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EricClapton had better marketing. That's the only way to explain whyRichard Thompson isn't as famous as that other British guitar god. Abrilliant, albeit subtle, guitar genius, Thompson writes wonderfulsongs that are sometimes rockin', sometimes haunting, and sometimes alittle bit of both. And he presents them all in a voice that can onlybe called unique. Unlike most guitar heroes, Thompson is less based inthe blues than he is in folk--dating back to his early years with theseminal FairportConvention--but his has always been a folk music with bite andsoul, adding things to the folk lexicon like rockabilly and zydeco."Cooksferry Queen"--one of the 19 tracks on this compilation culledfrom the six albums Thompson released on Capitol between 1988 and1999--features a guitar solo that's downright punk. Tracks like the semihit"I Feel So Good," "Razor Dance," and "Bathsheba Smiles" remain asexhilarating as anything you're apt to hear. Longtime fans will need tohear the three tracks previously unreleased on CD, including a new duetwith son Teddy Thompson on"Persuasion" (co-written with Tim Finn) that is absolutely gorgeous.Ultimately, one longs for a box set that encompasses all eras (andlabels) of this master's career, but Action Packed proves thatthe recent last third of it has been topnotch. --Bill Holdship ... Read more

Reviews (21)

Seems random...
I'm a huge Richard Thompson fan, I own all the albums and also the far better (out of print) collection, "Watching the Dark". I bought this to get the three "new" tracks, whick range from good to great, so I guess I got my money's worth.

I really must take issue with the track selection, though. For instance, it includes only 2 tracks from "Amnesia"... sure, "turning of the tide" and "waltzing's for dreamers" are great, but almost any other song on the original album is better (that's how good it is). I certainly would have liked more tracks from "You? Me? Us?", and less tracks from "Mock Tudor". It's not that I don't like "Mock Tudor", but (a) It's very recent and maybe doesn't need such heavy representation in a retrospective yet, and (b) is a semi-"concept" album that works much better as a whole.

The sound is audibly and obviously improved on tracks from "Amnesia" through "Mirror Blue" which is remarkable proof how much more engineers have been able to eek out of the old' 16-bit redbook CD format in recent years. On later tracks, the difference is either subtle or non-existent.

Maybe it seems that I'm being a bit hard on this CD, but, as the man said, you have to be cruel to be kind. I think RT is one of the great musical talents of the past 50 years, and he deserves better. Much better. Also, remember, Capitol dropped him from the label after "Mock Tudor", so "Action Packed" is a last-ditch, crass cash-in on the part of his old label. Of course, Capitol has let most of these albums go out of print, so newcomers may have no other recourse but to buy this set.

Another suggestion? RT sells wonderful "live" discs on his own label. Find these and buy them. "2 letter words", "Live at Crawley" and "Celtshmerz" will all give you a more complete picture of this brilliant guitarist.

superb introduction to a genius
Despite the fact that I own almost all of Richard Thompson's solo material (much of which is sadly out of print), I am always happy to see a well made best of lp- and this lp qualifies.

For those not familiar with him, Richard Thompson is simply one of the most respected, gifted, and talented singer/songwriter/guitarists that you probably have little or no knowledge of. Lack of promotion could well by why Richard isn't a household name outside of guitarists and fans of folk music. this is a crime, for Thompson is among the top 2 greatest guitarists that Britain ever produced (with Peter Green, in my view..Clapton will be argued by others, but Clapton can't write a tune like Green or Thompson), and a intricate songwriter, as well. His unique voice leaves those who hear him spellbound. The songs tug at any number of emotions- fear, depression, anxiety, melancholy..occasionally joy and happiness.. Thompson can do it all, and do it better than most.

This collection takes on the last 10+ years of Richard's career, starting with his wonderful "Amnesia" lp (which spawned the wonderful "Turning of the Tide" and "Waltzing's for Dreamers" on this collection..sadly, the non-inclusion of "Pharoah" for me is a grave oversight), going through his latest offering, "Mock Tudor" (tracks 13-17 on this disc). The lps, including the amazing "You? Me? Us?," "Mirror Blue," "Rumor & Sigh," and "Invisible Means" (of which nothing is included, sadly), are all wonderful efforts and should be sought out to fully appreciate all of Richard's many talents, but this best of lp is a great primer to the world of Richard Thompson in the 1990's. Excellent stuff.

Fine as a bee's wing
Some reviewers may niggle over the selection, but this is a solid collection for anybody who wants an economical survey of this phenomenal musician. I'd personally like to have "You Dream Too Much" on here too, but that doesnt make this collection any worse. The selections from You? Me? Us? are just right. Theres nothing wrong with the 3 new tracks either.

If you need some RT in your collection, this is an excellent way to start. Watching the Dark is also highly recommended.

PURE GENIUS
My taste usually runs more towards the virutoso guitar slinger. While RICHARD THOMPSON isn't in that vain, he is a most inventive guitarist who creates beautifull melodies and some of the best lyrics written in modern musik. Only UK SQUEEZE at their best could tell a story so well with so few words. This CD is always entertaining and despite the width of material, there are no fillers. From the folk flavoured tracks to out and out rockers, THOMPSON delivers in any style he chooses. If you don't have RICHARD THOMPSON in your collection, you are missing one of the best song writers of this century.

A great recent "Thompson" collection.
I often wonder how this guy isn't twice as popular, then I decide I like being part of the secret. Thompson sets many a mood on here with his quick fingers. He can whip out the pop-rockers like "Turning of the Tide", "Feel So Good", and "Razor Dance", or he can slow the pace with songs like "Waltzing's for Dreamers", "Keep Your Distance", or the excellent "Beeswing". This also includes my favorite "Bathsheba Smiles", which is a great upbeat number, and the big fan favorite "1952 Vincent Black Lightning", probably one of the best "story" songs ever. I've seen him a few times, and he always seems to play that one. The only things I miss on here are "Read About Love" and "Crawl Back Under My Stone", otherwise this is the best place to start if your looking for your first, or only "Richard Thompson" cd. ... Read more

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You could have some fun with the title in more suggestive times, but In the Wind refers here to the popular trio's classic recording of Bob Dylan's "Blowin' in the Wind." Interestingly, their recording did as much for Dylan's career as it did for PP&M's, for, while it sealed their image as the troubadours of the '60s civil rights movement, it helped posit the then-little-known Dylan as the voice of a generation. Other highlights here include their gorgeous interpretation of Dylan's "Don't Think Twice, It's All Right" as well as spirituals, a lullaby, and even a Civil War ballad. It may all seem quaint now, but when this LP reached No. 1 in 1963, only weeks after John F. Kennedy's assassination, the folk movement was in full throttle...and something was definitely in the air. Or in the wind, so to speak. --Bill Holdship ... Read more

Reviews (9)

PP&M's number one album introduces Dylan to America
"In the Wind" was the third album put out by Peter, Paul & Mary and was so successful that when it hit #1 on the Billboard album charts it dragged their two previous albums back into the Top 10 as well. The album was released in October 1963, which meant is was only a month before the assassination of JFK and a few months before the arrival of the Beatles heralded the British Invasion. But at this point in musical history the folk music revival was in full flower.

The first two singles from this album were also what popularized the music of Bob Dylan. "Blowin' in the Wind" made it to #2 on the charts while "Don't Think Twice, It's All Right" made it to #9. PP&M also recorded a third and unreleased Dylan song, "Quit Your Low Down Ways." Their cover of "Stewball" was the third single released and made it to #35. The fourth single from the album, "Tell It on the Mountain" (#33), is an alternative version of the African-American spiritual "Go Tell It on the Mountain," that shifts the meaning from the Nativity of Jesus to the Exodus, with the refrain "Let my people go" easily adaptable to the Civil Rights movement.

Two of the other standout songs are the haunting traditional tune "All My Trials," and the opening track, "Very Last Day," which is a rare original song by the group. The only knock against PP&M is that they are popularizers of folk music rather than musical innovators, but when you listen to their three part harmonies and the earnestness they provide to each performance (in contrast to the peppy sound of groups like the New Christie Minstrels), that hardly seems to be negative idea.

Discover the power of music
This CD brings back all the power and excitement of the PP&M concert that introduced me to their music in the 60's. I bought the first of many guitars right after and I still play their original arrangements. I had all their albums but they got stolen and I hadn't replaced them. So, I just bought all the CD's. "Very Last Day" really shook me. And now, I just can't stop playing it and sharing it with friends. Truly, if you don't know their music or haven't listened for a while, play this track. Then, let the wonderful contrasts of successive tracks on this CD roll right on. Its an absolute treasure. Their best.

Where to Start?
If you are curious about Peter, Paul and Mary this is the place to start. A wondeful album that hits many chords for me personally. The way music was meant to be performed. Acoustically, able to be reproduced around a camp fire with little effort. Have guitar, will travel. And the harmonies are out of this world.

On a more personal note this album has touched many areas of my life, some I did not realize until later in life. My brother turned me on to Peter, Paul and Mary and made me a tape, of which this entire album was on, plus other songs. I did not realize the entire album was included until I bought this album. Then, I realized, that many of these songs we had sung in music class throughout elementary and junior high and I never knew they were Peter, Paul and Mary. And finally, this was the one tape that my dad and I could both enjoy together during a drive.

Trying not too make this review to personal I will turn back to the music. Taken individually the songs are very good. Take as a whole the album is great. A terrific indroduction to the music of Peter, Paul and Mary. One their greatest efforts ever and a contribution to any music collection.

a classic of its kind
I am rather proud to be able to say that this was the first record I ever bought-at the age of 12! Considering I lived in the land of the Beatles that says a lot for the powerful effect that PP&M's music had at the time. It became quite fashionable to write this trio off as urban folkies more in tune with Tin Pan Alley than 'real' folk music. But listen to this beautifully performed album. Despite their reputation for sugary versions, listen to the three Dylan tracks, beautiful renderings all. Stewball is a classic. They produced other fine albums during the 60's-in fact most of them were excellent but I guess this stands out as the perfect example of why PP&M were so popular. There is a freshness that is difficult to define.

Folk classic
Together with their first album this great album represents the best of Peter Paul and Mary's work. The harmonies on the Dylan classics are incomparable, giving the songs the classic stature that Dylan himself could not, but the real strength of the album is its depth, with the exception of Polly Von which is a little sappy, every song here grabs the listener with its great acoustic guitar playing and priceless arrangement, and they cover a range of styles and emotions, from the gritty but tongue in cheek Quit Your Lowdown Ways to the breezy Freight Train to the lament All My Trials to the near spiritual Long Chain On. I cannot imagine three voices ever again blending and weaving in and out the way PP&M do, and theirs was truly the voice of a generation. ... Read more

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Chances are, the most devoted fans of these three musicians have heard these tunes before, thanks to the crafty pizza-delivery boy who filched the tapes from Garcia's kitchen soon after they were recorded in 1993. That said, the warm, intimate performances here are very much worth an official CD release. The sessions came about when Tony Rice was in Northern California to record the delightful duet-collection Tone Poems with David Grisman. Garcia stopped by to hang out and jam with his old buddy Grisman and with Rice, one of his guitar idols. The disc retains all of the joy and spontaneity you'd expect from such an informal setting--Grisman even elected to leave in the between-song banter, which mostly consists of genuine overflowing mutual praise. The music itself, primarily traditional folk songs, is quite engaging thanks to Garcia's affecting, soulful, pained vocals and to the picking of all three. The contrast in flat-picking-guitar styles makes for an interesting combination: while Rice is technically superb, marvelously quick, and of remarkably clarion tone, Garcia is much more emotional and visceral, feeling his way along. There are a handful of exploratory, off-the-cuff jams that add to the impulsive nature of the whole project. Had the threesome actually intended this to be released, it probably wouldn't have the appeal it does, for this is the product of friends and music lovers, not recording artists. --Marc Greilsamer ... Read more

Reviews (40)

Pizza Tastes Good!
As the story goes, David Grisman invited his old friends Tony Rice and Jerry Garcia over to his place for a little jam session. Thankfully, these sessions were recorded and later stolen by a pizza delivery boy from Garcia's kitchen counter. They later surfaced as bootlegs and Grisman, who was a bit peeved at the whole affair, decided to just go ahead and release the best parts of the sessions on his Acoustic Disc label.

Grisman had the great insight to include snippets of dialog on the release and it is these moments that remind us that not only is this an informal jam-session, but a damn good time as well. The music is mostly made up of older, well-known tunes, but it also includes some jam segments and the Garcia/Grisman tune, "Shady Grove". The songs bear the distinct mark of Garcia's voice as it wavers and sometimes struggles to hold a note. While not perfect, there is intense soul in these performances. Tony Rice's playing is superb and sometimes overshadows Garcia. Grisman is solid as granite, adding Mandolin flourishes throughout.

"Man of Constant Sorrow" sounds nothing like the version that's enjoying success today (it's the song from "O Brother, Where Art Thou") and "Summertime" dances and skirts all around Gershwin's original composition. This is also the only place you'll ever find Garcia singing "Amazing Grace". "Knockin' on Heaven's Door" has a similar feel to the versions played by the Jerry Garcia Band in the 70's -- slow and terribly sad. Fans of Garcia and Grisman recordings will probably welcome yet another version of Miles Davis's "So What" and the various "Jam" tracks are sure to please most Grateful Dead fans.

All in all, "The Pizza Tapes" are an essential addition to fans of any of these three artists. They are unique in that they capture the raw energy and excitement of three excellent musicians in the primal setting of acoustic music.

Like your own personal visit to Grisman's basement
Is this an "album" where everything is precise and calculated? No. Is this as good and fun and intimate as a first-and-only-time recorded meeting between friends and acquaintances who just happen to be high-caliber (make that legendary) acoustic-picking musicians can be? Yes.

The music is fun and loose and as is the ACOUSTIC DISC way, the recording quality is absolutely perfect. It's quite interesting to hear the stylistic differences of Rice and Garcia side-by-side like this. Tony is definitely the better rhythm guitarist but both men display great personality and tone during their lead-guitar playing. Tony still had his voice when this was recorded but Jerry does all the singing.

Since some of you may have young children I decided to also say that Grisman left some of the chatting and fooling around that happens between the songs. As anyone who has seen Tony Rice in concert or has read interviews with Jerry Garcia knows, they aren't above using the occasional curse word. I just thought I'd let some of you know that so you can scan the disk for the spots where the "F" word pops up before your kids find it. I hope that doesn't stop anyone from buying this cd. It is an excellent, intimate snapshot of three friends enjoying life and the music they played makes us the true winners! Whether you're a fan of one or of all these guys you'll really find a lot to love about this cd. David Grisman once again releases a winner (and plays beautifully).

FUN, FUN, FUN, FUN, FUN! A great slice of Garcianess...
Bless you, David Grisman, for having the foresight to record your impromptu jam sessions with Jerry! This CD, along with the equally exceptional Shady Grove, are, in my opinion, two of the best Jerry Garcia albums out there. Pizza Tapes (and Shady Grove), more than the live Jerry Garcia Acoustic Band, or the various live JGB CDs, captures the essence of Garcia. Here, his sense of humor really shines through, as does Jer's pure love of music. Yeah, so he made millions of dollars! So what? It's obvious from this that Garcia made music out of a deep, spiritual love of music -- and the money was just incidental. The banter between Garcia, Grisman and Tony Rice is fun, as are the "spicy" expletives that pop up here and there. This CD brims with fun-filled acoustic music and an obvious shared love of that music between Rice-Grisman-Garcia. Wanna know what Jerry Garcia was like? Check out this CD and you'll have a better idea -- plus it's more fun that plowing through a 400-page biography! C'mon, now, let's play some music!

RICE, GRISMAN, GARCIA - MY HEROES!
How did I miss this CD for so long? I got it as a Christmas gift and have played it constantly ever since! These three guys together are magical - Tony Rice's flawless guitar, Jerry's earthy vocals, and Dave Grisman with his usual perfection on mandolin. What a happy synthesis of talent and soul! The casual exchanges among them between tunes adds to the sense of intimacy and spontanaeity. It's not slick and Jerry's vocals are rough in spots, but it's real talent. My personal favorite is "Man of Constant Sorrow."

Mediocre
This is just a poor, poor album. Jerry Garcia is the most overrated singer in all of Rock 'n' Roll. Try "Stage Fright" by THE BAND instead. ... Read more

Reviews (6)

Great collection of NGDB's hits
I have the tape of this album. Twenty Years Of Dirt was released in 1986, the twentieth anniversary of the Nitty Gritty Dirt Band. It has my three favorite Dirt Band songs on it: "Mr. Bojangles", "Ripplin' Waters" and "Partners, Brothers and Friends". The latter two songs were written by Jimmy Ibbotson, who in my opinion is the Dirt Band's best songwriter. The record also includes a number of other Dirt Band classics, as well as one previously unreleased song, "Stand A Little Rain". Bob Carpenter, NGDB's keyboard player, hardly ever sings lead on a Dirt Band song, but on "Stand A Little Rain", he does a fine job of singing. The reason I give this record only four stars instead of five is because one song, "Fire In The Sky", doesn't sound "country" enough, at least in my opinion. True, the Dirt Band was influenced by pop music as well as folk and country music. Also, Ibbotson, who besides the since-departed John McEuen was probably the band member with the most "country" musical background, was not in the band when "Fire In The Sky" was recorded(he left NGDB in 1976 and rejoined the band in 1983). However, I think "Fire In The Sky", on which Jeff Hanna shares the lead vocals with Kenny Loggins, veers a little too far in the pop direction with its saxophone, although the song itself is well-done. Nevertheless, that's a small shortcoming on a solid album. Overall, Twenty Years Of Dirt is a great collection. NGDB fans should have this one.

10 Years of Dirt + "Mr. Bojangles"
I've been a huge fan of the Dirt Band since I purchased their Uncle Charlie album in 1970--and I've bought every album since. Unfortunately, now that I'm looking to replace my old vinyl with CDs, I find that much of their catalog is out of print. In the case of their Eighties output, however, it's not a major tragedy. Much of what you'd want to hear from those albums is on this disc (and the companion disc, More Great Dirt).

Once you get past the fact that the first ten years of dirt are covered by only two songs (1970's "Mr. Bojangles" and 1975's "Ripplin' Waters"), this collection adequately covers the country radio-friendly tunes the Dirt Band recorded during their peak commercial years. [In fact, why didn't Warner Brothers simply focus on the Eighties? It would have made more sense than trying to promote this as a 20-year retrospective.]

Both "American Dream" and "Make a Little Magic" returned the Dirt Band to the pop charts for the first time in nearly a decade. They also shed any resemblance to being a bluegrass/country-rock band with the 1979 and 1980 albums those hits came from. With their follow-up album, Jealousy, in 1981 they continued to pursue a pop music course. "Fire in the Sky" from that album was about as far as you could stylistcally get from "Mr. Bonjangles." It wasn't until the return of long-time member Jimmy Ibbotson (who left after the classic Dream album) that the Dirt Band hit their stride again.

It was Ibbotson who wrote the joyous "Dance Little Jean," the energetic "High Horse" and the band biography "Partners Brothers & Friends," the latter with Jeff Hanna.

In 1984, Bob Carpenter joined the band on keyboards and vocals. His presence also added another songwriter. It's Carpenter's lovely ballad "Stand a Little Rain," released as a single and recorded specifically for this collection, that closes the set.

Unfortunately, this five-man lineup would record only two albums: Plain Dirt Fashion (1984) and Partners, Brothers and Friends (1985). After that album, founding member John McEuen would leave the band in 1986. [McEuen is a gifted banjo and fiddle player--as well as other stringed instruments--and his solo albums are worth seeking out.]

The Dirt Band would record two more albums in the Eighties: Workin' Band and Hold On. Songs from those albums along with tracks left off this collection can be found on the equally excellent More Great Dirt. These two "best ofs" offer an excellent overview of the Dirt Band's Eighties output. RECOMMENDED

Good News/Bad News
This CD is so much less than it could have been. 1986 marked the twentieth anniversary of the band and this is what we get? Eleven songs? Twenty years? What kind of career retrospective is that? I don't mind that there are no songs from their four albums prior to Uncle Charlie and His Dog Teddy (although the inclusion of "Buy for Me the Rain" would have seemed appropriate), but this collection contains only two songs ("Mr. Bojangles" and "Ripplin' Waters") from their first ten years--how skimpy is that?!!!

Essentially what this CD actually is, is a collection of their 1979-1985 country radio hits. And that's not altogether bad. I'm a huge NGDB fan and I own all the vinyl albums these songs came from. And except for the Uncle Charlie and the Dream albums, these songs represent most of what you'd want to own from this period of the Dirt Band's career. [An excellent overview of the Dirt Band's first ten years is the two-disc, 37-song Dirt, Silver & Gold reissued on One Way Records.]

My only complaint is the brevity and lack of scope of the song selection. There's nothing from their classic Will the Circle Be Unbroken album, and at only 45 minutes another six to eight songs could have easily been added. [The same could be said for the sequel: More Great Dirt, vol. II. It has only ten songs and 34 minutes. Again, great songs, but not much bang for your buck. In fact, these two discs would practically fit on a single disc.]

Bottom line? Five stars for the music, three stars for the skimpy song selection, minimal band history and photos. Maybe they'll get the job done right for the Dirt Band's Forty Years of Dirt Collection. RECOMMENDED

Great collection by NGDB
I still have the tape of this album. It was released in 1986, the Nitty Gritty Dirt Band's twentieth anniversary, and it includes my three favorite NGDB songs--"Mr. Bojangles", "Ripplin' Waters" and "Partners, Brothers and Friends". The latter two songs were written by Jimmy Ibbotson, who in my opinion is the Dirt Band's best songwriter. The one song here that was previously unreleased, "Stand A Little Rain", is also a great song. Bob Carpenter, NGDB's keyboard player, hardly ever sings lead vocals on an NGDB song, but on "Stand A Little Rain", he does a fine job of singing. The reason I give this record only four stars instead of five is because one song, "Fire In The Sky", doesn't sound country enough, in my opinion. True, the Dirt Band was influenced by pop music as well as folk and country music. Also, Ibbotson was not in the band when "Fire In The Sky" was originally recorded in 1981(he left NGDB in 1976 and rejoined the band in 1983). However, I think "Fire In The Sky", on which Jeff Hanna shares the lead vocals with Kenny Loggins, veers a little too far in the pop direction with its saxophone, although the song itself is well-done. Nevertheless, that's a small shortcoming. Overall, Twenty Years Of Dirt is a great collection. NGDB fans should have this one.

Great collection
I still have the tape of this album. The record was released in 1986, NGDB's twentieth anniversary, and it includes a lot of their best songs, including three of my favorites, "Mr. Bojangles", "Ripplin' Waters", and "Partners, Brothers And Friends". The one song on this album that hadn't been previously released, "Stand A Little Rain", is also excellent. Bob Carpenter hardly ever sings lead on an NGDB song, but on "Stand A Little Rain", he does a fine job of singing. The reason I didn't give this record a higher rating is because one song on the album, "Fire In The Sky", doesn't sound country enough, in my opinion. True, the Dirt Band had a lot of pop, as well as country and folk, influences. However, I think "Fire In The Sky", on which Jeff Hanna shares the lead vocals with Kenny Loggins, veers a little too far in the pop direction with its saxophone, although the arrangement is excellent. Nevertheless, that's a small shortcoming here. Overall, Twenty Years of Dirt is a great collection. NGDB fans should have this one. ... Read more

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A "cosmic cowboy" in the country-rocking '70s, Michael Martin Murphey revived his career as a cowboy traditionalist with this 1990 release. Mixing campfire chestnuts such as "Home on the Range, "I Ride an Old Paint," and "Happy Trails" with contemporary hokum such as "Cowboy Logic," the album returned the western to the music formerly known as country and western, and its success inspired a series of sequels on the Warner Western label. Though nothing here is as cloying as 1975's "Wildfire" ballad, Murphey's biggest hit, this smooth stylist emphasizes the romance rather than the grittier realities of the cowboy's life. --Don McLeese ... Read more

Reviews (19)

What a terrific performance of cowboy songs!
Cowboys on horseback is generally not a part of the Philippine cultural landscape, past or present. But one does not have to be a cowboy blazing the trails to appreciate Michael Martin Murphey's music.

Cowboy Songs is one of those albums where the listener is hard pressed to pick a particular favorite due to the simple fact that all the selections here are just so good. The all-star musicianship is simply great, the instruments sounding clear and crisp in full stereo.

Michael gives justice to such cowboy standards like 'Home On The Range', 'Red River Valley', 'Streets Of Laredo', 'Tumbling Tumbleweeds' and 'Yellow Rose Of Texas'. Though much covered by many earlier artists before him - i.e. Marty Robbins, Willie Nelson, just to name a few - these songs are in good hands, Michael Martin Murphey's.

One can't help but laugh at the crooked and down-to-earth reasoning in 'Cowboy Logic' and the funny but truthful reality in 'Where Do Cowboys Go When They Die/Reincarnation' (Do I really end up as a 'fertilizer' when I die instead of finding myself in heaven!) At the same time, one can't help but be moved by 'When The Work's All Done This Fall', a tale of a young cowboy longing to go home to see his mother who did not live to see his wish come true when he was trampled to death by a stampeding herd one lightning-filled night.

I am tempted to say my piece about each of the selections but that's going too far! Let me just say that this compilation of cowboy songs is too good to be true, a smorgasbord of fantastic sounds that will surely tickle the ears even of the most sophisticated listener.

Come, let's hit the road and ride along with Michael Martin Murphey!

The revival of cowboy music began here
Cowboy songs existed before country music and became popular with a wider public in the thirties and forties because of their use in western movies. Marty Robbins and others continued to record them, but they gradually faded into obscurity. With this album, Michael revived the old songs and renewed public interest in them.

The set opens with the brilliant Cowboy logic, a song about the way cowboys think and ends with Happy trails, a Roy Rogers classic. In between, there are many cowboy classics, including Tumbling tumbleweeds, The old Chisholm trail, Home on the range, Yellow rose of Texas, Red river valley, Streets of Laredo, Bury me not on the lone prairie and Goodbye old paint.

Michael contributes three of his own songs, What I am I doing here, Let the cowboy dance and Where do cowboys go when they die ' all of a high quality. He also covers Cowboy pride, a song written by Ian Tyson, a Canadian singer who has also demonstrated his love of cowboy music by recording several albums of western songs.

If you already enjoy cowboy songs, you will love this. If you are new to the music, this is the best place to start. The two follow-up albums ' Cowboy songs II (A Cowboy Christmas) and Cowboy songs III (another collection similar to this) maintain the standard, while another of Michael's albums, Horse legends, may also interest you, though most of the songs are unconnected with cowboys. Cowboy music fans wishing to explore further should investigate Ian Tyson's music.

Nostalgia plus
When I first discovered this collection in about 1991, as a result of an Austin City Limits show where Murphey did his Wild West show, I thought I'd rediscovered my childhood. With the exception of several "modern" cowboy songs such as Ian Tyson's "Cowboy Pride", Murph's "Let the Cowboy Dance", and his hit recording of "Cowboy Logic", these are mostly traditional cowboy songs with roots to the 19th century. Featured are great productions of "The Old Chisholm Trail", "The Streets of Laredo", "Texas Rangers", "Goodbye Old Paint", "Red River Valley", and about 11 other tunes that almost all of us from my generation learned and sang in elementary school.

Anyone looking only for traditional cowboy songs may be better served by picking Don Edwards' "Saddle Songs" collection or Murphey's own "Cowboy Classics: Playing Favorites 2", also currently available. However, this CD belongs in everyone's collection as the basis for building a "western" music cumulation around. The Sons of the San Joaquin, Don Edwards, Red Steagall, Tammy Wynette and Suzy Boguss share vocals on this CD and are joined by Joey Miskulin's extremely tasteful contributions on the accordian, or "stomach Steinway".

All in all, a marvelous recording. Buy it!

Great Classic Country Music
This is a GREAT Album. The songs are classic's to the western world. If you have a love for country music with a twist in it, this is the one for you. Cowboy Logic song is GRAND!!! No other song like it I can say. And the other songs are jsut as great. Once you get these songs in your head, you will be humming the tunes all day long. Murphey is a great artist, but I think this album is the best out of all the other ones he has. If you going to buy a cd from Murphey, Let it be this one cause it's worth every penny. Cowboy Up everyone!!!
Spooker

Overlooked in other reviews
One thing that I noticed was overlooked in the posted reviews was the seamless performance of the band. If you have a chance to hear this CD, but especially if you have the chance to see the PBS video you will see what I am saying. The fiddle performance is absolutley awesome. Some of the best bowing that can be found today in terms of smoothness. And the chord shifts are really, really, good. And the seldome used accordion (in todays bands) is a hit addition as many of the simplier groups used such an instrument through the 30's to the 60's. Tops! All are on the same scale as the Grammy winning performers of Asleep at the Wheel. Enjoy the music! ... Read more

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"We've lost the living room," Emmylou Harris says before her ethereal version of "Mary Danced with Soldiers," "but today I think we got it back." Full of back-home warmth, inspired pairings--Roseanne Cash and John Hiatt, Levon Helm and the host Nitty Gritty Dirt Band--and a song selection that walks the line between traditionals and excellent contemporary material, somehow this follow up to the barrier-breaking first volume is never nostalgic nor aimless. In fact, it's nearly as good--even John Denver sounds inspired. Jimmy Martin sings "Sitting on Top of the World" as if his life depended on it, and Ricky Skaggs and Levon Helm both turn in vocal performances that stand comfortably beside any of their careers. --Roy Francis Kasten ... Read more

Reviews (19)

Not the classic the original "Circle" is, but I like it
This record is the sequel to the Nitty Gritty Dirt Band's original Will The Circle Be Unbroken triple album, the one that got me hooked on these guys. In '72, when Circle was released, the members of the Dirt Band were long-haired, progressive country-rock artists who were trying to bridge the musical and cultural gap between themselves and the veteran country artists they were recording with. When the sequel to Circle came out in '89, 17 years later, NGDB was a veteran country act who had had a lot of hits. Will The Circle Be Unbroken, Volume 2 is not the groundbreaking album its predecessor was, but this record has a lot of great songs by a talented group of artists.

I don't know where to start with the highlights--there are many. The title track features Johnny Cash, Roy Acuff, Ricky Skaggs, Levon Helm(formerly of The Band) and NGDB's Jimmy Ibbotson taking turns singing the lead, and all the musicians and singers who perform on this record join in. Acuff, who was one of the singers on the first Circle album, and country music Hall of Famer Earl Scruggs, who played banjo, make a return engagement here. Ibbotson added a fifth verse to A.P. Carter's original lyric and dedicated it to the late Mother Maybelle Carter, who was one of the key performers on the original Circle album. The first hit off this record was "You Ain't Goin' Nowhere", the classic Byrds song that was written by Bob Dylan. Although I think the Dirt Band's live version of the song on their Live Two Five album is a little more energetic than the studio version, "You Ain't Goin' Nowhere" is noteworthy because Roger McGuinn and Chris Hillman, two of the guys from the Byrds, sing lead here. "Turn Of The Century" is the Dirt Band's utopian vision of the future("There won't be no TV preachers to ask how much we gave/We won't need no TV preachers/See, by then we'll all be saved") and features Jerry Douglas on dobro, Mark O'Connor on fiddle, and NGDB's Jimmy Ibbotson, Jeff Hanna and Bob Carpenter each singing a verse. "Lost River", written by Michael Martin Murphey, has Murphey singing lead and John McEuen, who had left the Dirt Band a couple of years before, joining his old bandmates on banjo. Hanna's Cajun rocker "Bayou Jubilee", which NGDB first did on their 1975 album Dream, is redone here and is no less spirited now than it was then. "When It's Gone", with Randy Scruggs(son of Earl) on lead guitar, O'Connor on fiddle, and Jimmie Fadden on harmonica, is a toe-tapper reminiscent of NGDB's classic bluegrass and swing numbers. "And So It Goes", on which John Denver is backed up by the Dirt Band, was the first hit song in four years for the classic '70s folk-rock artist. Other songs I really like on this record are the traditional bluegrass anthem "Sittin' On Top Of The World" with lead vocals by Jimmy Martin(another singer who was on the first Circle album); the gospel numbers "Don't You Hear Jerusalem Moan", featuring the New Grass Revival, and "Little Mountain Church House", sung by Ricky Skaggs; John Prine's "Grandpa Was A Carpenter"; John Hiatt's "One Step Over The Line", with lead vocals by Hiatt and Rosanne Cash(Johnny's daughter); and the moving wartime ballad "Mary Danced With Soldiers", sung by Emmylou Harris.

However, even though I like Circle, Volume 2, I give it only four stars instead of five, mainly because of the way it was recorded. On NGDB's classic Will The Circle Be Unbroken, every song was recorded on the first or second try--as Acuff, one of the participants on both Circle albums, said, "Do it right the first time"--and a lot of the conversation the participants had between songs was recorded, giving the album a "live" feel even though it was a studio recording. There are some live conversations on this record, but in my opinion, most of the record sounds more like a slickly-put-together studio product than a get-together by folks having a good time, which is the feeling I get from listening to the LP of the first Circle album. Still, I don't think Nitty Gritty Dirt Band fans--or music fans in general--ought to miss this one. Will The Circle Be Unbroken, Volume 2 is a fine tribute to tradition featuring a band who has been making high-quality music for a long time.

Out Of the Studio & Into the Living Room
While not the ground-breaking album that 1972's volume one was, Volume Two is a worthy successor. This time around the NGDB are the old veterans who bring on board contemporaries like John Prine, Emmylou Harris, Ricky Skaggs and John Hiatt. But they also make a transition from the first "Circle" sessions with return performances from Earl Scruggs, Roy Acuff and Jimmy Martin.

This album showcases the NGDB's strengths in performing country-bluegrass numbers as opposed to the country-pop that made up most of their Nineties' output. Lending instumental support on more than half of the tracks are Mark O'Connor (fiddle, mandolin), Jerry Douglas (Dobro) and Roy Huskey Jr. (bass).

Highlights include "Lost River," where John McEuen reunites with his former bandmates on banjo, "You Ain't Going Nowhere" with former Byrds Roger McGuinn and Chris Hillman, the New Grass Revival's romp through "Don't You Hear Jerusalem Moan," and Ricky Skaggs' gospel number "Little Mountain Church House."

These recordings evoke a warm intimate feeling, which only add to the album's charms. It's been eleven years, I'm ready for volume three. RECOMMENDED

Genuine heart-felt mountain music played by the best
I bought this CD back in 1990 and it is one my favorites. The audio is supreme. The music sounds like a bunch of friends having a good time. Cash, Prine, Helm, Hiatt and Cash are the standouts. Even John Denver has a great song. I am not a "country fan." My tastes are Gov't Mule / Phish / Allman Bros.

My favorite Circle album
There are three Circle collections. General opinion is that the first album is the best, the third album is a close second and that this is the weakest of the three. I love all three but this one particularly appeals to me. It has many traditional musicians and singers but also a few less obvious singers like John Denver, Levon Helm (of the Band), John Prine, Roger McGuinn (of the Byrds), Paulette Carlson (of Highway 101) and Bruce Hornsby. Perhaps it is the presence of such guests that some dislike but you can't please everybody.

Whatever you may think of the normal music that some of the guests have recorded, they all justify their place on this excellent album of traditional music, sometimes singing songs they've previously recorded, but adapted to a traditional setting. For some of them, it may have been their chance to record some traditional country without upsetting their fans or their record label. Both would understand that this was (for them) a one-off. They certainly made the most of their opportunity.

So we get Bruce Hornsby singing and playing piano on Valley road, but in a traditional country/bluegrass style. Roger McGuinn and Chrisman Hillman, both ex-members of the Byrds, sing and play guitar on You ain't going nowhere, a Bob Dylan song that was recorded by the Byrds in the sixties. Michael Martin Murphey sings and plays guitar on Lost river, one of his own songs. John Hiatt sings a duet with Roseanne Cash on One step over the line. John Prine sings and plays guitar on his song Grandpa was a carpenter.

Some of the songs are oldies like Life's railway to heaven (featuring Johnny Cash), I'm sitting on top of the world (featuring Jimmy Martin), the title track (featuring everybody but particularly Johnny Cash, Roy Acuff and Ricky Skaggs) and Amazing grace, an instrumental solo by Randy Scruggs. Other songs appear to be originals including And so it goes (featuring John Denver), Mary danced with soldiers (featuring Emmylou) and Lovin' on the side (featuring Paulette Carlson).

If you haven't got any of the Circle albums, this album is a great one to start with, especially if you're relatively new to traditional country music.

This Circle Difficult to Break
A friend told me, "This disc is where I go when the current state of the music business depresses me."
Having said that, my friend said, "you should hear it."
He knew my musical roots go the way of Gospel and Bluegrass, so
he made the recommendation on those grounds.
This is my history. This is "where I'm from".

I played "Circle II" through the first time, and most of that time, sat stunned as this music..."Roots Music" invaded my
home, and my heart...again. This record was recorded well before
"O Brother, Where Art Thou?" was even a glimmer in someone's eye.
I'd fogotten just how good this stuff can be, if done correctly.

This is well-crafted, solidly-played, honestly sung music from
people who know the instruments they pick up and who aren't afraid to PLAY. This is not formula-driven pop, CHR, or incessantly boring drum loops some call "Rap Music". This stuff is real.

Perhaps the biggest surprise of the record for me was the appearance of Bruce Hornsby, whose keyboard skills are almost
unmatched in today's industry. "valley Road" takes a seriously wicked twist as the tempo is bumped up to twice that of the track as recorded earlier by Hornsby and the Range. THIS arrangement sizzles! Other surprises are the instruments played behind Skagg's vocals on "Church House". Rhythmically simple, but harmony-driven, the players compliment the lead vocal perfectly.

Emmylou Harris fans will not be disappointed, as she is in rare form for this album.

Over all, the Circle of tightly-knit, well-sung tunes has yet to be broken even by those who've come after. A great record.
This one's a "must have". ... Read more

Reviews (19)

Relive the Chase..Dylan Style
If you have seen the film Directed by Sam Peckinpah, or if you love Dylan, or even if you just love Westerns and the thematic musical scores from them, this album is for you. You can relive the chase as Pat Garrett hounds Billy the Kid from start to finish across the old west.

There are 10 tracks, music by Bob Dylan, accompanied by Booker T on Bass, Carl Fortina on Harmonium, and Russ Kunkle on Tambourine among other various artists, that capture the story. Four variations of Billy's theme, one recoreded in Mexico City with Terry Paul, tell his story.There is some great foot stompin music "Turkey Chase" and it also includes "Knockin on Heaven's Door", the sad lament of knowing the end is near.For a complete list, see buyer's info.

All the sound is distinctive and clear. It's a great album to pass the time with at home or in the car. also If you have not seen this film and you are a western or Dylan fan you might want to check it out also. Dylan has a supporting role as "Alias", Billy's friend, and he is quite good.

relax and enjoy.....Laurie

Dylan Soundtrack
Bob Dylan made his acting debut as Alias in Sam Peckenpaugh's Pat Garrett & Billy The Kid. In addition to acting, Mr. Dylan provided the songs for the soundtrack. In fact, its one song from the soundtrack that has become infinitely more famous than the movie itself. The song is one of the all-time best from a man who many consider the voice of a generation. The song is of course "Knockin' On Heaven's Door" and its power is undeniable. The song conveys the fears and confusion of both men of good (Pat Garrett) and bad (Billy The Kid) and it shows that no matter how you live your life, the specter and fear of death creeps into us all. There are some decent instrumentals and four versions of the song "Billy" which are good, but the album is really carried by one song.

Final Theme Will Chill Your Soul
This is the sound track for the movie of the same name starring Kris Kristoferson, Rita Coolidge, Slim Pickens and, of course, Mr. D. himself. All of the music is instrumental, , except for "Knockin' on Heaven's Door and the two and a half versions of Billy. Personally I love the instrumental stuff, but if you don't you can get "Heaven's Door," on a lot of compilations, but without this record, you'll miss out on "Billy." Four stars for this one, even though "Turkey Chase," is a hoot and the beautiful and haunting "Final Theme will chill your soul.

Reviewed by Stephanie Sane

lonesome western on the run......
Great album to throw in and get taken into the old west, acoustic guitars with simple dusty boots and gun slingin' singin'. If you have ever driven' through AZ. or CO. and felt like becoming a cowboy (cowgirl) then this album will be a favorite for that person inside you. If your looking for a Dylan album for your collection, get Blonde on Blonde.

Made the film work
Bob Dylan gathered together a cracker jack group of musicians to record this excellent soundtrack, a romantic and mythic ode to a west that could only have existed in a collaboration between two artists walking the desperate line between sentimentality and mourning.

Sam Peckinpah when making the deeply flawed but often beautiful companion film, tottered on the abyss. The film may have marked his falling off the precipice, but Bob Dylan's brilliant fusing of folk, country and western and rock provided a sonic union rarely found in soundtracks. This album serves as a funeral dirge not only for the mythic Billy The Kid, but for Sam Peckinpah also. In fact, Dylan's score makes the film work far better that it perhaps deserves to.

Granted, like the film it echoes, this album does often sound redundant. But when it hits as it does with the brilliant opening theme "Billy" (Wes Anderson resurrects it most magnificently in "Royal Tennenbaums") and of course the classic "Knocking On Heaven's Door". Dylan even pulls off a comical Kris Kristofferson impersonation in one cut. Much of this album contains arguably some of Dlyan's finest instrumental and acoustic work. The sheer sound of the music evokes strong images of southwestern sunsets and small rivers rolling lazily by sandy dunes. It evokes images of time passing and figures holding passionately to the ephemeral. To quote the film:

"It feels like times have changed"

"Times maybe. . . but not me."

Like Ry Cooder's equally excellent score for "The Long Riders", Dylan transcended time and space and created a great album that made a film work. ... Read more

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With ample doses of talent, spirit, and charisma, Flatt and Scruggs rose to the popular peak of the bluegrass heap during their 17-year association with Columbia. With Lester Flatt's casual vocal style and Earl Scruggs's groundbreaking banjo technique, the Foggy Mountain Boys brought bluegrass into the country mainstream more so than either Bill Monroe or the Stanley Brothers. Disc one picks up where the legendary Mercury recordings left off. High-powered originals such as "Come Back Darling," "Head Over Heels," "Til the End of the World Rolls Round," and "I'll Never Shed Another Tear" add to their classic repertoire, while the spectacular instrumental rags and breakdowns showcase Scruggs's banjo prowess. Disc two finds the pair diversifying their portfolio, as it were, with readings of popular television themes and covers of everyone from the Carter Family, Woody Guthrie, and Johnny Cash to John Sebastian, Bob Dylan, Tom T. Hall, and even Shel Silverstein. --Marc Greilsamer ... Read more

Reviews (10)

Dang....this is good stuff!
The work of Flatt & Scruggs is still the standard by which almost all blugrass music is judged...including the newgrass stuff and this CD contains some of the best old-school style bluegrass available. As a 5 string banjo player, I buy anything with Earl Scrugg's name on it (heck, even my gibson banjo has his name on it), but this CD is a particularily great collection of his work because it spans such a huge chunk of his musical career. Interestingly, the songs do not overlap with their "foggy mountain banjo" CD which I also highly recommend.

Classic Recordings From Flatt & Scruggs
While Bill Monroe is rightly known as the father of bluegrass, the importance of Lester Flatt and Earl Scruggs cannot be overstated. Throughout the Sixties the duo put out a string of albums for Columbia and became cultural icons with their appearances on "The Beverly Hillbillies" and contributions to the "Bonnie and Clyde" soundtrack.

While only slightly less significant than their classic Mercury sides, these 34 tracks from the Columbia vaults are essential bluegrass recordings from two pioneers of the genre, including classics like "Foggy Mountain Breakdown" and "I'll Never Shed Another Tear" to more pop oriented fare like the Lovin' Spoonful's "Nashville Cats."

My only complaint is that this two-disc set clocks in at a mere 84:14--it could be almost twice that long. Why not include songs like "Jimmy Brown the Newsboy," or originals like "Dig a Hole in the Meadow," or their covers of Dylan material? HIGHLY RECOMMENDED

A must have Flatt and Scruggs double CD
All I can say is, if this were and old vinyl LP, I would have worn through it by now. These 2 CDs are my most played of the stack of bluegrass CDs lying around my home and car.

Best Domestic Set Available of Their Most Popular Recordings
Over 30 years after their breakup, Lester Flatt & Earl Scruggs remain the most famous band to emerge from bluegrass. Brought together in Bill Monroe's band in 1945, they left three years later to form their own band - the Foggy Mountain Boys - and sign with Mercury Records.

While their Mercury recordings (1948 - 1950) are held in higher esteem critically, Flatt & Scruggs' work for Columbia (1951 - 1968) was far more popular at country radio. Disc one contains their most pure bluegrass offerings, such as "Tis Sweet To Be Remembered," "Cabin In The Hills," and "Crying My Heart Out Over You." Lester's easy going, high tenor voice is the featured "instrument" on these recordings.

Disc two finds Flatt & Scruggs at their commercial peak, led by their 1962 chart-topping theme for The Beverly Hillbillies. This smash led to several appearances on the show (including a performance of "Pearl, Pearl, Pearl," their top-ten ode about Jethro Bodine's mother) as well as the Petticoat Junction theme assignment (a top 20 hit). These recordings featured Earl's extraordinary "three-finger-banjo" accompaniment far more prominently.

Flatt & Scruggs' top 20 toetapper "California Uptight Band" (not included on 16 GREATEST HITS) and the 1967 remake of their "Foggy Mountain Breakdown" (originally cut for Mercury in 1949 and repopularized in the film Bonnie & Clyde) conclude this set on a high note. In 1969, the duo split up due to differences over musical direction. Flatt's death in 1979 would end any chance of a reunion.

This 34-track, double-disc set captures all of Flatt & Scruggs' charting singles and most choice album tracks from the Columbia years and is the best domestic collection available. For a more extensive look at this period, check out the THREE box sets from Germany's Bear Family Records.

What Fun!
This 2-CD set is a bargain and a joy. Jam packed with some of the best pickin' ever produced, guaranteed to tap your toes and warm your soul. Currently garnering many repeated listenings around these parts. ... Read more

Amazon.com essential recording

Leonard Cohen's deeply personal first LPs came out at a time when many of his peers were issuing furious, counterculture-inspired rants; he clearly had little interest in sticking with the pack at the time. So it makes a certain kind of contrary sense that Cohen would put out an offbeat topical collection two and a half decades later. The Future is an odd duck of an album; it's also brave, funny, and fascinating. "Give me back the Berlin Wall / Give me Stalin and St. Paul," Cohen petitions sardonically in the title track, adding, "I've seen the future, brother: it is murder." "Can't run no more with the lawless crowd / While the killers in high places say their prayers out loud," he intones in "Anthem." In "Democracy," he name-checks Tiananmen Square while surveying the United States ("The cradle of the best and of the worst"). Cohen has only improved with age as a vocalist; he sounds like a cross between Mark Knopfler and Barry White. While the polished production takes some getting used to, it's somehow suitable that cooing background vocals and programmed tracks temper these low-boil diatribes. This is, after all, The Future. --Steven Stolder ... Read more

Reviews (37)

The most beautiful album ever made. No doubt about that.
You simply cannot fault this album. Some say it's a far cry from his earlier recordings but it has to be said that the wistful, sad, , incisive, cutting, dark, and romantic Mr Cohen is still alive and well. Majority of the songs on the album are over 5 minutes long, but you never seem to notice, in fact, I often wish they were longer! The rythmn and melody, accompanied by the deft, poetic story telling of Cohen, takes you on a ride that can be exhillarating (The Future, Closing Time), profoundly moving (Anthem, Tacoma Trailer, The Miracle) cutting and ry (Democracy), and incredibly sexy and erotic (Light as the Breeze, Be For Real). There simply has never been a more angelic song than Anthem. I still am moved by it after literally thousands of listenings, particularly the final instrumental break where the strings pluck and the vocals soar. Incredible. Classical music purists generally only consider the obvious greats as musical geniusses, (Beethoven, Mozart, Bach etc) but I put this question to you, Was musical genius confined only to previous centuries? With The Future, Leonard Cohen prooves that he is up there with the best of them. If he had written this album in the 1700s, it would be played today by The London Philharmonic, Sung by Pavarotti, performed in The Met, and Royal Albert Hall, it would be played at Royal funerals, and after hundreds of years, would still move people. I re-iterate this point, you cannot fault this album, and if there was a fault, it has to be said, "...there is a crack in everything, that's how the light gets in."

An Absolute Masterpiece
I don't know how many would agree with me on this, but I think The Future is undoubtedly Leonard Cohen's best album. The lyrics on this album are absolute poetry - mastery, sheer mastery. From the dark satire of the title track to the cynical but all-too-true Waiting For The Miracle, to the appropriately titled Anthem, to the poetic and highly erotic Light As The Breeze, Cohen's lyrics stand nearly unrivaled in music. However, the real lyrical standout of the album is Democracy, a biting satire that stands up favorably to anything he has ever written. The covers Be For Real (and especially) Always are also very well-done, and the latter even features a nice Cohen vocal. Tacoma Trailer, an instrumental, is a nice way to round up the album. You won't find bombastic musical arrangements or overbearing vocals here, though. What you will find are Cohen's great lyrics sung in an intensely personal and moving way. And that, surely, is enough.

Songs that penetrate and don't let go
This was my first Leonard Cohen album and still my favorite. With intelligent lyrics, simple yet intoxicating melodies, and an underlying sensuality, every one of these songs will seep into your conciousness and never leave. From the subtle groove of "Waiting for the Miracle," the infectious "Closing Time," the thought-provoking "Democracy," to the simple beauty of the instrumental "Tacoma Trailer," Cohen takes the listener on a magical journey that you will want to take again and again.

LC delivers.
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Gets four stars from me.

LC is one of those singer-songwriters who seem to elicit strong opinions; there are those who really like him and those who can't stand him, but I haven't run across many who feel lukewarm about him either way. You'll rarely hear said about Leonard Cohen, "Yeah, he's ok."

Accordingly, listening to any Leonard Cohen album should give one an idea of how they'll feel about him in general. This being a later album, it's more highly produced than the early albums, many of which have an almost raw sound to them.

I didn't like all the songs equally when I first listened to it, but repeated listenings have had nearly all of them grow on me to one degree or another. My least favorite is his cover of Irving Berlin's "Always", where Cohen tries to both undercut and transcend Berlin's cloyingly sentimental lyrics with a sly, lounge-lizard cool. Just doesn't work for me.

On the other hand, "Closing Time" utterly succeeds in pulling off the same trick in reverse; undercutting and transcending a Country Top 40 sound with sneakily subversive lyrics, suggesting something just a wee bit more existential than just another tears-in-my-beer lament over a broken love affair. "Looks like freedom but it feels like death / it's something in between, I guess / it's closing time." skirts dangerously close to the edge of Deep Thoughts.

"Waiting for the Miracle" is one of the standouts of the album, and certainly the darkest. It evokes a bleakness in the vein of an Ennio Morricone score for a Sergio Leone Spaghetti Western. It was used, in fact, as the opening theme for Oliver Stone's "Natural Born Killer's", which also used the album's title cut, "The Future", as it's closing credits theme. Another upbeat piece subverted by dark, jagged lyrics.

The other cuts are all good, with my personal other real standout being his "Anthem", which is as close to spiritual hopefulness as you're likely to hear LC get, a quiet, nearly peaceful ode to faith in the Good, and True.

If you like Leonard Cohen, you'll get him on this album, if you don't know him and want to check him out, this is as good an album as any of his to start with, and you'll certainly get to hear him in his stride. He hits it enough times here.

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Entirely unclothed emperor parading about embarassingly
This is an album the enjoyment of which requires the listener to excuse him- or herself from the very smallest shred of critical intelligence. The gray "oracular" drizzle spreading dully from the 90% asleep gob of this fatuous ennervated biped drives this listener up a tree. I'd excuse him, but I have better things to do, like putting my head in the oven. The degree to which this album is embraced by a loving public strikes me as all the justification a person ought to need to write off the species entirely. Other than that, thumbs up. ... Read more

Amazon.com

New Orleans-bred folk-bluesman Smither has few peers. As a musician he's expanded the six-strings-and-foot-stomps delivery of John Lee Hooker into an elegant, original style that draws as much on the sweet jazz melodies of gypsy guitarist Django Reinhardt as the spidery swing of country bluesman John Hurt. And his writing has a poet's eye for detail, as when he's pondering mortality on the disc's title track. There's also a gentle, sincere quality that comes through the dusty tones of his voice, until he drops it to a mean-eyed growl to capture the soul of characters like his "Crocodile Man"--loners condemned to live in the dark neglected corners of their own hearts. But for much of this album, Smither's coming from a happier place, where love and life are full of possibilities, and his blues are just another way of expressing joy and wisdom. --Ted Drozdowski ... Read more

Reviews (10)

Smither fans, rejoice
This is a honey of a CD. From the opening notes of the eerily beautiful "Train Home" I was hooked. The covers of "Crocodile Man" and (oh boy) "Desolation Row" are masterful. The account of Chris's woefully unsuccessful attempt at Zen-like detachment as he deals with the theft of his car ("Let It Go") makes me laugh out loud every time I listen to it. "Outside In" is one I return to again and again in appreciation of its wonderful lyrics regarding the futility of worry. Can you tell I can't choose my favorite cut? This is a CD that's going to be in my player for a long, long time.

Incredible
I can listen to this CD everyday and I never seem to get tired of it. It's got a rare quality to it that's hard to define and near impossible to find. If nothing else buy this CD to hear his fantastic take of Dave Carter's song "Crocodile Man". It's worth buying the CD just to get that song.

carry me awhile...
This is the kind of music that makes you stop and listen. The lyrics are intriguing ("with heavy-handed cheerfulness and a calculated smile, it says 'carry me awhile'") and the delivery arrestingly simple. The title track is like a George MacDonald purgatory transported to New York City. And he goes from channeling Tom Waits in "Crocodile Man" to covering Bob Dylan in "Desolation Row." All without stepping out of his own magnetic style. It's storytelling as much as singing. Buy it. Love it. Tell all your friends about it.

One of his finest!
Roots-blues troubadour Chris Smither has been around so long that his '70s singer-songwriter status has shifted into that of an elder statesman of the alt.country scene. This is a remarkable album -- melliflous, calm and compelling, a very mature work. Some of his albums of the 1990s and early '00s have had their forced moments; here Smither seems entirely at ease, and seems to have nothing to prove. It's a very rich, rewarding album, well worth checking out.

Like a boat ride through fog in Mississippi
A outsatnding compilation of sometimes eerie, haunting and engaging melodies in a singing style that's a blend of Gordon Lightfoot and Arlo Gunthrie.

Muscially magnificent in the great American blues traditin. Own it! ... Read more

Amazon.com essential recording

The mannered vocal style that has always been the most off-putting element of Ani DiFranco's music is still present on this two-disc live set, but for some reason it doesn't matter anymore. Maybe it's the way you can hear DiFranco using her breaths to accent a rhythm section that's downright merciless with its circling, pulsing, scary grooves. Or maybe it's the way, with an audience screaming, she pours heart and soul into "Unforgettable Face" and the story song "Gravel." Whatever, Living in Clip is the album where DiFranco begins to deserve her hype. And "Amazing Grace," backed by the Buffalo Philharmonic, is where she surpasses it. --David Cantwell ... Read more

Reviews (120)

Oh, I adore, you.
A good friend of mine turned me on to Ani sometime last year. So here I am, listening to 2 Little Girls off Little Plastic Castle, and I'm falling into this deep fascination with this voice. So, I go to find an Ani CD of my very own to start off with. I see Dilate, Not a Pretty Girl, Little Plastic Castle, and Living in Clip. My good friend had everything there except LIC. So I bought this one. Thank goodness. This album, twisting in every emotional direction feasible, is a tribute to Ani's musical genius, her live act, and her phenomenal writing. To list a few trully noteworthy gems: "Hide and Seek"--Beautiful in it's haunting lyrics and almost tribal beat. "Napoleon"-- It's sooo much better live! "32 Flavors" Alana Davis (Is that who covered it?) gave it no justice. "In or Out"--Dynamic and stirring, unlike the studio version. "Amazing Grace"--Mmmhmm.;) Also, be sure to wait until the last song on disc 2 reaches 7:00 for about the most giggle worthy display of audience/band interaction I've ever heard!

Ani's good, but only as good as Ani wants to be
I dont dought the talent of Ani Difranco. I just started listening to some of her stuff and i was very impressed with her talent, but i really do think she could reach a new level of excelance that she appearently has no intent to reach. Her live double cd, "Living In Clip" showcases Ani's talented Dave Matthews like guitar work in combination with a Alanis Morisette type attitude that she sings with. Alot of the tracks on this disc sound great and she has proven to me that she is definately a very talented and original voice in the womens music bussiness. My biggest problem with Ani is that it seems to me that she has to grow up alittle, not only in a mature sense, but also in a musical sense. She has the talent to become among the elite women singers in the bussiness, but it seems to me her attitude and her lack of maturity is holding her back. I like her music on this album, but i have to say i really dont like and cant relate to some of her comments inbetween songs, it is almost a musical turn off to this listener. Overall i enjoy her music and do recomend this album, its just a shame to see such a talent limiting her self to mediocre song writing and little imagination.

One Of The Best CDs of All Time
Ani seems to touch every feeling a person can have on this CD. She goes from subtle and soft, to yelling, screaming and laughter. This is the best CD I have ever bought. I suggest it to anyone who likes folk music or has a an open mind towards new things!

Living in clip
Ani Difranco is one of the few artists who has made a successful career out of her do-it-yourself ethics. She has bypassed the conventional career path most artists takes by not signing with a major record label and by doing that, she has a greater percentage intake in the profits from her music as opposed to being in debt for years to a major record label. I always have and always will respect Ani for taking the high road and do things her way. I was a big fan of Ani Difranco when I was a college student in Wisconsin nine years ago. I first heard about her in a magazine (I think) and decided to check out her music. "Dilate" was my first Ani Difranco cd. I was hooked. During the next few years, I would buy her latest cds religiously on the day they were release, one of them was "Living in Clip". I rarely buy live cds but in Ani Difranco's case, I was willing to buy a live cd of her music. Besides there were a bunch of songs at the time I hadn't heard before like the gorgeous "Both Hands" (my all-time favorite Ani Difranco song) and "Sorry I Am". "Living in Clip" is definitely one of the best live cds that I have ever heard. Although each song was recorded in different cities, you would have never guessed that they weren't recorded at one performance. The occasional banter with the audience gives the listener an intimate insight of an Ani Difranco performance. One of the most stunning performances on the cd is Ani's rendition of "Amazing Grace" with the Buffalo Philharmonic. It simply took my breath away. That alone makes this cd worth listening to. Although I am not nearly the fan that I am of Ani's music any more, I still enjoy throwing in "Living in Clip" every now and then. This is a good representation of Ani Difranco as an artist as well as a performer.

The Rocked Folk album of the Century!!!
Living In Clip shines as Ani's most versatile and amazing album yet, out of her 25 five or so. This album covers some of her most classic songs such as the unforgettable Both Hand, Adam And Eve, In and Out, Out of Habit, and Out of Rage. Combining folk rock punk and poetry, Ani definitely delivers in this piece of musical art. With only a three person band with ever so lovable Sara Lee on bass and Andy Stochansky on drums we are given even a bigger treat, but the double album really shines when Ani sings solo only with her guitar. Me being an original Ani fan from the early 1990's I have seen her music evolve and change into something amazing, which is shown through this classic album. If you are interested in becoming an Ani Difranco fan for the first time I strongly suggest this album. Also if you ever get to actually see her live that is the True Ani expierence! I was also given a treat of meeting her, quite an expierence!
Enjoy!!! ... Read more

Reviews (7)

A Truly Wonderful Listening Experience
If a person can fall in love with a CD, this is the CD to do it with. One of the best purchases I have ever made! The combination of musical diversity on this recording is great! Everything from "Whistling Dixie" and "Brackenby's Music Box" to "Today" and "Anything Love Can Buy". You won't just find one or two songs to love here, you will love them all!

A truly delightful listening experience!
I became a NCM admirer when I was in 5th-6th grade. RAMBLIN' was the only album I ever owned until now. I loved the humor of the NCM back then, but I also enjoyed being taken back into the earlier history of our country with songs like "The Drinkin'Gourd" and the "Wagoner's Song". This CD has been true a joy to listen to. In addition to the warmly familiar songs of the RAMBLIN' album and the tender long-remembered song, "Today", I have now found many new favorites among the songs on TODAY album. If you enjoy music that stirs a sense of love for our great country and its remarkable rugged history, you're bound to be captivated by the NCM's TODAY/RAMBLIN' CD. Just wish I could find this on cassette tapes to listen to in my car!

Two Faces of NCM Shine
Ramblin' was the first of many NCM albums I listened to in the early 60s. It captures the early "folk" influences that we heard on the TV show Hootenany; I consider it the quintessential NCM album.

Today, on the other hand , shows the later (and final) years of NCM. As the folk scene evolved NCM moved further away from "folkie" type stuff to more refined - mainstream music (such as a movie score). While NCM could not compete with the likes of Tom Paxton, Phil Ochs, and Joan Baez in the realm of topical folk music, this album contained many excellent songs and of course the beautiful "Today" later recorded by John Denver.

Within a few years of this album NCM entered a rapid decline - I saw them in concert on 1967 and not one member of the original group remained (the concert was lousy).

However, for historical, musical, and sentimental value - this CD is well worth it.

I can't believe both of these albums are on 1 CD!!
When I was growing up in the early 60's I was a little too young to choose my own music to listen to so I heard whatever my sister played. Thank goodness she had the good taste to pick out both "Ramblin'" and "Today". These two albums, along with the Kingston Trio's album "#16" comprise the best of the best of those years. These albums are like a soundtrack to my life in the early 60's and bring back so many good memories. I still have the old scratchy LP's but can't hardly make out the words now! I can't believe that they put both of my favorite New Christy Minstrel albums on one CD! I'm going to get this one myself and relive those wonderful memories again!

Timeless music for every generation
I bought "Ramblin'" as a scratched LP back in the late 60's and have loved it ever since. After all these years it is pure magic to hear it as it was originally recorded. The New Christy Minstrels went beyond just being a folk group; they combined extraordinary musical talents and strong personalities such as Barry McGuire putting together songs of beauty, power, nostalgia and pure fun. Add to the experience the album "Today" (the soundtrack from the Glenn Ford film "Company of Cowards") and you have a truly enjoyable album, with the title track one of the most hauntingly beautiful songs of all time. I only hope now that other NCM albums, such as "Land of Giants" and "In Person" are also going to be made available very soon. ... Read more

Amazon.com essential recording

During the '80s, Texas singer-songwriter Nanci Griffith graduated from modest folk celebrity to find herself signed to a major label and making thoughtful, better-heeled studio albums that were critical favorites but commercial anomalies in the country market where she was initially positioned. This 1993 project finds her returning to her roots, reunited with the producer behind his earlier folk triumphs, Jim Rooney. Taking its title from Truman Capote's first novel, Other Voices, Other Rooms is a gentle but whip-smart anthology of excellent songs from acknowledged masters (Bob Dylan, Tom Paxton, John Prine, Townes Van Zandt, Woody Guthrie, the Carter Family, the Weavers, Gordon Lightfoot) and lesser-known but hardly less-skilled writers including Kate Wolf, Frank Christian, and Vince Bell. Griffith's clear-eyed vocals and unswerving intelligence are well served by members of her own band, augmented by vocal cameos from a roomful of fellow folk veterans including Prine, Arlo Guthrie, the Indigo Girls, and John Gorka, among others. --Sam Sutherland ... Read more

Reviews (31)

Great idea for an album
Folkie/singer/songwriters such as Nanci Griffith are the most joyful of live entertainers to watch. Partially because it's almost always in an intimate environment, and you can feel that the performer is almost singing directly to you. Plus the songs have to be heartfelt, or the whole concept just doesn't work.

Problem is, most of them can't sell a record to save their lives. Sure, Bob Dylan isn't starving, but let him try to release a few albums without rock accompaniment and see what happens to his record contract. So what do they do?

Well, how about releasing an album of songs by the masters of the field, as performed by the featured artist? And have the songwriters themselves perform as backup musicians or singers. Then every few months or so, somebody else can do the same thing, and all of a sudden we'd have some pretty good music being released.

For this is one dynamite collection of songs. So what if they're not her songs. They're done in earnest, and open doors to me as to what other artists are capable of. Or sometimes it's nice to hear a song you're familiar with done by somebody else. I actually have had the original album that has "Tecumsah Valley" on it for twenty-five years now. Since we won't be hearing Townes Van Zandt singing anytime soon, this is a great way to revive it. I also find myself playing "Speed of the Sound of Loneliness" over and over again, and as the father of four, "Turn Around" leaves me a sobbing ... every time I hear it.

Like I said, let everyone take their turn in the rotation. This is a very special album to me.

Nice but the voice bothers me
This is the first Nanci Griffith album I've bought. It's a good album. The instruments are very nice and expressive, the selection of other folk's songs is impeccable, and it has a very natural, relaxed feel to it.

Unfortunately, I have a hard time with Nanci's voice. It is frequently just out of tune enough for me to notice, and cringe. Mind you, it's not *really* off key. It's just off slightly (usually flat, especially when she tries to hit the high notes), just enough for it to start really annoying me after a while.

The other thing is, don't buy a Nanci Griffith album if you expect someone that can sing in a full, rich voice with a nice vibrato, like Joan Baez. Nanci's voice is more "little girlish," and somewhat thin, relatively speaking. To me, it is more along the lines of Kate and Anna McGarrigle. I guess I prefer female singers with a little bit more fullness, more "adult female" sound to their voices.

That said, listen to the clips and decide for yourself. There is no denying that the song selection is a good one. The rendition of "Tecumseh Valley" is very nice, to mention one example.

Wonderful Collection of Songs!
"Across the Great Divide" ... Nanci makes these old precious songs come alive. She has a way of breathing life into a song like no other musician can. She is wonderful to see live.

i love this cd
every song on this cd is exceptional except the very last one, but its only like a minute and a half so who cares. you have to buy this! buy 2 in case you lose one. this is her best yet that i own

Best Nanci Griffeth CD ever
I am a huge Nanci Griffeth fan-- but this CD has to be her best-- Every song is awesome!! ... Read more

Reviews (5)

HOLY SMOKES.....REALLY SMOKES!
There I was at the Tower Records listening station, and there was Paul Thorn's new CD. Now the title alone should have been my first clue that this was going to be something....well, let's say different. By the time I was into the first 30 seconds of "Everybody looks good at the starting line" the spirit grabbed me...The spirit moved me... and a little voice said BUY THIS CD NOW!

By the time I got to my car I had the wrapper off and popped this gem into my CD player and I was off to the highway for the 15 minute ride home. Forty minutes later I pulled up in front of my house, sat there and listened to the last two tracks. I decided to miss my turn off and keep driving just to keep the music going. Mr. Thorn knows how to create a picture with his insights to some of lifes little oddities...Folks, the man can flat out write some tasty, funny, heart grabbing & soulful lyrics. "Angel Too Soon" is one of the most touching, immotional songs I've ever heard.

This CD has it all...Paul's "Jack Danials" dipped voice, a major groove, great musicians and intelligent lyrics that catch & give you pause for thought...."MISSION TEMPLE FIREWORKS STAND" IS ABSOLUTELY PERFECT!

You Want Alternative Music? Here Is The Real Thing
I am one of the host of people who first met Paul Thorn on the Bob And Tom syndicated radio program. This guy has to be one of the most engaging personalities one is ever to meet. A former professional boxer--son of a revival tent minister, Paul Thorn is an honest and very funny man. Like all of the rest of his albums, Mission Temple Fire Works Stand is a winning collection of comical, tender and heartbreaking songs. Typically the listener first thinks "what the hell is this?" But soon you will take these songs to heart. As strange and unlikely as some of the characters are in Thorn's songs, you know they are real. Anyone who has ever travelled off the main highways and onto the country roads most of America lives on knows that the United States contains millions of wonderful people living the most pecular lives. Paul Thorn has met them--hell, he's one of them.

We here a lot of talk about how we hate the slick and over processed music that is offered to us by the record companies. We seem to buy it anyway. But if you want real alternative music--music and songs that grew from the land and not some creative writing workshop, buy this album. And then buy the rest of Paul Thorn's catalog.

Yes!
I discovered Paul Thorn by accident about two years ago when I laughed out loud at "Burn Down the Trailer Park" on his "Ain't Love Strange" CD. After calling the local public radio station to find out who was singing, I ordered the CD and have been a fan ever since. (When my 18-year old daughter heard my CD, she ordered her own copy.) This CD is just as much fun. I like the southern/blues/country flavor, and I LOVE Thorn's sense of humor and his ability to put a new twist on things we've all been through. Try it. You'll like it!

Steve Earle Meets Lou Reed Meets Todd Snider
Now I love all three of those guys -- Earle, Reed and Snider -- and so I couldn't be more impressed with Paul Thorn's second major release. He builds well on his first album with tight, rockin' tongue-firmly-in-cheek missives. Each song hits its mark directly. If you like Todd Snider's earlier stuff -- especially "Songs from the Daily Planet" -- then Paul Thorn's gospelly rockin toe-tappin white trashy growls will please you immensely.

The Spirit and the Street
Rock-and-blues-influenced singer-songwriter Thorn has produced a release that's strong on several counts. His throaty growl shapes these songs about the street, the mixture of the sacred and profane, and the everyday downtrodden in loving, if occasionally jaded, ways. The songs themselves are eminently accessible and listenable. His lyrics are genuinely moving ("Everybody Looks Good at the Starting Line," "Downtown Babylon") and poignant ("Mission Temple Fireworks Stand," "Rise Up") and wear their heart on their sleeve nicely ("I'm a Lucky Man"). He really seems to have something spiritual (not religious) to say without taking the easy or preachy route (Ain't Livin' in Sin No More," "Nothin' But the Devil"). The musicianship is superb, reminiscent of the snap of a good Hiatt or McClinton CD, but Thorn has his own voice and style even in his given genre, a rare find in this dime-a-dozen musical climate. Highly recommended. ... Read more

Amazon.com

Adagio follows in the rosin-dusted footsteps of The Impressionists, A Different Mozart, and A Different Prelude. As with those releases, it was produced by Dawn Atkinson and features many of the same artists. The results are as varied as the musicians. Violinist Tracy Silverman cuts one of his patented echo-delayed pizzicato violin arrangements of a Bach arioso, while Patrick O'Hearn drapes a somber keyboard shroud around the Adagio from Rodrigo's Fantasy for a Gentleman. Jeff Johnson and Brian Dunning find the Celtic air in the Adagio from Handel's Sonata in G, while Philip Aaberg discovers infinity between the notes of Barber's ubiquitous Adagio for Strings. He stretches the melody across his piano in finely drawn lines, subtlety filled out with synthesizer undertones. Subtlety is a casualty on Philipe Saisse's bongos, bells, and synth arrangement of Bach's Air on a G String. It's also sacrificed in a corny confection of Handel's Sarabande by Paul Schwartz. His ham-fisted electronic keyboards would've sounded dated even before Switched-On Bach. But Adagio features plenty of musicians who are willing to surrender themselves to their elegiac themes, including guitarist Steve Erquiaga, Mike Marshall, and Edgar Meyers. --John Diliberto ... Read more

Reviews (1)

Simply Gorgeous !
This is the first Windham Hill compilation I've purchased in a long, long time, and I am thrilled with the music.
The artistry is stunning, the artists bring themselves to the music while at the same time maintaining the integrity of the original piece.
My favorite is Grieg's Nocturne, arranged and performed by Steve Erquiaga. I have been in love with his music from the moment
I heard his CD "Cafe Paradiso" (Imaginary road Records). It is absolutely stunning!
When I saw that he was on "Adagio" I went for it. I'm so happy that I did ...
Other hightlights for me are Philip Aaberg's "Adagio for Strings", Tracy Silverman's "Arioso" ..... they're all beautiful.
Thank You for this wonderful music. ... Read more

Reviews (44)

Living Under Jann
Jann Arden's LIVING UNDER JUNE was one of her many artistic triumphs. This one fueled some of her biggest hits in her entire career, the song "Insensitive" became an anthem of sorts with its tongue in cheek lyrics and the self-reliazation that it was over before it started. "Could I Be Your Girl" is both catchy and captivating. Perhaps the most poignant and beautiful song on the album is "Good Mother". Jann describes it as a silly song, but it invoken many beautiful things inside her heart. However this song became an anthem for mother's everywhere, with its simple message, and became one of her most known songs as well. The duet with Jackson Browne on "Unloved" is such a beautiful inspired song. Other highlights on here include "Demolition Love", "Looking For It", "Living Under June" and "It Looks Like Rain". Jann has a unique voice both musically and lyrically, she has a pure voice which so full of emotion, and her lyrics are so abstract and beautiful. I think that she's a very deep artist who expresses herself very strongly, melodically, and plays incredibly well with great emotion.

Living Speechless!
Jann Arden has created a masterpiece with this CD! I, like many who bought this CD, was reeled in after falling in love with "Insenstive." Is is a great song, but I couldn't have guessed that the rest of the CD would be as good. From start to finish, Jann weaves passion into every lyric and her melodies are gorgeous. Others have compared her to many of the "alterna-femme-lilith cult" types, but I believe she deserves a place all to herself. The duet with Jackson Browne, "Unloved," is a beautiful word of hope to all who've had loss and made mistakes, and "Good Mother," with its anthmic chorus is a song that praises the works of a wonderful perosn as well as proclaims that there is always something to be thakful for. I wish Jann had more success in the US-- we're definitely missing out!!! Buy this disc and you won't be disappointed!!

"What A Gift She Has For You, And Me!"
Jann Arden' "Living Under June" just may be the closest thing to musical perfection that can be achieved here on this earthly world.

Boy, I'd hate to think that I'd have to actually go to the "great beyond" to find out for sure. Thank Goodness I don't have to, I can stay right here and listen to her terrific music right here on earth.

She (Ms. Arden) grabs your attention from the very first song, "Can I Be Your Girl", and she then proceeds to take you for a total musical experience that you soon won't forget.

Her melodic haunting vocal phrasing, and the deep heartfelt emotional delivery on her other songs like "Demolition Love", "Insensitive", "Gasoline", and "Wonderdrug" left me speechless, but clearly humming her songs for days.

The pure musical enjoyment that I got from this album ("Living Under June") has lead me to purchase several more of Ms. Arden' CD's.

For the record, she has had me "in her grasp" as a big fan ever since I first heard her music seven years ago, and I know that you'll enjoy this CD just as much as I did. Be prepared to be a loyal Jann Arden devotee.

jann Arden albums
I have purchased all of Jann Ardens albums & I have loved every one of them. I would recommend her to anyone who likes Tara MacLean & Sarah Maclachlan.
Worth every cent
BB Chrissy

Surprisingly Good Country/Folk CD
If Jann Arden's "Living Under June" hadn't been on sale, I doubt I would have given it a second look at the record store where I bought it awhile back. Although I was vaguely familiar with her music--namely "Could I Be Your Girl," "Insensitive," and "Good Mother," which played on the radio quite a bit about a decade ago, and are among my favorite picks on here--I never really considered purchasing any of her music, mainly because I'm not much of a country/folk fan. This CD is as close to country/folk as I like to get, but I have to admit this a surprisingly good CD. It's great to unwind to. Jann has a wonderfully soothing, mellow voice and is a natural songwriter. If you like such music, then this CD is definitely worth a listen. Lyrics are included in the booklet of all the songs, except for the bonus track, #11: "I Would Die For You." ... Read more

Album Description

Soundtrack to the 1982 Rankin/ Bass children's film, performed by America and compoosed & arranged by Jimmy Webb.Contains 15 tracks, including 'The Last Unicorn', 'Man's Road', 'In The Sea' and 'Now That I'm A Woman'. Virgin release. ... Read more

Reviews (50)

Beautiful and Unforgettable
If you have ever seen The Last Unicorn, you know that the movie is moving and magical in art and in music. I searched for this Soundtrack for years and gave up awhile ago. Thanks to the internet, I have it now and love. The reproduction of this to CD is not perfect, but the few blemishes are hardly noticable.

I had the movie on the old record movies and the music was just incrediable then. I grew up loving this music and still do. The soft rock and classical mix here works very nicely together. If you are like me, and lyrics mean a great deal to songs, this is definitely for you. The words are moving and really, this is a soulsearching type soundtrack that can be enjoyed by anyone of any age and especially those of us who can recall the scenes with the music as we listen. Get the CD and the Movie if you don't have it. You won't be sorry.

Yeah! No Mia Farrow singing off-key!
The absolute best part of the CD is the fact that they found someone else to sing "Now that I'm a woman," 'cause Mia just totally ruins that song in the movie. Anyway, I like this CD 'cause it's not your typical soundtrack where you usually have to have seen the movie to understand the music. The music from "The Last Unicorn" is more complimentary to the movie than dependant. What does that mean? It means it's really good music on it's own, without the movie. The music is very laid-back, calming, and very pretty. You'd think it'd sound dated, being from the 80s, but it still sounds good today. The only drawback is that, like most movie soundtracks, only 5 of the songs are vocal and the rest are background music. But those songs are still worth it! BTW- at the moment (2001), the import version is the only kind you can get, so don't bother looking for another one.

Music in my dreams
The music is the perfect backdrop to a magnificent faerie tale. I went to sleep with this music in my head as a child and still know every word as an adult. It's a great cd with excellent sound quality. It's just a shame it has to be so expensive because an American distributor won't pick it up....Ironic that a soundtrack by a band named America is an import only.

Beyond words
Many know that the Rankin-Bass animated film, The Last Unicorn, is by far my all-time favorite movie. It rocks! I've always loved it. I just received the soundtrack in the mail today and I was overjoyed beyond all reason, peeps! It's awesome! Beyond words! No way to describe the beautiful music that accompanies such a beautiful, enthralling film. 5 out of 5 is too low: How about 10 outta 5, folks?!

Here I am on Man's Road.
I'm delighted to say that "The Last Unicorn" is a fantastic record that glows in the purest essence. Composed by Jimmy Webb, the actual score (which is performed by the London Symphony Orchestra) is quite authentic in its medieval setting; it echos a storybook world of kings, damsels, sorcerers, and of course, one unicorn who searches far and wide for her missing ancestors. While wisely avoiding his aim for a children's audience, Webb allowed the music to emit both mystery and myth. At the same time, the album's instrumental numbers flow along with the story and its characters. The ominous "Red Bull Attacks," for example, is dominated by its droning horns and crashing symbols; it can easily make one feel the heat of the Bull's scorching fire, which incinerates everything in its path. "The Cat's" sliding, high-pitched fiddle and piano keys emphasize a feline's slinky torso and curious yellow eyes. "Bull-Unicorn-Woman" may as well take place in a lavish ballroom, where dashing gentlemen and coquettish ladies dance together and make merry in wine.
Unlike the soundtracks of other 1980's fantasy films (most notably "Labrynth" and "The Neverending Story"), this one does NOT feature any new wave sythensizers, despite the presence of the pop group America. In the album's first five tracks, the band members play the wandering minstrels; they present simple, gentle tunes that delicately mix acoustic guitars with violins, woodwinds, and harp strings. "The Last Unicorn's" glittering title track foreshadows the tale about to be told while the chorus's volume rises and falls like the sun. The harmonious "Man's Road" is meant to take listeners down a shimmering trail of tears, leaving one alone in an empty void. "In The Sea" bathes the ears with enchanted warmth as it makes talking magpies and winged horses more believable. Mia Farrow's solo, "Now that I'm a Woman" is sung from the perspective of a lost princess who needs guidance; someone who longs for the love of another. This is immediately followed by "That's All I've Got to Say," her tearful duet with Jeff Bridges. Indeed, this track signifies a love reunited.
"The Last Unicorn," all in all, is a rare audio gem. It beautifully sparkles like dewdrops on a rose petal! Now that the score is digitally remastered, you too will be able to hear the laughter of the Last Unicorn! ... Read more

Amazon.com

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

Reviews (21)

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

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

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

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

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

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

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

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

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

Reviews (6)

Good Stuff
I've always enjoyed the Nitty Gritty Dirt Band.They play some great music with nice harmonies and mandolins...yes, mandolins.I'm a sucker for that instrument.This particular greatest hits offering includes some of their biggest hits from the 80's.Just about everybody knows "Fishin' In The Dark," which, in my opinion, is one of the best country songs every placed on vinyl, or a cassette, or a disc."I've Been Lookin'" and "Baby's Got A Hold On Me" are also here.Those three songs alone are worth the price of this disc.

Other highlights include "Face On The Cutting Room Floor," "Oh What A Love," and "Down That Road Tonight."

In summary, if you're interested in groups like Shenandoah, Restless Heart, and the Eagles, you'll probably enjoy these guys.They are more country than Restless Heart and the Eagles, but they don't have that forced "twang" that lingers on some of Shenandoah's songs.

A definite buy.

Humble Name, Real Roots Rock Legends
The follow-up to the original "best of" NGDB collection, More Great Dirt, consists of more of the 80's country hits during their long career. The NGDB was once a folk and country-rock band, but the majority of the songs on More Great Dirt come from their mainstream country days, which were the most overlooked of their albums. They really had no one big radio hit during this time (except for "Fishin' In the Dark), which hurts this record, as does the fact that it is very overshadowed by the "Will The Circle Be Unbroken" albums that were huge hits. The highlights of the album include the summertime hit "Fishin' in the Dark," Bruce Springsteen's "Cadillac Ranch," and the rocking "Down That Road Tonight." It is too bad that there are only ten tracks here. In my opinion, this isn't up to par with the classic NGDB, but it is still good, quality country and folk. A good purchase if you want an overview of their latter days.

Another great NGDB "best of" collection
More Great Dirt is the follow-up to the Nitty Gritty Dirt Band's previous "best of" collection, Twenty Years Of Dirt. This record, like Twenty Years Of Dirt, consists mainly of hit songs from the '80s, the period when NGDB made a transition from being a progressive country-rock band to a mainstream country act. Like Twenty Years Of Dirt, More Great Dirt is a solid collection of the Dirt Band's hit songs. Indeed, in my opinion, this record tops Twenty Years of Dirt despite its lack of a "classic" NGDB hit song(for instance, "Mr. Bojangles" and "Long Hard Road"). Even if hardly anybody listens to these songs a long time from now, I think the songs the Dirt Band chose to put on More Great Dirt are among their best. This record may have gotten overlooked by some listeners because NGDB released it in '89, the same year they came out with their platinum-selling Will The Circle Be Unbroken, Volume 2. After listening to More Great Dirt, however, I don't think you should pass it up. By itself, it's a great record.

Like other Dirt Band records I have, this one has a lot of highlights. It starts out with NGDB's version of "Cadillac Ranch", the classic Bruce Springsteen song, with lead vocals by Jeff Hanna and Jimmy Ibbotson. There are also Ibbotson's joyful ballad "Oh What A Love"; the upbeat summer song "Fishin' In The Dark", which topped the country charts in '87; Hanna and Ibbotson's toe-tapping song "I've Been Lookin'"; "Workin' Man(Nowhere To Go)", charter NGDB member Jimmie Fadden's song about the tribulations of the displaced farmer; and the rocking songs "Baby's Got A Hold On Me" and "Down That Road Tonight". Finally, the Dirt Band, as they did on Twenty Years Of Dirt, included their best songs from the early '80s. Besides "Cadillac Ranch", NGDB's early '80s hits which are on here include "Home Again In My Heart", "I Love Only You", and "Face On The Cutting Room Floor". There are no Bob Carpenter lead vocals here(unlike "Stand A Little Rain" on Twenty Years Of Dirt), but Carpenter's solid piano and accordion work are obvious on most of the songs.

On More Great Dirt, NGDB not only matched Twenty Years Of Dirt, but they did even better. My only criticism of this record--and my gripe is a minor one--is that, like a previous reviewer, I don't think it's long enough. Ten songs don't completely capture NGDB's musical ability, and I think some of my fellow Dirt Band fans will complain that even after a couple of "best of" collections, there are still some NGDB hit songs that haven't made it onto a "best of" album. Still, I don't see how anybody wouldn't like this record. There are no obvious attempts by the Dirt Band to appeal to their "pop" fans(which is what I think "Fire In The Sky" was on Twenty Years Of Dirt). Instead, what you'll get when you listen to More Great Dirt is a great collection of hit country songs by a group who makes high-quality music even if their songs don't always end up on the charts. Don't miss this one--I think you'll be impressed.

Terrific Eighties Dirt Band Collection (But Skimpy)
For Most of the Eighties (and the Nineties, too, for that matter), theNitty Gritty Dirt Band decided they were not a jug band/rootsrock/bluegrass/country-rock band.Instead, they were a country band. Andby and large, country music was all the better for it.Granted, the NGDB'salbums beginning with American Dream in 1979 would be of mixed quality(even though I dutifully bought them all).

So what you get here on Vol.II are the highlights of those albums.Gems like Bruce Springsteen's"Cadillac Ranch," the joyous "Fishin' in the Dark," therousing "Baby's Got a Hold on Me" and the melancholy "Faceon the Cutting Room Floor."Other highlights are original songs likeJimmy Ibbotson and Jeff Hanna's "I've Been Lookin'," Ibbotson's"Oh What a Love" and Jimmie Fadden's "Workin' Man (Nowhereto Go)."The songs feature impeccable playing, tight harmonies andjust enough mandolin, steel guitar and banjo to lend an authenticitylacking in much of Nashville's cookie-cutter approach to countrymusic.

If there's any criticism of this disc, it's that it's too short. It's like eating a bag of chips.Each one is so good, you're disappointedwhen you get to the end.In the CD Age there's no excuse for a 10-track,34-minute CD, especially when you're talking about a disc that purports tobe "The Best of the Nitty Gritty Dirt Band." RECOMMENDED

Awesome CD!
This is a great CD! I was only 4 years old when it came out but I totally love it! Even if you arent the biggest country music fan, you will like this! Fishin in the Dark and Working Man and Cadillac Ranch are theabsolute best songs, but the rest are great too! You should really get thiscd, its worth the money! ... Read more