performance ruined.
What a steaming pile of skit! No, not the performances -- I'm sure they're pretty good. I wish I could hear them. But the boxed set itself is pure evil.

I listen to CDs while using the computer. I use the CD-RW drive to listen to CDs. I even use the CD-RW drive to (gasp! arrest me!) make "car copies" of new CDs, because they get scratched to bits in the minivan. So when this one came in, my wife asked me to immediately make a car copy for her.

Merely inserting this disk into the CD-RW crashes Windows. Poof, just like that. EVEN WITH THE SHIFT KEY DOWN it crashes Windows! The CD drive goes into an endless loop, hanging the system. The eject button is locked and the 3-finger salute is blocked. Nothing but the Reset button can end it.

Using Linux, I was able, eventually, to play it a little. I was able to make a car copy using k3b in paranoia mode 3 (full error correction). The 48X drive, a Sony that is amazingly good at reading through scratches that other players can't cope with, read the disk at between 1x and 2x. Obviously it was having a lot of trouble reading the disk. This wasn't in "clone" mode, just "normal" mode, yet the car copy was still able to crash Windows same as the original.

In the car, btw, the disks do not play right -- they play the first track, but don't allow tracks to be normally selected. Car drives are, of course, often based on CD-ROM drives, not cheaper "entertainment" CD drives, so crappy copy-protection hacks that let $49 dormroom stereos play a disk will block performance on car drives and many high-end systems. Note that the boxed set does not contain the "CDDA" marque, which normally ensures playability. But who sees that on Amazon?

I may send this back to Amazon. Time Warner has proven that they are either blazingly incompetent, evil, or both.

This review is about the Bonus Tracks
Peter Paul and Mary are my favorite group. I rate their music 5 stars; some people do, some don't. 'Nuff said about that. What I want to address is the bonus tracks. Another review mentions that one must cue them up in a not-obvious way. Let me elaborate on that review: You cue up a bonus track at the beginning of each of the 4 cds (the 5th, bonus disk is dvd) by cueing up song one, then pressing reverse until you come to the bonus track.

Well! This method is totally bizarre (if it is not bizarre enough to provide bonus tracks that are hard to figure out how to play in the first place--and the directions as to how to play bonus tracks are in tiny, obscure print within the printed book that accompanies the 5 disk set.) This backtracking-from-song-one method of cueing up a song works better or worse on various cd players. On mine, it is virtually impossible to hear the bonus tracks in completion, because pushing the reverse button "scrolls through" the song quickly. It is impossible to lift your finger from the button exactly at the beginning moment of the bonus song. If you don't stop pushing the button at exactly that magical moment, you either hear only a portion of the bonus track, or you have pushed too long and don't hear any of it and you must start a second effort at pushing the button until the perfect moment. Like I say, bizarro.

I suppose it is some marketing exec's idea of a cutesy gimmick. Peter, Paul and Mary, I hope you read this review. You have enough sense that you should have caught this dumb idea and nixed it. It's dumb and offensive. How fun is it, really, to sit over your cd player trying to push a button effectively. Come on, you guys!! Why don't you three write a meaningful song about the lunacy of this aspect of modern button-pushing life. (Ha!) Okay, I've spoken my piece on that! Except for the bonus tracks, it's a nice boxed set.

Great Collection of Songs!
While I'm a 28 year old listener and lover of PPM, with many of their cds, I love listening to the box set, even though I have many of the songs already. My only complaint is the way they've set up the bonus selections on each of the cds, it doesn't work with many players, in fact my Sony bookshelf cd player is the only thing that can play the bonus songs.
I thought the dvd was great, some of the sound quality on the songs is ok, like Leaving on a Jet Plane with John Denver, you can't really hear the vocals that well, and watching it looks uncorordinated. On the newer songs, Mary, oh Mary, I don't know what happened to her voice, I mean I think smoking has ruined her voice, she just doesn't fit well with Peter and Noel. Don't Laugh at Me (even thought its a remake) always makes me sad, it just seems like they sing with so much feeling and you can almost imagine the tears in Peters eyes. I would of like to see more songs from the REUNION album, it would of added nice touches.

Back But Never Forgotten
It's amazing to listen to 40 year old Peter, Paul and Mary songs that sound like they were recorded yesterday. Rhino did a great job with selecting the songs and remastering them on "Carry It On." The songs are among the best of Peter, Paul and Mary and few stones are left unturned. There are even some previously unheard versions of these classics. The bonus DVD makes this a real visual and sonic treat.

I do have one problem with the box set. There are bonus unreleased cuts on each of the CDs but they don't automatically play. You have to follow the directions hidden deep in the book that comes with the box set. The trick you have to use just doesn't work on my Sony combo CD/DVD player. It would have been better just to have allowed the bonus tracks to play normally. I thought about reducing my rating one star because of this--but "Carry It On" is just to good for that.

The times they are a'changin' And having this PP&M compilation in the CD collection helps connect us with where we've been so that we can see with some perspective where we going!

Simply Fabulous
For more than 40 years, Peter Paul and Mary have graced us with their amazing sound, and they have inspired us with their commitment to the progressive causes of our times. The CDs in this box set include virtually all of their fabulous music, and the narrative captures the spirit and the significance of their activism.

I have already listened to each disc several times, and I will continue to for weeks, months and years. The early recordings remain current and compelling. The recent ones reveal a marvelous maturity and power in their voices and personalities. There just isn't anything to compare with it.

Anyone who has lived through the remarkable history we share with PPM should own this set as a testament to our own lives. Anyone too young to have experienced their impact should own it to enjoy the music and to learn how music can produce positive change in our society.

If I were permitted to have but one collection of great folk music, this would be it. It is simply fabulous. ... Read more

Amazon.com

"Stories" is the operative word here.The late Harry Chapin penned tales that touched a chord in listeners regardless of their age, background, or truth be told, regardless even of the type of music they normally listened to. Chapin always came across as a tough guy with a heart of gold, a brainy type who wasn't afraid to get his hands dirty--much like the protagonist of "Taxi" (a terrific rendition of which is contained herein). In addition to radio staples like "Cat's in the Cradle," the 1976 recording also sheds light on slightly lesser-known pieces like "Circle" and "Mr.Tanner." Chapin's affable manner shines through the entire album, giving it a disarming quality that's not always present on the studio versions. --David Sprague ... Read more

Reviews (42)

Very Good.....but seems to be missing something.
This is a fine "live" album and captures the essence of Harry's early work. From my college days, I have always listened to Chapin songs. While the studio albums are wonderful, it was in his live performances where he truly excelled. A large part of that success was due to his musicians. Not only their musical abilities, but their unique personalities shone through both in recordings and live performances. Two tracks which are my favorites are "Mr. Tanner," a work of depth and emotion and Stephen Chapin's "Let Time Go Lightly."

I gave this "only" 4 stars primarily because this is an incomplete album. While the sound quality is fine, the original vinyl had another track that is not included and I take exception (for what it's worth) to shortcuts which have often been taken when converting earlier works to CD in general, whether is in the arbitrary omission of album tracks or in the use of subsequent tapes rather than original masters.

That being said, this album is a fine example of Harry's early live performances. One can only hope that eventually the remainder of his albums will be released on CD (and properly mastered too). In particular, "Short Stories" and "Legends of the Lost and Found" (the latter of which reveals Harry's slightly older, "more mature" voice) as well as "Sequel" would be most welcome.

What an album, one of the Great Live recordings!!!!!
Harry Chapin was an artist that seemed to put out better live recordings, that had much more intensity then any of his studio work. I've listened to alot of his studio driven recordings but nothing will ever compete with this record. The album does have three studio songs pinned at the end but it doesn't disregard the magnitude of his songwriting.

Many folk artists strive for a catchy three minute song with backbeat and sensibility. Chapin never followed that formula. At times, his songs could be long opuses with not much of a chorus to backup. His songs were painted with a very personal, intimate picture of life's dark and virtuous side. This record captures everything anybody needs to know about the man.

The album captivates a very energetic side of exuberance with the opening track "Dreams Go By", but it also exhibits a beautiful portrait of bittersweet remembrance. Another classic, "Mr. Tanner" examines a singer's hopes and visions but with wishful sincerity towards confrontation of ability. The album wasn't just hippie influenced lyrics, but honesty to dreams deferred. Every track told stories of love lost, found and expectant. It seems like many live recordings fail to pickup on what an artist is trying to portray with thier music. This one nails it, seriously.

In a class by himself
There's a lot of songwriters with the reputation for telling a fine story in a song: Bob Dylan, Joni Mitchell, Jim Croce, Van Morrison... But seriously, did anyone ever create on a level with Chapin? His songs remind us what humanity is all about. Isn't that the best thing a song can do?

Takes me right back to college
At the University of Nebraska in spring of 1972, we decided to go on a road trip to the University of Oklahoma, our rival. It was rainy the entire drive and every radio station played, "Taxi." Well, O.U. was a pleasant surprise...everyone was nice (I don't know what we expected) and we returned home to our finals. 30 years later, if I hear Taxi on the radio, I'm right back on that road trip to Oklahoma.

"Did I write that?" asks Harry Chapin
"Christ, it sounds like the theme from Godfather II!"
Chapin makes this comment after signalling his band to a halt during the intro to the opener "Dreams Go By", because of a banjo solo in that part, played vibrato mandolin style. A dead giveaway right from the start of how this live set is going to feature his often humorous approach to the material. This is also reflected later on in the set in this version of the song "30,000 Pounds Of Bananas", in which Chapin makes a departure just before the last verse, relating his trials and tribulations in coming up with that particular verse. But Chapin was always more than a comedian with a guitar--his material was mostly heartfelt and often as sentimental as anything the younger Billy Joel ever wrote. Quite at odds with the rules of pop music, Chapin came across more affable than charismatic. In that brief period of musical history, you didn't have to be a babe magnet to be a star. Today people think of the "Singer Songwriter Era" as an aberration. After all, pop music is supposed to be about sex or anger, right? Or if there's a "folkie" dimension to it as in the case of artists like Chapin, a sociology or poli-sci aspect. Or if you don't have any of that, you have to be like Joni Mitchell and be versatile in style and/ or one hell of a player. Harry wasn't any of those things. His guitar style was basic accompanist, his songs were more prosaic than poetic. Their arrangements were pretty much predictable. His voice was limited in range and tonal color (just like the man himself says of "Mr. Tanner", a song also present here). He didn't have the melodramatic, almost operatic delivery of Texan contemporary Shawn Phillips. Harry was basically The Man On The Street who had an uncanny ability despite his shortage of the stuff stars are made of to express himself in music. It has become a cliche to say that a musician "sings in a style you can relate to", but Chapin was one of very few artists about which that description is bang on target. Chapin did a later live set called "Legends Of The Lost And Found", which I see is no longer available. A shame, really--that set has a high percentage of material that was never released on any studio album. Anyway, if you're at all curious about any of Steve Earle's antecedents, look to Shawn Phillips and Harry Chapin. ... Read more

Album Description

'Pass In Time' is a collection of songs taken from BethOrton's three previous albums. Most noted for her subtlevocals reminiscent of 70's singer/songwriters such asCarole King & Carly Simon. Her music is a fusion ofgraceful acoustic folk, melancholy country-blues,down-tempo trip hop & dubby electronica. Includes thesingles 'She Cries Your Name', 'Someone's Daughter' &'Touch Me With Your Love', alongside B-sides, remixes,collaborations, & rarities. 24 tracks. Heavenly. 2003. ... Read more

Reviews (3)

Definitive collection?
How can you have a definitive collection of Beth Orton, she is just starting out, she is amazing and I don't see her slowing down quite yet; but whatever.

OK so the record label took Beth's greatest moments and put them all on one CD, PERFECT! Then the found 10 remixes, rarities, etc., and put them on a bonus disc, EXTRA PERFECT! All the Beth anyone could want, right? Wrongo! There is never enough Beth.

But Pass in time is perfect, for true fans and obviously for newcomers to her music. Its the perfect staring point. Once you hear this you'll run out and buy up all the other stuff. This 24 song compilation is worth the purchase though for long time fans, if just for the bonus CD alone.

You may already have her 3 previously released CD's but all her best are here, "She Cries Your Name," "Galaxy of Emptiness ," "Stolen Car," "Central Reservation."

The bonus CD includes the first-rate collaboration with "the Chemical Brothers" on "Where do I begin," She teams up with "Terry Callier" on "Dolphins," and "William Orbit" on "Water from a vine leaf." A reworking of "It's Not the Spotlight" just for this release.

But the biggest bonus here are 2 tracks from her "Superpinkymandy" album (now out of print), John Martyn's electronic "Don't Wanna Know 'Bout Evil" and the delicate "Where Do You Go?" . Both tracks give you a quick peek at her beginnings.

Beth is an undeniably gifted artist who has been copied by many (Dido and Sarah McLachlan, etc.). Her voice and vision cannot be duplicated though. I am sure this collection is far from conclusive, I eagerly await future releases from a shining star among clones.

Currently my favorite CD
I have heard of Beth Orton but never heard her music. One of her other CD's was on the listening station at the musis store and instantly fell in love with her voice. Pass In Time was on sale that week so I picked it up. This has been the only CD in my CD player for the pass two weeks. I haven't gotten tired of it yet. It a refeshing mix of folk, upbeat and very listenable tunes. Both CD's in this package are excellent. Now I need to go buy her other CD's.

Pass the time with Beth
This double CD collection of Beth Orton songs is for anyone who cannot get enough of Beth Orton's wonderful music. I guess that includes me. It can be summed up as a greatest hits record with several remixes included. Disk one includes arguably her greatest tunes of all her three preceding albums with a previously unreleased song called 'The Same Day'. Side one also includes my favorite song by Beth, 'The Sweetest Decline'. I never seem to tire of the song and every time I hear it is like listening to it for the very first time. Disk two is even better. There are several remixes of older Beth material, a completely different version of 'Central Reservation', and older stuff by Beth with William Orbit. Also, there are some songs from Beth's very first album, 'Super Pinky Mandy'. This record is super hard to find, it was released only in Japan and only in very limited copies. I would definitely recommend this CD to anyone wanting to get acquainted with Beth's music. Buy this record and you will find yourself buying all the rest of her stuff. A winner! ... Read more

Amazon.com

Among the most stunning debuts of 2003, Catalpa was initially self-released by Ms. Holland in January, but word quickly spread beyond her San Francisco home of this strikingly talented singer who sounds like Billie Holiday covering Cat Power versions of Appalachian folk songs. After a bidding war, the album was re-released on Anti--worth noting because it makes her the first up-and-comer to sign with the same label as Tom Waits, Nick Cave, and Solomon Burke. When Holland made these recordings, she hadn't set out to make an album at all; some tunes were demos and others were simply recordings made to teach her songs to potential accompanists. Holland helped found Canadian alt-folk act the Be Good Tanyas, and, although she left them due to creative differences, her music is similar to that of the Tanyas--just stranger, sparser, and more haunting. The most apt reference point might be the '60s folk singer Karen Dalton, but Holland's voice is so strong and sweet the nearest analog might actually be Van Morrison circa 1968. Her voice floats about like the loveliest bumblebee in flight on "All the Morning Birds," while the ghosts of Bessie Smith and Geechie Wiley are channeled on the acoustic blues stomp "Black Hand Blues." --Mike McGonigal ... Read more

Reviews (6)

A different sound, for sure
This is one of the most distinctive, defiantly genre-bending albums to come down the pike in quite some time... Generally speaking, it's in the "Americana" realm, but with odd, insistent jags of torchy jazz, blues and indefinable world music influences. It's not surprising since Holland, who has become a fixture on the Northern California/SF Bay Area scene, was once a founding member of the equally eclectic Be Good Tanyas, and carries much of their searching moodiness with her. There's also an art-school diary aspect to this disc, with elusive impenetrable lyrics that are matched by the amorphousness of the music. This album certainly has a unique feel to it... whether she'll be able to sustain the mystique, or sharpen her focus, remains to be seen, but for now Holland has struck a remarkable balance between the pretentious and the sublime... If you're looking for something substantive and off the beaten track, this disc is certainly worth checking out.

That being said, I find all the comparisons to Billie Holiday to be utterly ridiculous and overblown... I mean, get real! Have you folks really ever listened to Billie Holiday?? She was a singer of gigantic stature, a lyrical interpreter sublime beyond compare -- just because Holland croons a little and doesn't sound like Alanis Morrisette or Sheryl Crow, or whoever your modern-day point of reference may be, that doesn't make her "the new Billie Holiday..." Not by a longshot!

High promise from an unusal record...
Catalpa is an aberation in an age of slickly produced and packaged material: a murky, dim, low fidelity, home made confection, complete with the occasional cough from the musicians, off-harmonies, and tuning up jams. Out of this sere, almost inaudible background comes Holland's bright, lilting soprano and, well... that's quite some pretty Southern inflected skylark in there. The whole tone and sound is exactly as if you had wandered into the musician's garage or backyard and were evesdropping. This is probably the best voyeuristic musical thrill available on CD, reminiscent of spare Blue Note recordings from the Sixties.

So why only four stars? Well, like many freshman efforts, this disc has higher points and lower points, but it's very even in tone, lacking real peaks or valleys. Melodic, but never barn burning (or completely heart-rending). Compared to, say, Bonnie Raitt's 1972 opus "Give It Up" (recorded in a barn), it lacks the real zip that gives you a full-throttle peak. Neither does any particular song break your heart. There is plenty of beautiful, personal music here--even some of the best whistling since Bing Crosby warbled a tune. With some variation and maybe some more humor this would be a truly great find.

My money's on her next album, though, which promises to be shockingly good.

Half-assed perfection
Among the other rewiews I've noticed several comparisons between Jolie Holland's voice and that of Billie Holiday. In a sense, I disagree with such comparisons because Holland sounds as much like Will Oldham's broken larynx or Paul Simon's African inflections as she soes like Holiday. But the comparison is apt because her voice makes you feel the same way as Holiday's did -- like it should be hot outside, but you've got a nice spot in the shade -- like you're reliving a particularly vivid moment from the past.

Catalpa is a collection of stripped-down, low-fi songs that lie firmly in the hard-to-define crossroads of folk, country, blues, and jazz. The songs are as slow and as sweet as molasses. Holland's ballyhooed voice is typically accompanied by acoustic guitar with tickles of banjo, another guitar, drums, and some of the most delicious whistling I've ever heard slipping in occassionally. While the mediocre sound quality gives Catalpa a lovely patina, Amazon's song samples come off a bit tinny. You'll have to give Holland the benefit of the doubt. "Black Hand Blues" shows Holland's more energetic and jazzier side as well as some Holidayesque vocals. "December, 1999" is more demonstrative of the downhome fingerpicking that dominates the album. "Alley Flowers," though one of my least favorie tracks, shows some indie inclinations and helps explain why Holland has opened for bands like Low. Unfortunately, most of the best tracks lay outside of the first five. "The Littlest Birds," (for example) is a wonderfully happy song, reminding me of Paul Simon's "Diamonds on the Soles of Her Shoes," while "Wandering Angels" straddles musical space between Mazzy Star and Norah Jones.

The only reason I give this album four stars instead of five is that it's a little rough around the edges. I actualy enjoy it more with warts than I would without, but I could picture someone who likes perfect, big-studio production qualities being a little turned off (for example) by the slow, imprecise instrumental build-up leading into "Demon Lover Improv." If you're not scared by the production quality caveat, go out and buy Catalpa -- for all the comparisons I've made it's some of the most delightfully original music I've heard in a long time.

Hillbillie Holiday
Imagine Billie Holiday heading up to the West Virgina hills to dry out. In terms of sound quality, Catalpa is a bit like dusting off some old photo album in your grandma's attic. Lyrically, the images are as mysterious as sepia toned snapshots. I equate it to discovering the early recordings of Skip James or Blind Lemon Jeffereson for the 1st time. You can't quite make out all the words but there's some magic at work that keeps you coming back to eavesdrop some more. Lord knows this sort of low fi Americana thing has been done to death by now. Starting with trendsetting 'Palace' era Will Oldham. Unto Songs:Ohia. Cat Power. Bright Eyes & countless others. Quite frankly it's all beginning to wear off it's charm as far as I'm concerned. The same goes for the whole O Brother/Down From The Mountain militia. But Catalpa is anything but contrived. There's nothing self-concious at work here. Perhaps, because this record was never really intended for popular release. Merely a home recording to sort of shop around. Be Good Tanya fans may remember Holland as one of the band's founding members, but this far more evocative in my book. There's the surreal wit & wind chimes of "Alley Flowers". The balladry(and mid song cough) of "Morning Birds". The bluesy swing of "Black Man's Blues" can't help but bring Rickie Lee Jones & Karen Dalton to mind. "I Want To Die" sounds like it could've been lifted from the fingers of a dozing Mississippi John Hurt. That said, "The Littlest Birds" borrows from both Dolly Parton & Syd Barrett. Strange bedfellows to be sure, but with Holland, it all comes off as perfectly natural. "Wandering Angus" is none other than a W.B. Yates' poem set to music. In short, this is pretty eclectic stuff. Not to mention a breath of fresh air within it's genre. The kind of record you curl up with on a winter's night. Or kick back with on some lazy Sunday in May. A place where you can ease your mind or challenge it. My favorite kind of record.

hey
ya i dont have the cd i was just listening to it on here. its crazy how similar she sounds the the be good tanyas. strange--even a little freaky. sounds good though : ) ... Read more

Reviews (18)

More of his Great Songs on one CD.....
This album literally contains the "very best of Dan Fogelburg," even though many of same songs from other collection albums are on it. I was pleased to see that this collection album is more complete, because it contains music throughout Fogelburg's career, not just music from a particular album or era. It could be said that it is an expanded version of Fogelburg's 1982 "Greatest Hits" album, for this Cd contains most of the songs found it like "Missing You", "Make Love Stay", "Run for the Roses", etc. But this one also adds great songs Fogelburg made after his "Greatest Hits" album, like "Lonely in Love", "Magic Every Moment", "A Love Like This", and others. I give this album five stars for all of the great songs included on it. The only unfortunate part of this album is the same problems with every collection album out there, it always misses at least one song that some fan considers a great a hit. Despite that universal flaw, it is a great album to get for any Fogelburg fan (who wants a single cd collection) to have.

Perfect for making new Dan Fans
As far as collections go.......this is a better than Par average selection of songs. Stick with this if your a new fan and you cannot go wrong. Perhaps this may entice you into buying more of Dan's CD's. But for the sake of this collection, It is poised for the newcomer, and marketed for making new fans of this younger generation who embrace 70's rock.

I make it no secret that I love Dan's Music and will do what I can to make known his genuine Talent and his songship. It just doesnt get any better than this. "Nether Lands" begins this Cd's and instantly your introduced to what many Dan Fans consider to be his Best work. What is truely his best work is always up for some friendly Debate, but I think this song sums up quite alot of the young minds of the 70's. And in true Fogelberg form, It's Poetic Nature symbolizes many choices everyone faces from time to time. Young in heart or body, you cannot afford not to be touched by what this Cd has to offer. "Make Love Stay" more than just a silly love song, the basic question this song asks is merely a fate in which we all endeavor to find the answer to, (and Dan asked so much more beautifully than I dare even try to.) "Same Auld Lang Syne"......a story song Dan is most known for, Captures young Love gone but not forgotton. "Leader of the Band".......an ode to his Father. He lost his father as short while after releasing this as a Single, and cementing his relationship with no loose ends with his father, something I deeply respect Dan for being able to put into words.

This is the Perfect Cd to introduce young people to. With the Non substance output of lyricaly meaningless and musicaly insipid money grubbing corperate music out there in this world today........we desperately need to call on our past musical heros to continue to release and re-release the music that will never ever die.

Fogelberg is more than Ballads
When one thinks of Dan Fogelberg, one might think of sappy love ballads from the late 70s. This is an unfair reputation to Dan Fogelberg, who has had a very good career spanning three decades. On this collection, "The Very Best of Dan Fogelberg" we get a good sampling of some of the best material by Fogelberg. The best way I look at Dan Fogelberg's career is that he provides a more mature spin on the Folk Music from the late 1960s and early 70s, yet is the Prototype for the "Coffee House" music that is popular today. While Fogelberg is often seen with an acoustic guitar, there is plenty of piano and other instrumentation that is worth looking at as well. It is also worth noting that Fogelberg is an incredible songwriter. Many of his songs are terrific narratives in which he establishes a near virtual "visual" for the theme of the song.

There are really three Greatest Hits sets by Dan Fogelberg. On 1982's "Greatest Hits", Fogelberg's hits up until 1982 are included. All of the songs on "Greatest Hits" are included on "The Very Best of Dan Fogelberg" except for the song "The Power of Gold". "The Very Best" does include much of his post 1982 material. This material is not as commercial, but should not have its quality discounted. "The Very Best" doesn't nearly have the depth that his 4 CD boxed set "Portrait" has. All of the songs on "The Very Best" are also included on the "Portrait" collection. However it is worth noting that "The Very Best" seems to be the perfect medium between "Greatest Hits" and "Portrait". It really captures the essential Dan Fogelberg and provides a good profile for Fogelberg's 30+ year career. Most of Fogelberg's albums are represented on the collection except for 1972's "Home Free", 1975's "Captured Angel", 1978's "Two Sons of Different Mothers", and 1985's "High Country Snows" (which I was disappointed not to see any songs from this album).

As mentioned, many people consider Fogelberg more of a balladeer. It is worth noting that Fogelberg can do some songs with a Rock and Roll edge. "Missing You", a song from the original "Greatest Hits" album is probably the best song he did. This song has almost a 1980s Santana feel to it as it opens. It also showcases Fogelberg's outstanding range for vocals. Another good Rock song he does is "She Don't Look Back" from 1987's "Exiles" which has more of a Bob Seger feel to it. 1993's "Magic Every Moment" from "River of Souls" is almost a cross between Paul Simon and a Coffee House song. The latter two songs listed are both fine examples of Fogelberg's post 1982 work.

Fogelberg can also do some outstanding piano work. "Nether Lands" and "Heart Hotels" are fine examples of Fogelberg's piano work. "Heart Hotels" almost has a Moody Blues-like feel to it. Then there is "Same Old Lang Syne" - this is a classic Fogelberg song that shows another great example of his piano side. Here we have the classic Fogelberg ballad that has become for all practical purposes - a Christmas song. Fogelberg paints a picture of a "holiday like story" while brilliantly narrating the song with his vocals. The end of the song features some great saxaphone. Another popular song is "Run for the Roses" - this is Fogelberg's tribute to Thoroughbred Horse Racing. It has a Kentucky Blue Grass rhythm to it. This might be as good as any song Fogelberg has written.

The collection includes a lot of his acoustic classics - "Longer" and "Leader of the Band" are on here and are well recognized Fogelberg classics. "Hard to Say" is also popular song and features background vocals from The Eagles' Glenn Frey. Glenn Frey along with Eagles Don Henley and Joe Walsh worked with Fogelberg very early in his career on the Souvenirs album so there is past history on this album.

The liner notes are a mixed bag. There is an absolutely terrific one page writeup on Fogelberg's career by Paul Evans. This is as good as any writeup I have seen in a Greatest Hits or "Best of" collection. The credits are really poor - they don't match up from song to song. The albums are listed, but the songs aren't mapped back to the albums. There are also no lyrics included. As for the songs, I normally prefer my Greatest Hits collection to be in chronological order - the songs are mixed although Fogelberg's newer stuff is toward the end of the CD.

I learned a lot about Dan Fogelberg's career and came to have a new appreciation for him I would definitely recommend this collection - especially if you are looking to start out with Fogelberg. If you want to go deeper, then get "Portraits" - but for the most part this CD should satisfy.

A Good Mix Of Fogelberg's Best Work
Though I was a die-hard rock & roll fan at heart (listening to Led Zeppelin, Aerosmith, AC/DC and Deep Purple) in the 1970's, I couldn't help but notice a few of Dan Fogelberg's songs. Fogelberg, known mostly as a ballads kind of singer, had a few songs that really painted a nice picture. "Same Old Lang Syne" was one of those songs. Images of snow falling, shopping spree's, a warm fireplace, and someone's heart breaking (somewhere?) I'm sure came to many a listener's mind. Okay, enough of the sentimental crap. I'll readily admit that Dan can write, he can sing, he can play guitar, he had a more than competent band playing with him at times... and for the most part his music is enjoyable. Especially now that I'm 40+ years old and I'm not banging my head (to music that is) all the time now. All the songs from his 1982 "Greatest Hits" package are here minus "Power Of Gold" (why-oh-why?). That is the only drawback to this new and improved release. Take away a clunker like "A Love Like This" or "Magic Every Moment" and substitute "Power Of Gold" and you probably have a 5-star winner here. You don't here much about Fogelberg anymore... kind of like Jackson Browne, James Taylor, Seals & Crofts, Neil Young, etc... you only here about them if a new 'hits' package has been released by "Rhino' or the artist has been arrested for DUI and has landed himself in jail. Fogelberg is one of those 1970's folk/ballad/country/light-rock kind of sentimental singers that had some good songs back in the 1970's and early 80's. Some of his better albums were "Nether Lands", "Twin Sons Of Different Mothers", and "Innocent Age". However, if you own nothing of his and need an introduction - start with this one. 17 tracks on one disc; remastered sound and head and shoulders above his previous "Greatest Hits" minus the exclusion of "Power Of Gold".

A must-have release, but where is the "Power of Gold?"
I am a huge Dan Fogelberg fan and I say it with pride as many seem to either hate or not admit to liking anything that is classified by the industry as "soft rock." The earnest beauty and delivery of this introspective great singer-songwriter is second to none. Although the 1982 "Greatest Hits" release made for a great listen in a pre-CD world, the transfer to CD made the songs sound a little on the dead side and although I am not sure if this CD is remastered, it sounds like a million bucks. Which brings us to this 2001 release titled "The Very Best Of Dan Fogelberg," which in essence grabs the songs from the 1982 release and adds the essential (and previously overlooked) "Nether Lands" and a few post 1982 songs, including the MUST HAVE "The Language of Love," and "The Rhythm Of The Rain."

Although in my opinion, Fogelberg is a very underrated talent whose best work is as good as anything that other favorites of mine (Jackson Browne, Eagles, James Taylor) have produced, not many people mention him in the same light; notwithstanding he's right up there in my book and this collection does an ALMOST perfect job of putting together what it promises as all the songs are there with the almost criminal exclusion of "Power Of Gold," which appeared in the 1982 release and would have fit perfectly here as even without taking out a couple songs that are just ok (i.e. "Magic Every Moment" or the closer "A Love Like This") when seen in conjunction to the brilliant songs that make up this collection.

In order to make this a 5-star collection I had to shell out a little more cash to buy yet another (but lesser) greatest hits compilation put out by Sony as they are milking the life out of every act via their sometimes quite good to exceptional (as is the case with Luther Vandross and Barbara Streisand, just to name a couple) remastered "Essential" series. I still think that the 2001 release is much superior to the "Essential" is the latter lacks "Nether Lands," "Believe In Me," the essential and "Lonely In Love." If you are a casual fan this is without a doubt a 5 star release, but if you are somewhere in being a casual fan and a die-hard fan, you may miss "Power of Gold" as it's a gorgeous song that should have been here.

Sidebar: The music industry keep whining about diminishing sales, but surprisingly when they do things right (quality and price-wise) the fans have responded with enthusiasm, as is the case with recent greatest hits releases by "No Doubt," "Sheryl Crowe," and "Counting Crows," all released by Universal. If Sony did the same, their music empire would not be crumbling. There is no excuse to release this amazing collection and overlook "Power of Gold," and even worse less than 2 years later release something called essential that does not even approximate that. Now that I have that out of the way, I can reiterate that this release is amazing and that Dan Fogelberg is an underrated powerhouse and I am so glad that I bought this release and don't feel horribly about having to buy "Essential" to have "Power Of Gold." Enjoy!!!!! And a message to Dan.... Keep them coming! ... Read more

Amazon.com

It's the rare singer-songwriter whose emotional confessions rise above bathos to find true resonance with their listeners; rarer still the one who can connect their audience with the plight of everyday strangers. Suzanne Vega not only managed that feat on her unlikely, child-abuse themed breakthrough hit "Luka" in ‘88, but opened the door for a renaissance of intelligent, female folk-oriented music in the decade that followed. This 21-track anthology spans Vega's career before and since, a chronicle of cool, sharp-eyed detachment infused by a restless, oft-underrated sense of musical invention that spans club-mixes (the "Tom's Diner" here was originally a "pirate" deejay mix by DNA that Vega wisely adopted), Latin jazz ("Caramel"), electro-percussive rhythm explorations ("Blood Makes Noise," "99.9F," and ""Woman on the Tier" from the Dead Man Walking soundtrack) neo-classicism ("Small Blue Thing") and a sharp-edged pop sense ("I'll Never Be Your Maggie May," "Book of Dreams") that can't be denied. That it's all still clearly rooted in a diverse pantheon that includes Bob Dylan, Leonard Cohen, and Woody Guthrie is all the more remarkable. Rarities include "Left of Center" from the Pretty in Pink soundtrack, a live "Queen and the Soldier" and previously import-only "Rosemary." Also features all lyrics and the insightful recollections of Vega colleague/Patti Smith guitarist Lenny Kaye. --Jerry McCulley ... Read more

Reviews (14)

Confusing compilation
As a huge fan, I'm inclined to agree with the person below who suggested buying the original albums instead. They each have distinctive sounds and rarely a bad song. But everyone isn't a Suzanne Vega fanatic, and there should be a good compilation of her best songs.

This one would disappoint me. It leaves out many of her best songs and includes lesser numbers. It skips back and forth chronologically and stylistically, potentially annoying given the diversity of Ms. Vega's musical evolution over the years, from stark folk music to pop sounds to electronica and back to a warmer singer-songwriter style.

A best-of-Suzanne-Vega collection is bound to include songs that won't flow together they way her albums do, barring a huge box set. But putting them in chronological order and selecting the songs more judiciously would make for a better listening experience. This is a lasting artist who's likely to wind up with several best-of collections - I'd wait for another or go for the pricier "deluxe" edition that contains a second CD containing quite a few tracks I consider Suzanne Vega's absolute best, and essential to any "best-of" collection.

So much more than "Luka".
I can't believe that this Retrospective came out last week, and it isn't even in the top 1000 sellers. Too bad for all those people that don't realize how talented Suzanne Vega is. This is an amazing, and lengthy collection of her best songs from her first album to her last. Whether you're a fan of her folkier stuff, or her more upbeat songs like "Blood makes noise" and "99.9 farenheit degrees", this has got it all. Included of course is her breakthrough hit "Luka", and "Tom's Diner" featuring DNA. My current favorite is "(I'll never be) your Maggie May". It's Suzanne's take (not cover), on the Rod Stewart Song. So good. This also has her songs from the movies "Dead man walking" and "Pretty in Pink". I saw her live this week, and she put on a great show. She was very nice and down to earth. Of my past 10-20 cd purchases, I might just enjoy this one the most.

wishy washy
Suzanne Vega definetely has talent as she shows us on Luca, Tom's Diner, 99.9 F and some of her other songs also have admirable qualities. Unfortunately her lyrics aren't always that strong and she kind of puts herself into that coffee shop playing female singer-songwriter genre. also this compilation jumps around too much and doesn't maintain a distinct vibe, much like other hits or retrospective packages that come out.

Bullseye
It seems that Suzanne Vega has always been bubbling away in the background - though, for a long time, I quietly wondered what all the fuss was about. When she first broke through with "Marlene on the Wall", all the cool kids at school seemed to really like her. I also remember the really cool fans discussing what was really going on in "The Queen and the Soldier" (and, generally, just how nasty the Queen was). "Luka", released a couple of years later, proved much more popular - and this time, with a much wider crowd. A year or two later, a holiday in France saw "Small Blue Thing" become so associated with a certain girl that, even now, I can't think of one without thinking of the other. After that, the DNA remix of "Tom's Diner" hit the charts just as I was discovering the joys of Guinness. When "No Cheap Thrill" was released, the radio only seemed to play it on Friday evenings as I was driving home from the worst job in the world. Even now, it brings a smile to my face.

I'm not sure if my musical tastes have changed as I've grown older or if it's nostalgia having some sort of effect. Whatever it is, the indifference I once had is now gone. I was about to start picking up her back-catalogue, when I discovered she'd released this Greatest Hits album - just the perfect time for me. All the songs I mentioned above make their appearances, and would form the main highlights for me. (In fact, "Tom's Diner" manages it twice, as both the original version and the DNA remix are included).

The version I have comes with a 'bonus' CD. With 21 tracks on the 'main' CD and a further 8 on the bonus CD, you certainly get your money's worth with this album. It also means that - given this is the first album by Suzanne I've bought - there's a lot of material I'm not familiar with. It's also interesting to hear the different styles she's produced - something I certainly didn't expect. There's a big difference, for example, between "Solitude Standing" (a folk-based song, the style I would most have associated Vega with) and "Blood Makes Noise" (taken from "99.9F" - which won a New York Music Award as Best Rock Album of 1992). Of the songs I hadn't heard before, "Blood Makes Noise" (with its industrial influences) would be one of those I prefer.

Six of the tracks on the bonus CD were taken from a concert, recorded in May 2003. Only one of these tracks, "Widow's Walk" doesn't feature on the main CD - and, of all the songs I hadn't heard before, is the one I like best. It also features two versions of "In Liverpool" (a spoken word version and a song) in addition to the version on the main CD. This would probably be the only criticism I have - three versions of essentially the same thing is a bit much. It also features a new song, called "Anniversary", which is more of the traditional Vega song - an acoustic number, no whistles and bells, with Suzanne singing.

All in all, an excellent package - of all the "Best Of" albums in my CD rack, this is the one I'd rate highest. While this may have been the first album by Suzanne Vega I've bought, it certainly won't be the last.

Breeze of Innocence
Currently busy for a short course but the moment I logged, I couldn't resist to give a 4 Star to 'Luka' - Suzanne Vega for that's how I know her! My name is Luka, I live on the second floor...words flow innocence through the air as she sings along.The child abuse theme and it's a sure message flow too. This ever been my fav number. Marlene on the wall is a good vocal delivery too and 99.9 degrees is another chart not to miss out. The samba music in the following numbers of the charts is pure music that reminds of samba picks. A smooth collection - smooth I say coz its innocence vibrating voice that fills mind with Suzanne Vega's lovely voice lingering for long time. A good Pick. ... Read more

Amazon.com's Best of 1998

Belle and Sebastian follow up the considerable promise of 1997's fantastic If You're Feeling Sinister with an album that is, unbelievably, even better. The Boy with the Arab Strap is an immediately infectious and delicious pastiche of fey, Nick Drake-ian vocals; lilting pop melodies; shimmery arrangements; croony wonder; and tortured, lit-smart lyrics. Belle and Sebastian are smarter than the Smiths, wittier than the Beach Boys, more fun than the Velvet Underground, and even more inscrutable than R.E.M. That's heavy company, but The Boy with the Arab Strap proves they deserve to be belles of the ball. --Tod Nelson ... Read more

Reviews (136)

It Could Have Been a Brilliant CD
This release from Scotland's twee pop assemblage is less impressive than their previous two releases, 'Tigermilk' and 'If You're Feeling Sinister', but still a remarkably strong record in its subtlety. Most of the album is made up of sweet little nothings that are pleasant and poetic and comforting, but never really stick to you. The opener, "It Could Have Been a Brilliant Career" takes time to build up steam, setting the stage for the rest of the album. Once the first verse is completed, the piano comes in, harmonizing perfectly with Stuart Murdoch's voice, and that's it, you're stuck in this nice, cushy little twee world of strokes and smokes.

The dreary "Seymour Stein", "A Summer Wasting" and "Ease Your Feet in the Sea" barely register, after you've listened to the album. Hooks are there, in the form of Murdoch's voice, but the catchy bits to Bellenseb are always more powerful when they belong to the orchestra of backup musicians. "Sleep the Clock Around" barely escapes this category, but for the circular woodwinds and keyboard chattering that redeems it. "Is It Wicked Not to Care?" (by a female member of the band --- Isabelle Campbell, if I'm not mistaken) and Stevie Jackson's "A Space Boy Dream" (basically a less-interesting take on VU's "The Gift") interrupt the flow of the album, but are still interesting enough not to skip over.

The album hits its stride (almost too late) on the second half, with standout songs in the band's repertoire like "Dirty Dream No. 2", "The Boy with the Arab Strap" and the perfect closer "The Rollercoaster Ride". The ode to finding love in the NYC indie scene, "Chickfactor", isn't especially memorable musically, but the lyrics are impeccable and sweet.

The whole of 'The Boy with the Arab Strap' is greater than the sum of its parts. Only a few songs here are as strong as those on the band's first two full-length works, yet somehow that works to its advantage. It's an album of textured instrumentals and feather-light songs that takes time to appreciate. Sometimes this can be rewarding, but in other parts it can be a fairly fruitless endeavour. If you're a hardcore fan, this record is absolutely essential. Casual fans can preview a few tracks and decide for themselves.

The delightful daydream continues...
Ok...So if you own beautiful precursor to this album 'If you're feeling sinister' you probably bought it at the start of winter and spent the next two months reading and humming along while riding on city buses for a hobby (to borrow a few words from our darling Stuart). Well, all you nerdy woolen-jumper-wearers, here is your album for spring, and possibly for summer too. 'Boy with the arab strap' lacks the lovely British-ness of '...sinister', but more than makes up for it with imaginative, pretty tunes and consistently brilliant lyrics. Of course it's all nice, but there's plenty that's, well, wonderful!!!!! 'Seymour Stein' is a glorious, mini-epic (I particularly love the line about the 'north country girl'!!!) and the title track is irresistable. I could gush all day, but instead will choose to highlight the thorn amongst a dozen roses which is 'A space boy dream'. Electronic music does not gel well with B&S's lovely lyricism (does anyone actually listen to 'Electronic renaissance' on 'Tigermilk') and disturbs the beautiful balance of the rest of the album. This minor quibble aside, this is a gorgeous album, and a must for all daydreamers, scrabble-players and bookworms.

A beautiful album, pure and simple...
When I sit at home on a lazy summer day (bored as usual) there's a certain album that I can just lie in bed and let it take me away into another world. This album is it. I was recently introduced to Belle and Sebastian through a friend, who was listening to their album Dear Catastrophe Waitress. I liked it quite a bit, and decided to explore the band further. The end result was that I found one of my favorite bands of all time. Each song on this album for me is pure bliss, through and through. Poppy yet complex, easy to listen to, and interesting lyrics, all combine together to form a band that is certain not to dissapoint.

Highly recommended

Good "Boy"
Eight-person band Belle & Sebastian prove that pop is not confined to the brainless bubblegum genre. The melancholy melodies of "Boy With the Arab Strap" show Belle & Sebastian at their peak, with their gently complex music and quietly restrained pop songs.

"Arab Strap" starts off with "It Could Have Been a Brilliant Career," an elusive, quirky little tune that builds up from near silence. Following it up is the almost-catchy, percussive "Sleep the Clock Around," the darkly beautiful title track, the wistful "Summer Wasting," the lulling "Seymour Stein" with its magnificently shivery organ, and finally it finishes up with the pretty, downbeat "Rollercoaster Ride."

Nobody makes the sad stuff any prettier than Belle & Sebastian. "Boy With the Arab Strap" is not quite perfect -- "Seymour Stein," despite its lyrical brilliance, has a forgettable little tune, and the lyrics vary wildly. But their work here is certainly enjoyable and beautiful, balancing out the sweetness, the humor, the melancholy, and the coffee-shop-poet dissatisfaction with life.

The songs brim over with vague unhappiness, an ethereal sense of how the world is full of misery. It's best shown in "Boy With the Arab Strap": Stuart Murdoch sings with deceptive perkiness, "Do you ever feel you have gone too far?/Everyone suffers in silence a burden..." Murdoch let the others do several of the songs for this album, which gives a vague, weird feeling of creative unevenness.

Stuart Murdoch does most of the vocals, and his murmuring voice seems perfectly suited to the songs. And the piano and shimmering violin are backed up by the keyboard, organs, jazzy percussion, delicate chimes and little sonic flourishes like a jet going overhead. One highlight is the delicious bagpipe solo in "Sleep the Clock Around," which completely dominates the music.

The dismally lovely music of Belle & Sebastian is in good, though not perfect form on "Boy With the Arab Strap." Best advised for those who dream of dark coffee-houses, and poetry that drips with loneliness.

If this album were a girl, I'd marry her.
I have not been this happy with an album purchase in a long time. I first heard the song "Boy With the Arab Strap" about a month ago. I was at work, and one of the maintenance guys was playing it on a boom box in the basement. I was struck by its beauty, but I dallied in buying the album.

Now that I have it, I wish I'd bought it sooner. Literally every song is memorable. Two are absolutely haunting: "Boy With the Arab Strap" and "Sleep the Clock Around." And here's something else -- it gets better with each listen.

I can really relate to the reviewer who wrote that he would always remember this album as his "summer" album. It actually feels like something from my past, like a children's song -- especially "Rollercoaster Ride." (The first line is straight out of Sesame Street: "Hey people looking out the window at the city below...")

This album is so sweet it makes me want to cry. ... Read more

Amazon.com essential recording

Time has been extraordinarily kind to Songs of Leonard Cohen. While it attracted considerable fanfare upon its release in 1968, not everyone was immediately captured by its dusky charms. Randy Newman, for one, couldn't resist the temptation to parody "Suzanne," the album's brooding opener, on his 12 Songs album. (Conversely, director Robert Altman brilliantly drew upon the dirges here for the soundtrack to his classic anti-western, McCabe and Mrs. Miller.) But what some once found to be pretentious and affected has come to feel penetrating and ageless. Seeded with what have become signature songs of the Canadian wordsmith ("Sisters of Mercy," "Hey, That's No Way to Say Goodbye," "So Long, Marianne"), the album has a narcotic quality that owes as much to producer/musical director John Simon's inspired folk-baroque soundscapes as to Cohen's lofty lyrics and earth-bound vocals. --Steven Stolder ... Read more

Reviews (34)

"God's first album"
An astonishingly accomplished debut album, Songs is considered by many to this day to be Leonard Cohen's finest album. With more than a decade's worth of poetry and novel writing under his belt, not to mention having written Suzanne, already a hit by two different people before Cohen himself put it out, it's really no surprise that Leonard made as fine an album as he did here. The album opens beautifully with the aformentioned Suzanne, a song which surely needs no introduction, and it continues on with fine songs throughout. Some of them, such as Master Song and The Stranger Song, astound with their poetry; and some in other ways, such as Teachers with it's breathless delivery and interesting musical backing, and So Long, Marianne with it's beautiful arrangement of acoustic guitar, female backing vocals, and pounding drums. This is an astonishing, touching, heart-breaking, and yet redemptory album. I've seen this album come out on top in polls such as "Best Lyrics On An Album" and things like that, and, I don't hesistate to say, it deserves it. A masterpiece, a must-own.

Wine and Bread
The first album of Leonard Cohen is his best. Moody, mysterious, dark, romantic, and spooky. Yes, spooky. Songs of Leonard Cohen are all of these and more. His deep nasal voice mixed with John Simon's light soundscapes is timeless. This is truly a classic recording that should be owned by any fan of music. This is not simply folk music. It is excellent poetry, beautifully arranged instrumentation, and simply haunting music.

What really draws me into Cohen's music is the way he uses biblical imagery to tell interesting stories. "Just some Joseph looking for a manger...", "And Jesus was a sailor when he walked upon the water..." As a Christian, I found this very intriguing, especially how his songs may or may not have anything to do with these references at all.

I have listened to other Cohen recordings, but this is Leonard in his purest form. This is not music to work out to, but if you are in the mood to relax or listen to something light that makes you think, this would be one of the top ten albums in that category.

Perfect recording.
This is a perfect recording, Cohen's best. It's one of the 10 best recordings of the 1960s. This record changed the face of popular music for decades to come. I can think of so many, who came out of this one recording directly or indirectly...even today.

A gold standard then, a platinum standard now
I listened to Leonard Cohen when I was in my teens and early twenties. I loved Suzanne, Bird on the Wire and other Cohen songs with some level of appreciation. Thirty years later, after hearing In My Secret Life on The L Word on Showtime, I was drawn back to Leonard Cohen. I bought this cd and found on it songs that have weathered better than I have. After sailing life's seas, I found them like a lot more wise and rich than I did earlier. Listening to this compilation is like biting into a great deli sandwich piled high with rich tasty ingredients--a feast for the mind and heart, worthy of playing over and over again long after the sandwich wrapping is gone.

Ageless
Right now, this is probably my favorite disc. I think everything I really have to say about Cohen has been iterated enough on this page; but I can't recommend it enough. I have yet to listen to his other albums, but I really can't expect any better material than this. "Suzanne" is the one of the most lyrically perfect songs I've ever heard; possibly THE most beautiful. It encapsulates desire, a search for purity, and idealism in a timeless way. The whole album glides along with a fierce, inevitable progression, yet it's so smooth and haunting, you won't realize just how you've gotten to this new level. Yes, you will be on a new level by the end, and I can't explain what it's like, you have to listen to understand.

That said, the songs range from excellent to superb. The ones in the latter category, for me, are: Suzanne, Master Song (the most haunting track), So Long, Marianne, and Teachers. The last number is oddly hypnotizing, as well. ... Read more

Amazon.com

Dylan has issued a large number of live albums in his day, but 1974's Before the Flood deserves special mention because of the presence of the Band behind him. Dylan had recently brought the Band into the studio to record the chart-topping (yet still somehow underappreciated) Planet Waves, which was the first (and, as it turned out, only) studio record he made after leaving Columbia for Asylum. He then asked them along on the subsequent tour, which at the time became the most successful rock tour in history. The fruits of that partnership are contained on this two-CD set, which actually ignores Planet Waves completely in favor of older classics. Although the album includes several strong collaborations, the highlights ironically come during Dylan's solo-acoustic portion, which yields powerful and gritty versions of "Don't Think Twice" and "It's Alright Ma," and during the Band's own exhilarating numbers with Dylan sitting out. --Marc Greilsamer ... Read more

Reviews (50)

Energetic and Passionate
Dylan's music is closest thing to American folk art produced in the 20th century. Always evolving, his songs remain works in progress even after 40 years of recording and touring. His most recent tour, with moving remakes of his classics and brilliant new songs from Love and Theft, proves Dylan is never content to rest on his laurels.
Before the Flood is nothing short of a brilliant live album, featuring an energized and passionate Dylan, putting into his songs a vitality that a studio cannot hold. Versions of "Most Likely You'll Go Your Way and I'll Go Mine," "Rolling Stone," and especially "Watchtower" are among the best ever performed, reaching a breathless level of intensity. The acoustic numbers are uptempo, clearly stated and articulate. The Band is tight and focused, economic in their playing, sometimes following Bob, sometimes challenging him to keep the pace, but always with brilliant interplay. Their solo numbers are as intense as they have ever recorded, on a par with Rock of Ages. True Dylanphiles rank this record with the best of the many bootlegs which capture his greatest performances. Those with only a casual familiarity with Dylan can listen to this album and learn why the leading figures in rock and roll history count Dylan as a major influence.

Frustrating Dylan effort on this joint live album
This is a 1974 live album from Dylan's "Planet Waves" tour, when the Band was his backing group. The 2-CD set includes 13 Dylan songs and 8 by the Band. The song selection provides a lot of the "greatest hits" for each. The sound is fairly muddy, which was typical of live albums at the time. But the big drawback is Dylan himself--throughout the first CD, he seems to be goofing on his own songs, singing all the lyrics as throwaways that aren't worth an effort to put any emotion into. That makes this merely a pretty good album, and keeps it from getting anywhere near greatness. "Lay Lady Lay", "Rainy Day Women", "Ballad of a Thin Man", all are sung as though they had the same subject, one that wasn't dear to Dylan. The Band picks things up with their set at the end of the first CD. The second CD starts with Dylan's best performances, a lively three-song solo acoustic sequence of "Don't Think Twice, It's All Right", "Just Like a Woman", and "It's Alright, Ma (I'm Only Bleeding)". After three Band songs, including "The Weight", Dylan returns on electric for a strong four-song close. The CD booklet doesn't say how many shows were taped for the purpose of this album; it's hard to believe the producers couldn't come up with better performances of the first six songs.

Disagree with other reviewers about live Band recordings
"Before the Flood" is a great album, and the Band's best live recording, with Dylan and alone. The best track is the Band's "Endless Highway", which most other reviewers didn't mention.

I vehemently disagree with other reviewers, including star rock journalist Greil Marcus, about the Band's "Rock of Ages" -- I have never liked it. The guest horn section sounds like they aren't even playing in the same concert as everyone else.

Of the other Dylan & the Band live recordings, "Live 1966" and "The Last Waltz" are mediocre. One exception on the "The Last Waltz" is the wonderful version of Rev. Gary Davis's "Baby Let Me Follow You Down", which really rocks. Few people remember Dylan's odd "Self Portrait" album, but it has four excellent live tracks by him and the Band -- "Like a Rolling Stone", "The Mighty Quinn", "Minstrel Boy", and "She Belongs To Me".

Dylan and the Band did studio recordings together, too. "The Basement Tapes" is stellar. "Planet Waves" is very good. And, of the 5 of their songs together on the "Volume 2" disc of Dylan's "Bootleg Series", 3 are quite good.

Successful Tour Came At Just the Right Time
The sheer fearlessness of The Band in this 1974 live performance is so confident that it makes one wonder how they ever could have caught their famous case of 'Stage Fright.' "Before the Flood" is the live document of Bob Dylan's tour for his "Planet Waves" album, joined by his one-time backing outfit, The Band. At the time, the tour was one of the most successful ever. It couldn't have come at a better time for both parties; Dylan had staggered musically as he entered the 70s, releasing the ill-fated "Self Portrait" album, and fans of The Band were disappointed that they hadn't released any original material since 1971, their latest album having been a collection of covers, the "Moondog Matinee."
"Before the Flood" captures the electrical bond that had linked the two legends together in the first place, something missing from earlier classic Dylan/Band efforts like "The Basement Tapes." The Band (unintentionally) upstages and outshines their former mentor, being the more thrilling of the two, but Dylan finally demonstrates the sincreity and power of his cross from folk to rock. But here, the response from fans surely isn't the boos it met in 1965; Dylan compositions associated with his folk period are given a more exciting life, notably 'It Ain't Me Babe' and 'Blowing In the Wind,' as he soars on 'Rainy Day Women,' 'Knockin' On Heaven's Door,' and 'All Along the Watchtower.' The Band however steals the show, even though there are more Dylan compositions on the album; they captivate with such paintings of rural life as 'The Night They Drove Old Dixie Down' and Richard Manuel's shiver inducing vocal on 'I Shall Be Released.' "Before the Flood" also contains the most thrilling and rambunctious live version of the raw 'The Shape I'm In.'
This album packages one of the best live performances in rock and roll. "Before the Flood" is an absolute necessity for Dylan/Band fans and concert experts in general, and it's a pleasantly affordable necessity at that.

A Rocking Good Time
This is the second record that Mr. D recorded for David Geffin's Asylum label before he went back to Colombia, (both this record and "Planet Waves" are now with CBS/Sony where all Dylan's stuff is now) and it's a rocking good time of a record. Dylan's voice is right up front and central, the Band's playing is strong. And Dylan performs a very, very angry, version of "It's Alright Ma," where the audience goes nuts when he shouts out, "Even the President of the United States sometimes must have to stand naked." You have to remember that this record came out during the Watergate scandal, seems Mr. Nixon wasn't to popular with the Dylan crowd. Five stars for this one.

Reviewed by Stephanie Sane ... Read more