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121. 0304
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122. Rust Never Sleeps
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123. Miles of Aisles
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124. Song To A Seagull
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125. Dreamland
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126. Liege & Lief
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127. Desire (Hybr)
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128. Songs of Love and Hate
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129. Mingus
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130. 1972 (Limited Edition Bonus DVD)
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131. Photographs & Memories
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132. The Concert in Central Park
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133. Bootleg Series 6: Concert at Philharmonic
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134. Rites of Passage [Bonus Tracks]
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135. Up a Lazy River (Reis)
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136. Don Juan's Reckless Daughter
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137. Welcome to the Cruel World
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138. Neil Young
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139. Remasters
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140. James Taylor (Live)

121. 0304
list price: $18.98
our price: $14.99
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Asin: B00008OWZE
Catlog: Music
Sales Rank: 4455
Average Customer Review: 3.43 out of 5 stars
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Amazon.com

Why pick on a girl for taking a chance? After experiencing flagging sales, Jewel has become proactive and given herself a cosmetic and artistic makeover. But 0304 isn't the winsome thrush's first leap into the unknown. Hiring Shakira producer Lester A. Mendez to give her solemn, folksy songs a pop sheen and some dance beats isn't as radical as starring as a Civil War widow in an Ang Lee film. Besides it's a lot more interesting to hear her squeeze her chaste, malleable soprano around an accordion solo in the futuristic namedropping fable "Intuition" or her voice a beat-driven condemnation of the George W. Bush regime on "America" to see her sashaying on the silver screen in those tight bodices and hoop skirts. Although she has changed the very structure and sound of her songs, Jewel's undeniable talent shines through. She still has a way with words and her voice is remains as pure as an Alaskan stream. --Jaan Uhelszki ... Read more

Reviews (637)

5-0 out of 5 stars * * * * This Jewel Shines! * * * *
"The video of Jewel's new single "Intuition" contains a shockingly clever TRL parody in which one teen exclaims, "Jewel's music sounds much better now that she's dancing!" It's a joke, of course, but the Alaskan-raised folkie's music does sound better now that she's Madonna. Reinventing herself with sleek studio effects, plastic dance-rock hooks and pop-art irony is a major move for an icon of the unironic." ....Rollingstone Magazine's Review is right on the money.

You can tell by her first single, "Intuition" that this ain't no folk-guitar jamming Jewel, LOL. If you like it, then get the CD cause more of it is on the album. All the songs have catchy hooks....I promise.

Her song "America" is dead-on, and it's waaay better than Madonna's "American Life". "2 Find U" is unique, it starts slow, but the courus is fast and fun filled....."Hey you! Do not walk away....let's choose love (c'mon, what do ya say?)"

Overall, it's very refreshing from all that "accoustic folk" we're used to. Many classic Jewel fans are complaining, "She's a sell out!" Well, SHE'S NOT. She's just grown as an artist, trying new sounds. Maybe some of her bashing critics should be more open.....and at least "Grow Up" too!! :P

PS I'm not 5 yrs old, I'm 24. (I didn't wanna give my email out to Amazon.com :P)

5-0 out of 5 stars Awesome! What a Jewel!
I'm a kid,and I have to admit,I feel a little insulted by the negative reviewers who degrade Jewel's new album as shallow fluff to appeal to teen-agers. I tend to disagree. I have been a big fan of Jewel's since I first listened to her debut album "Pieces of You." I was immediately captivated by that pure, pristine voice and the deep, poetic lyric-driven songs. I also love the new Jewel (well, the sound, anyway,I'm not too crazy about the look) although she has obviously shed her old image of purity and simplicity. However, I consider her even more versatile because of her impressive transition to pop music. In my opinion, it isn't at all bubble gum pop. It's just more up-beat, with a cool retro dance hall sound. And the lyrics are just as traditional Jewel, with the same deep, thought provoking quality. Yes, maybe this is Jewel's way of reaching out to a more diverse audience. So what? She's definitely not selling herself short. She still stays true to her poetic, meaningful lyrics and that breathtakingly gorgeous voice, only now she has evolved to a more up beat style. True, this may just be a short foray into the pop genre, but she has more than pulled it off! My personal favorite songs on the record are: Stand, Intuition, Leave the Lights On, Haunted, Fragile Heart, Yes U Can, and U + Me = Love, plus all the other songs on the album! Way to go Jewel!

5-0 out of 5 stars Amazing album from Jewel
This is an amazing new album from Jewel. Alot of people have slated it because she's gone too dancy and left her folky roots. Thats totally untrue because for a start the most of the tracks are soft rock rather than dance with folk elements, therefore going just a bit further than the direction her previous album "This Way" went in. 0203 is heartfelt and look out for the slower songs such as 2 Become 1 and Becoming. They will take you away. Sweet Temptation is faster yet equally mesmerising with great lyrics. The album is very feel good, just listen to Run 2 You and Doin' Fine, and has alot of variety. There's the political America and Haunted which as an Evanesence feel to it. Theres really a song for everyone and you should get it if you like female soft rock with a twist!

5-0 out of 5 stars ****Jewel Now Sparkles****
Awesome!!!!!!! I kept listening to it over and over (and still do!) Intuition, 2 find U, America, and Stand were my definate 10/10 songs. The rest were all 9 1/2 /10. You will love this album. I didn't care much about her folk songs,but this is my favorite album in the world!!! I love how she is realistic with her songs, EXMPL: America- she tells it how it is, Stand- "Mothers weep, children sleep, so much violence ends in silence." Awesome!!!!!!!

5-0 out of 5 stars Different yet the same!
I was hesitant to buy this album because I hadn't heard too many good things about it. For one, the Amazon.com review said, "Why pick on a girl for taking a chance?" Why would anyone pick on her? This is a great album that takes her Jewelness to a new level. Her lyrics, while mostly pertaining to love, are still hers in the sense that she puts poetic thought into them. She also has some great message-bearing songs, and then just some fun ones with no need for substance!

"Stand" is the first song and is a great way to kick off the album. It talks about the sadness of the world we live in, how some poor people spend money on drugs and alcohol, there's a lot of violence, and other horrible things. She also mentions how we can come together and make a change!

I really liked "2 Find U" because it talked about the problems of relationships. Though there are mistakes that we make with our boyfriend or girlfriend, we have two choices when fights or things like that happen: 1) we can let the pain win and walk away forever, or 2) we can give eachother a clean slate & start over. Jewel asks for a clean slate in this song, it's very bittersweet.

Her voice is so cutesy in "Fragile Heart," it's funny! She uses simple sentences and the childlike sound of her voice makes it amusing to me: "If you want my heart, you have to promise not to tear it apart, 'cause my heart has been hurt a lot." It's a cautionary song letting someone know she's had lots of pain in the past and doesn't want that now.

I must say that "Haunted" gave me goosebumps when I first heard it, and still does!!! Though Jewel's liner notes say it's about a stalker (which makes sense if you look at the lyrics), I like to think it's a very dark song about someone who Jewel wants revenge against. She describes how she will "come to you in the still of the night" and "crush you with the burden of sight." The music is very creepy and slick, adding to the frightful feel of the song. There's also a little clock ticking in the background, making it all the more paranoid and intense! Remind me not to make her mad! :-)

"Yes U Can" is a song that really doesn't have much meat to it lyrically, but is very fun to listen to! It describes a club scene with cowboys and 'naughty girls.' It's tongue-in-cheek I think, kind of playing on words and stuff. Very good song!

I think "America" might be my favorite song on this album. It talks about the imperfections of our country, from the fact that our president wants us to 'shed blood in the name of liberty' to the deteriorating quality of TV shows. She doesn't just blast America, though, she admits that although she wants to change it she wouldn't leave it if she could.

Yes, Jewel's sound is altered here on this electronic album. But don't think it's crap because of that; like I said, in my opinion it enhances her greatness. Though there are some very computerized songs, there are also ones that are closer to her acoustic style on "This Way." I would strongly encourage every Jewel fan to give this album an honest listen! I think it'll be worth it! ... Read more


122. Rust Never Sleeps
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Asin: B000002KDG
Catlog: Music
Sales Rank: 3225
Average Customer Review: 4.69 out of 5 stars
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Amazon.com essential recording

Young has recorded many live albums, but none capture his two dominant musical personalities with as much power as 1979's Rust Never Sleeps. The acoustic side opens with "My, My, Hey, Hey (Out of the Blue)," a devastating anthem about the state of rock & roll. Comparing the Sex Pistols' Johnny Rotten to the late Elvis Presley, Young delivers perhaps his most famous line: "It's better to burn out than to fade away." Side 2 demonstrates the emotional power of Young's hard-rocking quartet, Crazy Horse, with the scathing political songs "Powderfinger," "Welfare Mothers," and the loud reprise of "My, My, Hey, Hey." --Steve Knopper ... Read more

Reviews (49)

5-0 out of 5 stars Neil's best album Ever!!!
This is just one of those albums that will never grow old for me. While the album contains several standout tracks, namely, the acoustic and electric versions of Hey Hey My My, and the absolutely beautiful Thrasher, its real strength lies in its folw as an album. Just as you begin to grow tired of the softer, acoustic songs that fill the first half of the album, you are greeted by the loud electric guitars of Powderfinger, another Young classic. From this song on, it is nothing but Neil and Crazy Horse jamming on loud, electric numbers. No album better demonstrates Young's talents in acoustic and electric rock. All in all, the album is a great starting point for any new fan, as well as a great addition to any long time fan's collection, although I can't see anybody getting this album just to finish off their Neil Young catalog.

5-0 out of 5 stars My favorite Neil and a perfect introduction to his solo work
Disco had the charts, punk rock and new wave had the critics. What could possibly come from dinosaur Neil Young in 1979? Well those who were fortunate enough to see his "Rust Never Sleeps" tour in late 1978 already knew. This album was recorded at various stops on that tour and remains one of rock's finest efforts.

Sometimes reffered to as Neil's "answer" to punk rock, I think of this album more as a tribute. Neil saw punk as the lifeline for rock, which had grown increasingly stagnant over the decade. Accordingly, Neil is more furious and inspired than ever before.

The album is divided into acoustic and electric halfs with neither besting the other. The acoustic songs are gorgeous, lyrically baffling, and quite torrid. "Hey Hey My My" is a stirring song about rock and the music business. "Thrasher" remains Neil's ultimate statement of individuality, while "Pocohontas" revisits his destruction of the Native-Americans motif.

For the flip side Neil adds Crazy Horse and turns out four of his most brutal jams. "Sedan Delivery" is perhaps the closest to actual punk rock, but is the reprise of "Hey Hey My My", now electric. Full of glorious distortion and feedback, the song is an untoppable close to a near perfect album.

Because of its dualistic nature that shows off both Neil's acoustic and electric leanings, I think this is the best record to get acquianted with Neil's legacy.

5-0 out of 5 stars No Rust Yet
It's hard to believe that I picked up "Rust Never Sleeps" on vinyl more than 20 years ago. I just downloaded the album the other day and it still holds up all these years! God, I recommend everybody go and revisit this album (or pick it up for the first time if you've never heard it before). This album still rocks!

5-0 out of 5 stars Grime and Glory
I guess this album was considered some sort of comeback for Neil Young in the seventies, although, let's face it , he'd been there for years. I first heard "Hey Hey My My" on the soundtrack of Dennis Hopper's great, depressing movie "Out of the Blue" (for real!) playing over shots of seagulls swarming over a garbage dump - somehow that image is very appropiate to the music. This album is Neil Young at his most enigmatic and powerful, a combination that only him and Dylan have been able to pull off with any degree of real success. Somehow, the combination of meloncholic acoustic songs and bruising rockers results in an album that's of one piece, instead of one that's an awkard mish-mash. This should really be one of the first five Neil Young albums that you should buy - if you buy that many and feel that you don't need any more, you're not truly a fan.

4-0 out of 5 stars Neil Young Raw Sound Heard on this CD
It's a raw sound, but full of emotion. Young sings from the heart...he is not one of those high-image guys. What you see is what you get, and I would expect what you hear on this album is a good indicator of the energy one feels at a Neil Young concert.

He'll be rocking in the free world until he is 75!! ... Read more


123. Miles of Aisles
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Asin: B000002GWN
Catlog: Music
Sales Rank: 8429
Average Customer Review: 4.5 out of 5 stars
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Reviews (18)

5-0 out of 5 stars As constant as the northern star
The first song I ever heard from this album back in '74 was A Case Of You. That was all it took for me to leap out and buy it (on double vinyl). That such an exquisite song could be even improved upon was inconceivable to me. Yet Joni did it with the 'live' version recorded here.

In almost every case the songs are fresher and more vibrant than the originals - Cactus Tree from her first album being a good example. The sound quality throughout is astonishingly good, making Miles Of Aisles one of the best 'live' albums of all time, and as a double length CD, the value is just out of control.

If you have heard a lot about Joni Mitchell but never really heard much of her material, this album would be a wonderful entry point to her work.

An absolute classic.

5-0 out of 5 stars One of the greatest live recordings EVER!
This particular recording shows Joni Mitchell's abilities off to great effect. There were many terrfic songs she wrote before COURT AND SPARK was released, but there was something about her tendency to sing in the higher end of her range (on albums like LADIES OF THE CANYON and BLUE) that would leave me cold to the music. This live recording features what I consider to be definitive versions that surpass her studio takes of many of those songs.

Singing in a more natural, lower end of her range (in 1974), there is not one song on this album that is uninteresting. What's more...it's one of the rare live albums that has actually makes me feel as though I am there in the audience; particularly on the gorgeously simple sing-along track, "Circle Game."

I love every track here, but pay attention to "Woman of Heart and Mind" in particular. Joni is timeless. If you enjoy her, and don't have this album, get it. You won't be let down.

4-0 out of 5 stars When it's good, it's sublime.
Joni Live, finally. Her first concert album is a schizophrenic affair. Half of it is just Joni by herself, with guitar, piano or dulcimer. These tracks are uniformly amazing. Her skill as a singer has improved so much over the years that the studio versions (especially of older songs like "Cactus Tree") sound slight and precious by comparison. The other half pairs her with the L.A. Express jazz band. While she bent the same players to her will with glorious results in the studio on "Court and Spark," on tour they just sound like a pretty good fusion band trying too hard to be hip. I find the performances unlistenable. "Miles of Aisles" is also notable for the chatting: Joni's wise but spacey discourse on the difference between painting and singing is much fun.

Four stars may seem a bit high, since I hate half the tracks. But when it's good, it's sublime.

5-0 out of 5 stars "Paint A Starry Night Again, Man"
Joni Mitchell's "Miles of Aisles" is a wonderful live album, which just recently has been finding its way more and more into my CD player's tray.Recorded primarily at the Universal Amphitheatre (Circa '74)the album features Joni doing some of her more popular songs of the era, while she is backed up by the jazz ensemble, 'The L.A. Express' (featuring horn player Tom Scott).I like to think of this as a gateway recording between the light musical shadings of "For the Roses" and the folk/jazz/rock sound found on the immensely popular, break-out album "Court & Spark. Eventually the transition would lead too the more serious, hard core jazz found on "Mingus" and the stupendous, live recording, "Shadows & Light". On "Miles of Aisles" we are treated to a mix of both folk and light jazz arrangements.The album opens with a lively rendition of "You Turn Me On (I'm a Radio)" which really makes my pulse race. The same can be said for the classic track "Woodstock". But instead of the slow mournful version, that we are use to Joni singing, we hear something that is closer to the rock athem made famous by Crosby, Stills & Nash. Different but still good! The album also features slower material such as nuanced versions of "A Case of You" and "Blue".Other highlights include the 'Court & Spark' rocker "People's Parties" and an off center audience sing-a-long of "Circle Game".The recording has a boisterous audience, that includes one excited guy who shouts out "Joni, you have more class than Mick Jagger, Richard Nixon and Gomer Pyle combined".The references might be a bit dated, but we all know what he means. A classy lady giving a classy performance!

5-0 out of 5 stars A+***** Beautiful Songs Performed To Perfection THE BEST!
I grew up listening to Joni Mitchell since my sisters played her albums almost constantly, so yes I am biased on my opinion of this artist. Still, how can some people say they prefer the regular recordings to these jazzed, lovely versions? Fools! The reviewer who skips over the last two numbers is a nut!. My favorites ARE the last two songs- "Jericho" and "Love or Money." "Jericho" is beautifully sung and quite moving while "Love or Money" is rocking and played exceptionally well by the jazzy musicians. A friend of mine who had only heard the slow version of "Woodstock" was blown away by the upbeat, live version . In all of the songs, Joni comes across as an exceptionally talented singer! Her later live recordings don't stand up because of the songs chosen. I like later Joni Mitchell music, but this was the peak of her creative energy, when she still had the folk sound but was experimenting with jazzy, more upbeat tempos. What a great CD, EASILY deserving 5 stars!!!!! ... Read more


124. Song To A Seagull
list price: $11.98
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Asin: B000002KOE
Catlog: Music
Sales Rank: 7827
Average Customer Review: 4.7 out of 5 stars
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Amazon.com

Canadian singer-songwriter Joni Mitchell debuted in 1968 with this impressionistic and slightly overwrought album.Produced by David Crosby, the album uses very sparse instrumentation--mostly Mitchell on acoustic guitar with Stephen Stills on bass--to back Mitchell's incredibly complex lyrical forays. (The original LP's sides were subtitled.) But despite her grand plans, the disc is most successful in its humblest moments. "Michael from Mountains" (successfully covered by Judy Collins), "Night in the City," and "Marcie" all contain the seeds of Mitchell's best work, her melodic explorations, and observant eye. Tracks such as "The Dawntreader" and "The Pirates of Penance" are too close to creative-writing exercises to succeed.Nonetheless, a tantalizing debut. --Rob O'Connor ... Read more

Reviews (20)

5-0 out of 5 stars The most underrated Joni CD
This album has so often been deprecated by fans and critics of the great Mrs. Mitchell. Too verbose and sophomoric! Too gloomy! Poorly-recorded! Stuck in its era! Or, the damning-with-faint-praise, It held forth the promise of what was to come! Well, admitting a partiality to her early work (pre-"Don's Juan Reckless Daughter"), I would rate this as the third-best Joni album (out of 17 in her career) behind only Blue and Ladies of the Canyon. Yes, it's even better than the great Court and Spark, or even its most-comparable competitor, Clouds.
Musically, Song to a Seagull is grand in its simplicity - the vast majority of the songs feature Joni's fascinating guitar work as the stark support for her piercing, soaring soprano. While Joni's vocals are schooled and formal, they are nonetheless heartbreakingly beautiful, and the looseness afforded by the spare instrumentation (not to mention "producer" David Crosby's love of cavernous echo) gives this a stormy romanticism reminiscent of Tim Buckley's Happy Sad. As for the song selection, it would seem that in response either to what was popular at the time, or to Joni's personal outlook and mood as the album was assembled, she eschewed the many of her songs already made popular by other artists - "Both Sides Now," "Urge for Going," "Circle Game," "Chelsea Morning," "Eastern Rain," etc. - in favor of several that consistently featured fairy-tale or nautical imagery. The lyrics, in all of their fanciful, Byzantine Tolkienisms, can be taken or left - I, for one, embrace them! And so will anyone else who appreciates colorful escapism.

What carries the day here, though, is the wistful, melancholy, fiercely free and lonely mood created in the themes of these stories of being stung in life and love - and of stinging others ("Cactus Tree") - by Joni's singing of her haunting melodies. "I Had a King," with its arppegiated "tenement castle" dismissal of the former Mr. Mitchell and the oppression of traditional marriage, has long been my favorite, but there's so much else to appreciate here - "Sisotowbell Lane," "The Dawntreader" (which makes interesting use of the smoky low end of Joni's range - the only range she can use anymore!), the much-ballyhooed anthem "Cactus Tree," and especially the woefully underrated title song. Freedom, dreaminess, and lonely sorrow. I believe that Song to a Seagull (the album, but especially the song) is a personal crie de coeur for the loss of innocence - and a despairing of the possibility of ever finding a soulmate or making a relationship work. And yet there is a retained innocence in the stark openness of Joni's writing and performance. It captures a Joni Mitchell that was not before, and would never be again.

This album is so often condemned for being stuck in its time, but those aspects which date it the most are its very appeal, to these ears at least. It takes a certain charming naivete to engage in the hippy-dippy imaginings of some of these lyrics and the Loreena McKennitt-esque antiquarian vocal formality. If you like Nick Drake, Renaissance, Denny-era Fairport, or Astral Weeks, you should love this classic.

5-0 out of 5 stars Worth a look for any Joni fan
Being a huge Joni fan after buying BLUE, which I spent my entire summer vacation listening to incessantly, I was loaned a copy of this album. I looked at it and thought, jeez, I'm none too impressed. Her first effort at an album must be pretty weak...and it does lack the polish of her later work. BUT after about ten listenings or so, I realized that it is as good as anything else she has ever done. Her melodies, the poetry of her lines...everything is beautiful and never pretentious. There are barely two songs on the whole album that I don't like.

First of all "I Had A King" is a nice, mournful way to start off. "Michael From Mountains" is absolutely beautiful, a truly wonderful song. "Marcie" is a little on the shaky side, but it tells a powerful and devastating story with quiet painfullness. "Sisotowbell Lane" is a song that most people tend to overlook, but it happens to be one of my favorites. And I don't see why so many people don't like "Pirate of Penance." It may seem stupid at first, but I find it imaginative and haunting both in melody and message.

And now my favorite. The most beautiful, heartbreaking song on the album. One of her best of all time. "Cactus Tree" celebrates the poignancy, silliness, fickleness and staunch faith that make up love. It is just completely beautiful. Words can't describe my admiration and love for the song--it summons up everything about love and doesn't blunt or mock it as many of today's ridiculous pop ballads end up doing. I just can't even describe my reaction, I'm just so taken with it. It's worth the price of the whole album and yet it is a song many have forgotten about.

So though Joni's debut album may seem a little goofy at first, multiple listenings will reveal it to contain whole worlds of meaning. It's become a fast favorite in my book.

5-0 out of 5 stars The measure of a masterwork
I think that the proper measure of whether a musical album can
be considered a masterwork, or masterpiece is whether it stands
the test of time. "Song To A Seagull" is most definitely such
a recording. I first bought this album in vinyl form in 1970
while serving in the Royal Air Force in Bahrain. I was just 19
years old at the time. The fact that I still enjoy listening to
it (the CD version) almost 34 years later speaks for itself.
The music has a purity that is matchless. Joni's crystal clear
voice is complimented by her perfect self accompaniment and the
uncluttered arrangements of the songs allow the quality of the
melodies and lyrics to shine through. Although it's "concept"
is simple, in that the listener is taken on a music journey
from a city to the seaside, it is absolutely superb.
This album would be considered brilliant by an established
artist. Because this was Joni's first album, it only under-
lines just how great her talent is.
If you like this album, check out Joni's album "Hits" which
contains "Urge For Going"
In my opinion, it is the most atmospheric song she has ever
written. She seems to have captured the very essence of
Winter.

5-0 out of 5 stars A legend's beautiful, quirky debut
Joni Mitchell was already an acclaimed songwriter by the time she recorded her first album. Characteristically, she chose not to include any of her well-known songs on "Song to a Seagull," opting instead for a loosely-constructed song cycle charting her moves from Detroit to New York City and, ultimately, to Los Angeles. The real subject matter, though, is the clash between Mitchell's little-girl fairyland fantasies and the cold, hard reality of life in the big city. Her final destination, L.A., is more tolerant of her fantasy life, but lessons have been learned, and illusions shattered. The record has an odd, brittle beauty, and includes three of her finest songs: "I Had a King" (maybe the best sad divorce song ever), Cactus Tree (a litany of abandoned lovers which established her popular, if largely undeserved, reputation as a classic rock & roll "Old Lady"), and my personal favourite, "Marcie," a small, beautifully-observed tale of a lonely woman in New York which would sound right at home on any of Mitchell's 1990s releases.

5-0 out of 5 stars How it all began . . .
I have been a fan of THE GREAT ONE for a good while now, but it was only recently that I discovered this debut Joni Mitchell album. I had not heard much about it so I expected a good effort, nothing more. How wrong I was. Every last track (even the esoteric and odd Pirate of Penance) weaves a beautiful tale that sounds heavenly in Joni's pure performance. My favorites are "Song to a Seagull", "The Dawntreader", "Nathan LaFreneer", "Cactus Tree" and "I Had a King". Though this album predates me by more than a decade (I am a child of the eighties, no less), there is nothing I cannot relate to on it. There is a purity to it which I have never encountered on any other musical venture: no synthetic chords, no vocal enhancements, no audio engineering. Just one's woman's voice and her guitar. Incredible. ... Read more


125. Dreamland
list price: $18.98
our price: $13.99
(price subject to change: see help)
Asin: B0002MPQ50
Catlog: Music
Sales Rank: 1175
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Amazon.com

Compressing the diverse highlights of Joni Mitchell's four-decade career into the hour-and-change confines of a single CD seems like an unfair challenge. But with Mitchell herself tackling the anthologizing, Dreamland plays like a warm reintroduction to an old, if ever mercurial, musical friend. Taking nothing for granted, Mitchell shrewdly anchors the set with two of her early jazz-infused commercial breakthroughs, "Free Man in Paris" and "In France…," before charting an elliptical course through one of the most consistently inspired song canons in all of pop music. While familiar hits are well-represented, the collection also widens to include her forays with Afrocentric rhythms ("The Jungle Line," title track) and her tribute to a beloved blues legend ("Furry Sings the Blues"). Indeed, the choices here are often as playfully surprising as the tantalizing omissions: "Dancin' Clown," her unlikely '80s collaboration with Tom Petty and Billy Idol, is included yet there's nothing from the sublimely challenging Mingus. It all wends to an elegiac triptych from her latter-day symphonic reinventions (Travelogue and Both Sides Now), their postmodern elegance informed by the bittersweet knowledge that Mitchell undertook a self-imposed recording hiatus thereafter. Richly illustrated with the musician's own distinctive paintings, the 17-track collection also includes new liner notes by writer-director Cameron Crowe. --Jerry McCulley ... Read more


126. Liege & Lief
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Asin: B000002GFT
Catlog: Music
Sales Rank: 4253
Average Customer Review: 4.79 out of 5 stars
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Reviews (28)

5-0 out of 5 stars One of my favorite folk-rock albums
Fairport Convention gave us three albums in 1969, What We Did On Our Holidays, Unhalfbricking, and this one. With Unhalfbricking, the band mostly stuck to a West Coast-style folk-rock sound with covers of Dylan songs, plus a few of their own compositions. But that album contained "A Sailor's Life" which signaled the direction the band would turn to on Liege & Lief. Liege & Lief found the band turning away from the West Coast sound and exploring roots more close to home: British folk rock. So while you get some Fairport originals like "Come All Ye" and "Crazy Man Michael", you also get some renditions of 500 year old British Isles folk songs like "Tam Lin" and "Matty Groves", giving this album a much more medieval feel than anything they done before. Liege & Lief marked a major change in the band's lineup. Ashley Hutchings left to form Steeleye Span, which basically explored the same territory of Liege & Lief but in a more traditional manner. He was then replaced by future Jethro Tull bassist Dave Pegg. Sandy Denny left to form Fotheringay, then went solo, leaving the band to have even a more horrible time with keeping a steady lineup. Liege & Lief is regarded as Fairport's best work, and I totally agree with that, so I suggest you go out and get a copy of this album.

5-0 out of 5 stars Shatteringly brilliant, so honest, oddly powerful
Fairport Convention's last album with Sandy Denny, "Liege & Lief", stripped away the sound of their previous two albums "What We Did On Our Holidays" and "Unhalfbricking" to produce a fusion of traditional singing and rock instrumentation that can only be described as amazing.

The driving opener "Come All Ye", though the only original song on the record, was a piece so moving it really will shatter the mind: one feels the instruments blending in the most incredible manner to produce a groove possessing truly searing emotion. The third track, "Matty Groves" was maybe even better, with the tale of an woman accused of infidelity telling more over its eight minutes than most albums manage in sixty. Ashley Hutchings' basslines and Richard Thompson's guitar work burn with a sensuality rivalling the best of Kate Bush's "Hounds Of Love." Hutchings in particular benefits from the solid, stripped-down sound, whilst Sandy Denny's pure voice tells everything as it is, especially on the line "I'd rather one kiss from dead Matty's lips/Than you or your finery".

The rest of "Liege & Lief" was not half so brilliant, but mainly less accessible, notably the especially dark, beautiful and uninviting "Tam Lin" (the tale of a disobedient youngster) and the beautiful, slow "The Quiet Joys Of Brotherhood." Even on the medley of "The Lark In The Morning", "Rakish Paddy", "Foxhunter's Jig" and "Toss The Feathers" the sound remained dark but the startlingly melodic fiddle playing of Dave Swarbrick still craved attention. "The Deserter" (about a disobedient soldier) had a truly hymn-like character that served to reflect the injustice of England's early criminal justice system - along with Sandy's most emotional vocal, notably during the crescendo late in the song. "Reynardine" - though a superior version can be found on Anne Briggs' "A Collection" - was also dramatic if almost too slow.

On the whole, "Liege & Lief" must be seen as a landmark work that still possesses immense power and beauty. Should especially be heard by fans of "Lilith Fair" artists - they got many ideas from here. Essential.

5-0 out of 5 stars I've got it on right now.
And I can tell, listening to it, why a few of the reviews herein mention only one original Fairport-penned track. (There are three.) It ALL sounds very traditional. And very rock and roll.

If you don't get what I just said, you need to get this record. Nobody (sorry, Zimmy) had ever put together folk and rock like Fairport did in its first three albums with Sandy Denny. It's taken for granted now; but Fairport was first. Can you imagine Cream covering a traditional English folk tune? Then listen to "Tam Lin." (Cream would have had to borrow Sandy, of course.) Can you imagine Jefferson Airplane doing traditional English folk? That would be "Come All Ye" (which, no, isn't a traditional folk tune. See how these people had it wired?). Can you imagine "Matty Groves"? (You can't. You have to buy this record.) Fairport were pioneers, a much greater accomplishment than their original ambition to be "the British Jefferson Airplane." They were hard-rocking, psychedelic, driving, raving quiet little British folk thunderers. (Buy the record!)

I first entered Fairport territory on the thin trail of work by Richard Thompson, one very hard genius to track down unless one is an audiophile, which I can't (yet) claim. I'd heard he was great, and underrated, etc., and that he started here. Well, following him here, I stayed for everyone else as well. I bought a ten-track collection (I'd heard "Meet on the Ledge" once, decades ago, my only other lead); unable to find the early studio albums, I settled (a very bad word in this context) for the superb "Meet on the Ledge/Classic Years" collection; and then, fully hooked after drinking deeply of Thompson's solo work, found "Liege" in my local CD pusher's stash. Hmmmm. I had five of the eight tracks on collections already. No matter; I sprung. Boy am I glad I did. The three tracks I was missing - "Reynardine," "The Deserter," and the folk medley - were worth the purchase price by themselves. They can be had together nowhere else; and they rounded out the "L&L" experience perfectly. The sequencing -- different of course from the collections -- makes the old tracks sound new. (Still can't figure out, though, why "Farewell, Farewell" isn't the final track.) Few records hold together better than this one; time will probably reveal few to be so timeless.

If you like your music mellow and hard, driving and soft, screaming, soaring and lilting; if singers are your thing; if you're a folkie who still thinks rock sucks (how have you stayed IN that cave?); hop in the time machine. Fairport Convention set you on the right road, 35 years ago. It's not too late. It never will be.

5-0 out of 5 stars Music from the heavens!
I have always viewed Fairport Convention as kind of like the UK version of the Byrds, simply for the fact that both bands had outstanding musicians, several amazing songwriters, came up with stellar arrangements, and did wonderful folk as well as Dylan interpretations. I also think that both bands just radiate complete and total honesty in their music, almost to the point of being spiritual in a way. While at one point The Byrds went full-tilt country with "Sweethearts of the Rodeo", Fairport Convention went all-out folk-rock with this album. Both albums had stunning results, and both albums started an entire music genre. If you have ever been curious as to what UK folk rock is about, then start here! This album is simply the very best of its kind! Five stars in every way!

5-0 out of 5 stars One of the Best
This CD is, hands down, one of the most important CDs in British folk-rock history. It sparked a musical movement, and Richard Thompson, Sandy Denny, and the rest of the "gang" are at the top of their game. It has rarely left my stack of CDs I listen to frequently since I first bought it 15 years ago. ... Read more


127. Desire (Hybr)
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Asin: B0000C8AV6
Catlog: Music
Sales Rank: 2715
Average Customer Review: 4 out of 5 stars
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Reviews (10)

4-0 out of 5 stars 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...

5-0 out of 5 stars 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.

5-0 out of 5 stars 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!!

3-0 out of 5 stars 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.

4-0 out of 5 stars 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


128. Songs of Love and Hate
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Asin: B000002AZY
Catlog: Music
Sales Rank: 3419
Average Customer Review: 4.92 out of 5 stars
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Reviews (25)

5-0 out of 5 stars 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.

5-0 out of 5 stars 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

5-0 out of 5 stars 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.

5-0 out of 5 stars 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.

5-0 out of 5 stars 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


129. Mingus
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Asin: B000002GWV
Catlog: Music
Sales Rank: 4752
Average Customer Review: 4.07 out of 5 stars
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Reviews (28)

5-0 out of 5 stars If you can't stand the heat...
This is the only Joni Mitchell album I have and it's all because I heard "Dry Cleaner from Des Moines" at a music store one day. A terrifying band, featuring Jaco, Herbie Hancock, Wayne Shorter, Don Alias, Peter Erskine, Emil Richards... wow. This album burns in a big bad way. I have since seen the Shadows and Light video which has prompted me to want to hunt down more Joni Mitchell stuff. I'm almost afraid that her songs are not going to be as good without the likes of Pastorius and Metheney playing on them. This album is a fantastic tribute to jazz great Charles Mingus, so fitting that Jaco should be the bassist on it.

4-0 out of 5 stars Jaco Keeps Joni Afloat Through Unsafe Jazz Waters
This tribute to jazz bass great Charles Mingus does not rank well with Mitchell's previous albums; however, if one can for a moment forget that it's the same Joni Mitchell that gave us "Blue", "Clouds", and other folk classics, and if one can appreciate the incredible genius of Jaco Pastorius on bass, this album is to be cherished. It was the last studio pairing of these two great musicians (though they appear live on "Shadows and Light", which includes songs from this album). Without Jaco's bass, this album would have only hastened Joni's commercial demise. The lightning-quick intro on "The Dry Cleaner from Des Moines" barely leaves one time to comprehend the fluidity of Jaco's chops -- but then it progresses into one of the funkiest grooves I've ever heard. Jaco mixes it up like no one before or since. His beautiful, resonating sound introducing "Goodbye Pork Pie Hat" (interestingly, a tune later covered by Stanley Clarke and dedicated to the deceased Pastorius) sets the yearning mood for the tune. The brief interview clips with Mingus add to the atmosphere of the album, a fitting tribute to one bass legend, courtesy of another -- and Joni.

5-0 out of 5 stars A Beautiful Tribute.
This is an incredible album featuring not only a stellar line up but also world class vocal versions of tunes from one of the greatest jazzmen ever. The focus here is on the compoisitional structure of the tunes themselves and Mitchell's voice, not the chops of the instrumentalists (though this does not mean they hold back). I recommend this album to every Mingus, Mitchell or jazz listener out there.

5-0 out of 5 stars The Best Music!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
I love this album! I borrowed it from library and I listened to it! I loved it! Even my friend listened to it! There's very good tracks and she has a beautiful voice! This has to be her best album! There cannot be better folk or what this is! Buy it! You won't regret it! I love this album! My favourite songs are "God Must Be a Boogie Man", "Chair in the Sky", "Sweet Suckar Dance", "Dry Cleaner from des Moines", and of course the touching song "Happy Birthday 1975". I love this album! You will love it too! I'm sure about it! Don't waste time listening to other artists! This is the best and you will fall in love!

4-0 out of 5 stars Quality jazz
This is a must have album for any jazz-ballad fans.
It contains four songs, written by late legendary composer/bassist/bandleader Charles Mingus, to which Joni has written lyrics.
There are also two songs written entirely by Joni Mitchell which makes 6 songs (the 5 "raps" feature Mingus' voice, but they're only a few seconds long) so the album is a bit short, but that's its only weakness. The material is great, and definitely worth the money.
Very nice bass work (as so often) by Jaco Pastorius, who has also made a Pastorius-esque horn arrangement on the up tempo jazz-blues "The Dry Cleaner From Des Moines". Other musicians are Wayne Shorter, Herbie Hancock, Peter Erskine, Don Alias & Emil Richards Wolves... as proven here, you can't go wrong with such a quality line up... ... Read more


130. 1972 (Limited Edition Bonus DVD)
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Asin: B0000AM6K2
Catlog: Music
Sales Rank: 9100
Average Customer Review: 4.48 out of 5 stars
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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)

5-0 out of 5 stars 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.

5-0 out of 5 stars 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.

4-0 out of 5 stars 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....

5-0 out of 5 stars Thank god for Josh Rouse
By far one of the best albums I've ever heard.

5-0 out of 5 stars 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


131. Photographs & Memories
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Asin: B000002JUC
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Sales Rank: 5155
Average Customer Review: 4.52 out of 5 stars
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Until his untimely death, Jim Croce was a force to be reckoned with on radio playlists. Photographs & Memories repackages some of his best work. Romantic acoustic-oriented songs were his hallmark, and songs like "Time in a Bottle," were huge hits because of their easy sentimentality. "I Got a Name" was the singer as well-worn folk traveler, while "Bad, Bad Leroy Brown" and even "You Don't Mess Around with Jim" followed standard boogie chord progressions, albeit with Croce's softer rock feel. There wasn't much really separating the overt emotions of "I'll Have to Say I Love You in a Song" and "Operator" from his sap-dripping contemporaries, but there was just enough of an edge in Croce's warm voice to elevate his love songs to another level. Like a, oh, moderately priced wine, Croce remains a classic--accessible, affordable, and easy to enjoy. -- Steve Gdula ... Read more

Reviews (21)

5-0 out of 5 stars An excellent collection of Croce
Photographs and memory's is an excellent collection of Jim Croce's hits in the early 70's. The album remembers the artist well and portrays his unique style to the listener. In an era where soft rock dominated the airways Croce was the best of the best.

His unique singing style, voice and guitar paved the way for some classic upbeat, downtown songs like "Bad, Bad Leroy Brown" and, "You Don't Mess Around with Jim," where Croce always seemed to sing to the underdog. He also created some of the best ballet classics "Photographs and Memories", "Time In A Bottle", and "I Got A Name."

If your only going to buy one Croce CD pick up this one, it's an excellent collection of Croce's hits that portrays his style and versatility very well.

5-0 out of 5 stars The Great, Late & Marvelous Jim Croce!
For those of us who watched the incredible rise of pop folk and country singer Jim Croce, this was the album that encapsulated his all too brief living of the life of his dreams. Sadly, he was cut down just as his career was reaching its pinnacle, and he left us to sing and perform in other, more ethereal venues. I'm sure he has the angels snapping their fingers and tapping their toes. With the songs that are included her Jim sang his way into our living rooms, automobiles, and our hearts. He was a true original, another of the incredible group of singer songwriters who not only performed so brilliantly, but also wrote the lyrics and composed the music as well.

Here we have every thing from "I'll Have To Say I Love You In A Song" to "Photographs and Memories", from "Bad, Bad, Leroy Brown" to "You Don't Mess Around With Jim", from "One Less Set Of Footsteps" to "Operator". This is a wonderful album, one filled with all the thoughts and ideas and emotions he evoked so well in his lyrics and his songs. Those of us who came to appreciate his talent and his art were saddened by his death, but are yet thankful he left behind such wonderful photographs and memories, such priceless and timeless reminders of the good times he gave us. That why I wanted to weigh in with this review; I just had to say I loved him in a song... Enjoy!

4-0 out of 5 stars His "Greatest Hits".
This is pretty much your typical hits album, though a very good one. "Jim Croce" the man may not be well known, but his songs surely are. Half of these tracks most people probably know word for word. Included are the upbeat hits "Bad Bad Leroy Brown" and "You Don't Mess Around With Jim", and his soft rock/folk hits "Time In A Bottle", "I Got A Name", and "I'll Have To Say I Love You In A Song". Plus my favorite "Operator (that's not the way it feels)". Overall it's a great collection for most casual fans. It will go great with your "James Taylor" and "Cat Stevens" albums.

4-0 out of 5 stars fantastic singer
jim croce[rip]is one of the best singers i ever heard.i must admit this type of music is usually not my cup of tea but this cd is the exception.this was the first but most certainly not the last jim croce cd i'll purchase.personal favs on this disc are the classic bad bad leroy brown,time in a bottle and you don't mess around with jim but all tracks on this cd is enjoyable to listen to.i think this is an album anyone can enjoy ,no matter your musical tastes .awesome cd.

4-0 out of 5 stars A good introduction to Jim Croce
This is the first Jim Croce CD I got and I would recommend the same to any newcomer to this style of music. If you are just beginning this is a good place to start. The songs all sound beautiful and the quality is great even though there aren't as many songs on here as I would have liked. Be sure to get the rest of his CD's if you want to complete your collection. This just skims over the tippy top of his greatest hits, but there were also a couple that I didn't remember when I got it. Even though you, as a newcomer, might only want this CD for the well knowns like Bad, Bad Leroy Brown and Time in a Bottle (beautiful all by itself of course), don't bypass the lesser known ones, which deviate a bit in style from his most typecast songs. You will defintitely get a fuller view of Jim's music, as in New York's Not my home, and Workin at the Car Wash blues. But still get other collections eventually. Stay open minded as you listen, you might be pleasantly surprised at how much you can get out of these songs! ... Read more


132. The Concert in Central Park
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Asin: B000002KNI
Catlog: Music
Sales Rank: 1706
Average Customer Review: 4.35 out of 5 stars
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You can almost hear Simon & Garfunkel begin to like each other again on this now-legendary set. On September 19, 1981, the duo reunited for just the second time since their initial breakup and revealed a camaraderie that had apparently vanished years earlier. Not only do they reprise their shared hits, they also work in a few of Paul Simon's solo gems and a couple of telling covers--one from the Everly Brothers and one from Chuck Berry. The band includes the best session men around. By the time they get to the sincerity of "Old Friends" and the joy of "The 59th Street Bridge Song," you sense a relationship fully repaired. After this success, they even planned a studio record together--one that eventually became Simon's overlooked Hearts and Bones--few were surprised when it did not come to pass. --Marc Greilsamer ... Read more

Reviews (52)

5-0 out of 5 stars The best
To say that this is the best Simon & Garfunkel album will perhaps offend some fans who love their acoustic folk-pop of the late 60s. But it is, and their most accessible, too.

It was recorded a decade after the break-up of the duo, and features a full backing band, complete with a subtle, well-used horn ensemble, and Paul Simon and Art Garfunkel perform truly excellent versions of classics like "Mrs Robinson", "The Sound Of Silence", "Homeward Bound", "The Boxer" and a magnificent "Bridge Over Troubled Water".
And the presence of Art Garfunkel (and the fine backing band) makes for some superb live renditions of several of Paul Simon's best solo tunes, especially "Still Crazy After All These Years", "Me And Julio Down By The Schoolyard" and "Slip Slidin' Away", which features Garfunkel's masterful harmony vocals.

This album is much more lively than the duo's strictly acoustic outings from the 60s, and it is highly recommended as one of the very best live albums of the 80s, one that really adds something to the artists' legacies.

5-0 out of 5 stars Sublime!
To say that this is the best Simon & Garfunkel album will perhaps offend some fans who love their acoustic folk-pop of the late 60s. But it is, and their most accessible, too.

It was recorded a decade after the break-up of the duo, and features a full backing band, complete with a subtle, well-used horn ensemble, and Paul Simon and Art Garfunkel perform truly excellent versions of classics like "Mrs Robinson", "The Sound Of Silence", "Homeward Bound", "The Boxer" and a magnificent "Bridge Over Troubled Water".
And the presence of Art Garfunkel (and the fine backing band) makes for some superb live renditions of several of Paul Simon's best solo tunes, especially "Still Crazy After All These Years", "Me And Julio Down By The Schoolyard" and "Slip Slidin' Away", which features Garfunkel's masterful harmony vocals.

This album is much more lively than the duo's strictly acoustic outings from the 60s, and it is highly recommended as one of the very best live albums of the 80s, one that really adds something to the artists' legacies.

2-0 out of 5 stars The worst of Simon and Garfunkel
The idea of a reunion might seem romantic, especially if we are talking about the best duo that pop music have ever created. Anyway, here the problem is not the noble intention but the execution. The band backing the sublime S&G's voices and guitars is awful. The choice of instruments, with all that keyboards and horns ruins the simple melody and essential instruments backgrounding the original songs. So, if you want to know better the music of Simon and Grafunkel, PLEASE!, don't buy this "illusion". If you absolutely need a collection, try the 2CD of TALES FROM NEW YORK (THE VERY BEST OF) instead (but I think it's a european-only release).

4-0 out of 5 stars Actually 3 1/2
The famous 1981 reunion concert finds Simon & Garfunkel in fine form vocally, but I was less than entranced by their back-up band. The excessive horns made them come off like a Vegas act at times, as if Tom Jones were waiting in the wings. At other times, sappy keyboards detract from some of the quieter moments. Nevertheless, it¡Çs great to hear S&G together again and I¡Çm looking forward to eventually hearing some recordings from their current ¡ÈOld Friends¡É tour.

4-0 out of 5 stars As memory serves; Revisiting Simon and Garfunkle
I was happy to see Simon and Garfunkle in concert on their recent "Old Friends" tour, and was more than pleased by the performance of two men who, by all rights, should've been retired and not in the best of vocal form. The afterglow of the Philadelphia show led me to reacquire this CD from the 1981 Central Park reunion show. Since most of the songs from the current tour are reflected by the Central Park set list, it was worth it for me.

This CD is actually better than I originally remember it. Maybe I was just too wrapped up in my new wave years (I was a junior in college at the time the album was released), but both men were in strong form vocally. It also meant that, as a greatest hits sort of show, all the bases are essentially covered. Even the Paul Simon solo material comes across as well matched (in particular, "American Tune" which rings truer in the post 9/11 world as it did back then). The instrumentation is a bit dated, Richard Tee's keyboards especially, but that's more the fault of the times than of performance.

And the performances here are superb. Oddly, the one major omission from the disc is "The Late Great Johnny Ace." If you watch the DVD of the concert, it was Simon's tribute to John Lennon and is when a fan charges the stage, distracting Simon from the microphone. Art Garfunkle is relegated to only one solo hit here, and naturally it's "A Heart In New York." Just as "counting the cars on the New Jersey Turnpike" gets a huge outburst of applause (it did here in Philly, too), "Heart" brings the crowd to express itself with exuberence.

On the other hand, when Art begins to sing "Bridge Over Troubled Water," it's hard not to notice that he can still sound like the folk singing choirboy of the sixties, and even more so for "The Sound of Silence." Despite all the infighting, back biting and legendary arguments that Simon and Garfunkle have shared over their career, there is no denying that - as a duo - they created magic. After 20 years, I'm glad "The Concert In Central Park" is back in my library.

PS: I eagerly await the inevitable "Old Friends" concert disc, and would also recommend Paul Simon's "Concert In The Park" from 1991. ... Read more


133. Bootleg Series 6: Concert at Philharmonic Hall
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Asin: B0000DG069
Catlog: Music
Sales Rank: 678
Average Customer Review: 4.63 out of 5 stars
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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)

5-0 out of 5 stars 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.

4-0 out of 5 stars 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).

5-0 out of 5 stars 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!

3-0 out of 5 stars 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.

5-0 out of 5 stars 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


134. Rites of Passage [Bonus Tracks]
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Asin: B00004Z3TS
Catlog: Music
Sales Rank: 4063
Average Customer Review: 5 out of 5 stars
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Reviews (9)

5-0 out of 5 stars The best of the best.
Just about the most amazing album in my collection. I've got music from rap to country, from indie to pop, from alternative to new wave-- and everything in between. I have lots of folk albums in my collection too.... but this one... this one just tops them all.

This is the album I can listen to when I can't decide what to listen to... when I can't figure out what kind of mood I'm in. This is the album I listen to when I need to be lifted up. Or when I need to sing at the top of my lungs in the car. Or when I need to revel in melancholy. THIS IS THE ALBUM. In my humble opionion, this album beats out every other IG album. If you buy only one IG album, make it this one.

I think Rites of Passage is about more than death and rekindling, it's about GROWTH. It's about moving on, and acknowledging your past in order to move forward with your life.

No one here has touched on the song "Nashville," which describes the pain felt when being shut out (ie being a lesbian, attending Vanderbilt University, which is quite the conservative school). Shut out of a community, shut out of a city... when your hopes clouded your vision, thinking your dreams could fill up the place and you could change peoples' views...

I could probably write an essay on every song on this album, but the most important thing you know is-- you've gotta buy it. And LISTEN to it... it's infectious... and the melodies, the brilliant lyrics, will take you over.

And wash over you,
and make you feel enlightened and refreshingly awakened from a long and restless slumber.

5-0 out of 5 stars The best of the best
Just about the most amazing album in my collection. I've got music from rap to country, from indie to pop, from alternative to new wave-- and everything in between. I have lots of folk albums in my collection too.... but this one... this one just tops them all.

This is the album I can listen to when I can't decide what to listen to... when I can't figure out what kind of mood I'm in. This is the album I listen to when I need to be lifted up. Or when I need to sing at the top of my lungs in the car. Or when I need to revel in melancholy. THIS IS THE ALBUM. In my humble opionion, this album beats out every other IG album. If you buy only one IG album, make it this one.

I think Rites of Passage is about more than death and rekindling, it's about GROWTH. It's about moving on, and acknowledging your past in order to move forward with your life.

No one here has touched on the song "Nashville," which describes the pain felt when being shut out (ie being a lesbian, attending Vanderbilt University, which is quite the conservative school). Shut out of a community, shut out of a city... when your hopes clouded your vision, thinking your dreams could fill up the place and you could change peoples' views...

I could probably write an essay on every song on this album, but the most important thing you know is-- you've gotta buy it. And LISTEN to it... it's infectious... and the melodies, the brilliant lyrics, will take you over.

And wash over you,
and make you feel enlightened and refreshingly awakened from a long and restless slumber.

5-0 out of 5 stars INDIGO GIRLS...CLOSER TO FINE..
several years ago i was in a record shop and as i was browsing i couldnt help notice a chap alongside me scrutinizing a copy of RITES OF PASSAGE.I couldnt help myself i had to engage him in conversation.'excuse me 'i said 'but can i ask if you are familiar with the INDIGO GIRLS?' he looked at me rather puzzled and replied that he had never heard of them and was just about to slot the cd back in the rack,as he did so,i pulled it out again and offered it back to him.'look'i said 'your here in this store because you like good music yes?'he nodded in reply'well let me tell you life is short and you could spend a whole day in here ,pay a great deal of money for something that when you get it home turns out to be somewhat less than the masterpiece you were expecting,correct?' ''suppose so ''right so here ''and i placed the cd case firmly in his grasp.''hmm and this is good music''he said as he began reading the sleeve again..i said ''NO,my friend,its not good music..its GREAT music!! i smiled as he took it to the counter made his purchase and left the store.. i strolled home a little later safe in the knowledge that i had really made someone's day.What a wonderful world..

5-0 out of 5 stars Excellent
One of the most moving and heartfelt collections of music I've heard. After almost 3 years, it's still one of my most played CDs. The lyrics could stand alone. Amazing. Listen and enjoy.

5-0 out of 5 stars Simply and always the best
This CD really shows the lyrical ability of these two talented yong ladies. It can get me up or mellow me out, depending on time and place. But it is truly one of the most beautiful and enjoyable albums ever made. The only other one to really come close is Nomads, Saints and Indians....But then there is the Indigo Girls and Strange Fire, and then....and then....
These girls paint portraits with their songs, even on the hard rocking Shaming of the Sun, and I dearly love to listen to them. Enjoy!!!!!!!!! ... Read more


135. Up a Lazy River (Reis)
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Sales Rank: 18753
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136. Don Juan's Reckless Daughter
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Asin: B000002GXG
Catlog: Music
Sales Rank: 8677
Average Customer Review: 4.3 out of 5 stars
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Reviews (23)

5-0 out of 5 stars Serpent cannot be denied
I have talked to a lot of people who cite this album as the Joni album that lost them. After years of her folk-pop stylings, this entry into Joni's canon must really have shaken people up with its world rhythms, jazz fusion, and 16 minute improvsed instrumentals. But being shaken up is a GOOD thing isn't it?

To me, this album is the last peg in the great Joni triumverate (the other two are Hissing of Summer Lawns and Hejira). "Don Juan's" is simply brilliant. If all you know about Joni is "Blue" and "Court and Spark", this album may seem a bit jarring at first. If you stick with it though, you are in for a great ride. The title song is easily one of the best songs on this album, (I even find it one of Joni's most danceable tunes, but I wouldn't invite you to watch me dance to it...I even have a secret fantasy of having Madonna cover this tune... and you may laugh at me until you hear it, and picture it overlaid with dance grooves..it could work) as is the song that precedes it, "Dreamland." Give this album a chance, the lyrics and the music all come together and form a solid piece of music that is unlike any other you've heard before.

4-0 out of 5 stars misunderstood gem
DJRD is arguably Joni Mitchell most misunderstood and under-appreciated album. Most detractors highlight "Paprika Plains" as a pompous, overblown and tedious(it is a whopping 16+ minute piece). This view is most regrettable as "Paprika Plains" is a beautiful sonic picture where a vision of a bleak, frightening but nonetheless awe-inspiring landscape is painted not by colours and shapes, but by a judicious play of lyrics and the strains of a tightly orchestrated score. the sense of loss of innocence and inevitability of fate is hidden in the silence between the phrases. Listeneing to "Paprika Plains" for the first time, one often is reminded of Beethoven's 6th Symphony-The Pastoral.

There are weak moments. the meaningless overture and the exteneded drum play on "Tenth World" where at times the players seem to be lost in a hopeless trance and dont know how to get out of it.

There are also delightful moments, such as the melodies of "Jericho" and "Cotton Avenue" which foreshadow another misunderstood album "Mingus", the hypnotic "Dreamland" which has vestiges of "Jungle Line" from THOSL. "Talk to me" draws from Mingus' "Oh Yeah", and is seriously funny and fun.

Even the cover artwork attests to Joni's relaxed mood while making this album. In a multitude of guises, she aimed to put out a variety of styles with the same voice, and largely succeeded. It is time people woke up to the importance of this work in Mitchell's ouvre. Ditto for another great work, "For the Roses".

2-0 out of 5 stars A great pimp
I really can't get into this album, but the cover is the best. Joni makes a very convincing pimp, and has all the moves. She can protect me anytime.

5-0 out of 5 stars Enchanting!
I have loved this 1977 album ever since I first heard it about four years ago. It has a very different feel than the 1976 album "Hejira" or the 1979 "Mingus" album. Jaco Pastorius' bass lines and fills (often brief overdubs of several basses filling) are dominant on most of the album. I love how the bass harmonics and high-pitched fills meet and complement Joni Mitchell's vocal effects. The overture is chilling.
Jaco uses a very rich and unusual sound on his bass here. This is an absolute MUST-LISTEN for Jaco fans. A lot of overdubbed voicings sneak in here and there. This had not been typical of Mitchell's early albums, and is one of the things that gives this one a special feeling. Another strength is the musicians. She is backed up by exraordinary artists, most of whom are best known from jazz and/or jazz-fusion bands. In addition to Jaco, Wayne Shorter (on soprano sax), drummer John Guerin, Alex Acuña, Don Alias, Manolo Badrena, and Airto (all on percussion) also contribute. Larry Carlton guests on guitar on "Otis and Marlena", and Chaka Kahn sings back-up on "The Tenth World" and "Dreamland". Joni plays guitar and piano equally on this album. Something that really distinguishes this from all her other 70's albums, is the 16+ minute "Paprika Plains"; it features (in addition to Joni's voice, piano, and the band) an orchestra conducted by Michael Gibbs. The mood of the whole recording is really special. I believe the cover art suits the feeling very well. There's an interesting combination of freedom and what's obviously arranged, as well as an interesting combination of humour and seriousness. The performance is freer here than on "Hejira", but still strongly recommended to fans of that album and to people interested in enchanting musical performances and sounds.

5-0 out of 5 stars historical achievement
There is a lot to this album. First the cover: Joni in black male pimp drag. It's a character she played in a movie "Love" that was never released. (Her "Love" on Wild Things Run Fast was suggested by other contributors to the movie)

The whole format is done in a concerto style. Originally this was a 4 sided album. Side 1 held the main theme. Side 2 was the adagio, Paprika Plains. Side 3 was a theme-varie. Side 4 was a return to the main theme. Now on cd the whole musical landscape is uninterrupted. It should be remastered to bring out the full sound.

The title track is a continuation of Hejira with it's travel theme and just as she did on Hejira, she hid the melodies. It takes a few listenings to HEAR the music. There is a melody here and a message that culminates what she was saying on Hejira.
Paprika Plains is a full sonic adventure. It's never been appreciated, I think, because it's too far above most peoples' understanding. This is Joni the painter painting with music. Her improvised style piano on this piece is also what brought Charles Mingus to contact her and form their collaboration--He heard the painting!

And yes, she played around with "world" music and it became vogue with other artists--just like she was decried when she went full into jazz with the Mingus album and then a few years later when Sting did jazz, it was now cool.

Joni is that eagle that soars and sees all from above; and the snake that experiences the earth up close, first hand. ... Read more


137. Welcome to the Cruel World
list price: $11.98
our price: $10.99
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Asin: B000000W4U
Catlog: Music
Sales Rank: 4141
Average Customer Review: 4.57 out of 5 stars
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Amazon.com

Ben Harper sounds good on paper. He's a 24-year-old Californian devoted to vintage acoustic guitars, original political songs and the unusual blend of calypso and Mississippi Delta blues--an inspired blend of David Lindley, Tracy Chapman, and Taj Mahal. Unfortunately, Harper's execution of this original conception on his debut album, "Welcome to the Cruel World," is distinctly underwhelming.

Harper's singing is the biggest problem. He mumbles his vocals with so little articulation and within such a narrow range that he makes Bob Dylan sound like Al Green by comparison. Moreover, Harper's overall performance is so low in energy that he makes the laid-back Cowboy Junkies sound like the Sex Pistols. His songwriting and guitar picking reveals hints of a modest talent, but they aren't nearly special enough to compensate for the narcotic effect of his singing. The heavy-handed Rodney King song, the adaptation of a Maya Angelou poem and the broken-hearted love songs are more likely to recall Chapman's disappointing second album rather than her exhilarating first. --Geoffrey Himes ... Read more

Reviews (56)

4-0 out of 5 stars "Ben Harper... I am in love"
I am a huge classic rock fan. Put on any Rolling Stones, Beatles, Zeppelin, Doors, Van Halen- and I will be content. However, I am also a fan of such accoustic artists as Dave Matthews and Rusted Root. My friend introduced me to Ben Harper on a recent road trip that we took. I loved it!! The songs are so beautiful. Ben has a wonderful voice and the words seemed to sing to my soul. I am also a big fan of poetry. Ben does an insightful interpretation of Maya Angelou's "And Still I'll Rise" for the last song on the album ("I'll Rise"). I love to put it on repeat because it is a powerful and inspiring song. Please check this album out- you will love it! It is perfect for a lazy summer drive or to listen to while doing homework. Ben is a beautiful, forward-thinking man with equally profound musical messages and guitar and piano playing skills...

4-0 out of 5 stars Exceptional Debut From An Underrated Artist
I picked up this album after buying the other three by Ben Harper and greatly enjoying what I found on each of them. I can't believe why I didn't make Welcome to the Cruel World my FIRST Ben Harper purchase! If one had all four of his albums and played them in chronological order, the musical progression could clearly be mapped out from the stripped-down acoustic setting found on his debut to the varied styles and textures contained on his current studio release.

Anyway,Welcome to the Cruel World introduces the listener to the honest, soulful songwriting that has since become a trademark of Harper's craft. Some of the songs are uncompromisingly political (Like A King, How Many Miles Must We March), some are deeply introspective and personal (Pleasure and Pain, Walk Away, the title track), some display a tasteful, mature outlook on love (Waiting On An Angel, Forever) and even some songs showcase a lighter, more playful side (Breakin' Down, Mama's Got a Girlfriend Now).

The musicianship on this album is first-rate. Harper's guitar playing, especially his slide work, is truly inspiring. The backing musicians complement him nicely without overwhelming the feel of the songs. Overall, Welcome to the Cruel World should be the album to get for the uninitiated. For those who only know Ben Harper from his "Faded" and "Steal My Kisses" singles that were occaisonally shown on MTV2 will find him to be one of the best kept musical secrets of the 90's.

4-0 out of 5 stars Ben is here
To all of you ignorants that have given this album negative reviews...

Please realise ben's depth of styles and the way he implements his own view of the world. Very honest and very talented.

Pleasure and Pain, Walk Away, The Three of Us, Waiting On An Angel, the list goes on. I think the true difficulty of writing simple music is by making it catch and sound good. Wainting on An Angel is not a difficult one to write but very difficult to put aside.

Peace

4-0 out of 5 stars an exceptional debut album
I can't agree w/the negative reviews of this album (including the one Amazon.com editorial reviewer, Geoffrey Hines, put forward). On the whole, it might be a bit simplistic, slow, and quiet, especially in light of his later work, but it's meant to be that way, and I find it enjoyable. "Whipping Boy" and "Breakin' Down" are some of his best songs. He addresses sociopolitical issues in "Like A King" and "How Many Miles Must We March" and softly sings of friendship in "Forever" and "Walk Away" while adopting a religious attitude in "Waiting On An Angel," "Don't Take That Attitude To Your Grave," and "I'll Rise." Besides, I can't dislike an artist who supports the Green Party and saving the environment and opposes hyposcrisy, corporate greed, and cultural, racial, and religious intolerance while throughout his career expressing these concerns with such amazing sensitivity and passion. As usual, Harper exhibits a wisdom beyond his years as one of the greatest musical artists of his time.

1-0 out of 5 stars Welcome to a Dull Album
This is, without a doubt, one of the most boring, empty and souless records I have ever heard. Ben Harper is an artist capable of decent and interesting compositions, but this debut isn`t really promising at all. This album is lifeless, flat and instantly forgettable, and there isn`t a single worthwile moment to register here.
Harper`s acoustic, laid back and mellow songs make him seem like a male version of Tracy Chapman, but pherhaps even more insipid an uninteresting. Listening to the entire record at once is a task, frankly, and creates a heavy sleep-enducing process due to its bland and sometimes melodramatic songs. All of them are filler, nothing stands out as mildly engaging and captivating.
A snoozer. ... Read more


138. Neil Young
list price: $11.98
our price: $10.99
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Asin: B000002KOG
Catlog: Music
Sales Rank: 7898
Average Customer Review: 4 out of 5 stars
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Amazon.com

Released in early 1969, Neil Young's first solo album is essentially an extension of "Broken Arrow" and "Expecting to Fly," his two most inventive contributions to Buffalo Springfield. Jack Nitzsche arranged and produced several of the tracks, fusing haunting strings and even funky female backing vocals to acoustic-oriented songs like "Here We Are in the Years" and "The Old Laughing Lady." "The Loner" is the one song from Neil Young to achieve classic-rock immortality, but "I've Been Waiting for You" is almost as good, and the rambling "Last Trip to Tulsa" presages the dark acoustic epics of On the Beach. Though it's not an essential album, Neil Young-like the man himself-is rarely less than interesting.--Dan Epstein ... Read more

Reviews (19)

4-0 out of 5 stars An understated, but fabulous, debut from a legend.
After a few years of coming and going with Buffalo Springfield, the "first American supergroup," Neil Young parted ways for good in 1967 with his band. In 1968, with Crazy Horse pianist Jack Nietsche arrangement, Young's self-titled debut was unleashed. Out of all his following albums, "Neil Young" is the most cohesive, mainly because Nietsche helped keep the budding artist on track. It probably has more overdubs than anything that Young did with the Springfield, and certainly everything since Granpa Crispy struck out on his own. The album starts off, ironically, with one of Nietsche's own compositions, "The Emperor of Wyoming," a nice, pleasant country instrumental. "The Loner" follows, and now we are clearly in Neil's world of angst and paranoia. "The Old Laughing Lady" is a great track, with female background vocals reminiscent of anything done for Motown, despite the fact the song is clearly not a Motown product. Besides the aforementioned, Neil's other songs of longing, like "If I Could Have Her Tonight" and "What Did You Do to My Life," make this a thrilling ride. The final track, "The Last Trip to Tulsa," is Young accompanied only by his acoustic guitar. The track is about nine minutes long, with the most arcane, non-sensical lyrics I have ever heard. The crazier the song become lyrically, the harder Young strums his guitar, until you think the strings will crack under the strain. With Nietsche's brilliant arranging, "Neil Young" is a fine start to a long, storied career.

4-0 out of 5 stars Neil Young's solo debut
Neil Young (1969.) Neil Young's first solo album.

In the sixties, Neil Young played with Stephen Stills in a band called Buffalo Springfield. Unfortunately, the band only scored one major hit, For What It's Worth, and the band disbanded shortly after. Stephen Stills went onto join forces with David Crosby (The Byrds) and Graham Nash (The Hollies), while Neil Young wanted to pursue a solo career. He would play briefly with the supergroup that his Buffalo Springfield bandmate joined, but for the most part, he would be focusing on his solo career. Early in 1969, he released his first album as a solo artist, which was self-titled. Read on for my review.

For Neil Young's solo debut, he follows the basic styling of gloomy pop-rock with a touch of psychedelia. This makes for one of the most interesting rock albums of the sixties. An instrumental entitled Emperor Of Wyoming starts the album off, and it does a good job grabbing the listener's attention and keeping it. The next two tracks, Loner and If I Could Have Her Tonight, sound like what a number of pop-rock artists would be trying to pull off in the next decade, although Neil's take is better than just about all of them. The Old Laughing Lady is a song that you'll hear many reviewers praise, and with good reason - it's an excellent track. Neil closes out his solo debut with the longest song on the album, a little number called Last Trip To Tulsa. This is an excellent album closer, and in my opinion, the best track on the album. All in all, an excellent debut.

If you're a Neil Young fan, casual or die-hard, his solo debut album is an album you should not be without. Later in 1969 he would join forces with David Crosby, Graham Nash, and Stephen Stills again, but his partnership with them wouldn't last more than a few years - he wanted to focus almost entirely on his solo work. And his first work as a solo artist is highly recommended.

3-0 out of 5 stars The LP is much better
This album is good, but only if you have it on vinyl. The song "What did you do to my life" is mixed very badly on the cd, with that sort of droning incredibly irritating organ sound. This is only one instance of the poor transfer to digital that occured with this cd. It is on one of the best songs on the album, but just sounds horrible on the cd. I don't think they put this one out on vinyl since the early eighties, I was lucky to get it from an old neighbor. On LP, "what did you do to my life," without the bad electronic noises, gives the album a cohesion that it otherwise lacks. Does anyone else out there know what I'm talking about? The rest of the album lacks the rich production level of the LP. It's almost like it's a completely different album. I know--this is Neil Young minutia, but I just can't get over how bad this album sounds on cd.

4-0 out of 5 stars Nothing else quite like it in Mr. Young's catalogue
Neil's first solo album and the foundation of his signature sound (which he would perfect with his very next album) is here, but just a little more polished and (perhaps over?)produced. However, Neil was penning so many outright masterpieces around this time, the material overcomes the uneven production for a great listen. Recommended if you already know you like him.

5-0 out of 5 stars The Real Neil
Though Neil Young has been praised and damned in equal measure over the years for his abrupt changes in musical direction, one thing has always been a given: disrespect for his instrumental work, particularly those signature one-note guitar solos. And yet this, his first solo album, shows the true depth of Neil's guitar work. While some may be impressed with the speed and flash of Eddie Van Halen or Alvin Lee, nowhere has anyone before or since been able to wrench more pain out of his instrument than Neil does in "I've Been Waiting For You." This guitar is not gently weeping - it is crying from the pit of its soul. Maybe one of the best solos of all time, and yet universally overlooked. The rest of the album is just as impressive. ... Read more


139. Remasters
list price: $27.49
our price: $27.49
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Asin: B000026C3T
Catlog: Music
Sales Rank: 31054
Average Customer Review: 4.77 out of 5 stars
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Album Description

European only highlights collection compiled from the box-set originally released in 1992 but without the interview disc and at a much better price. 26 tracks on two CDs and featuring the original box-sets cover art. All the big hits are here, including 'Communication Breakdown', 'Heartbreaker', St airway To Heaven', 'Kashmir' and more.Slimline double jewel case. ... Read more

Reviews (13)

4-0 out of 5 stars Great first CD, not as great second...
As the songs on this cd`s is sorted after when they was firstly released, it is naturally that the first cd is the best, as it covers Led Zeppelin 1-4. This covers all the magic Led Zeppelin made the first years of their career, like Whole Lotta Love, Immigrant Song, Communication Breakdown, Rock and Roll and, of course, Stairway To Heaven.

The second cd covers all hits made later. It is'nt as good as cd 1, but contains some pearls like The Song Remains The Same, Houses Of The Holy and Kashmir.

Since all the songs on the cd is remastered, the quality is noteably better than the origials, but rock and roll is'nt supposed to sound perfect, and luckily, it doesnt.

If you buy this cd, you are guaranteed all the Greatest pearls Led Zeppelin made. This is a much better buy the Early- and Latter Days.

3-0 out of 5 stars When I was young
Led Zeppelin blew me away when I was young. Jimmy Page's guitar was exceptional and the energy was brilliant. Some years on, my tastes find that the first CD is generally still good, but the second I could do without. The classic songs 'Stairway..', 'Rock and Roll' and particularly 'Since I've been loving you' are still great. However, much of the rest no longer does alot for me.

5-0 out of 5 stars Led zeppelin remasters
Wow! This 2disc set cost 27.99? I got it at best buy for 18. This is really for fans who don't want to go to the trouble and buy each cd of thiers. This mostly has all the good ones. Though they left out asome really good ones- What is and what should never be and When the levee breaks. But its still got mostly everything you need. This would be an exellent cd for starters.

5-0 out of 5 stars Unless you own every Led Zeppelin CD you have to buy this.
Wow , this cd is so awesome, I normally listen to Zeppelin on vinyl and decided that i needed a portable way to listen to my fav. band so looked for the best cd possible and this is it. I am a huge music fan and this is one of the best if not the best cd i've ever bought. Really buy it you'll like it.

5-0 out of 5 stars Classic Zeppelin
Led Zeppelin are my favourite band, at the moment. Remasters has all my favourite Zeppelin songs. I made a good choice on buying this ro be my first Led Zeppelin CD. Because If I bought 1, I probably would'nt have got 2.I love all these songs. If your a beginning Led Zeppelin fan, get this for your first. ... Read more


140. James Taylor (Live)
list price: $24.98
our price: $22.99
(price subject to change: see help)
Asin: B0000027H5
Catlog: Music
Sales Rank: 4563
Average Customer Review: 4.67 out of 5 stars
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Amazon.com

A sweeping, 30-track career retrospective that leaves almost nothing out, Live is a much more filling meal than the two-part Best Live series, each of which contains 12 tracks. Fans will want one or the other of these packages, and will need no further elaboration on their merits. But those who just want a sampler of Taylor's hit songs might want to check this out as well. The best greatest hits package, Classic Songs, is an import, and costs a premium. The domestic Greatest Hits was compiled in 1976, and misses later tracks. It also features rerecorded versions of some of its songs. This is a better value than the import and offers a better selection than the domestic sampler. --Gavin McNett ... Read more

Reviews (40)

5-0 out of 5 stars Saw the Concert - Got the Album
We (a married couple) saw James Taylor in Providence (Performing Arts Center) during this concert tour. As he has done for years, James tours with seasoned professional musicians and singers.

The musical arrangements on this album, his voice, the voices of the background singers, the (minimal) audience banter...make for an entertaining - perhaps even joyous - listening experience. We have worn out both cassettes (the double set) and are now purchasing the CDs.

Although the concert was in 93 and we bought the album in 94, we continue to listen to it right up until today. "Walking Man" is a perfect autumn song. "Shower the People" includes phenomenal singing by one of the male back-up singers. The arrangement for "How Sweet It Is" is better than the original Motown version. If you are in the car, you will probably pull the album out of the stack when you're in gridlock just to hear "Traffic Jam."

This album is as close to a live performance as you can get, yet the sound quality on it is superb. "Five stars" is not enough - it deserves ten!

5-0 out of 5 stars Fabulous flow of energy between JT and audience
There are those who are naturals for live albums and ones who aren't. James Taylor has to be one of the naturals.

Of course, if you want perfection, you probably want to stick with the studio recordings. But if you want to hear a truly electric performance, go with this live album.

From the first cut, "Sweet Baby James", you can sense the perfect rapport with the audience. The live version of "Mexico" is quite enhanced by the life atmosphere, and by the time you get to "Fire and Rain", you can sense a flow between the singer and his audience. The energy reaches its zenith on "Shower The People" and "How Sweet It Is".

Cut after cut is notable here. The pure country sound of "She Thinks I Still Care" is a highlight. "You've Got A Friend" and "That Lonesome Road" close a truly exciting experience. If you prefer the best in the spontanaity of a live performance to the cool and perfect studio recording, or even if the two are equal in your mind, then you deserve to have this in your collection.

5-0 out of 5 stars Simply Awesome!!
I am a new fan of James Taylor. My step mom got me hooked! Out of all the albums I've ever herd of James Taylor, I think this would be the best one. I could spend all day listening to it. I never get tired of the songs. The little speeches he gives in between the songs make the CD funny. The back up singers make the music timeless. Truly a great album, no questions asked!!

5-0 out of 5 stars College Student Review
I enjoy this album very much. My family has owned this two disk set for a couple of years now and even though I am now in college, I never tire of hearing these songs. The songs in this set all have a great deal of energy behind them, and they are all enjoyable to listen to. All of the songs on this album are good, although some are better than others. I enjoy how the songs actually do flow together despite what many people think. For example, in the first disk, we move from medium paced songs, to fast paced songs, through a couple of jazz songs, on through some of his well known songs. It seems that everything fits together in this album. I would strongly encourage people to buy this album, whether you are a seasoned fan of James or just a new listener. Once you buy this album, you too will be able to enjoy the song "Traffic Jam" when stuck in traffic on the way to or from work. If I had to pick a favorite song from this album it might have to be "Shower the People", which is truely a gift. I hope this review was helpful.

4-0 out of 5 stars In His Element
So I left My Job at 5 O'Clock, fifteen minutes to go three blocks
Damn! That's a good song!! If you don't know it, it's Traffic Jam, and it's one of MANY great songs on this double set. And although, I don't want to take anything away from the music because it is EXCELLENT, I also have to add, JT's comments between the songs are another reason why this album is so good. The only reason why I didn't give it 5 stars, is because I wish it was longer! Try, "Sun On The Moon" "Slap Leather" and "Millworker" They're great songs, not as familiar as "Fire & Rain" & "You've Got a friend" But just as good. ... Read more


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