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This 1996 album was a breakthrough of sorts for Dar Williams, moving her from the obscure folkie circuit to the obscure alternative singer-songwriter circuit. Mortal City comes closest to capturing her live show, and many of the songs here--"Iowa," "The Family," "The Christians and the Pagans"--have become live-set favorites. Like Williams herself, this disc is sentimental, sincere, and emotional; it's an album about growing up. When Williams titles a song "The Pointless, Yet Poignant Crisis of a Co-Ed," you know she's not writing fiction. She also could have called it "Catcher in the Rye," but that title was already taken. --Charles R. Cross ... Read more

Reviews (68)

Folk You! Dar Rocks!
Mortal City offers a musical complilation involving the hardships, heartbreaks and downright absurdities of early adulthood. Passionate and sometimes humorous, Dar Williams is an excellent storyteller. The entire mood of the album is captured in the title track, in which Dar sullenly sings about two lonely souls in the city who are isolated by a severe ice storm. As the two eat by candle light and huddle together in blankets, having turned off all electricity to reserve power at the hospital, a special romance is formed that not only connects the two character with each other, but with an entire city of lone individuals. Dar's lyrics are of the calibur of modern day folk tales.

Dar is not only a capable song-writer, but an excellent musician, ranging from acoustic guitar chords to full ensembles that include voilins, cellos, electric guitars, harmonicas and congas. Dar's music dips into a coutnry-western motif, sometimes slow and serene, but other times picks up with plenty of spirit. Songs like As Cool As I Am and The Blessings are both upbeat and playful, while The Pointless Yet Poignant Crisis of a Co-ed is played out as a seriously acoustic folk song, with lyrics that will make you laugh hysterically.

One of the greatest alterna-folk ablums to date, The Mortal City will not dissapoint. Whether you're a fan of smart sarcastic lyrics, whimiscal folklore or just something to listen to on your morning commute, The Moratl City is excellent, even after you have every song memorized.

Dar: "The Happy Ani Difranco"
The first time I listened to this c.d. "Mortal City", I hated it. But after a while, Dar Williams began to grow on me. I have long been a fan of Ani Difranco and Dar shares a similar style- particularly the vocals and folky guitar. I grew to love this c.d.: especially the song "As Cool as I am" Dar's lyrics are powerful and poignant, intellectual but not stifling or stuffy. Her words explode truth and humor. Mortal City contains a perfect balance of more emotional ballads ("February" and "Iowa") and more upbeat tunes, like the hilarious yet suprisingly touching "The Christians and the Pagans". After listening to this cd repeatedly, I became a Dar addict and eventually purchased all of her cds. Mortal City is an excellent introduction to the many musical talents of Dar Williams.

Frankly, I was a little disappointed
I had heard several Dar Williams on the radio and decided to take the plunge and buy this album.

Frankly, I was a little disappointed.

What makes Dar Williams so good -- her personal reflection and honesty -- can be a bit much in such a big dose! I listened to it on several road trips, so I gave it a fair shake and now it is sitting in my collection gathering dust.

Maybe when I'm feeling a little depressed, I'll give the CD another spin. It's very emotional music so probably you have to be in the right emotional place to listen to it.

That being said, "Mortal City" (the song) really is a great little piece of story telling.

An Active Listening Experience
MORTAL CITY isn't the kind of album to be played in the background and ignored. You want to hear every word -- it's all so interesting and honest.

Most of the songs are catchy, but you'll know this ain't fluff when the title track contains lines like, "I don't know what you saw -- I want somebody who sees me." And "I will not be afraid of women."

And later tracks contain such lines as "If you're gonna get your heart broke, you'd better do it just right. It's gotta be raining ...." and an ex-boyfriend is called quite bluntly "You stupid pot-head." :)

It's funny, it's confessional, and it's truly enjoyable.

It all leads up to the final climax -- a song called MORTAL CITY that's a slow, haunting story that might seem boring the first time you hear it, but some day, when you sit down and listen to the whole thing -- it will move you in the gut. You just have to let the story build to its climax. It's the only song like that on the album.

For people who love lyrics, this album really is a must-have!

My first taste of Dar
Wow what a great album. It will always have a special place to me as my introduction to a great artist. Good arrangements, at times a little on the acoustic side. Even so several of the songs are some of my personal all time favorites, especially Iowa, As Cool as I am, and Christians and Pagans. Great female folk music. ... Read more

Reviews (29)

A few good songs here, a few good songs there . . .
Compilations are always tricky things, and this is no exception. While his previous "Greatest Hits" discs are amazing (particularily volume 2, recently remastered), this one is a bit spotty.

My first problem is the sound, which bounces back and forth from clean to poor -- "changing of the guards" and "groom" both sound horribly flat compared to remastered versions availible only a short time after Volume 3 was released. The second is the song selection, which anyone could quibble about.

PLUSSES -- a new Brenden O'Brien mix of "Dignity," which is an Oh Mercy outtake which can also be found on the MTV Unplugged album and the Canadian/European "Best of Bob Dylan 2" in it's original Daniel Lanois form.

ALSO -- the non-cross fade version of "Series of Dreams," one of his best songs ever. Now if we could only get rid of those keyboard overdubs!

All this compilation does is illustrate how far his music slid downhill from the early 70s through the 80s until "Oh Mercy." Thank god for Daniel Lanois for kicking him in the pants and producing some of Bob's best albums since the 60s!

Nice listen
Good songs from Bob Dylan's most recent greatest hits package. Actually, the song choices could have been better in some instances. "Changing of the Guards" is a good song, but certainly not his best from the "Street Legal" album. It is also NOT the re-mastered version so the sound quality is inferior.

The only bad song on the album is probably one of only a few Bob Dylan songs I can confidently knock; "Under the Red Sky". Truly, a God awful song that is completely out of place with the rest of this great collection. I guess they wanted every Bob Dylan album represented so they included it. I've never heard the entire "Under the Red Sky" album, but it's chilling to think this is the "best" of the lot.

Having unloaded my complaints, I can now hark at how good the rest of the collection is. "Tangled up in Blue", "Hurricaine", "Forever Young", just to name a few of Bob's classics on this CD.

The great discovery for me was "Brownsville Girl". What a great song! I heard it years ago and it's been a while. I forgot how truly wonderful and colorful it is. The production of the song is a bit much, but deserves to be on the album.

Also, loved "Dignity", "Jokerman" and "Series of Dream".

Bob, I have a feeling it won't be too long before a fourth "greatest hits" package will be needed!

I could never rate a Dylan album below 4
This album is a disapointing mix. I have relegated it to collection status. If you're looking for a good Dylan mix, buy the 2-disc Greatest hits 2. I hate to say it, but it seems like they threw together a bunch of songs at random that don't flow and don't represent the magnificance of Dylan.

A Great Collection for the Uninitiated Fan
This is a very interesting album and there are two ways of looking at it. One, if you're are like me, a died in the wool Dylan fan, then you've already got everything here, except "Dignity," recorded during the "Oh Mercy" sessions, and you probably wouldn't be too interested in "Hits Three," because "Dignity," alone isn't a strong enough reason to get this record. However, if you're not a huge fan, but you like Mr. D enough that you already own his popular records, but you've shied away from what a lot of critiques have called his weaker ones, then the this record is for you, cuz you can get the beautiful "Silvio" without having to buy "Down in the Groove," you can get "The Groom's Still Waiting at the Altar," without having to suffer through the lesser songs on "Shot of Love." You get "Under the Red Sky," without have to listen to the rest of the songs on the album of the same name, You get "Brownsville Girl," without having to hear the rest of "Knocked Out Loaded." You get "Knockin' on Heaven's Door," which many think is the only reason one would ever want to buy the "Pat Garret and Billy the Kid" soundtrack. Personally, I like and own all the above mentioned albums, both on CD and Vinyl. But a lot of people don't and these are unquestionably the best songs on those records, a great way for the non-fan who kind of likes Dylan to get this material. And since the music is sooooo good, sooooo cool, I'm giving this record five stars.

Reviewed by Stephanie Sane

Not a very succesful compilation
What the hell?!
Twenty-three years between "Greatest Hits, vol. II" and this album, and they put out a single-disc compilation that include "Silvio", "Brownsville Girl" and "Hurricane", but not "Every Grain Of Sand", "Sarah", "Romance In Durango", "Seeing The Real You At Last", "Oh Sister", "Idiot Wind", "Simple Twist Of Fate", or "One More Cup Of Coffee"?
Come on! It doesn't have "Every Grain Of Sand"!

Anyway, what is on here is obviously good, or even great, but what isn't is a scandal. Let this album lie, and go get the twin peaks of "Blood On The Tracks" and "Desire". Or maybe all get three. But this one won't do by itself. It doesn't have "Every Grain Of Sand"! (You have to buy "Shot Of Love" to get that one...)

The compilers at Columbia Records should've done what Dylan himself did when putting together "Greatest Hits, vol. II" - put out a double album and chosen from singles and album tracks alike. That would have made a much, much stronger selction. And did I mention that this one doesn't even have "Every Grain Of Sand"! ... Read more

Album Description

Guy Clark is a Texan alt-country legend, a craftsman ofsongs whose body of work never met with much commercialsuccess. Influenced heavily by folk & blues, friend to thegreat Townes Van Zandt, Lightnin' Hopkins, & ManceLipscomb. This exclusive 20 track package features hisfirst & only two RCA albums, 'Old #1' (1975) & 'TexasCookin'' (1976), on the one CD. Camden. 1998. ... Read more

Reviews (11)

Hard to put on another record...
It's not like this record needs more recommendation than it has already gotten here, but I'll chime in. Once you start playing this CD, you'll have a hard time stopping. It's dangerous. I just got it a week ago. I miss it when I'm away from it. My wife and I look at each other when we're off doing other things and we chuckle because we're both still grooving on it. Our kids, too. At 2 and 5 they're both into this record as well. Pity me, I never knew of it until just recently. I've just started exploring what I guess you might call the heart of Texas music. I've heard it said that it's a world of its own. They seem to have a special relation with the 'writers.' It's what singer/songwriter is all about. This is my first stop. If you already love Willy and Jerry Jeff, you owe it to yourself to take the next step up and in and check out this particular CD. It's the real thing. It's hard to imagine that Guy Clark isn't as well known as anyone. But if we gradually get a million raves up here... Maybe he's like the finest wines--give em a lot of long, slow years and they eventually end up on top. --JP

Texas Cookin by Guy Clark
I have looked everywhere for this album. I have wanted a good cut of it forever. For anyone looking at it if you have not heard it you have notlived. So grab this one get yourself a glass of wine and unwind; or party down. Your going to fall in love with it. Thank you Guy Clark! It is totally awsome

Where It All Started
Guy Clark is still going strong as a song-writer and performer, but neither he nor anybody else has ever been any better than he is here, with searing, heart-rending songs of loneliness and hurt and exuberantly happy songs about the good times.

There are some great songs here. I think that every small-town boy living in a big city has felt the homesickness that "L.A. Freeway" describes, but none of the rest of us has said it so well, nor has any other world-weary bachelor described his love for his new-found lady as well as Clark does in "Like a Coat From the Cold". "She Ain't Goin' Nowhere" would be the best song ever written about taking charge of your life if Clark hadn't equaled it later with "Better Days". Those are three of the best songs on this CD, but they aren't the only great ones here.

"Old No. 1" is still No. 1
"Old No. 1" is his first and possibly his best. I first heard the heart-tugging, homesick words of "L.A. Freeway" 25 years ago, and it's still as fine today as it was then. Every song on this album is a gem. Not bad for an ol' boy from Monahans, Texas.

A must for any fan
Anybody that enjoy's Guy, or any other great country roots music should really check this one out. Old No.1 and TX Cookin were his two first releases, and to this day, they remain his best. No duds to be found on this 70 plus minutes of pure magic. His influence on other musicians is too important to overlook, and it's too lengthy to cover in a review. If I were to talk about stand-out tracks, you'd reading this for an hour. A super bargain that should not be missed! ... Read more

Amazon.com

Tom Russell returns to the Old West with a renewed vision, as this collection of inspired originals and choice covers attests. The album's centerpiece features Eliza Gilkyson and Joe Ely trading verses with Russell on Bob Dylan's epic "Lily, Rosemary and the Jack of Hearts," while another Dylan tune, the little-heard "Seven Curses," proves a highlight as well. Russell's reading of "El Paso" refreshes the classic by refusing to mimic Marty Robbins's original, while a pair of Russell's spoken-word vignettes provide preamble to "The Ballad of Ira Hayes." While the songbooks of Woody Guthrie and Linda Thompson also inspire evocative interpretations, Russell's own songs hold their own in such distinguished company. He applies his literary sensibility to a Western legacy that extends from bounty hunters to rodeo bull riders, while his "Ballad of Edward Abbey," a tribute to the naturalist, serves as an environmental broadside on how the new West has raped the old. --Don McLeese ... Read more

Reviews (3)

A terriffic album... one of Russell's best.
It ain't just cowboy music here. It's a wide ranging excursion from heartfelt love songs to timeless ballads. Great covers of Dylan and others, such as Peter LaFarge's Ballad of Ira Hayes. Russell is in full voice and Andrew Hardin's guitar playing is superb.

anti-Western art
Tom Russell's new album is to other Western music what the HBO series Deadwood is to other Western movies: pretty much the antithesis. If Larry McMurtry were a folk singer, this is what he might sound like.

Russell's is not a golden-hued West but a dark, treacherous place full of characters whose self-destructive impulses often overwhelm whatever heroic ones they may possess. His daring reimagining of the Marty Robbins classic "El Paso" is a case in point. His version banishes all the romance of the original, focuses on the young cowboy's pain, and causes us to shake our heads at his suicidal stupidity. More, in other words, as the Old West was really like, a frontier as much psychic as geographic, populated in good part by men and women temperamentally unsuited to live amid civilized order.

Not that the romantic West is entirely absent. "Bucking Horse Moon" could easily be an Ian Tyson song, not the first of Russell's compositions of which that can be said (in any event, Russell and Tyson are occasional collaborators). That's okay. Tyson is as good as they come, and a new Tyson song, even if Tyson didn't happen to write it, is always welcome. More surprising is the stunning version of the mysterious Dylan Western "Lily, Rosemary, and the Jack of Hearts," which Russell performs in high theatrical fashion in collaboration with Eliza Gilkyson and Joe Ely. Improbably, Russell translates Linda Thompson's fairytale "No Telling" into a hardbitten Western ballad. There is not a single weak cut here. I could not possibly find anything serious to complain about in a singer smart enough to revive the greatest of all dog folk songs, "Old Blue," and then to do it with such good humor and inventiveness.

The most striking of the originals is "The Ballad of Edward Abbey," about the late author and environmentalist. Its first verse parodies the opening words of the grim 19th-Century "The Buffalo Skinners" before going on to portray, in crisp, perfect language, a complex man who championed the Western landscape against those who see it only through a haze of dollar signs. Russell admires Abbey but does him the favor of not sentimentalizing him.

Russell's actorish singing is occasionally mildly distracting, but no matter. He manages a seamless fusion of modern and traditional sensibility -- philosophical as well as musical -- and in the process creates something that can properly be called real art.

What a Shock--Another Outstanding Tom Russell Album
Wow...Tom does it yet again. Whether as a songwriter or as an interpreter of others' songs (Dylan, Marty Robbins, Linda Thompson, et al), the Incredible Mr. Russell is simply the voice of America. Why are you reading this? BUY THIS ALBUM! NOW! ... Read more

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On a dozen previous albums, Tish Hinojosa has crossed plenty of musical boundaries--from category to language--but an adventurous spirit makes Heart Wide Open sound like a fresh start. The fun begins with the Jamaican ska/reggae lilt of the opening "Never Say Never Love Again" (with Asleep at the Wheel's Ray Benson providing vocal support). The subtle syncopation of "Derechos de el Corazon" has the feel of a soft Brazilian breeze, while "Whatever Happened to Everyone Wanting to Care" sets Hinojosa's social idealism to a buoyant pop melody. The folk balladry of "Blue Eyed Billy" and the country of "Shotgun Ridin'" find her on more familiar territory, with her veteran Austin band--led by guitarist Marvin Dykhuis--providing its typically impeccable support. Conjunto accordion master Flaco Jimenez guests on a couple of cuts, and violinist Javier Chaparro and steel guitarist Cindy Cashdollar also highlight arrangements. Without compromising the purity of her vocals, Hinojosa hits deeper than pretty, her vocals more expressive and subtle than ever. --Don McLeese ... Read more

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As she's gone from the Young Woman Who Could to the Woman Who Has, Ani DiFranco has explored more than her share of musical styles, all the while remaining true to her core. Even during her most extreme departures, you could hear the sound of the early albums coming through. On Little Plastic Castle, an album on which people are credited for adding pontifications, incantations, and an "evil machine" to songs, you could--for the first time--hear an almost completely new artist. Call her Ani, version 3; she couldn't have existed without hearing all of Ani, version 1's albums, and she wouldn't be as funky and experimental without the influence of Ani, version 2. She still has a lot to say--about politics, about relationships, about herself--but the messages aren't thrown in your face here (well, not as often). Instead they're wrapped in funky hooks and lots of production--anything you learn from DiFranco on this album will come from pure repetition, and for the first time, the album is varied enough, catchy enough, and subtle enough that you'll push the repeat button while cleaning the house. --Randy Silver ... Read more

Reviews (101)

really spiffy album -- worth your money!!
Ani is an incredible artist -- her lyrics are astounding, her sound unique -- truly a revolutionary artist in this day and age, especially when people succumb to the capitalistic industry and buy hanson, backstreet boys, and the like...Ani is just so unique, and refuses to be labeled and goes with whatever comes creatively in her life, which means it always changes...and I love the fact that she's got the ambition to have her own label.

For Ani fans, [shame on you if you haven't gotten it yet ;) ] this will be a very different experience from her earlier days. The sounds are more "modern" -- more than just her guitar and beautiful voice. For newcomers to her music; this is a great album, but not indicative of most of her earlier music. If you want to hear the folk, get "Puddle Dive" or the first album. All of her albums are amazing in their own ways.

Overall, a great album, although her sounds get a tad repetitive for the --very selective listener.-- I like it a lot -- and I was satisifed paying full price for it. Get it -- you won't be dissapointed -- Ani is truly a gem.

Ani's schtick is getting old
Honestly, who cares about weather or not Ani wears lipsick? Not me! And i sure don't think it's worth writing about in a song. Every time I hear the verse about Ani's image I want to cry. It doesn't come across as therapeutic, or strong, or any of the other qualities Ani is sow well know for. It just comes across as pure narcissism. Muck of this album rins with similar sentiment. It is really time for Ani to grow up.

As for this album being more mainstream? It's no more mainstream sounding than any of ther other albums. More people just happen to know about her, so in that respect it has higher visibilty. But the music will not be confused with the Spice Girls any time soon. This album has a lot more pure misses than most of Ani's albums, which tend to be about 30% great, 50% good, and 20% garbage. This album is about 0% great, 50% good, and 50% crap. These words are pure sacrilege to Ani fans, but as a music fan (as opposed to those who worship Ms. Difranco's boot straps) I really can't recommend this album. If you are new to Ani, and are looking to check her out, "Not a Pretty Girl" is a good place to start. But ideally you should see her in concert before you buy anything. Ani is talented, and that comes across much more live, than on her albums. But quite frankly, I just don't need to know quite so much about how she is dealing with fame. And i suspect that there about about 8 people that identify with her on this album, where 80% have on previous albums. This is an album all about her fame. And the musical end isn't so great either. Stay away

Different and Not to be missed
This was Ani DiFranco's first really synthesized, fancily-produced album. And it's a whole different world from the style she was known for before this. Listening to this is definitely like being introduced to a whole new artist. There are more electronics, more experimental song styles, and even her voice has changed a little -- it's a tad raspier.

The lyrics are still just as good -- but don't buy it expecting the old Ani ... you have to love it as something completely new.

And I DID love it!

The songs are made not more watery, but more powerful by the elaborate compositions. The topics capture so many sides of life -- from the pretty to the dark.

One song urges rude people to "just suck up and be nice".

Another song, whose entire atmosphere tells of a desperate hour proclaims, "If you think you know what I'm doing wrong, you're gonna have to get in line."

GRAVEL has a catchy, hardcore beat and really gets across the humor in having an ex that you just seem to keep taking back, no matter what he does.

And it all leads up to the climax -- the final song -- that is more of a hypnotic symphony than a song. It only has a few spoken words -- the rest it says in its swaying rhythm -- but it is absolutely powerful. An expected pinnacle.

The first song or two on the album are just warm-ups. Skip past them to really delve into the riches of this outstanding record.

This album is not to be missed by anyone who likes true-to-the-heart, poignant, powerful experimental music.

A solid album from Ani...
To me this is a solid album from Ani... It's also my first one that I've bought/owned by Ani - got lucky and picked it up in a 2nd hand store (thought it's definitely worth full price)...
Musicwise, 'Two Little Girls' and 'Swan Dive' is my two favorite tracks, though I like them all at varying degrees of enjoyment... As well as I like that it doesn't sound exactly the same from... So after listening to this one, I'm looking forward to one day picking up "Not A Pretty Girl"... Plus, I'm very impressed that Ani performed at the "Women March for Choice" on March 20, 2004... - Savannah Skye...

This one never pulled me in...
I own Not A Pretty Girl, Dilate, and this album by Ani Difranco. While I thouroughly enjoy the first two--Little Plastic Castle never pulled me in at all really. I've given it numerous listens and still I don't think it remotely compares to the other two albums I own by her. The only song that sticks out to me is "Gravel" and even that song I am having trouble recollecting exactly in my mind. I suggest the other two if you are a starting Ani fan. I must admit I'm surprised by the overwhelming popularity of this one. ... Read more

Amazon.com essential recording

At its core, Harry Nilsson's work was tuneful singer-songwriter fare, but the orchestrated arrangements and Nilsson's distinctive voice hinted at something more complex. A talent of many contradictions, his songs are alternately quaint ("Good Old Desk") and disturbing ("1941"), melodramatic ("Without You") and downright silly ("Coconut"). All Time Greatest Hits is exactly that, featuring those songs plus the Midnight Cowboy theme, "Everybody's Talkin'," the original version of "One" (later a hit for Three Dog Night), a couple of Nilsson's terrific interpretations of Randy Newman songs--"Cowboy" and "Caroline"--and much more. Largely forgotten these days, Nilsson is an artist whose oeuvre could do with some reassessment. This is as good as any place to start. --Daniel Durchholz ... Read more

Reviews (16)

Beautiful voice, seriously underrated artist
I have all of Harry's albums in vinyl and then re-purchased them in the CD format, but this is the best, most eclectic and definitive sampling of his musical catalog. Nilsson was fabulous and is so under-appreciated today, though I can't figure out why. His voice is timeless and his songs are treasures. I loved him as a child in the 70's and grew up on his dulcet-toned voice filtering through the house. I figured anyone that hung out with Ringo and John Lennon had to be the apex of cool, and he certainly was that.

This album encompases his greatest hits as well as some of his lesser known ballads. Not only could Harry write beautiful songs, he sang some awesome cover versions, such as "As Time Goes By," which would give even Dooley Wilson a run for his money. A stellar, poignant performance.

I think the most lovely track here is "Remember," which had a brief revival when it was included in the trivial Tom Hanks movie, "You've Got Mail." This introduced Nilsson to a generation who was robbed of his talent through his premature and untimely death. This is a good collection of his work. I can't imagine anyone with good taste not appreciating this man's body of work. Beautiful stuff.

The best Nilsson Collection
There are currently three Nilsson Greatest Hits packages and this is by far the best selection of songs, with no conspicuous omissions. Nilsson was fabulous and so under-appreciated today. I loved him as a child in the 70's and grew up on his dulcet-toned voice filtering through the house. I figured anyone that hung out with Ringo and John Lennon had to be the apex of cool, and he certainly was that. This album encompases his greatest hits as well as some of his lesser known ballads. Not only could Harry write beautiful songs, he sang some awesome cover versions, such as "Over the Rainbow," which would give even Judy Garland a run for her money.

I think the most lovely track here is "Remember," which had a brief revival when it was included in the trivial Tom Hanks movie, "You've Got Mail." This introduced Nilsson to a generation who was robbed of his talent through his premature and untimely death. This is a good collection of his work. I can't imagine anyone with good taste not appreciating this man's body of work. Beautiful stuff.

An amazing, if scattered talent
This collection gives any listener an appreciation of Nilsson's phenomenal range. From the quaint "Good Old Desk" to the outrageous cover of Randy Newman's "Cowboy" popular music has rarely seen such an extraordinary talent. But as you listen to each one of the songs you start to realize that while Nilsson's talent cannot be denied; it also lacks focus. Different styles abound to the point of distraction, from the dark lyrics and hurdy-gurdy music of "1941" to the sheer foolishness of "Coconut" it's very tough to get a handle on who Nilsson is. Maybe that was his intention, but I find there is a distance between Nilsson and the listener that a more comprehensive collection may have broached. I would have liked to see more of Nilsson's THE POINT represented and perhaps some of his work with John Lennon or anything after 1973. Even better liner notes would have made this collection stronger, but it still is a decent collection of Nilsson's most popular recordings; if not the definitive collection this artist deserves.

"Without You" - So that was the name of the song!
I have only spent 30 years searching for the singer who took the Badfinger song, "Without You", to number 1 in 1972 (I thought the title was "I Can't Live, If Living Is Without You". In any event, Harry Nilsson was the best singer most people probably never heard of. Another fabulous song on this CD is "Nobody Cares About The Railroads Anymore" Wonderful. The songs that we all know about: "Everybody's Talking", "One", "Coconut", "Me And My Arrow" and "As Time Goes By" are here and Mr. Nilsson's rich voice should really be known and appreciated by all. Buy this CD if you love great music.

Nillson - almost great
Nillson's life is a tragic story of waste as he was an exceptionally talented singer and songwriter who fell because of alcoholism. His early death was a shock to many and a dsiappointment to those of us who saw his songwriting excellence. Blessed with a sweet crooner's voice, he could wail "Everybody's talking" so superbly and achingly that the song just begs you to sing to it on any long lonely car/truck ride. It is male crooning at its best.
His beautiful "I guess the Lord must be in N. Y. City" shows this same skill. His sweet and quaint side in "My old desk" and "Me and my arrow" show a sensitive artist. After teaming up with producer Richard Perry, he had a number of hits. So what happened? Drink. John Lennon's "Lost year' was spent drinking brandy alexanders with Nillson who had ceased being a creative force. Sigh. Such loss. His songs live on, though. ... Read more

Amazon.com

Different Stripe, a welcome best-of collection from Wheeler, offers 19 tracks that span the entirety of her 16-year recording career, including two songs from her 1986 eponymous debut released on the small folk label North Star Records. Wheeler is considered by many to be one of the finest songwriters of the "New Folk" era that developed in the 1980s, and, listening to Different Stripe, it's easy to hear why. She writes haunting and beautiful ballads that, when matched to her smoky, smooth vocals, are deeply affecting. Fans should note that there are two new tracks, "Walk Around Downtown" and "Gandhi/Buddha," among the "hits" here, which include "Addicted," a No. 1 country hit for Dan Seals, and "Aces," a country Top 10 for Suzy Bogguss. --Jim Caligiuri ... Read more

Reviews (9)

this is well worth it!
This is a fantastic CD. I immediatly had a few favorites but I still continue to find songs that are equally wonderful. Cheryl Wheeler does not disappoint!

A Must Have!
Thirty-some years after my first introduction to Cheryl's music, a clip of Cheryl on a TV segment got my attention and I knew I had to hear more. (I last heard Cheryl sing locally when we both were barely in our teens.) I'm now kicking myself for all the years of listening pleasure I've been missing out on. Once in a blue moon does the recording come along that I find myself playing over and over and over again yet never tiring of, and this is that rare recording. Cheryl's voice is strong, steady and sweet, her music is thoughtful, compelling, and easy to identify with. Different Stripe is the kind of music you can listen to anytime, anywhere, and simply feel good about. My hat's off to you Cheryl, for a stunning accomplishment and this recording is a shining star. Thank you for giving us this gem of an album!

great compilation
If you've never heard her, this is a great intro.

This is Your New Favorite Singer/Songwriter
Cheryl Wheeler's music seems to be passed along from friend to friend, from year to year. Even non-folk friends always want to hear Cheryl. This collection of her "best" couldn't contain all the worthy songs, but it's a good start and a wonderful way to meet her music. (Only a live performance would be better; never, ever to be missed!) Songs like "Aces" (realities of life), "75 Septembers" (loving attempt to understand the passing of time), and "Arrow" (well... it's just great) alone should be enough to encourage new listeners to want her all-too-few other CDs, especially "Driving Home" and "Circles & Arrows." The two new tracks are a tease to those of waiting for a new CD. And don't forget about making that CD with all the best of her quirky, hysterical, so-insightful songs! Do yourself a favor and add this singer/songwriter to your music collection and live music plans.

I LOVE CHERYL WHEELER, BUT . . .
in my opinion, this is not a collection of her best songs. This CD contains the songs that could have become pop hits. Too many of the songs contain love-gone-bad lyrics. This collection also fails to showcase Wheeler's witty lyrics and sometimes off-beat melodies.

I have all of Wheeler's available albums. I would recommend the CD entitled "Driving Home" to people unfamilar with Wheeler. If you are a die-hard fan like me, however, you need to get this CD for the previously unreleased songs. ... Read more

Reviews (10)

Dylan's sleeper
Dylan's work has been reviewed so many times that several volumes could not chronicle the things said by, about, for and against this legendary artist. For me, "Desire" has always been the quintessential Dylan album (and yes, though they are all on CD now I will always refer to a Dylan release as an ALBUM, thank you...). It is accessible, dynamic, surprising, powerful, evocative and rather fragmented - in short, brilliant and yet human. It is more "commercialized" than most Dylan music, but tracks like "Black Diamond Bay", "One More Cup of Coffee" and ""Oh Sister" are always going to be great to listen to. For me though, the real nuggets on "Desire" are the songs that never made it to the radio - "Joey", "Sara" and "Romance in Durango". What really sets this CD apart for me is something that only occured on this Dylan album - Emmylou Harris' amazing background vocals. It gives this otherwise good, but somewhat predictable, album wings.

The remastering is good, though of course I remember it with scratchy, crackly LP noise...

Bob, Emmylou, and Scarlet Rivera, too
If I had to choose only one of Bob Dylan's albums for the proverbial desert island adventure, it might just be 1976's "Desire." I'm still a little baffled by "Joey," the song our bard co-wrote in inexplicable praise of mobster Joey Gallo, but I'm also deeply moved by it. Scarlet Rivera's mournful violin and Emmylou Harris' beautiful falsetto duetting with Dylan makes it my favorite track even though I tend to side with the late Lester Bangs' famous essay ("Dylan's dalliance with mafia chic") in which he offered a line by line refutation of every admirable claim Dylan makes on Gallo's behalf.

Elsewhere, "Isis" contains some of the cleverest lyrics Dylan has written, and the often unheralded "Black Diamond Bay" is its equal. Then there's the the hauntingly beautiful "Oh, Sister" and Dylan's unabashed tribute to his ex-wife, "Sara." And I love "Mozambique," which deserved to be a hit single in that year when "Silly Love Songs" by Wings was a number one smash. What's the matter with people? Are they deaf?

Apparently some of them are. I've often read about how "Desire" fails to make the grade because of its lousy production. I admit I'm no audiophile, but it always sounded like one of Dylan's most polished efforts, and it sounds even better now. Sony has done an outstanding job with the remastering, but while they were at it, I wish they had added "Abandoned Love," one of Dylan's most infectious love songs, recorded for this album but shelved (ironically in favor of the aforementioned "Joey") until the release of "Biograph" nine years later.

This is a classic
I don't understand how people can give this 3 and 4 stars. It's obvious that every track here is memorable--great songs and moments etched in time just like Dylan's 65' & 66' recordings. Some people don't understand that Dylan's band sound--as opposed to his solo sound--is not defined by "tight production". Rather than arrangements and and rehearsal, he goes for an overall wash of sound--very distinctive yet abstract enough for it to act as a 'backdrop' if you will, a stage where he can let the content of his lyrics unfold. What happens on this album--with the violin, bass, drums, and Emmylou Harris--is quite magical. It both is and is not technically refined. There's very refined and intimate communication going on here between the musicians--but it never enters the realm of "production," thank God. Instead, great moments of expression are captured. However, I would say that, even in terms of pure vocal technique, "One more cup of Coffee" is perhpaps Dylan's most virtuous, passionate performance. You can feel the chemistry boiling between him and Emmylou on this and many of these tracks.
I'll never forget where I was when I first heard this ablbum. As good as "Blood on the tracks?" YOU BET!!

BOOTLEG SERIES VOL. 5: LIVE 1975 is a lot better
I can't tell you how disappointed I am with the performances here. I tried living with this for awhile, but most of it sounds too lethargic and too ragged. Every track sounds like a run-through or rehearsal, with one exception: the first track, "Hurricane." Not surprisingly, it was actually re-recorded at the last minute. The earlier recording of "Hurricane" circulates in bootlegs and some say it's better, but to me, the one here is so much better. It's tighter, faster, and rocks harder (it's actually an edit of two takes, and it even speeds up a bit at the edit, but when you get carried away by the song, you don't mind). The earlier recording feels like it's plagued by the same lethargy and raggedness as the other tracks on this album.

As for those other tracks, listen to the live versions on either the three-CD BIOGRAPH set or the two-CD BOOTLEG SERIES VOL. 5: LIVE 1975, whichever you can find or borrow. Live, these songs smoke. The Rolling Thunder Revue rocks and propels forward in tight precision, and the wild mix of sounds really gels together live. It never does on DESIRE, and it may be because Dylan was using an ensemble this large for the first time in his career. His producer wasn't sure how to use them in the studio (hence the funny producing credit), and it's not until after the sessions during the fall 1975 tour (captured on those other CD's I mentioned) that they really nail these songs. Dylan's singing is also a lot better live, burning with a passion that is absent on DESIRE. Listen to "Oh Sister" on LIVE 1975: it's much more tender. Listen to "Isis" on BIOGRAPH: it rocks with a vengeance (the version on LIVE 1975 isn't as good, but still better than the one on DESIRE). "Sara" was never a favorite on mine, but to hear it on LIVE 1975, it's almost stirring. It's almost a cliché for someone to say the music is better live than on record, but this is one case where it's absolutely true.

I should add that two songs from DESIRE will not be found on those other CD's: "Black Diamond Bay" and "Joey." The former is a little obscure but is still fairly enjoyable, but the latter is terrible. Some may be offended that Dylan would romanticize Joey Gallo in song, but the track in general is very poor. One wishes he dropped it in favor of "Catfish": a pretty good track about Catfish Hunter, it can be found on the three-CD BOOTLEG SERIES VOL. 1-3. One reviewer said "Abandoned Love" would've been, too, and I agree.

I do listen to this DESIRE for it's performance of "Hurricane," but you can get that in other places, including the GREATEST HITS VOL. 3 CD. The hybrid SACD reissue sounds better, especially the SACD layer, but not enough to recommend DESIRE over BOOTLEG SERIES VOL. 5: LIVE 1975.

My favorite '70s Dylan album
I would have given this disc five stars if not for "Joey." This may be his worst song ever. The rest of this disc is incredible, I love the harmonies with Emmylou Harris, and the violin makes these songs so beautiful. I also can't understand why "Mozambique" wasn't a pop hit. This is a must own cd, not my favorite by Dylan, but worthy of four stars. ... Read more

Reviews (41)

Grammy Winning Masterpiece
Those who said this was a bad album, and I think there were only 2, are way off. Everyone should own it. I was first familiar with Janis because I bought "Stars". I saw her on the "Mike Douglas Show". I remembered "Society's Child", but didn't know who did it, and I did not buy this album because of "At Seventeen". I bought it because I loved "Jesse" and it came out right after her "Stars" album was finally released in the U.S. The best songs are "Bright Lights & Promises", "Tea & Sympathy" (gorgeous string arrangement) and "In the Winter", which was the best Live performance I've ever seen. Although this isn't even my favorite of her albums, (I have a huge collection of everything she's ever done), I still say it's her masterpiece and she deserved all the awards it ran off with!

Songs of strength and hope
I found this album when I was 27 and had just separated from the first man I ever loved and had been with for 8 years. It's true, the songs are mostly melancholy, but somehow they comfort and give you strength. I've never been able to say why the lyrics affect me that way, as most of her lyrics in subsequent albums do as well; she must be an angel. I played this album over & over and over, then the tape, now the CD. It is one of the few that I still enjoy and find new things in every time I play it. The lady is a genius, literally and musically.

At Seventeen
I love the song "At Seventeen" but I would really love the words to it. I would like to inspire some co-workers with a presentation and the words with it. PLEASE PLEASE send me the words ASAP....THANK YOU!!!!!!

JANIS ALWAYS DELIVERS
I have worn out an LP and cassette tape of BETWEEN THE LINES. Every song is a jewel -- to be held up to the light and viewed from all angles. It affects me (now) as much as the first time.

Between the shadows and the light
When "At Seventeen" first hit the top 10 it was played until everyone knew the words by heart. What no one realized was that Janis was inspired by her own life, dealing with the unspeakable...and she found a voice, her voice, to share emotions that none of us could even begin to put down on paper let alone sing. I admire her now, thirty years later, still knowing "At Seventeen" by heart, reading her life story through her music. From Janis's song book from her web site, one can read the words that are raw, sometimes extremely painful and morose but she shared and in doing so helped not only us, but herself. She found her way to healing the hurts of her past, made amends with her mother and hopefully has found her place in the sun. A neighbor of mine said once, "I don't know what to do with the emotion"...and I can relate. Janis knew what to do with the emotion, she wrote songs, and she shared them with all of us. This entire album/CD is bittersweet and thought provoking, to be listened to in the quiet of your day. ... Read more

Amazon.com

Harry Nilsson wrote hits for other people (including the Monkees, Three Dog Night, and the Modern Folk Quartet) yet had his biggest hits with covers of other folks' material (Fred Neil's "Everybody's Talkin'," Badfinger's "Without You"). So it makes a perverse kind of sense that his most enduringly popular album is a collection of pre-World War II standards. With Sinatra arranger Gordon Jenkins on hand for traffic control, Nilsson wraps his lungs around such time-honored classics as "Makin' Whoopee!," "It Had to be You," and "As Time Goes By." AlthoughAerial Ballet and Nilsson Schmilsson are his finest outings, this album is extremely enjoyable on its own terms.--Dan Epstein ... Read more

Reviews (21)

For Those Who Don't Know Anything About Harry
I,originally bought this album (back when they were LP's)in 1973.
Already knowing Harry's work from previous records, I added this album to my collection. What I found out is, Harry changed directions from what he was known for. I think he set out to do something daring, gutsy for the times he lived in. Rock and Roll
was the dominant music, crooning was for Las Vegas. He took the risk of recording something, that might not have been to popular at that time, and showed any who would take the time to listen his talent, his voice, his range. I feel strongly that Harry achieved his greatest work in this one LP. Today it still has just as much impact as it did thirty years ago. Yes, this album
would go with me to the deserted island if I were to go. If you don't know him, this album is my first recommendation to
learn about Harry Nilsson. He paved the way for Linda Ronstandt
to record with Nelson Riddle. I never want to be where I can't
listen to this record when the mood strikes me. It's one of my all-time favorites. I hope you enjoy it too.

One of the all-time song stylists
This album reintroduced me to the "standards" of songwriting's golden era. Harry was one of my idols from the time I saw him perform with John Lennon in Central Park in the early 70's. I am starting to develop a real anathema for Brian Glasser and his reviews in "E-Map," whatever that is. Generally, the albums he disses, I love. We don't exactly see eye-to-eye, obviously. This album is one of the acoustic joys of all time in my humble opinion. The arrangements are gorgeous, and Harry interprets each song in his own inimitable style. These are not your standard interpretations. Harry was a true iconoclast. "Lazy Moon" and "As Time Goes By" are particularly brilliant reworkings. These tunes will stick with you. I find that I sing them to myself 20 years after first listening to them. And it's not Sinatra's voice that I hear in the inner chamber of my ear - it's Harry's.

A Little Touch of Schmilsson in the Night
I bought this album on vinyl in the late seventies and haven't gotten over it yet! It's beautiful. I must have it on CD now and put it on continuous play.

Just Perfect
This is an absolutely perfect record. Harry's beautiful voice matched with stellar arrangements by Gordon Jenkins and the best songs imaginable. Probably the best "As Time Goes By" there will ever be. "Touch of Schmilsson" has even more meaning for me because I met Harry and had him sign it for me about 20 years ago. He regaled me with stories of himself and Keith Moon carrying on in the 70s (I was wearing a Who shirt, which sparked his memory), then he mistakenly inscribed the record to Keith instead of Ken. An honest mistake and I loved him all the more for it. A classy album from a very classy guy. I miss him.

Cole Porter Redux!
What was it about the Lost Generation? Was it the West Bank in Paris? Was it the parties that went on and on and on? What was it that insprired those old romantic ballads?

"You Made Me Love You," "As Time Goes By," "Making Whoppie."

What is it about those tunes that makes you want to grab a bottle of gin, a string of pearls and dance the night away slowly and tenderly with your lover?

This 1970's release by Harry Neilson is terrific. He's done a masterful job of working the music. He captures the essence of the songwriters as well as the lovers of that generation and of many that have followed.

This cd is well worth owning. ... Read more

Album Description

Long after the one-two punch of Dylan and the Beatles rendered traditional material unhip, folk’s influence continued to assert itself on the airwaves, as folk-schooled artists transported the songs and sounds of the coffeehouse into a new era of musical electricity.

This collection serves as your window to a time when folk music was as much (or more) of a fixture on the pop charts as rock ’n’ roll.

These tracks were all once major hits or became standards in their own right or both and every one is by the original artist.

Some have been forgotten, some were reviled by purists at the time of their release and some can still be heard on oldies stations (or around campfires) to this day. But taken together, they reveal the glorious elasticity of the folk idiom, while refuting the notion that all great folk music must necessarily be politically oriented. If these tracks don’t put a smile on your face, you must have been suckled by a lemon. ... Read more

Reviews (4)

Terrific Collection of Folk-Pop Hits
Only five of these songs were recorded outside the time frame of 1960-1965, and only "Both Sides Now" was written after that time. During this time period, folk music usually fell within one of two groups. There was the political/protest music camp. And then there was the folk/pop group. Nearly all of these songs fall in the latter category. In fact, all but Woody Guthrie's "This Land Is Your Land" and Joan Baez's rendition of the Phil Ochs-penned "There But for Fortune" landed in the Top 40 of the pop charts.

While several of these artists have the pedigree as protest singers (Joan Baez, The Weavers, Woody Guthrie), the focus here is clearly on listener-friendly songs. But even with the compiler's intent to put the focus on folk-lite, it seems a bit of a stretch to include Gale Garnett's "We'll Sing in the Sunshine," and The Wonder Who's version of Dylan's "Don't Think Twice" is almost unlistenable. [Note: The Wonder Who is Franki Valli and the Four Seasons, who took this song to No. 12 in 1965!]

With that said, if you like your folk music sanitized and the rough edges smoothed over, this is a very listenable and enjoyable album. The only glaring omission from this collection is the absence of anything by Peter, Paul and Mary. [It would have made more sense to use THEIR hit version of "Don't Think Twice"!] All things considered, this is a delightful album from start to finish. RECOMMENDED

The happy side of the Sixties Folk Movement
"Folk Hits of the 60s" is strongly skewed towards the lighter side of the movement. Granted, you do have Woody Guthrie and Joan Baez, but they are not exactly signing vehement protest songs and you will not find Bob Dylan or Phil Ochs in these twenty tracks. Instead you will find Harry Belefonte and Bobby Darrin, along with a cover of a Dylan song by Wonder Who? This collection came out in August 2003, after the film "A Mighty Wind" successfully lampooned and honored the happy peppy side of the folk movement, and it is not difficult to see a collection. The faux groups of the (New) Main Street Singers, the Folksmen, and Mitch & Mickey would fit right in with the Serendipity Singers, the Kingston Trio, and...okay, there really are no counterparts to the pretend sweethearts of the folk movement, so that analogy falls apart at that point..

Most of the songs are certainly recognizable, although a few, such as "Day-O," are actually from the 1950s. The main reason for not considering these songs to be "real" folk songs is simply because most of them were commercially successful, from Judy Collins' "Both Sides Now" and "Guantanamera" by Sandpipers to "You Were On My Mind" by We Five and "Walk Right In" by the Rooftop Singers. You also get signature songs by the Kingston Trio ("Tom Dooley"), the New Christy Minstrels ("Green, Green"), and the Weavers ("Goodnight Irene"). You might do a double take at Trini Lopez being the one artist to get two tracks on the album, but that is a minor complaint all things considered. The main thing here is that you have to be appreciative of happy folk music going in, because you there are a lot of feel good songs here, like "We'll Sing in the Sunshine," "The Lion Sleeps Tonight," and several others already mentioned. But if you are not the sort to roll your eyes at such music, this is a very solid collection.

Still in love with the old tunes
Folk Hits of the 60's is a great CD. It consists of 20 of the best songs written in that era. Some of them could be considered 50's music also. All of the artists and songs bring back great memories of the times.

Fantastic survey of sixties folk!
This is the perfect complement to Sony's latest reissues of Dylan's classic albums: a collection of folk tunes, many of which either influenced Dylan--like Woody Guthrie or the Weavers--or were influenced by him--including Judy Collins and the We Five.

Note that this collection shies away from much of the topical and political material of the period, and instead focuses on folk-influenced songs that hit big on the pop charts. There's even a hint of the nascent world-music scene in Harry Belafonte's track, and hits by a number of lesser-known artists that I'm too young to remember. This disc is well programmed and provides an very enjoyable listen. Recommended for anyone who wants a good overview of folk music. ... Read more

Reviews (25)

The greatest Canadian album I have ever heard!
Very rarely has the marriage of Cohen's lyrics and music been in bonds of such holy matrymony as it is on "Songs of Love and Hate". And even those albums that come close - most notably "Recent Songs (1979)" - can still not match the brilliance of the songs on "SOL+H". This is by far Cohen's greatest album.

I even love the album's ugly cover of a jaggedly cut-out B+W picture of Cohen against a stark black backdrop amidst large bold white lettering - it rightfully gives the impression that what you are about to hear is Leonard Cohen in it's purest form.

The album opens with the chilling "Avalanche"; and then moves onto one of my all-time favourite Cohen songs: an elegantly gorgeous piece called "Last Year's Man".

The album then drastically shifts gears with an angry, brilliant, statrtlingly unflinching look at the mind-set of a man contemplating his own death in "Dress Rehearsal Rag". The next song is a curious and ultimately funny song called "Diamonds in the Mine" which states that everything has gone to hell, including Cohen's voice which he sings deliberately loud and off-key.

And then comes another quiet, excellent song called "Love Calls You By Name". Then, on track six, comes Cohen's mastepiece: a song about a man writing, what is more or less a love letter to the man who had an affair with his woman in "Famous Blue Raincoat".

The album is then capped off by a great song performed live called "Let's Sing Another Song, Boys" and finally, the classic Cohen tune, "Joan of Arc".

This album is certainly a singular achievement in Cohen's career. And one which he will most-likely never match.

Christ
It would seem that the progression of album purchases of the leonard Cohen fan leads them 'Song of Love and Hate' and stops there - In my case anyway -
A stand-out beyond... - Although, not for its oft mentioned classic 'Avalanche' but I instead believe the trilogy of "Love Calls You By Your Name" - "Famous Blue Raincoat" (exceptional) and the live recording of "Sing Another Song, Boys" - unfortunatly not all here in the Amazon mp3's...
If you are not a fan yet - perhaps start with his first album or maybe 'Recent Songs' a good example of his newer albums, but not yet over-produced like the others that followed - but please include 'Song of Love and Hate' at some stage - please

Death Folk
Without a doubt this is one of Cohen's best records. His most ambitious & perhaps his most depressing. I think he inadvertently created a whole new genre here---Death Folk. Self proclaimed fans range from Kurt Cobain to Nick Cave. So, if you're looking for the flower child nostalgia of of "Suzanne", proceed immediately to the latest greatest hits collection.

"Avalanche" definitely veers on the hate side of things. Lyrically speaking, it's like stumbling across Richard The Third in an abandoned mineshaft. Toss in some stark, flamenco guitar & you get the picture. A dark start to a harrowing album. "Last Year's Man" is a fitting tribute to any old Casanova whose seen his 15 minutes come & go. If that doesn't lift your spirits, how about a nice little ditty about suicide? Don't worry it's just a "Dress Rehearsal Rag". The only thing missing is a knout & a hairshirt. On "Diamonds In The Mine" he sounds like he just gargled with Drano. Dino eat your heart out.If you're feeling angry & disgusted, crank this one up. "Love Calls Your Name" has to be one of Cohen's most epic & underated ballads, while "Famous Blue Raincoat" is perhaps one of his most devastating. Jaded sarcasm comes to a fore on, "Sing Another Song, Boys" & "Joan Of Arc" ends it all on a superaltive note.

Pretentious, cynical & pissed off---this is the sound of Cohen strumming his six-string with an open vein. He's never done anything like it, before or since.

Bittersweet, Brooding & bleak....and utterly brilliant!!!...
Ultimately the title gives you a fair idea of what to expect from this title...but the delivery will certainly take you by surprise, as anyone that can sing about Santa Clause, Orgies, Blue raincoats, Betrayal..in a deceptively angst-ridden way, that at first seems like an apparently sparse & Gentle song of Love, emotion and poignant melodies, and then gradually digresses into a bitter, gloomy, brooding tale of hate, distrust, melancholy & contempt...with an unobtrusive string arrangement lending weight to Cohen's nihilistic rhetoric, that on several occasions, fools the listener into believing that somebody may have Changed the Cd, is fantastically realised, in the same way "Lou Reed" can take relatively simple subject matter, and inject it with venom & Bile, in a way few other artists can perform so charismatically.

Ageless Music
Like all Cohen's early albums, Songs Of Love & Hate has grown in stature down the decades. Famous Blue Raincoat was beautifully covered by Jennifer Warnes on her album of the same name which also contains a duet with Cohen on a longer version of Joan Of Arc. Sing Another Song Boys is Cohen at his bitter best, its harsh chorus atypical of the image of the subdued folkie but pointing to later songs like Lover Lover Lover on 1974's New Skin For The Old Ceremony. Diamonds In The Mine is in the same vein, where the celestial female vocals are particularly effective in balancing Cohen's raw voice on this tale of stunning imagery. (In retrospect, in tone and delivery these two songs are not too far removed from tracks like Iodine or Paper-Thin Hotel on his much-criticized Phil Spector produced album Death Of A Ladies Man). Besides those to, the other track are typical early Cohen. With astonishing elegance and simplicity, the haunting melodies, poetic lyrics and ragged voice have a way of establishing themselves in the consciousness of the listener. Few other artists touch the strings of the soul in the way that Cohen does. Perhaps Richard Thompson comes close now and again, as do Nick Drake, Lou Reed on Berlin, Nick Cave and definitely Swans and Angels Of Light. "Love and Hate" is another jewel in Cohen's crown of ageless music. ... Read more

Amazon.com

In this song cycle inspired by the year he was born, the wispy-voiced Rouse conjures (or imagines) the era's essential groovy vibe, from the title track's homage to Carole King's "It's Too Late" to the Brady Bunch bounce of "Love Vibration" to the flutes, falsetto, and jazzy guitar licks of so many of the retro arrangements. Yet Rouse's spin on the era transcends simple nostalgia, as the lyrics aren't always as buoyant as the sunny musical interplay, with "1972," the psychedelic soul of "James," and the piano-driven "Slaveship" all suggesting a darker tinge within this world of lollipops and rainbows. The bass pulse of "Comeback (Light Therapy)" has a hypnotic effect beyond the time warp, although a come-on line such as "it's the end of the night and I'm feelin' sexual" (from "Under Your Charms") would have sounded as lame in 1972 as it does three decades later. Apparently, those barely old enough to remember the '70s are doomed to repeat them. --Don McLeese ... Read more

Reviews (31)

1972, only better..
Remember Nixon? 1972 was a terrible year. Social unrest, protests, strikes, prison-uprisings, Nixon elected again, and soon to be impeached and unemployed... Musically, however, the year faired well, so why not title an album as such? I'll bet Josh Rouse was born on that year somewhere in Nebraska- not far from a missle silo or unemployment line. 2004 is much like 1972 reincarnated. A divided nation, a corrupt President, other nations pissed at us... Pop in Josh Rouse- forget the mess.

One would expect a set of sober songs, but Rouse works some mojo into the set of finely produced tracks. "Come Back" offers the longing for light and seratonin by a suffering SADD-ist. "Love Vibration" shines a brassy horn section, a catchy chorus and enough pop hooks to light up a mood ring. The video does a karaoke take and early MTV video production that showcases Rouse's "shoulder waggle" and a spiffy baby-blue leisure suit. A real gas, baby.

So, if you left your Marvin Gaye or Al Green at home, and the girl next to you is feeling warmer by the minute, pop in the Josh Rouse and forget how much 2004 can feel like 1972. Musically, that is.

David Cassidy meets Al Stewart!
If the 21st century has brought us anything refreshing it is the slew of good, strong music that has been hitting the CD stores (unfortunately not radio, since radio continues to play drivel on adult contemporary stations )in the past two and a half years. If you know where to find it, there is a lot of good music out there (magazines such as UNCUT, PASTE and NEW MUSIC MONTHLY are great sources) and 1972 is a brilliant example.

Somehow managing to channel great musicians such as Paul Simon, Al Stewart and Jackson Browne and yet still keep his own voice, Josh Rouse delivers a pop album with smarts, sensibility and style. If you didn't know better, you'd swear this was an album straight from the good side of the 70s (and in the case of "Love Vibration" early 80s.) There is not a clunker on this album and you may be tempted to hit "repeat" on your CD player. Here are just a few of the charmers:

"1972": a tribute to Carole King and a mellow, deceptively simple song which stays in your heart for a good while...

"Love Vibration": a catchy pop tune that makes use of the wurlitzer, flute and the most basic of lyrics and yet says a lot...you cannot get this song out of your head or feet! (In a way this reminds me of the lushness of the Carpenters minus Richard Carpenter's occasional overkill production).

"Sunshine": This is NOT Brady Bunch material despite what one music reviewer wrote recently. It's a nice percussion piece with an Al Stewart edge to it.

"James": Sad lyrics and beautiful music. I haven't listened to this one enough to catch the deeper appeal but it definitely stays with you.

"Come Back" and "Under Your Charms" are both sensual, rhythmic pieces with a Doobie Brothers approach in a Paul Simon voice (though Josh Rouse's voice is more mellow and lush like Karen Carpenter's to a certain degree).

"Sparrows Over Birmingham" and "Flight Attendant" are soulful, yearning songs that evoke the 60s.

I wish I could find the words to do this album justice. The best thing I can say is : listen. This is the kind of album you put on the stereo and never want to take off.

I grew up with this album
I swear this is what was playing on the AM radio in my mom's Malibu station wagon. I still remember those sweet harmonies, the soft groove, the goofy lyrics. Perhaps I'm dating myself, but I'm glad someone finally released a collection of my favorite songs from this bygone era....

Thank god for Josh Rouse
By far one of the best albums I've ever heard.

Best Album since Aimee Mann
I was introduced to Josh Rouse, 1972 last October, 2003 while visiting a friend in Stockholm, Sweden. It was the best thing I have heard in a long time. It CD has not left my player since. The songs are extremely well produced and his voice is very accommodating. DO BUY THIS RECORD!! ... Read more

Amazon.com

Dave Carter and Tracy Grammer take a convincing step forward on their third release, which at various times echoes the music of Robin and Linda Williams and a twangy version of Richard and Linda Thompson. Although gifted on banjo, guitar, fiddle, organ, and mandolin, the duo has placed a premium on the songwriting, with considerable payoff. "Tillman Co." details the ordinary terrors of rural working-class life, "Gentle Arms of Eden" evokes a mystical gospel vision, and "Ordinary Town" offers one of the best opening lines heard this year--"Common cool, he was a proud young fool in a kick-ass Wal-Mart tie"--and then somehow sums up the mysteries of small-town life. Now and again, the philosophical trappings can feel rather starched and pretentious, abetted in part by Carter's penchant for faux-Shakespearean syntax and imagery--"Hail the wayward werewolf howlin' / Haints and shades and goblins growlin'" is one such clumsy exertion--but the overriding musical and lyrical eloquence makes Drum Hat Buddha one of the more original Americana releases of the year. --Roy Kasten ... Read more

Reviews (21)

THIS is what folk music is all about!
Over the last several months, five folk music fans, as well as Amazon and CDNow's Best of 2001 lists, have told me that this is one of best albums of this year. Finally, I decided to listen. And upon finishing my first listen of this album, I only had one question for myself: "What the heck took you so long?"

I'm going to put this plain and simple: BUY THIS CD. There is not a track to be skipped on this album, and even if one doesn't find all the songs pleasing the first time, eventually he will. DRUM HAT BUDDHA represents everything that all music should be--Dave's music and lyrics and the harmonious combination of the two's voices make this an album not to be missed. From the phenomenal opening track "Ordinary Town" to the uplifting "236-6132," to the hypnotizing "Love, the Magician," each song possesses a unique charm and pleasing quality all its own. This CD is a true musical journey--you will be enthralled by the haunting "Tillman County," moved by the gorgeous "Gentle Arms of Eden," and if you don't at least tap your toes during "Highway 80 (she's a mighty good road)," you might want to check your pulse because you might be dead. Every song on this album is an absolute gem.

However, the most important thing to keep in mind about this album is that one must not be mislead by the folk genre--this album is so unbelievable that anyone who doesn't find at least one thing they like about it, regardless of what kind of music they like, needs to have his head examined. DRUM HAT BUDDHA is surely one of the best of 2001 and is not to be missed!

Bound for glory
There is something special about Dave Carter & Tracy Grammer. It's evident in songs like "Gentle Arms of Eden," which may be the best love song about evolution ever written, and "Highway 80 (she's a mighty good road)," a high-energy truck-drivin' singalong. You can hear it in "The Disappearing Man," with its haunting, echoey refrain, and in "236-6132," which you will be singing for days. Dave Carter's songs sound like Lyle Lovett channeling Joseph Campbell, or like a more pagan Richard Shindell; and what would the songs be without Tracy Grammer's soaring violin and sly vocals? This is beautiful music, people, and silly too. Dave & Tracy don't take themselves too seriously. It's folk music, yeah, and it's cosmic American postmodern mythic cowboy country music. This is something special, and I count myself lucky to have come across it.

New to Carter and Grammer?
I make it easy for you: listen to the MP3 "Ordinary Town". Most people are hooked right there but if you need more check out their web site. Some of the best song writting since Dylan picked up a pen, played with passion and soul by two great artist. It's the best mix of country, folk, and a little bluegrass. Each of their CDs is brilliant.

Dave Carter passed away in July of 2002 just shy of 50, the victim of a heart attack. I know that one day he will be remembered as one of the great musicians of our time. Yeah, he's that good. Tracy Grammer is making certain the music lives on, but if you want to hear what the two of them could do... well this is about as good a place to start as any.

You'll buy the rest of the CDs soon enough.

Wonderful - Take a chance on this CD
What can I say, from hearing Crocodile Man a few times on a 'sampler disk', I was so impressed that I bought this CD and also Tanglewood Tree (which has the Crocodile recording).

These songs are full of soul and you cannot miss the virtousity of the musicians - the strings ache and bring tears to your eyes in places. If there was a single theme here it would be that all of the songs tell stories - some of them contain familiar legends, others are a new viewpoint on the familiar or rather humourous/sad observations of modern rural life.

I highly recommend this and Tanglewood Tree. If you are looking for traditional folk or country, look elsewhere - this has an entirely different feeling though it shares from those forms. The songs are original and fresh even though many speak of times long past.

As Good As It Gets
Pure Magic - That's the only way to describe the way Dave Carter's lyrics circle and entwine, mystify and delight, dance and mourn while his partner, Tracy Grammer, navigates through furious fiddling and then sings in the most simple, sweet, honey tones. Each of Dave and Tracy's three albums was a progressive improvement upon the one before, as their experience and resources expanded. Drum Hat Buddha is a rich, intricate expression and resonates long after the last song ends. The songs and arrangements are too varied and complex to be called merely "folk" or "roots". The world lost a beautiful and unparalleled songwriter when Dave Carter passed this year, but we must be thankful that he left us this music before he went. None of their albums (see also "When I Go", "Tanglewood Tree") should be missed, but you can't miss if you buy only this album. Notable tracks (if you really have to choose a few): Ordinary Town, Tillman County, Disappearing Man, I Go Like the Raven, Gentle Soldier of My Soul...oh, heck--they're all really, really good. Just buy it. You'll like it. ... Read more

Reviews (15)

Lightfoot At His Best
Gordon Lightfoot came to my attention back when I was in Jr. High. I first heard him on old San Diego adult contemporary station KDEO and have been a fan ever since. He played in San Diego while Don Quixote was current and seeing him live then gave me an unshakable attachment to the album. Lightfoot has rarely received the commercial acclaim he deserves although the romantic "Beautiful" was a minor hit. While a very good song, it is not the best on Don Quixote. There is something for everyone here: Lightfoot the romantic, Lightfoot the storyteller, Lightfoot in tune with the outdoors, and Lightfoot man of peace. All songs are well-written and well-arranged and performed in vintage Lightfoot fashion. My favorite cuts are "Looking at the Rain", "Ordinary Man", "Big Blue", and "Second Cup of Coffee". The album is so good, you can see that Lightfoot was inspired. He has given us much through the years, but Don Quixote ranks as one of his best.

Gordon Lightfoot's Perfect Album!
I have always been a fan of Canadian Gordon Lightfoot's music. From the first time eI heard Peter, Paul and Mary's wonderful covers of Lightfoot songs like "Early Morning Rain" and "For Loving Me", I knew anyone who could write songs like that was a huge talent. So when I got turned onto his own voice and music I was astonished by just how good he was (and still is). This is a perfect album because, like several of his other releases, each of the dozen songs included is something you smile at as it first comes on because it is a special favorite. So the song cycle here is unforgettable. The first song is "Christian Islands, and friends of mine who sail say Lightfoot must be a sailor because he had caught the essence of the experience here. "Don Quixote" is a special statement much along the lines of other works like "If You Could Read My Mind" etc that is done in a colorful and unique prose style that leaves the listener to interpret what Lightfoot is talking about.

And so on with each of the songs here. My personal favorites are the two mentioned above as well as "Ode To Big Blue" "Second Cup Of Coffee", and "On Susan's Floor", but I really love them all. If one listens to all of the similarly terrific albums Lightfoot put out over a seven or eight-year period one comes up with literally dozens and dozens of wonderful and memorable songs that could fill several double albums. This guy was far more prolific than anyone else producing work in the sixties and seventies. Buy this album, and after listening to it for a week or so you will be back for "Sundown", "Summertime Dream", "Cold On The Shoulder" and "If You Could Read My Mind". They are all great. Enjoy this one of a kind artist and his amazingly consistent flood of terrific and appealing mainstream folk albums.

Top of his Game
I'm like most of the other reviewers in that I think that this is Lightfoot's best album by far!! I have had this LP for over 30 years and have worn it out, so it's time to buy the CD.

Nevertheless, this album does have its weak points. Three songs are mediocre at best. Patriot's Dream is a good antiwar song but the music and the lyrics don't work together. Ode to Big Blue is dull and repetitive, reminiscent of Edmund Fitzgerald. On Susan's Floor is neither lyrically or musically inspiring.

On the other hand, the other 8 tracks are nothing short of outstanding. The best cuts are the title track, Second Cup of Coffee, Alberta Bound, and Beautiful. "Beautiful" is probably the finest love song ever written, with stunning acoustic guitar work.

I just can't get enough of this album. It reminds me of how good I feel when I visit Canada. Very uplifting and entertaining!!

One of Gordon Lightfoot's Finest Efforts, a Superb Album.
I have been listening to and enjoying "Don Quixote" since 1972. All eleven of these songs are gems, and many of them continue to be performed live even now, more than 30 years later! The Gord's Gold set of "best of's" replicate several of these songs, but nowhere do they sound as fresh and good as on this album. It is on my "20 albums to have if stranded on a desert island" list, and has been for years. I highly recommend this wonderful work to any music fan, you won't be disappointed.

A beautiful, highly original piece of work
Being a teenage girl, I guess people wouldn't be expecting me to like this album, let alone have even heard of Gordon Lightfoot.

I first heard this album when I was 13 (I'm 16 now). I was staying at my Dad's house and my uncle put it on, saying that it was a really nice album, and the minute I heard the first song, I had no choice but to instantly agree with him.

Gordon's voice has a warm, rich feel to it, and, combined with his beautiful but simple poetic lyrics, the combination just takes my breath away every time I listen to this album.

1. DON QUIXOTE: More of a story than a song about the legendary Don Quixote and the conflicted people in life. Surprisingly catchy for a folk-song and the guitar is magical. 8.5/10

2. CHRISTIAN ISLAND: A much slower song about spending a summer on an old, faithful boat in the Christian Islands. Very soothing melody. 8/10

3. ALBERTA BOUND: Not one of my favourites as is kind of disrupts the relaxed feel of the album and the guitar doesn't sound as good as the other songs, but still not a bad song. 6.5/10

4. LOOKING AT THE RAIN: One of my all-time favourites. It's more of a poem about the thoughts that go through your head while staring at the rain out of the window. Just a beautiful song. 9/10

5. ORDINARY MAN: A rather strange but still quite nice ballad about a man who claims he's not your typical man and always feels the presence of the lady he loves stalking him. Has a rather haunting underlayer. The guitar riffs complete the song, making it near perfect. 8/10

6. BRAVE MOUNTAINEERS: This would definately have to be my favourite song as the lyrics make me remember my life when I was younger and have an sweet, innocent manner. 10/10

7. ODE TO BIG BLUE: An ode to an ancient whale that the fishermen could never catch. Is actually darker than I make it sound and the guitar riffs have an almost haunting quality. 8.5/10

8. SECOND CUP OF COFFEE: I just LOVE this song to death. Basically, it's about all the problems we think about first thing in the morning, wondering how we can face the day, remembering how we dealt with things and people in the past, and also thinking about all the good and the bad things that life gives us and is still offering us. 10/10

9. BEAUTIFUL: Just a simple ballad for a longed-for one and about how they've been friends for such a long time and how beautiful that person is. 7.5/10

10. ON SUSAN'S FLOOR: A rather sad song, actually, about a woman (Susan) who would take in the homeless at night and allow them to sleep by her fireplace.

Seems to be written from the POV of an alcoholic homeless who stayed there every night, remembers the happiness Susan and her fireplace bought him and many others. He left because he began to fall in love with Susan and often wonders what would've happened if he'd stayed one more night to share his music with Susan and the other derelicts. 10/10

11. THE PATRIOT'S DREAM: This song takes on a different quality to most of the other ones in this album. In fact, not only is it extremely sad, it's also quite dark. It's a song about the Civil War in America and how all the Patriotic Men lost their lives fighting for "The Patriot's Dream" and how it affected those who loved them such as their wives/fiancees, children and parents. 9/10

It's surprising that so few seem to have heard of Gordon except through his song "If you could read my mind" (A sweet, sad song that was later updated into disco-feel song for the movie "54").

It's actually a big disappointment since Gordon has proved in this album that not only does he have a wonderful voice, he also has the rare talent to write beautiful, memorable lyrics that stay in your head long after hearing his songs. If you haven't heard any of his songs yet, I highly recommend you look for this album (Unfortunately, it's hard to find) or his 'Greatest hit's' album "GORD'S GOLD." ... Read more

Amazon.com

Inspired by 1992's 'Til Their Eyes Shine: The Lullaby Album, an all-female collection of sleepy-time songs for children, Daddies Sing Good Night proves that men are no less tender in nurturing their wee ones. Or at least that's true of these men--including Jesse Winchester, Doc Watson, Peter Rowan, and the late Townes Van Zandt--who wrote the songs for their own offspring, and, in their day jobs, rank among the finest practitioners of folk, country, and bluegrass. In guiding their young charges to dreamworld, these fathers visit exotic lands, lonesome prairies, and even the wide heavens on the gossamer wings of horses. Parental listeners will likely detour into the recesses of their own hearts, in exploring the special bond and soothing strength of fatherhood. --Alanna Nash ... Read more

Reviews (11)

Faithfully puts my son to sleep
Though I'm not a country music fan, I enjoy listening to this CD, too. It's very soothing, and the songs are hearfelt with some truly precious lines. "Green-pea toes" comes to mind, along with "today you have the hands of a baby, tomorrow the hands of a lady."

Tender Fathers Sweetly Sing
Such a wonderful collection of loving songs, sung mostly by bluegrass and folk singers inspired by their own children. The words and melodies are both soothing to our baby and also so moving to her parents. Truly our favorite lullaby cd-- I would buy it for any parents who like good, folksy music and who have tender hearts.

Our *favorite* lullaby CD!
This is absolutely our favorite lullaby CD. Adults can enjoy the music as much as children can! We played this CD on the way home from the hospital with our son, and love it as much now that he is 6 months old as we did then. Some of the songs, such as "Little One," bring tears to my eyes, while my husband has a great time singing "My Little Buckaroo," to our son. A fantastic collection of songs!

My all-time favorite
The baby might be tired of this one, but, I can't stop listening to it. A must own for babies and parents who hate banal "baby" music.

I never get tired of this CD!
I love, love, love this CD! I don't care for those typical, sappy lullaby CDs, but this CD is different. It has a wonderfully earthy, bluegrass feel to it. I get teary-eyed every single time I hear "Little One," and songs like "My Little Buckaroo" are so much fun! Mommies and Daddies both will love this CD. ... Read more

Amazon.com

The brooding Bob Dylan of the 1966 live collection in the Dylan bootleg series gave way to an even more hooded character on the second live bootleg album from 1974. Which makes the jump back to a younger Dylan in this set all the more jarring. Here is Dylan as an eager-to-please 23 year old with nothing between him and his worshippers but a guitar, a harmonica, and, for four songs, his lover, Joan Baez. In marked contrast to the acerbic electric Dylan of the mid-'60s and the tight-lipped living legend of the mid-'70s, here is Dylan as entertainer. Joking and bantering with the crowd, Dylan deals up some favorites ("The Times They Are A-Changin'," "Don't Think Twice, It's All Right"), but is already shedding his earnest folkie persona; imagine another artist a mere two years into his career declining to perform a hit on the scale of "Blowin' in the Wind." But Dylan was moving fast. Having completed the last all-acoustic collection of his early years three months before the Philharmonic concert, he would record the half-electric/half-acoustic Bringing It All Back Home three months later. Three of the four acoustic songs from that album are presented here, as are a handful of then-unreleased songs, including "Talkin' John Birch Paranoid Blues," "If You Gotta Go, Go Now" (which was soon given a rock arrangement), and a protest-period remnant, "Who Killed Davey Moore?" Had Concert at the Philharmonic Hall appeared the year it was recorded, it would been seen as a respite for folk fans to catch their collective breath before Dylan reappeared in his rock & roll Rimbaud guise. Heard for the first time decades later, it's simply a testament of his gifts as a showman and songwriter. --Steven Stolder ... Read more

Reviews (38)

Absoultely fantastic! Everyone should listen to this!
Bob Dylan is a truly great poet, blues/folk musician, and also a prophet for our times. This concert took place nearly 40 years ago, yet so many of the messages in the songs are still relevant in 2004. The line in "It's Alright Ma (I'm Only Bleeding)" that goes "even the President of the United States sometimes must have to stand naked!" was already manifested once, when Tricky (...) Nixon had his crookedness exposed for all the world to see. One only hopes that the same will happen to our current Moron in Chief, Gee Dumbya Bush. Also, in "A Hard Rain's Gonna Fall" there are many lines foretelling events to come, such as "I saw guns and sharp swords in the hands of young children" which would seem to foretell the tragedies at Columbine and so on. Dylan sings from the heart and from the soul and tells us things we might not want to hear, but that we ignore at our own risk. He is still out there, recording and playing live shows. Get this CD, and catch him in concert next time he comes near to where you live.

A Young Man at the Crossroads, Enjoying Himself
There's all kinds of Bob Dylan fans; fortunately, there's all kinds of Bob Dylans too. This concert captures the best of the pre-electric Dylan, before he started changing the arrangements and some of the words all around (well, he does change some words here, to the two "Talkin' Blues" adding contemporary references to TVs Hootenanny and some current pop hits, Martha and the Vendellas and Leader of the Pack(!)).

A fine concert it is, and it's the quality of the sound and overall experience that makes this CD special, like you were there. Its also Dylan's chatty, giggling personality that comes through and is most memorable. That's probably even more important than anything new you hear in the music. I mean, you've heard most of this sung more-or-less this way before: it's not like Rolling Thunder or something. He has yet to really re-invent himself even once (he does change the sound of "Don't Think Twice" a little, rising inflections and semi-shouting: a presage of things to come).

The concert was, however, groundbreaking history, and you can sense it: the first public unveiling of "Gates of Eden" and "It's Alright, Ma" (he sounds very proud of them, as he recites their words with care); the first (and maybe only?) public performance of "Spanish Harlem Incident." And, like in a way-back machine, you can feel the audience laughter at their first hearing "If You Gotta Go, Go Now"--they wouldn't react the same way today. And there's old history: he and Joan do "With God on Our Side" (the duet that helped make Bob's reputation--and it's an album highlight, in my view). He'd been leading off with "The Times They Are A-Changin'" for over a year, and it sounds kind of tired, but he concludes the set with the new Bob, in a kind of inspired kiss-off: "It Ain't Me Babe" and "All I Really Want to Do." Surprisingly, older songs like "Davey Moore" and the "Talkin' John Birch" are strong, while the newer "Tambourine Man" seems rather weak.

This is the live album for those who were "shocked" by some of his later experiments, like the Budokan album or even Manchester Hall ("It used to go like that, now it goes like this ... "). Buy it, it's an artifact from a young genius at the crossroads, but I think his most inspired work would be in future. This is Laughing Bob, pleased with himself--not the anguished genius and seeker that he would shortly become (and that, I confess, I probably like best).

Dylan at his most - first Dylan, that's it!
A magnificent proof of why Dylan is a capital part of modern music and culture. A set of his most powerful songs before becoming electric. Sound quality is really excellent. A good way to continue a superb collection of Dylan best, this sixth installment of the bootleg series is as good as any of the previous ones. Plus, the nonsensical, teasing, unusually Dylan comments opening some of the songs offer another wiew of the man. Good record to hear after a war!

Good, not Great
The Bob Dylan Bootleg cd's that cover the Manchester, and Rolling Thunder concerts have been exemplary additions to Mr. Dylan's catalog. The recordings capture Mr. Dylan at two of his many career peaks and are rare documents of incredible concerts. "Bootleg Series 6..." tries for the same affect, and though it is Bob Dylan at another peak it may not be the best concert of the period. A number of years ago I taped a concert at New York's Town Hall from the radio that presented much of the same material, with patter that was a lot more coherent, and a delivery that seemed much more impassioned - and sober. The concert also included an absolutely heart-felt rendition of "Bob Dylan's Dream," which should be in the canon as one of his best songs. Granted, Joan Baez did not share the stage, and her participation may be one reason for Sony's decision to release this concert. Anyway, Mr. Dylan manages to be charming, sloppy, and yes, impassioned in the course of the event, but the first attributes detract from the third, and by now his fans will have heard better renditions of most everything on the cd. I think Sony could have chosen more carefully.

A key snapshot of Dylan before he went electric
THE BOOTLEG SERIES VOL. 6, a bootleg that has been around for decades, is a Halloween show from the Philharmonic Hall in New York City. One of the most important shows in Dylan's early career, this show gave quite an overview at the time from Dylan's ever-growing song book, including new, bizaare songs that would show up within a few months on Dylan's fifth LP, BRINGING IT ALL BACK HOME. While much has been made of the later electric performance of the 1960s, it is here that you can see how good Dylan really was with just a guitar, a harmonica, and the signing girlfriend. Covering such a broad overview, Dylan shows all the budding facets of his art up to this time, from the protest songs (including ones that never made the studio records), the more introspective material, and the radical new direction Dylan was pursuing with the three songs from the unreleased (and unrecorded, for that mater) fifth album, BRINGING IT ALL BACK HOME. He proves him a very masterful solo performer. If you like Joan Baez, you greatly enjoy the four songs she performs. If you don't like Baez, this won't win you over.

This 1964 concert, the first all acoustic performance (barring MTV UNPLUGGED, which also has a band) to enter Bob Dylan's discography, captures Dylan at a peak period as he was making a transitional move into rock and roll. Historically significant, funny, and overall Dylan, this installment of the Bootleg Series show a new side of early Dylan, and as VoodooLord7 points out, quite a contrast from the 1966 Manchester concert. What is so startling about this concert is how Dylan comes across as giddy, young, and, overall, a Minnesota boy just honoured to be playing at such a distinguished venue. When introducing the then unreleased "It's Alright Ma, I'm Only Bleeding," he prefaces the song with the comment that it is very funny. On "I Don't Believe You (She Acts Like We Never Met)," he forgets the first verse, asking the audience if they knew it. The rest of the album shows Dylan in this 'aw, shucks' mode, but he gives the audience a wide variety of songs to chew on, showing them that even though he's giddy and young, he's a songwriter the likes of which they've never seen.

Compare this document to the cynical, aloof Dylan just a few months later. This was before the 1965 Newport show where Dylan brought out the electric band totally broke with the folk scene in general. (Who'd like to see a Bootleg installment of the Newport show???) The general atmosphere totally changed after the Newport show; afterwards Dylan was cynical, confrontational, cutting edge, and 'hip.' He's not angry. He doesn't have anything to prove. Dylan just wants to give a good show, and he wants to have a good time. After this, he played rock and roll, the likes of which had never been heard before, and forever changed popular music as we know it. The music went in directions, especially lyrically, that totally broke with all songwriting and pop traditions. VOL 6 captures Dylan just before this, and that's what makes it so endearing and so historically important. Nowhere on VOL 6 is there an equivalent to that legendary accusation "Judas!" on VOL 4. Dylan's not at war with the folk community who wanted to make him their own personal musical saviour. Instead, he was following his muse and this audience went with it.

What makes BOOTLEG SERIES VOL. 6 so special is it gives us the opportunity to listen to Dylan before he made the permanent transition to rock. We can listen to Dylan play with the audience while giving a first rate performance. Those who were in-tune with Dylan this night, though, would surely know Dylan was moving far and away from the folk movement. Dylan showed an unparalleled depth of writing on ANOTHER SIDE, deep, introspective, and far and away from the protest songwriting that had dominated his second and third album. What really must have blown their minds were the new songs ("Mr. Tambourine Man," "It's Alright Ma," and "Gates of Eden) that Dylan had only previously played a very few times. Filled with wildly surrealistic, symbolist imagery, the words floated into your head and showed Dylan was opening up all sorts of new avenues for music, with a much bigger agenda that just being a protest singer, a la Phil Ochs. Dylan proved himself going deeper and deeper into a surrealistic, unprecedented, and never equaled period of songwriting that would become some of the most important songs in all of rock and roll. For those fortunate enough to be there, this would be one show you couldn't afford to miss. This was history in the making.

In the end, an essential addition to Dylan's canon, and for those interested in following the progression of the twentieth century's most important song writer, a must-have purchase. For those who love his all acoustic sound of the early 1960s, this will rival the studio albums themselves. With stunning production, a crisp, clean sound, and such an important snapshot of Dylan's early career, BOOTLEG SERIES VOL 6 will stay in your CD player for the foreseeable future. Highly recommended for the Dylan afficionado. ... Read more

Amazon.com

David Gray's long, twisty path to success finally reached itsconclusion with WhiteLadder, one of 1999's biggest worldwide hits. It was a popularrebirth of the proverbial folk music troubadour--albeit with atwist of electronica for added spice. That breakthrough has made itpossible for Lost Songs, a collection of tracks Gray recorded inthe three-year period between Ladder and 1996's Sell, Sell, Sell, tosee the light of day. This was a desperate period in Gray's career,having been dropped from a major label for a second time (the firstafter the excellent but largely unnoticed 1994 release, Flesh), and the songshere reflect a resilient yet fading sense of hope. Most of them areshort, stripped-down to their bare acoustic necessities and brimmingwith familiar themes of resignation, or a love just out of reach. "I'mgetting tired of being denied, of things getting in my way, and if I'mquiet, that's 'cause there's nothing left to say," Gray sings on "RedMoon," his raspy-voiced cadence crying out over rough, indelicateguitar chords. Part of what makes Gray's musical voice so interestingis the way these words come out, vowels and consonants all chewed upand spit out, direct and deliberate, yet expressed with a cavaliermatter-of-factness. It makes his work seem personal and individual,even when the sentiments he expresses are unabashedly accessible anduniversal. Of course, making the personal seem universal is the sameapproach folk singers from Van Morrison ondown have used since time began. When it's done this well, however,that's just fine. --Matthew Cooke ... Read more

Reviews (36)

there's much better david gray material to be had elsewhere
the odd thing about david gray is that he's suddenly become immensely popular (and deservedly so) at a point in his career where the music he's producing is if anything slightly inferior to the work he's produced over the past ten or so years. his first two albums 'a century ends' and 'flesh' are filled from start to finish with the kind of brilliance that just about comes up often enough in 'white ladder' to make it a great album. with all that terrific david gray material out there, i just wonder why anyone thought it necessary to release this painfully ordinary collection of disappointing moments. the thing that's always impressed me most about david gray is his ability to consistently be both varied and interesting within a musical genre that can be very samey in the hands of a less imaginative musician. in fact, i was so impressed that i was beginning to think he couldn't put a foot wrong. that every song he wrote was a piece of genius. one listen to 'lost songs', however, and it's clear david gray is as mortal as the rest of us. this collection of songs deemed not good enough for gray's proper albums is exactly that. song after song of a supremely talented musician at his most mediocre. your money is much infinitely better spent on his first two - believe me.

a Must Have for any DG fan
Since I fell in love with White Ladder, I have purchased 4 other David Gray CDs and this one is by far my favorite. It is a must have for all David Gray fans, and a great second CD to buy if you only have White Ladder. But be warned, Lost Songs (and other David Gray CDs) do not have the techno beats of White Ladder, but they still contain David's awesome voice, unforgettable guitar, and deep moving lyrics.

The very best!
I really don't want to say much. Just do yourself a favor and buy this cd! just listen to the first track, "Flame Turns Blue" and you will agree

A great album!
I love this album! The songs are so relaxing and, well, wonderful!

Making It Look Easy
It's no coincidence David Gray achieved notoriety with White Ladder, and not with any of his previous, sparsely arranged releases. Simple genius is much more difficult to recognize than its skillful application to a sound that fits within the latest music trend (though the price of this success is the genius remains largely unrecognized).

The Lost Songs album illustrates Gray's simple genius most clearly: original, honest lyrics, a masterful vocal delivery, and memorable, complementary melodies. What Gray creates here are songs that sound so natural, so effortless, that the genius in them is like the use of light in a painting: essential, yet unintrusive; very often subtle, yet beautifying every detail it falls on. The result is communication that contains a perfect balance of artistic expression and personal candidness, primarily within the exceedingly difficult medium of the pop love song.

To be sensitive and not overly sentimental, self-revealing and not overly self-indulgent, is a very fine line to walk. Gray does so as if it is a casual stroll through a forest. The very fact that he makes it look so easy is why this album will never be widely recognized as a masterpiece. ... Read more