Amazon.com

Bob Dylan has always been incredibly prolific, only releasing a fraction of what he records. Such a policy has made him a prime target for bootleggers over the years, finally prompting this sanctioned 1991 triple-disc dive into the Dylan vaults. It consists of rare tracks, unreleased outtakes, early versions of classics ("Times They Are a-Changin'," "Like a Rolling Stone," "I Shall Be Released"), and alternate versions that sometimes cut the originals ("Idiot Wind"). A measure of Dylan's depth is his list of discarded songs ("She's Your Lover Now," "Blind Willie McTell," "Series of Dreams") that would be the crown jewels of most catalogs. These 58 tracks serve as a shadow history of one of our most important artists. --Ben Edmonds ... Read more

Reviews (47)

Extraordinary -- and essential.
It was known that Dylan had a great deal of unreleased material, but nobody was prepared for the unbelievable range and quality of this set when it came out in 1991. The first disc is a treasure trove of old songs and early compositions, given Dylan's inimitable spin, and a great history of his development as a songwriter. The second disc contains some interesting alternative versions, plus a few new gems like "Seven Curses", "She's Your Lover Now", and "Wallflower".

But it is the third disc that is the stunner. Several very great songs that would have been the crown jewels for any other artist appear for the first time here (Angelina, Foot of Pride, Blind Willie McTell, Series of Dreams). In addition, the alternate versions of "If You See Her, Say Hello", "Every Grain of Sand", and "When the Night Comes Falling From the sky" are in my opinion even better than the original released versions, and the other new songs are of very high quality. This third disc all by itself would make a list of Dylan's top 5 records.

The liner notes and pictures are great too -- arguably the best study around of the first 30 years of Dylan's career.

These are OUTTAKES?!
In case anyone was still harboring any doubts that Bob Dylan is not only the songwriter of the century, but also one of the most prolific, then this set has surely erased them. Featuring previously unreleased gems, alternate takes, demos, live offerings, and the ilk, this album is an absolute goldmine for the Bob Dylan enthusiast. Here we have previously unreleased songs that are, in fact, on par with (and, in many cases, surpassing) Dylan's officially released work. Some absolutely extraordinary songs that are released here for the first time include Let Me Die In My Footsteps (which was previously issued as a single), Who Killed Davey Moore?, Mamma, You Been On My Mind (an oft-covered song, here in Dylan's own solo version), If You Gotta Go, Go Now, and I'll Keep It With Mine. The third disc is just crammed with previously-unissued greatness. Dylan's 80's output is routinely panned by critics and fans alike, but this third disc proves that he was still writing great songs during that period. Why he chose not to release them is anyone's guess, but songs like Ye Shall Be Changed, Someon's Gotten A Hold Of My Heart, Foot of Pride, Blind Willie McTell, and Series of Dreams are bar-none, excellent songs that stand as high points in Dylan's catalog. Two other tracks that deserve special mention are Last Thoughts On Woodie Guthrie and She's Your Lover Now. The former is a live reading of Dylan's poem of the same name (the only time he has ever done so), and it is an absolutely extraordinary piece of work. Perhaps the single most astonishing thing he has ever written, this long poem enscapulates seemingly life itself, while also paying homage to Dylan's idol. Amazing. Genius. The latter is a gem of an unreleased Dylan track... the lyrics are great and complex, almost a mini-play; a drama featuring three characters. It is given a spirited performance as well. Unfortunately, it breaks down during the last verse, and part of the song is lost. This is very, very unfortunate... if this song was ever finished, it would surely be regarded as one of Dylan's classic tracks. Also worth mentioning are the alternate takes and demos here. The versions here of The Times They Are A-Changin', Like A Rolling Stone, and (especially) Subeterranian Homesick Blues show a peak into the creative process and how the songs came about. The first two are piano-driven demos, and the latter is an acoustic version of the famously electric song (though it still retains the same meter and beat.) These demos sound like they were recorded, perhaps, as guides for the band, but they are fascinating, intimate peeks into how the songs came about. As for the alternate takes, most Dylan-ophiles would gladly pay full price for this album for the Blood On The Tracks songs alone. This set provides us with versions of Tangled Up In Blue and Idiot Wind (two of Dylan's greatest songs), that are different from the released versions, but just as good in their own way. Featuring sparse backing, these songs are very intimate and striking. They also have lyrical changes (especially Idiot Wind), and vary in their delivery. Tangled Up switches back and forth between third and first-person narraration, further enchancing the song's legendary impressionistic image. Idiot Wind is simply Dylan on acoustic guitar, and it is positively haunting. Whereas the released version was bitter and angry, this one is sad and resigned. The tracks alone make the album worth purchasing. As heavy and imposing a reputation as Bob Dylan had before, it must surely be added to in the wake of this album's release. We have here mere outtakes that Dylan didn't even consider good enough to release that would be the crowning jewel in most artist's catalogs. Most bands would kill to have written even one of these songs. It's not Dylan's alternate history, it merely enriches the already incredibly accomplished one that he already had. This is by no means the spare parts of Bob Dylan. It is not the "best of the rest", it is the "rest of the best."

Pure Gold
It's amazing that after all these years; the surviving acetates were put into digital format. Absolutely amazing. Some reviewers ask, "Why wasn't this material put on the albums?" To answer that I would have to say that back in the day we really didn't have the money to just throw around. Albums were put out based on the commercial potential. There were a few small independent labels out there, but they were almost hobbies when compared to the corporations. Today, a lot of material in a variety of genre' are precious commodities because they were pressed on independent labels, without any existing archival material. So thanks to the folks at (whatever label Dylan recorded with), we're able to enjoy these early recordings. These are golden, simplicity, raw, genius. Golden.

Terrific
Wow, this is really cool stuff. This stuff is as good as the material that made it on his "official" albums. I like that it is in chronological order so you can really see him develop as a songwriter. (That's the BIG problem with Biograph, too disjointed in its song sequencing.) This is much better than Biograph. Buy it!!

Better than most of the songs on his albums!
This collection of unrelesed and alternate versions of songs is an awesome collection. It does beg the question, why weren't these songs included on some of the albums they were intended for? Not being a Dylan fan at all when I got this collection I was blown away. I think the second disc contains the best songs. I know everyone has their own favorites for various reasons but the songs that stood out for me are "Walking Down The Line", "Let Me Die In My Footsteps" (on disc 1), "Seven Curses", "Mama, You Been on My Mind", "Subterranean Homesick Blues" (1st take of the song with just bob, his guitar, and harmonica!), "If Not For You" (with George Harrison), and "Nobody 'Cept You" (all on disc 2). I'm sure I could have added almost the whole second disc but these are the songs I fell in love with at first listen. I'm not the biggest fan of Dylan but I feel these songs are amazing. I purchased all of the remastered cds and I'm shocked everytime I hear those albums. Some of those songs should have been replaced by some of the songs on this collection. I especially love the version of "If not for You" with the late George Harrison. It sounds closer to the version Harrison recorded for his album "All Things Must Pass" compared to the version Dylan released on his "New Morning" album. So if anyone is interested in listening to Dylan for the first time, I would highly recomend this collection. ... Read more

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Songwriters who make the jump to recording artist often have a tough time--either their personalities are too introverted or their voices better suited for demos than major-label debuts. But the piano-playing Vassar, who's penned hits for Jo Dee Messina, Tim McGraw, and Alan Jackson, should be able to take the leap in stride. Stylistically, he's gleefully reminiscent of other favorites: "Joe and Rosalita" is dead-on Billy Joel, "Like I Never Loved Before" seems straight out of Michael Peterson, and doesn't that piano line on "Lucky as Me" remind you of Bruce Hornsby? But whether he's a talented imitator or a marketer with an eye for the Billboard charts, Vassar's regular-guy vocals and upbeat persona--undeniably infectious and feel-good, despite several forays into mawkish ballads--seems just the ticket as country meanders through its current identity crisis. --Alanna Nash ... Read more

Reviews (49)

Garth Who???
I seem to remember there used to be a country singer out there that was a total entertainer...personality, a winning smile, confidence and talent. He sang a mix of ballads and upbeat songs that made you sing along and diddybop around the living room or bounce around in the car. I think his name was Garth Something? ;-) Well that guy can hang up his hat and move off the stage, 'cause Phil Vassar is movin' in!! I simply cannot believe that this guy has been 'only' a songwriter for so long when he deserved to be behind the microphone as well as behind the pen.

I can't remember the last time I enjoyed every single song on a CD. I can't remember the last country singer that sang of HAPPY and LOVE and FUN most of the time, without having to toss in all the requisite country cheatin' songs and tunes about the wife taking the dog and the truck and moving in with the plumber. Phil is an amazingly talented musician and songwriter, and has a voice...oh, that voice. The voice that can make me forget that I'm a 40 year old married woman, and instantly turn me into the 13 year old swooning over Donny Osmond and David Cassidy.

Phil Vassar wraps everything up into one neat package and ties it with a big red bow...and I can't wait to unwrap that package every time I get into my car and turn on my stereo. ;o)

Phil Vassar is a phenomenal artist!
When I heard Carlene on CMT, I was shocked that Phil Vassar was releasing an album! I've loved the songs that he's written, like I'm Alright and Bye, Bye (Jo Dee Messina), and was very anxious to see if he would shine vocally too. There are three aspects that I love about this album, and here they are, in order: Lyrical and musical quality (what Vassar is best at!), piano structure, and Vassar's vocal enthusiasm. His voice is very, very good, but not amazing, yet he has a vocal strength and familiarity with these songs that can't be missed. And he plays it up in this album! It is very entertaining. The piano is foundational to every song (Vassar has mastered the piano as well) and reminds me of Billy Joel, to an extent. The songs are great, especially Carlene, Six-Pack Summer, and Another Day in Paradise. I'm completely impressed by this artist- he co-wrote every song on the album, plays the fundamental instrument (and rocks at it), and sings his heart out! This is a great album with phenomenal songs! You'll be glad you bought it!

Pure listening enjoyment!
I originally purchased this CD just for the beautiful song, "Rose Bouquet", not expecting much more from the CD. (I figured it would be like all those others that have only one or two good songs and the rest would be disgusting.) Wow - what a pleasant surprise to hear the truly amazing songs on the whole CD. I tell you, every song on this CD is really great. Never have I listened to any CD until now, that either I was forced to use the Skip button (sometimes repeatedly) or else Program the cheesy songs out. Not on THIS CD. This is 100% Pure Music - NO Filler! (To paraphrase an old ad campaign.) Every single song on here is fabulous, each one worthy of having been released as a single in its own right. What a truly talented songwriter, performer and singer Phil is. He should go far in this very tumultuous business. This CD is worth every penny. For the first time EVER, I don't feel cheated by purchasing it (by buying a lot of filler material for just one or two really good songs, as with so many other CDs). Get this one! You won't regret it. The piano-playing is extremely pleasurable to the soul and ears, too! This is the fastest 41 minutes and 14 seconds you will ever experience! ;)

WOW
I have well over 300 CDs and this is my favorite. I first got a taste of Phil Vassar's music when I heard "Little Red Rodeo" by Collin Raye, and JoDee Messina's "Bye Bye" and "I'm Alright". When I bought this CD, I was blown away. I love how he tells stories in songs. His lyrics are catchy at times, while other times, the song breaks your heart. "Rose Bouquet" tells of perfect love gone sour, "Six Pack Summer" is just about kicking it, and my favorite "That's When I Love You" is upbeat and is what any girl would want her boyfriend/husband to say. The rest of the tracks are well worth a listen, as well.
I've also seen him in concert and he is AMAZING! What a talent--singer/songwriter/performer. I love his everyday sounding voice and love the CD.

Phil Vassar... Brought Me Back to Country!
I first saw Phil Vassar as a guest on the televison show Nashville Star. He was providing advice and inspiration for the budding singer songwriters on the show.
I had no idea who he was and was sure he was just a songwriter and not a performer... boy was I wrong. Phil didn't necessarily look the part or fit the bill in a traditional sort of way. And that is more than okay!
I think that is the reason why I am drawn to him as a country artist. He seems very humble and a real "everyman". That really appeals to me.
This self titled album is full of honest, straightforward yet very creative songs. He has an upbeat approach and also is so deeply invested in his ballads that every word he sings rings so true.
The happy in everyday life song, "just another day in paradise" is an anthem for all of those average Joe's and working men and women. Phil embraces the life of a family man and portrays that convincingly in this awesome tune!
I enjoy his ballads. I especially liked the 4th track, "Rose bouquet." This song is filled with such whistfulness and longing. You surely can feel the pain in the lyrics.
Phil just comes across so honestly in everything he sings. I really like the fact that he knows who he is, and makes that apparent in all he writes and puts out there. Purchase this CD now and you will be won over to country music too! ... Read more

Amazon.com essential recording

Skeptics might say that Carpenter's smash version of Lucinda Williams's "Passionate Kisses" pales beside the tougher original, or that Mary Chapin is but a folkie in poor-fitting country clothes. They're not exactly wrong, but her million-selling third album finds its charm in a spare Americana sound and smart, imaginative material. Carpenter bridges country and folk audiences, much as Emmylou Harris has done, and as few others have managed. And she's a better singer than generally recognized. Originals such as "I Am a Town" and the title cut are genuinely evocative, and "Walking Through Fire" and "I Take My Chances" have an emotional edge that is as raw as it has been rare on country radio in the '90s. --Roy Francis Kasten ... Read more

Reviews (33)

Shouldn't I Have This?
A beautiful album, full of yearning and passion and longing and desperate searches for love.

"Passionate Kisses" is a wonderful, wonderful song, and might be the radio entre to the LP, but it is the quieter tunes that show off Carpenter's amazing pipes.

There are those who will toss aside "Only A Dream" or "Not Too Much To Ask" as mere 'chick songs,' but there is tooo much soul in Carpenter's voice, too much emotion in her lyrics, to dismiss her like that. And anyone who doesn't get it by the end of the title track is just heartless.

Here in the Washington DC area we're very possesive of hometown hero Mary-Chapin Carpenter. But we'll let you listen too. Just this once.

THE Essential Chapin Album - Chock Full of Pleasures
As a singer-songwriter, Mary Chapin Carpenter stands as one of our generation's true poets. She is part Joni Mitchell, part James Taylor, and yet all original. And, this is her best album overall - a complex song cycle of love, loss and vision that deserves its place in any music lover's collection. This is not pure "country" by any stretch of the imagination. Instead, it's country, pop, folk and even rockabilly, all rolled into one. A listener's dream, every cut on "Come On Come On" tells a story, from the infectuous "I Feel Lucky" (about winning the lottery) to the Grammy nominated "He Thinks He'll Keep Her" (about divorce.) In between, there are startlingly frank songs about needs (Lucinda Williams' "Passionate Kisses", life (Dire Strait's "The Bug") and loss (the ethereal "I am a Town.") It's clear to see why Chapin has been celebrated by her peers and fans alike - this album won multiple Grammys, and stands still as her finest effort to date. A true blue five-star gem. C'mon, give it a spin.

All Kinds Of Brilliant
Mary Chapin Carpenter's "Come On Come On" is one of the finest albums to ever be released, in any genre of music. I am not a country music fan at all, in fact I have always prided myself on being able to make fun of any kind of country music. But Carpenter's music trancends that barrier. Her earthy, deep, rich, chocalty voice is one of a kind, and one of the best voices still making music today. Each and every song tells a beautiful story. My favorites are "Rhythm of the Blues", "Only a Dream", and "I Am a Town" Carpenter is able to weave a gorgeous tapestry of music that is sewn throughout the whole album. While each song is unique, they all are brought together by an almost cosmic or out of this world genius. This is a great album, and one of the best ever!

My first MCC album
In my freshman year in college, I was a big MCC fan. Mary was one of the few country artists that I enjoyed listening to, still is to this day. "Come On Come On" was my first album. To this day, it remains one of my favorite MCC albums (next to "Stones in the Road" and "State of the Heart"). What drew me to Mary Chapin Carpenter's music was that her music did not sound like your traditional country music. Her music didn't have that annoying twanginess that I hear in most country music today. What bothers me the most is how people have raked Mary over the coals for her polished cover of Lucinda Williams' "Passionate Kisses". I have heard the original version and I do enjoy Lucinda Williams' music however I love Mary Chapin Carpenter's version of "Passionate Kisses". At the time, I was stunned to hear the song on my local top 40 radio station. It was not a big crossover hit but more of a moderately successful crossover hit IMO. My very personal favorite MCC song (on any of her albums) has to be "He Thinks He'll Keep Her". That song is another reason I love MCC, her abilities as a songwriter. I must admit that I am not too wild about "I Feel Lucky" and "The Bug". They weren't terrible but I just heard those songs on the radio too many times. My other favorite songs includes "Walking Through Fire", "I Take My Chances", and "The Hard Way". I may not be as big of a MCC fan as I was over a decade ago but I certainly still enjoy her music outside the abrasive beats of industrial music.

Intelligent " Country "
Ms. Chapin Carpenter is one of the best all round lyricists, composer, and singer out there.
Come On , Come On , is not Country as we used to know it , but rauther an all American blend of folk , of sass , of country , and the blues. Give her a listen ... and you will fall in love with that smoky alto. ... Read more

Amazon.com's Best of 1998

A much more quietly celebrated CD than her debut, Gillian Welch's sophomore effort assured fans of old-timey country folk that she was salt of the earth. Her songs speak with both plaintive yearning and a seasoned storyteller's moxie, urged on by her and David Rawlings's economical guitar picking and strumming. Welch's vocal timbre bears ideally twangy power, giving her a constantly strong vault into her similarly creative tales, which help place this CD clearly in the realm of the exceptional. -- Andrew Bartlett ... Read more

Reviews (51)

Stunning
Gillian Welch is, among other things, a living embodiment of a tradition that stretches far back in time and space. She sings in a style that grew out of the mountain highlands of Appalachia, which came in turn from age-old ballads brought over on ships by paupers from Scotland and Ireland. She plays the banjo, an instrument first crafted by black American slaves from the memory of their stolen lives of freedom in western Africa. So, the fact that she hails from middle-class Los Angeles and not the hills of Kentucky means very little, and she is no less "authentic" than Doc Watson, the Carter family, or the countless, nameless mountain balladeers who preceded them and from whom they borrowed.

The tradition lives on through Ms. Welch and David Rawlings in this breathtaking album, interspersed with equally inspired tunes from other genres. It would seem impossible to top the effect of hearing "Orphan Girl" as the first song on her previous album, but "Caleb Meyer" is up to the job, adding to the usual "death ballad" the feminist twist of a woman who kills the man who is trying to rape her.

In short, this is the real thing. Judging by the breadth and depth of their talent, Gillian Welch and David Rawlings can be expected to make great music for many years to come.

Experience Gillian - You Won't Regret It
The second release from Gillian Welch and David Rawlings plainly shows that the success of 'Revival' was no accident. "Caleb Meyer" opens the disc with an Appalachian style folk tale/ghost story. Gillian proves she can sing the blues (and David can play them) with the best of them on "Good Til Now." Other standout tunes include the simple, yet powerful "I'm Not Afraid to Die" and "My Morphine," one of the saddest songs I've ever heard. "Honey Now" is a good old-time rock 'n roll tune, but is out of place in this collection. Similar chord progressions and musical patterns make some of the songs sound a little too much like other songs on the album, which did not happen on 'Revival.' Yet these minor faults are the only hindrances keeping 'Hell Among the Yearlings' from greatness. Definitely worth your time and money.

Total time: 39:22

instant melancholia / addictive, haunting poetry and music
Welch's voice and Rawlings' guitar sound as intense, beneficent and honest as music can get. I enjoy an extremely addictive mixture here of haunting poetry and music that comes straight from the heart, in an American country/folklike-style that reverberates and finds refuge in my soul immediately. A music of 'instant melancholia', or, if I may borrow some of Welch's own beautiful lyrics here- a music that's like 'morphine' that 'will be the death of me'. Very impressive and highly recommended!

Simple, stark, and beautiful
This is my second favorite Gillian album, just behind "Time - The Revelator" and just ahead of "Soul Journey." I think in this album, more so than in "Revival," Gillian really shows her knack for writing songs that sound like you've been hearing them and singing them your whole life. I suppose tracks like "Miner's Refrain," "The Devil Had A Hold of Me," "One Morning," and "I'm not Afraid to Die" could be considered dark, but the stripped-down guitar and vocals are so beautiful and intimate, and the writing so plainspoken and direct, that I'm drawn into the songs without a second thought. To specifically praise a few songs, "Miner's Refrain" is tied with Johnny Cash's rendition of "Dark as a Dungeon" as my all-time favorite coal mining song (not that there's much competition, but still ...); "I'm Not Afraid to Die" is, to me, as soothing and spiritual a song as this athiest will ever sing along to; and "Winter's Come and Gone" is such a joyous and uplifting celebration of the seasons that every spring I drive around town listening to it over and over with a big smile on my face.

Gillain's songs remind me of Alice Munro's short stories -- deceptively simple and hauntingly beautiful, once you let them in they'll be with you forever.

Hauntingly Beautiful
One of the finest albums I've owned in a long time. The sheer, raw, haunting, ambiance of the recording sent chills down my spine from the first track. I first became interested in Gillian Welch's recordings after I practically wore out my CD of, "O Brother Where Art Thou?". From there, I was captivated by her and David Rawling's performance of "Katie Dear" from the Chieftains "Down the Old Plank Road". I received "Soul Journey" as a Christmas gift, and was impressed. This recording, however, is so beautiful in it's utter simplicity and desparation, that it is already in my top 20 album's I've EVER heard. Simply a masterpiece. ... Read more

Reviews (33)

Get this album!
David Rickets and David Baerwald--what a fruitful pairing of like-minded cynical musical geniuses. This is a fantastic recording, and the more-than-casual listener will want to track down David Baerwald's out-of-print solo efforts as well. Those albums, "Bedtime Stories" and "Triage," along with "Boomtown," make up 30% of my own personal top ten list. Also up there on my list are Kevin Gilbert's "Thud," and Sheryl Crow's "Tuesday Night Music Club." Both of which have solid ties to David & David. This album is fantastic and should be a part of the collection for any lover of excellent rock/pop/folk music.

Almost a masterpiece
Not many artists could record an album full of songs on these topics and actually pull it off in spades. Lead singer/lyricist David Baerwald has a dark, twisted sense of humor enlivened with just the right amount of compassion. "Welcome To The Boomtown" is a perfect example: the verses sketch the lives of two drug addicts, supposedly leading up to a romantic encounter. Then the punch line comes in- "Well the ambulance arrived too late. I guess she didn't want to wait." Baerwald has incredible range as a singer. Listen to "Swimming In The Ocean," where he shifts effortlessly from an eerie falsetto in the verses to a deep, almost comic tone in the bridge. The music is more than up to the challenge of backing him up. It never panders to the listener. Every hook has a rough edge - you'll never forget the menacing piano riff of "All Alone In The Big City." A few tracks aren't up to the standard of the rest ("River's Gonna Rise", "Heroes"), but that's a minor quibble. Also keep an eye out for David Baerwald's first solo album, "Bedtime Stories," a slightly more optimistic outing.

Great Stuff
This is great stuff. I got their album when it originally came out and loved it. I recently got the CD and love it even more. Upbeat, downbeat, creative, clean recording, snappy, brainy, feeling and more. Somewhat "classic rock" with a hint of "top 40". This album still holds its own. Highly recommended.

The best CD of the last 20 years, hands down
Seventeen years after I first heard the lead track from this album, it still rocks out. There is no other CD in my collection to which I return again and again, pleasantly surprised each time by how well this music has held up. The sheer originality and vibrancy of composition, lyrics and vocals remain unmatched even now. Mssrs. Baerwald and Ricketts achieved a once in a lifetime brilliance with Boomtown - so while it's true that there's only one David + David album, it is a single point of near-perfection whose very existence is cause enough for joy.

Still an amazing sound; has not aged!
1986, freshman in College (Colorado). Went to meet a girl, she wasn't home yet... so I wandered into a music store to kill time. The music being played was riveting and after 3 songs, I had to buy the album (record). Who in the world were "David & David"? It seems that the first 3 tracks went through the charts one after the other. A few years later, it was one of the first CD's I ever bought. Very few of my friends have heard of them -- but my wife (here in California) had! The entire album still sounds great today, and fits right in even with "new" music. Definitely one of my top CD's of my 500+ ... Read more

Amazon.com essential recording

Ani DiFranco's fondness for cheeky self-effacement marks her fourth album, Not a Pretty Girl. Having redefined our whole concept of cult following, the funky, punky singer/songwriter has parlayed her prowess for six-string blues guitar into an unique alternative acoustic sound. This album marks real growth for the musician. Songs like the title track or "Worthy" are more fully realized than many of her earlier pieces that lean toward artful scat or spare guitar and vocal arrangements. It also precedes DiFranco's more experimental work, a characteristic recurrent with increasing frequency on subsequent recordings. --Nick Heil ... Read more

Reviews (68)

Visceral & Beautiful.
In her artistic expression, Ani Difranco embodies such towering virtues as honesty, independence, and compassion. She is a woman committed to making art for art's sake, proudly resisting big time record lables that would undoubtedly censor a voice that needs to be heard in all of it's raw beauty. Since 1990, she has fought an uphill battle to perserve the dignity of her art. And for that, I cannot thank her enough. I have all of Ms. Difranco's c.d.'s and recommend each one. Yet NOT A PRETTY GIRL (made during Ani's transition form Old School...ANI DIFRANCO, NOT SO SOFT...to New School...LITTLE PLASTIC CASTLE, UP, Up, Up, Up, Up, Up) is my favorite. This album is her richest in terms of it's diversity in sound. Ani goes from passioante aggression in a song like THE MILLION YOU NEVER MADE to sublime self-revelation in 32 FLAVORS. Throughout, Ani maintains overwhelmning poignancy underscored by the genuine honesty that makes it all matter on a universal level. This ain't no bubble gum pop music. In this album, Ani offers the world a crystal clear window into a human soul (and it sounds AMAZING). Such an opprotunity must not be wasted. So run to the music store NOW and grab NOT A PRETTY GIRL. And while you're there, get all the others too.

Not a pretty girl
Ani Difranco is about as punk rock as the guys in Fugazi. Unlike most artists today, Ani took control of her own career instead of letting some major record label dictate to her how her music should sound like and whether it was hit worthy or not. I first heard Ani's music when I decided to buy "Dilate" on a whim. It wasn't the easiest piece of music to listen to but I found myself digging Ani's quirky, self-effacing humor. Although my interest in her music has waned over the years, I still enjoy throwing in one of Ani's cds and chilling out to it with a good cup of java. My other favorite Ani Difranco cds includes "Living in Clip", "Little Plastic Castle", "Up, Up, Up...", and "Not a Pretty Girl". I consider "Not a Pretty Girl" Ani's definitive album. It really represents who she is as an artist from the quirky "Tiptoe" to the plaintive ballad "Sorry". Unlike her more recent albums in the past several years, "Not a Pretty Girl" is just Ani on acoustic guitar. The production on the album is excellent. I felt like I was in an intimate club setting watching Ani perform. A few years ago, I couldn't believe that one-hit wonder Alana Davis mutilated Ani's "32 Flavors". I thought it was atrocious. I don't care for artists who covers another artist's song and thinks they have the god given right to alter a few lyrics. Ani's song is vastly superior and has remained a timeless classic. Ani Difranco is one of the few artists who has my respect for bucking the system. Her independent spirit is truly one of a kind.

not a lot of things, actually.
This album feels to me like Ani is grappling with the demons of success. Most obviously is the climax to "Million You Never Made," but several songs find her trying to pin down who she is and who she wants to be. She never really does -- actually, she makes a point of never being pinned down-- but she spends a lot of time explaining what she's not. "Not a Pretty Girl" and "32 Flavors" are songs of definition, and it shows up in other places as well - in almost every song.

This doesn't strike me as one of her best. It is good, as all of her albums are, and has several memorable songs on it, but none that give me the shivers or bring me to tears -- save, on occasion, the angry chant that ends "Million You Never Made," the moment that has to be the center of the whole album. But unlike Dilate or To the Teeth, it's not one I can just put on repeat and never grow tired of. Three and a half stars.

**

i'm still deciding who i want to be today... (a found poem)

i am not a pretty girl
i ain't no damsel in distress
i am not an angry girl
i am not a maiden fair
and i am not a kitten stuck up a tree somewhere
and i have earned my disillusionment
and i am a patriot
i am warning you i am weightless
i am telling you i'm different than you think i am
and i am telling you that i am different than you are
and i ain't really all that pretty
no i don't prefer obscurity,
but i'm an idealistic girl
and i may not be able to change the whole f***ing world

but i could be the million that you never made
i'm not between you and your ambition
i am a poster girl with no poster
i am thirty-two flavors and then some
and i'm beyond your peripheral vision
i'm tired of being the interesting one
i'm tired of having fun for two
i'm not saying that i'm a saint
i just don't want to live that way

WHERE IT'S AT
If you don't know Ani DiFranco yet, she's the straight-talking, "Why don't more singers say it this plainly?" independent singer/songwriter who's built up such a following that it proves -- yes, there IS room for smarter music in this world.

She's got a killer voice. (How does she sing like that?) And she plays guitar so well that even if you don't know much about the instrument ... you can tell she's good.

NOT A PRETTY GIRL is the perfect album to buy first. And don't worry, once you get hooked -- there are gazillions more from which to choose. That's the great thing about discovering an artist like Ani -- if you find you love her, you can just keep buying more and more!

Is she folk? Is she 'women's music'? Is she punk? Who knows. She's just a very forthright singer/songwriter who writes lyrics no one else dares to produce. (The advantage of having founded her own music company, as I understand it!)

Some of the highlights on this "Absolutely must have" album include THE MILLION YOU NEVER MADE -- a hardore tell-off to the music industry, LIGHT OF SOME KIND -- repenting for being unfaithful, sung with heartfelt, bang-it-up umph, and CRADLE AND ALL -- a beautiful, gut-wrenching ballod that just goes on and on about a rough day in the life of a city girl. Then of course, NOT A PRETTY GIRL is a great feminist song.

NOT A PRETTY GIRL is where it's at -- make it your first Ani album, but don't make it your last.

My Favorite Ani Difranco Album
Everything about this album is amazing and wonderful. Ani brings a sense of security and happiness to the music on this disc, even thought some of the songs are depressing as anything. The best female artist cd I own. If you like female singer/songwriters, then buy this cd. ... Read more

Amazon.com

With each release, this East Coast singer-songwriter moves farther from the strictures of folk into the musical mainstream. While Dar Williams's artistic trademarks--lyrical introspection, melodic warmth, an occasional tendency toward breathy vocal preciousness--remain much in evidence on this collection, produced by Stewart Lerman and Rob Hyman, the expanded musical support adds more rhythmic propulsion and layers of harmonies to the mix. Among the highlights are "I Saw a Bird Fly Away," featuring the harmonica chirp and background vocals of Blues Traveler's John Popper and the keyboard of John Medeski, and a hymnlike transformation of the Band's "Whispering Pines," with vocal counterpoint from Cliff Eberhardt and harmonies from Alison Krauss. Other musicians making key contributions include banjoist Béla Fleck, trumpeter Chris Botti, bassist Stefan Lessard (Dave Matthews Band), and fiddler Mike Kang (String Cheese Incident). Titles such as "Farewell to the Old Me" and "I Have Lost My Dreams" reinforce the spirit of transformation, though one of the strongest cuts here, "Mercy of the Fallen," sticks closest to folk convention. --Don McLeese ... Read more

Reviews (77)

The Beauty of the Rain
I haven't been a Dar Williams for too long. My first exposure was a couple of years ago when I listened to her last cd at a local record store and was immediately hooked. Ove the couple of years my taste in music evolved. To be honest I wasn't sure if I wanted to get "The Beauty of the Rain" because there are a lot of other cds that I wanted even more so. I was surprised to hear her new song "I Saw a Bird Fly Away" on a couple of local radio stations. I enjoy the song immensely. I could hear an Irish influence in the music. Today I found a copy of "The Beauty of the Rain" in the used cd bins so I decided to get it while I had the chance. After listening to the cd a few times today, I am glad to have bought the cd. I loved Dar's last album "The Green World". I think "The Beauty of the Rain" is an extension to that album but more light-hearted while "The Green World" had its darker moments. I guess my problem with "The Beauty of the Rain" is that the album is only 37 minutes long. Of course I would rather have the cd 37 minutes long of really good music as opposed to 60 minutes of mediocre music. Although I am a bit tired of the song "I Saw a Bird Fly Away", I still enjoy the song but just not as much as when I first heard it on the radio earlier this spring. I absolutely loved "Mercy of the Fallen", the title track "The Beautyf of the Rain", and "I Have Lost My Dreams". Between Dar's heartfelt lyrics and simplistic vocals, "The Beauty of the Rain" reminds me why I am a fan of her music. I enjoyed this album as much as I did with "The Green World" and "The Honesty Room".

She's the Best there is...
Dar Williams' music just gets better and better. I ordered two of The Beauty of the Rain albums, one to give to a friend- so I wouldn't have to lend her mine... I did not get the CD yet, but am listening to it via Amazon's Digital Library. Deciding on which song to tell you about is hard, they're all 'individual'. The duet [track 9-'Whispering Pines'] is beautiful. Track 10, 'Your Fire Your Soul' does get me thinking 'this is exactly why I want to stay home during the holidays!' And the final track, 'I Have Lost My Dreams' is a wonderful choice for an ending. I get the chills. Of course it did take me quite sometime to get to the end, as I kept replaying the first few tracks. -'I Saw a Bird Fly Away' is closest (in my opinion) to her previous releases. Just get the album, you'll hear what I mean. It makes no difference what kind of mood you're in, listening to her music is always the right choice. She hits it every time! ... She truly is a wonderful entertainer as well as a terrific storyteller in both her music and her song intro's. The bonus of having her do intro's on this album is worth additional stars, bumping it past the max. 5! Thanks Dar!!!

a departure for the good
I'm a fan of Dar Williams first two albums and sort of lost track of her after that. But this album definitely got me interested again after hearing samples of a couple songs. This album is much more accessable and musical. This album really highlights her beautiful voice in the title song as well as 'Mercy of the Fallen,' 'Farewell to the Old Me' and 'Closer to Me.' I even caught my wife who is normally a pop radio fan listening to this one frequently! It's really a 4 1/2 star album; some of the later songs are just ok.

Gorgeous.
I was also introduced to Dar through her earlier music and very reticent to get this album, based on concerns about it being overly "pop." I got it anyway, and am very glad I did. It's definitely not the acoustic singalong style of some earlier music, but it's very far from soulless pop. The songs are gorgeously crafted and the lyrics are in many cases quite moving. Dar has not let me down in any way with this lovely album.

Beautiful
This is my first Dar Williams CD and I think it's wonderful. Dar has a gorgeous voice and her songs are very intelligently written and beautiful. It's the perfect CD to pop in the CD player on a rainy or melancholy day. "Mercy of the Fallen" is a great opening song for this CD and sets the right tone for the songs to come. I also found "The One Who Knows", "Beauty of the Rain" and "Whispering Pines" to be among my favorites on this CD. ... Read more

Amazon.com

Judy Collins met Leonard Cohen in 1966, at a time when the young Canadian was uncertain about his skills both as a songwriter and a singer. Collins responded powerfully to his music, assuring him that his performance and compositions were alluring and potent. She subsequently covered a number of his songs, and she even coaxed him onto the stage. This disc adds three new recordings to 11 of Collins's previous interpretations. Her crystal-clear vibrato is ideally suited to the slow melodic bearing that Cohen favors. From the country lilt of "Bird on a Wire" to the breathtaking and spare live rendition of "Song of Bernadette," Collins demonstrates why Cohen, more than any other songwriter she has covered, has been a constant presence in her repertoire for nearly 40 years. --David Greenberger ... Read more

Amazon.com essential recording

Following up two of her strongest records, Not a Pretty Girl and Out of Range, Dilate takes a different tack. It's quieter and more lush than previous efforts but just as intensely personal, with songs like "Untouchable Face" that are easier to identify with than many other DiFranco tunes. At the same time, DiFranco's old fans might not recognize the sound here, especially on tracks like the trip-hop-influenced "Amazing Grace," the shuffling "Napoleon," or the indescribable "Shameless"--this isn't the same thrash-folkie of old. There's a lot to like on Dilate, especially if you're a fan of Portishead or Lisa Germano, but it takes some getting used to. After spending time with the album, you may find it as comfortable as your favorite pair of jeans, but you also might find out that the jeans never really fit quite right. --Randy Silver ... Read more

Reviews (56)

Not Ani's best, but still beautiful.
I have to admit, when I first bought this album a few weeks ago, my reaction wasn't very positive. I was like, "What the hell happened? This isn't the Ani DiFranco I've grown to love!" And songs like "Outta Me, On To You" and "Shameless" still freak me out a bit.

But once I listened to it a second or third time, I really began to love it. Ani's voice is the best it's ever been on any of her records, the lyrics are brilliant as always....now I can't believe I once disliked it so much. My favorite tracks on it are Superhero (such a wonderful song), Napoleon (I get such a big smile on my face whenever I listen to this one), Done Wrong (gorgeous and sad), and Joyful Girl (whispery and pretty).

I love this album because on it Ani displays such quiet, heartfelt emotion that I've never heard on any of her other records. Not A Pretty Girl is still my favorite album of hers, but Dilate will always have a special place in my heart. Thank you, Ani.

Beautiful, intense, emotional, soothing, and even cathartic
I'm not a die-hard Ani fan (an "Ani girl living in an Ani world"), like a lot of my friends are, but I do like her music a lot. This is my favorite Ani album, and although I haven't heard all of her material, I do think that this album is incredible, even better than her grittier "Not a Pretty Girl." These songs are electric and emotionally charged, full of a certain amount of angst (it is the work of Ani, after all, who seems to convey a certain amount of jadedness in her music), but it is graceful angst. Some of these songs are absolutely mind-ravelling in their intensity and grace (for example, "Untouchable Face," "Superhero," "Dilate," "Napoleon," and "Adam and Eve," which are my favorite songs on the album). I'm not too convinced by her cover of "Amazing Grace" (but this may be because I'm not terribly fond of the song itself), but this is the only song on the album that I skip over. All of the tracks are a celebration of womanhood, in a style that is so distinctly Ani's. I can't stand it when some ignorant individuals call her a "man-hater," for she is not (she did marry one, after all!). She sings powerfully about relationships (and the subject of failed relationships seems to be her specialty), with unflinching candor. Integrity is one of her greatest musical virtues, and she seems to bare her soul unabashedly in her songs. Many people feel uncomfortable about a singer whose material is as personal as Ani's, but I find it really refreshing when a singer is capable of speaking so frankly about their personal experiences. And with Ani, it almost seems like you know her personally when you listen to her emotional confessions, and most women can definitely identify with a lot of the situations she depicts. I too have been wounded by unappreciative men, and songs like "Untouchable Face," "Superhero," and "Dilate" have formed part of my own personal soundtrack to failed relationships. Especially the title track, in which she professes that although its lonely to wake up alone, she knows that she's "much better on her own," instead of putting up with someone who does not relate to her, and who takes her for granted. "It's kind of like our little joke, and it's really not funny. . . and I just want you to live up to the image of you I created. . . I see you and I'm so unsatisfied. . . I see you and I dilate." Ani is a woman who fully realizes her worth, who possesses a sense of self-worth which many people have the tendency to sacrifice in a relationship into which they put more energy than their significant other. I purchased "Dilate" after a very messy and painful breakup with a boyfriend who saw my shortcomings more than my virtues, and I listened to it incessantly. A lot of women have said this, but this album really helped me with my healing process after the aforementioned schism. And it also helped to remind me not to make the same mistakes in future relationships. Ani may sound somewhat angry and jaded in this album, but never bitter. This is really an accomplishment, for it's far too easy to surrender to bitterness in regard to someone who has deeply wounded you. It's far more noble, however, to use the experience to acknowledge that you are not to blame for someone who fails to realize your true beauty, and that, when you do find someone who is capable of realizing, appreciating, and admiring your attributes, it's necessary to first realize and embrace them yourself. "Dilate" is an awesome, awesome album. Do get a copy of it, there is such a slight chance, if any, that you'll be disappointed.

Brooding, Blunt and Personal
Some people were annoyed, if I remember right, when Ani DiFranco made this album -- much more brooding and with a lot more backup band than her others.

To them, I said: "She already made like a gazillion albums in her other style! She recorded more songs already than most artists ever will. How long was she supposed to keep going before trying something new?" I figure she has to either reinvent herself or get bored, and I think she made the right choice

I think this album is a TRIUMPH. It's mopey, honest, and absolutely heartfelt. Her lyrics are just as smart as ever.

SUPERHERO is a fantastic song about how when we fall in love, we all become ridiculous cliches ... no matter how 'above it' we thought we were before.

ADAM AND EVE is a powerful, brooding feminist statement about men who "leave you in the morning".

OUT OF ME, ONTO YOU is more or less ... a curse on someone you hate.

I think DILATE is a gem, and every Ani fan should take it back out again and listen to it with fresh ears.

A Jerk with the heartache
Intrigued by the cover, I bought this cd, coincidentally after getting dumped. Then while acustoming myself to the album, I got rejected incessently. My pain was captured perfectly by Ani's Dilate. Its now one of my favorite albums. So sad, so beautiful. It is the perfect crawling into a corner and crying album.

On my "My Fifteen Favorite Albums Ever" list
My favorite Ani songs are scattered across all her albums, so it was tough to pick one album as my favorite, but if forced I'd have to pick Dilate, not for having the most faves but the best total effect. In fact it contains neither of my absolute favorite Ani songs, Not A Pretty Girl and Little Plastic Castles. But this is Difranco at her aggressive folk best, lacking the later jazz and world music influences. Superhero and Napoleon stand out, but all the tracks are clever and moving. ... Read more

Amazon.com

More Than a New Discovery, Eli and the Thirteenth Confession, and New York Tendaberry established Laura Nyro as one of the early 1970s' brightest and most uncompromising singer-songwriters. But just as the budding success of 1969's Tendaberry seemed to establish her persona in the public's mind, Nyro reached back to the beloved Brill Building pop, doo-wop, and '50s R&B for inspiration, extended a hand in partnership to then-down-on-their-luck soul vets LaBelle, and tossed off this loving blast from the past. Producers Kenny Gamble and Leon Huff (who would later formulate the vaunted Philly soul sound) were ostensibly in charge, though the voices of Nyro and LaBelle carry the day. Whether the bare-bones production harked back to the mindset of Nyro's moody Tendaberry or (as Amy Linden's new liner notes suggest) they simply ran out of time and had to finish the project, there's a sense of immediacy to the recordings that outstrips even some of the originals. Tracks like "Jimmy Mack" and "I Met Him on a Sunday" feel like they spontaneously came together around an upright piano, their rhythm section a chorus of joyous hand claps. Others, like "Desiree" and "The Wind," have a haunting, ethereal sense that's pure Nyro. This is one of the oddest collections of Nyro's career, but also one of the most joyously heartfelt. This reissue features four live bonus tracks, soulful solo covers of "Ain't Nothing Like the Real Thing," "(You Make Me Feel Like) A Natural Woman," "O-o-h Child," and "Up on the Roof," that fit the theme of the studio album to a T. --Jerry McCulley ... Read more

Reviews (21)

Street Urchin Serenade
Laura Nyro's "Gonna Take A Miracle" is a classic CD. It sounds amazingly fresh and clear 31 years later. Columbia Records has done a good job of remastering and repackaging the CD. The added photographs in the booklet are a welcome remembrance of this classic singer. Recorded in Philadelphia and produced by the classic soul team Gamble & Huff, Nyro and Labelle capture the rock & roll rhythm of the streets of New York. "I Met Him On Sunday" rocks and pulses with energy. Nyro remakes Marvin Gaye's "The Bells," aching with the urgency of love, "What do I have to do to make you feel the tingling too?" Nyro & Labelle let loose on the medley Curtis Mayfield's "Monkey Time" and Marvin Gaye's "Dancing in the Street," "Are you ready? You get yours 'cause I got mine!" On "Desiree," originally done in 1957 by the Charts, they float etherially. Smokey Robinson's "You've Really Got a Hold On Me" oozes with energy. Nyro remakes Ben E. King's "Spanish Harlem," "with eyes as black as coal." Labelle helps Nyro bop through "Jimmy Mack" joyfully. "The Wind," orignially recorded by Nolan Strong & the Diablos, is a breathy choral hymn. My favorite track, on a CD where each track is a favorite when it plays, is Martha & the Vandella's "Nowhere to Run." The energy on this is incredible as Laura & Labelle climax, "No, no, ain't got nowhere to run to." The title track is a cover of a 1965 record by the Royalettes which Nyro remakes with such longing and feeling, "I promise you I will show you how much." Although this is where the original LP and CD ended, Columbia has added 4 bonus tracks from Laura's May 30, 1971 concert at Fillmore East & is well worth the price. At less than a minute, Ashford & Simpson's "Ain't Nothing Like the Real Thing" is a beautiful chorus. This is followed by Carole King's "A Natural Woman" which Nyro remakes as her own as her voice hits the high notes on "you make me feel." One of my favorites from Laura's live show was the 5 Stairsteps' hit "O-O-H Child," which while only a minute and a half here, radiates such a positive energy that it's not be missed. The CD concludes with her live reading of King's "Up On the Roof." "Gonna Take A Miracle" pulses with the energy of a street urchin serenade. Essential listening! Enjoy.

A Jewel of a Recording
Laura Nyro originally made her name as the author of a host of tightly-written pop songs that hit big when covered by other artists--but by 1970 she had acquired a reputation as one of the most flatly uncompromising recording artists of her era, a woman who wrote, performed, and recorded without any significant concern for prevailing tastes. Then, just as she seemed to have reached this point of self-definition, she suddenly shifted gears and went into the studio with soul-singing trio LaBelle for an homage to the pop songs of the 1950s and 1960s that had originally inspired her.

The result was GONNA TAKE A MIRACLE, an album that is generally regarded as Nyro's most widely accessible work. Opening with a near-acapella rendition of "I Met Him On A Sunday" that divides the song neatly between all four singers, Nyro then launches out on a host of other old favorites with her own voice shining like a diamond against the sultry stylings of LaBelle, giving each tune a noticeably different twist from its original incarnation.

Both "The Bells" and "Desiree" suddenly seem as if they had been written with Nyro alone in mind, beginning gently but building a series of dynamic shifts; "Spanish Harlem" is a beautifully rendered selection; and the more vibrant numbers like "Dancing In The Streets" and "Nowhere To Run" crackle with energy. This one of those rare releases of which you can truly say every single cut is first rate all the way.

The most powerful thing about the recording is, I think, its spontaneity. According to the liner notes by Amy Linden, the singers were having such a good time together that they didn't actually bother to record anything until the last day--and then they popped out one number after another with little preparation. In any other hands the results would probably have been extremely uneven, but with Nyro and LaBelle it has an enchanting immediacy. They just stepped up the mikes and did it, and their joy in both the music and each other rings through every single cut.

GONNA TAKE A MIRACLE is not Nyro's most personal statement, nor does it really offer her at the highwater mark of her artistry--but it is a beautiful little jewel that her fans will adore and which newcomers will likely find much easier to grasp than her more complex work. A truly vibrant, memorable, and just down right fun album. The remaster also offers Nyro performing live, doing brief intros of "Ain't Nothing Like the Real Thing" and "O-o-h Child" to full length versions of "Natural Woman" and "Up On The Roof"--bonus tracks that truly deserve the title "bonus." Recommended.

--GFT (Amazon Reviewer)--

classic music from laura
its amazing to realize that this album was recorded ..probably as first takes.24 yrs ago..here is laura in her prime...celebrating the music that she grew up listening to....the music stands on its own...the vocals soar into the heavens....you can hear a beautiful production of spanish harlem with its latin influence...the music is alive and vital and when it is up beat it is driving...and when softer...dream like...for ex the track desiree...laura was an original force in the music world whose revolutionary style influenced countless major songwriters...she took all of us along with her...and transported us with her music...

Did I say This Isn't A Tribute Album?
You know the sensitive teenage girl from the Bronx who sang her heart out in subways and schoolyards so many years ago. Before fame, wealth, critical success and all the accolades came her way, Laura sang passionately for no one other than her beautiful inner self. Perhaps that's the beauty of this album. No, it's not just a tribute album to Smokey, Patti, Marvin, Martha & The Vandellas and others. This is Laura's roots album, her chance to say here's where I come from, here's to all the great singers and song writers of my youth. This is why I write the songs I write. This is why I sing. This is who I am.

Sadly Laura left us all too soon. She left behind a wonderful legacy of timeless upbeat songs, plantive ballards and desperate love-lost poems. She also left behind this marvelous tribute album to the hereos of her youth. Did I say this isn't a tribute album? Whatever you care to call it. It's Laura at one of her deepest most passionate moments.

Gloriously, joyously sung tribute to Nyro's past masters
"Gonna Take A Miracle" is Laura Nyro's jam session tribute (with Labelle) to the musical influences of the decade past (including soul, R & B, gospel, doo wop, etc) that helped shape and inspire her own unique singersongwriting style. With Gamble & Huff at the helm, one would have expected a slick, silky smooth orchestral affair that characterised much of their music with various Philly acts...but no sir-eee, for this special session, G & H let their take-charge instincts drop to allow Laura and the girls to simply let rip and go with the flow. The immediacy of the set is stunning, simply electric. Laura, Patti, Nona and Sarah are so imbued with the spirit their voices blend as one and become a single entity. At times, it's hard to discern who's singing lead on "The Bells". Is it Laura, Patti or one of the girls ?

It doesn't matter that the recording isn't especially polished, or that Laura goes slightly off pitch when she occasionally over reaches her upper register with her famous soprano, because everyone - the listener included- is having a party in this giddily joyous celebration of sweet soul music. That said, G & H's professionalism show in their astute track sequencing which cleverly inserts the set's two quiet numbers ("Desiree" and "The Wind") in between the fast numbers to give the set its optimal pacing. It's not their fault that beginning with "I Met Him On A Sunday" (sung accapella by Laura and the girls), the first three tracks - especially the gloriously sung "The Bells" - are so overwhelming in their power and perfection they nearly capsize the album's balance, rendering some of the Motown covers that follow slightly impotent. "Monkey Time/Dancing In The Street" is great 'cos it rocks. "You Really Got A Hold On Me" and "Nowhere To Run" work because they are energized to fever pitch by the fervent chanting of Labelle but "Jimmy Mack" and "Spanish Harlem" come off a little flat. Luckily, the original album closes on a high note with the excellent title track.

The live bonus tracks - more Motown and soulful Brill Building - that round off this remastered and expanded CD re-release couldn't have been better or more judiciously chosen. They belong. Period.

Released in 1971, "Gonna Take A Miracle" capped the first and most potent period of Laura Nyro's career. It was an odd thing then for a singer-songwriter of her calibre to record an album of pure covers but hey, by then she had more than earned the right to take a holiday from her writing duties to pay tribute to her roots. Laura Nyro fans today consider "Gonna Take A Miracle" to be as essential an album as any of the early masterpieces that preceded it. ... Read more

Amazon.com essential recording

Perhaps the most outstanding folk album of the 1970s, this collectionrepresents Baez's blossoming from a girlish folk icon into a mature interpreter of folkmusic. The title track (and, to a much lesser degree, "Dida" and "Children and All ThatJazz") showcases her songwriting, but the intimate spin she puts on the music of others iswhat makes this the remarkable work it is. On Jackson Browne's "Fountain of Sorrow,"Dylan's "Simple Twist of Fate" and John Prine's "Hello in There," the purity of Baez'sclear soprano (deeper and mellower than on her early albums) expresses the gentle painsof nostalgia and what-might-have-been. The medley of "Jeannie with the Light BrownHair/Danny Boy" reminds us that no matter what other directions she moves in, Baez willalways be a masterful singer of traditional folk music. --Barrie Trinkle --This textrefers to the Audio CD edition. ... Read more

Reviews (27)

Elegant and moving love songs
This elegant album is a seamless blend of her own and others' literate but moving love songs and just a nod to her folk roots in the medley of I Dream Of Jeannie/Danny Boy. She covers songs by Jackson Browne, Stevie Wonder, Dylan, John Prine and others, while contributing her beautiful own compositions like the title track, Children And All That Jazz, Winds Of The Old Days (reminiscent of Gulf Winds) and Dida. Her interpretation of Browne's Fountain Of Sorrow is particularly poignant, and so is Jesse, the Janis Ian song. Another classic is the reflective Winds Of The Old Days. Unlike some of her ventures into the art song in the 1980's, this album really works, as she sings with warmth and conviction and make the songs her own. Diamonds and Rust is a successful move away from her pure folk roots.

Too stiff
I agree with the reviewer that mentioned that Joan Baez sings without depth or conviction. Perhaps she actually feels deeply about the songs she is singing, but her delivery makes one think otherwise. It is always too stilted, too stiff, too precise for my tastes. She also holds her notes in a steady vibrato for much too long. It's the John Denver syndrome -- hold the last note of your verse almost all the way through until the next one begins. Something about that just bugs me.

She has a clear singing voice, but perhaps it is actually the imperfections in others' voices that brings out the feeling and emotion in the songs. This is too clinical for my tastes. I also have a copy of her Dylan interpretations, and I must say that it suffers from the same problem. Joan sings a heck of a lot better than Bob, at least in the traditional sense of actually having a singing voice (which Dylan never did), but the emotion and "bite" was not lacking in his versions as they are in Baez's interpretations.

Diamonds & Rust is considered by many to be Baez's high-water mark, so if you like her style, get it. I got the album because of the accolades I had read, and was disappointed to find it initially pleasant but ultimately uninvolving.

an old favorite
I discovered this album at a country fair 20 years ago, and while the music seemed a little foreign to me back then, in my teens, the more I listened , the better it got. Now I continue to hum these tunes hauntingly like a mind mantra, in my now middle age. It has a magic to it.

Far from Baez's greatest folk material!
Despite many positive recommendations of this album, I do not like the material, the singing and the accompaniment. As a folk aficionado, I prefer Baez's true folk singing, especially when she accompanies herself on the guitar. There she really shines. Her contemporary material lacks the power and beauty of her earlier folk singing.

The Pinnacle of a Fabulous Career
Joan Baez, one of the most breathtaking folk singers of our age, has always made waves by lending her exquisite vibrato to famous and forgotten folk songs. But with Diamonds and Rust, she does a great deal of her own writing. And boy, that's what fans had been waiting for!

The title track, Diamonds and Rust, is such a stirring reflection of a love that just "didn't quite work" - nobody was evil, nothing horrendous happened - but the love just didn't quite work ... and it hurt. It's hard to find a song that really expresses that phenomenon with the kind of heartfelt pain and wimsy of this one. It makes you wonder - what took her so long to start writing her own songs? She's got talent!

The album also contains some favorites like "Jesse" which provides just the most gorgeous forum for her voice and "I Never Dreamed You'd Leave in Summer" which expresses a subtle pain through simple lyrics.

I think most Joan Baez fans agree - Diamonds and Rust is THE Joan baez album, whether you're a long-time fan of her folk albums, or whether you're new to her. There's no excuse for skipping this one! ... Read more

Amazon.com

This album now seems as remarkable as his mid-'60s breakthoughs. Like Presley's Sun Sessions, it is both the remnant of a lost rural America and the seed of rock culture. The music is primarily Dylan, with acoustic guitar, barking traditional folk, and blues. He was 20, a Northern hick come to New York to be the next Woody Guthrie. It's amazing that at 20 he sings "In My Time of Dying" and "See That My Grave is Kept Clean," not as traditional songs, but making their doom and resignation sound personal. --Steve Tignor ... Read more

Reviews (36)

Amazing debut.
This guy was just 20(!!!) years old when he recorded this magnificent collection of traditional folk tunes (and two of his originals). What a performance! Just, him, his harmonica and acoustic guitar. (The album is worth it for his guitar playing alone. Possibly the best guitar work of his career.) What amazing talent. The depth of feeling he puts into these songs is simply unparalleled. And despite the dark subject matter of most of the songs this is an album full of wit and joy. Thoroughly enjoyable from start to finish. Marvellously sung, with great phrasing in Bob's unique style. I've been listening to Dylan for 25 years but I never heard much praise for this album so I never got until just a couple of years ago. I was absolutely blown away at how great it is when I finally did. Very underrated. This is magnificent stuff. Probably the best debut album in music history. An ESSENTIAL piece of 20th century music.

A good first album
Bob Dylan (1962.) Bob Dylan's first album.

It was in 1962 that the American folk rock legend Bob Dylan released his first album. As the decade would progress, he would become an almost instantaneous legend, whose fusion of folk and rock music would be unparalleled. He would even go onto influence artists who were radically different from himself, including the Beatles and Led Zeppelin. How does Dylan's self-titled debut LP, released in 1962, measure up? Read on for my review of it.

To put it simply, this album features Dylan as he was, before his days as a successful musician. For the most part, the album is just Dylan with his guitar, and he plays his instrument very well - a premonition of his future successes. Unfortunately, the album isn't perfect. For one thing, Dylan's voice just sounds weak on this album. He's singing his heart out, no questions asked, but he sounds like he's dying on many of the tracks. Likewise, a number of the tracks are cover songs - NOT Dylan originals. They are good songs, though - I just wish his singing voice was better on the album. For instance, the version of House Of The Risin' Sun featured on this album put's the version Eric Burdon And The Animals did to shame. Interestingly enough, the cover songs, which make up the majority of the album, tend to be the strongest point - the few Dylan originals that appear on the album are actually among his weakest original compositions. It's a miracle that a record company signed him, though - or it would have been one of the costliest mistakes in music history! In the end this is a very good album, but it's not really a good place for Dylan newbies.

The most readily available edition of this album in America (as of June 8, 2004) is the budget reissue. This is a great reissue because it gives you this classic album for a pretty low price, but it's bad because it doesn't give you fully remastered sound quality or any bonus tracks. Hopefully it will be reissued in a similar fashion to some of the other albums in Dylan's catalogue.

There's not really a whole lot more to say. This IS a very good album, but if you're new to Dylan, start with one of his more popular albums (Highway 51 Revisited and Blonde On Blonde would probably be good bets if you're new to his music.) Following the release of this album, Dylan would meet the Beatles and heavily influence their sound - and introduce them to marijuana. Led Zeppelin would also cover In My Time Of Dyin' in the latter half of their career. And this album is where Dylan's influential musical career got its start. Once again, if you're a fan of Dylan's, this is a good album, but if you're new to his music, stick with a hits compilation or one of the more popular albums.

A must for your collection.
Dylan's first three albums: Bob Dylan, The Freewheelin' Bob Dylan, and The Times They Are A-Changin' immediately established him as a songwriter of great distinction. If you like Bob Dylan these three albums are a must for your collection.

May I also recommend a book that is available on this web site: "The Bob Dylan Albums" by Anthony Varesi. The book by Varesi is a fair and honest review of the albums by Dylan.

Please--For the Sake of Man--Don't Start Here.
The first Dylan album I ever listened to was Highway 61 Revisited. It was pretty good...so I went on to his second album, The Freewheelin' Bob Dylan. After hearing that, I thought that I should I check out his debut album, Bob Dylan. I figured it would be sort of like The Freewheelin' Bob Dylan, but, sorry to say, it was a pretty huge disappointment. The first time I heard it, I really liked "Man of Constant Sorrow" and "House of the Rising Sun." I was so impressed--I thought that he actually wrote these songs. No, he did not. The ones that are original, anyhow, unfortunately, do not stack up to any song on any other record ever recorded by Dylan. It, almost, is as if someone else wrote these songs entirely. "Talkin' New York Blues" is an all right song [and Freewheelin-esque], but one song can't save the whole album. Perhaps if it were a really, really awesome song. Anyhow, seeing as Woody Guthrie was a major influence of Dylan's, I would say that Dylan spent most of his time on this record just copying him and regurgitation other influence's styles. Bob tries a strange Little Richie-like voice on certain tracks of the album--a growling voice that I am not too fond of and that is a little unsettling. You know, when I am listening to this album, I often find myself wondering, "How did a record company even sign him?" The album's not as terrible as that comment would suggest, really--not only does Bob Dylan not have one of the most marketable voices, but the best songs on the album weren't even written by him, and the ones that were aren't all that promising. Dylan would have been absolutely nothing if it weren't for his lyrics, so, what I'm saying is, he should be praising God for even getting his foot in the door. On a brighter note for the closing, this record is interesting and encouraging, if you're an artist, because you get to see what Dylan started from and realize that he wasn't a genius just the second he began. That's pretty good for me.

Album of the Rising Dylan
Bob Dylan. Not the most creative title, but Dylan's voice and guitar are at their most dynamic. Dylan was trying to build on the many legends that had come before him, such as Guthrie and Leadbelly and with this album, he does so beautifully. His guitar playing has so much feeling that even without lyrics, the listener would grasp the intent of the song. His voice is filled with power, pain and is very often adorable! House of the Rising Sun has so much feeling to it that I reccomend turning it up real loud and dropping your jaw in astonishment. ... Read more

Reviews (17)

Dylan's warmest album
Most Dylan albums are so long that in the days of the 33 1/3 LP, the needle on my record player would often swing back to its resting place without making it to the final groove. That wasn't a problem with "Nashville Skyline." With a total running time of 27 minutes, Dylan's landmark retreat from rock and roll into the world of country music is one of his most compact works. It's not his most ambitious album, but it is one of his most charming.

The opening track, a revival of 1963's "Girl From the North Country," is a beaut, an intimate duet with the legendary Johnny Cash. It's slightly offkey, and the two singers are not always in synch (with Cash reciting one lyric while Dylan recites another) but there's a warmth to the performance that might not have survived a more studied interpretation.

"Warmth" may be the key word in describing this collection. Having exorcised quite a few demons on his previous albums, Dylan is relaxed here, expressing almost no anger, although there is room for regret in the classic "I Threw It All Away" and