Amazon.com

Good things come to those who wait. During John Prine's nine-year interval between albums of original material, fans who hailed his recovery from cancer wondered whether he'd ever return to full creative speed. Here, Prine puts doubts to rest with an album that ranks with the finest of an inspired career. The big heart of "Glory of True Love," the socially conscious bite of "Some Humans Ain't Human," the reflective grace of "Taking a Walk," the wry whimsy of "Crazy as a Loon"--the hallmarks of Prine's artistry are reaffirmed on Fair & Square. The album also reflects Prine's first attempt at producing himself, with the warmth of his rough-hewn vocals finding a comfortable fit among the organic, largely acoustic arrangements. Though Prine penned 12 of the 14 cuts (including two bonus tracks, one recorded in concert), a pair of covers prove revelatory: Blaze Foley's "Clay Pigeons" sounds like it could well be one of Prine's own (with a melody that recalls "Hello in There" and a lyric of renewal that sounds like personal testament), while A.P. Carter's "Bear Creek Blues" carries an electric charge as the traditional song rocks harder than anything else on the album. With a generous selection of close to an hour of music, the album stands as a creative triumph for Prine, a fully satisfying effort that rewards the patience of his loyal fans. Welcome back. --Don McLeese ... Read more

Reviews (18)

A Comfortable Couch
A good set of songs, most of them written by Mr. Prine. He's in a good mood and moody and estranged....Original music for the most part, kinda low key...at times appropriately qwirky, nice steel guitar, many of the melodies sounding like some of the better cuts from "The Missing Years"..."My Darlin Home Town" is my favorite."Bear Creek Blues" by A.P. Carter is an upbeat backwoods Irish Import from days of yore...."Morning Train" sounds fine...None of this is up to the quality of Prine's orignal American music from the first 3-5 albums..but in view of the music biz today its a breeze one can breathe... authentic, tunes that are not unlike a comfortable old couch, wine stained and unpretentious...

Not *bad*, exactly...
It's probably not possible for John Prine to make a bad album.But it is possible for him to make one that is not up to "John Prine" or "The Missing Years", or even "Common Sense".This disc, while of course containing many of Prine's well-known strengths, suffers on a few counts.

First, Prine's voice is not in good form.There are reasons for this, of course, but, well, there it is.His voice lacks the flexibility to properly emote.

Second, his famous and necessary sense of humor is rarely in evidence.

Third, and most telling, where Prine at his best is oblique in his social commentary, usually getting more than one bird per stone, in this one he is direct, as if he feels he doesn't have the time any more for subtleties.This condescension is unbecoming to an artist of his stature.

I'm still looking forward to his next, and am hoping he'll be back to his regular form.

John Prine - 'Fair And Square' (Oh Boy)3 1/2 stars
As one of America's best singer/songwriters,Prine penned these songs just as he always has with past efforts;with insight,grace and heart.He even has a female vocal talent on a couple of cuts here,country/folk fellow songwriter Mindy Smith.A couple of tracks that I was semi-impressed with were "Some Humans Ain't Human",his tribute to couples married for many years "Other Side Of Town" and "Clay Pigeons".Keep in mind this is not even close to any of my favorite genres,I just thought I'd review this disc as it's my very first listen I've ever had of John Prine.He's very good at what he does.

Prime Prine-it doesnt get any better!!!!!
This is some of John Prines best music.
You just put it on ,and his lyrics and beautiful music will
take you away--and it gets better everytime you listen
to this masterpiece. --The music is simple and
the lyrics are genius. His sense of humor does come out in safety joe. All tracks have a unique and memorizing quality to them. Its gratifing to see excellent music come out
from different styles this time ,instead of the same old crap from the newer artists of today.

Mars

Long long long term Prine fan.
I have been listening to Prine for almost 30 years. I've been to see him many times.

Bluntly, I wasn't impressed with this album. The melodies are recycled and the lyrics are maudlin. I missed the wit that others have identified.

I'll be going to see him this Summer if he comes back to Wolftrap, but I hope he sticks to his standards.




... Read more

Amazon.com

Irish troubadour Damien Rice doesn't so much reinvent the folk genre on this lush, impossibly mature debut album as push its boundaries in several compelling musical directions at once--all the more remarkable considering the album was largely self-produced and home-recorded. His songs revolve around familiar, bittersweet concerns of life, love and their attendant frustrations, but delivered with conspiratorial intimacy on melodic wings that (like on the graceful "Cannonball") Rice seems almost embarrassed to share. If there's anything like a template here, it's "The Blower's Daughter," the song that first attracted the interest/stewardship of film composer David Arnold (whose guest production provides "Amie" with expansive cinematic elegance) and became a massive Irish hit. His plaintive vocal, embroidered by the mournful solo cello of Vyvienne Long, is suddenly brightened by an instrumental flourish and Lisa Hannigan's vocals--before just as quickly wafting on the breeze. With touches that range from "Day in the Life"-styled string collages to the dizzy, exhilarating neo-operatic excesses of the 16-minute "Eskimo," Rice's musical palate here is as adventurous as his songs are grounded in emotional intimacy. --Jerry McCulley ... Read more

Reviews (154)

Haunting and Beautiful
Damien Rice has a beautiful Irish tenor voice. And it works wonderfully in his folk aranged album. He also has a female companion who harmonizes with him, and she is a fantastic vocalist. This album is composed of guitar, the two vocalists, some percussion, and generally a cello or small strings arrangement. That makes for a wonderful album to listen and relax to.
The song-writing on the album is amazing. Rice writes songs like conversations and uses the wonderful (and beautiful if you've seen the video) female to sing the response. Many songs are about lost love or bad love or just love, but they are not just simple, stupid, pop love songs. They are incredibly crafted lyrics that can stand alone without music, which says a lot about Rice's songwriting skills.
Buy this album if you enjoy folk/pop music. James Taylor, Angie Aparo, Radiohead, Jeff Buckley, Gark Jules and David Gray are a few musicians I would say if you like you'll enjoy Damien Rice.

The most beautiful album I have ever heard...
Searching for words to describe this album are like trying to count the stars in the sky. (I know it's cliche, but it works). This album is amazingly beautiful.

Back in May I picked up a friend of mine in Chicago after she spent the semester in Ireland and the whole way home (a 3+ hour drive) all we listened to was O. After we arrived home, I decided I had to have the album. I ordered the import off amazon and before it arrived, I got to see Damien back in Chicago at Schubas. If the album itself doesn't amaze you, go see him live and you'll fall in love. Just a few more weeks until he plays Chicago again.

This album ranges from soft ballads (The Blower's Daughter) to heart-wrenching rock (the second half of I Remember). Unlike many albums from folk singers, I think this one is best listened through all the way at once. While there are great standout tracks (Amie, I Remember, Delicate), the whole album tells a story. There is a gradual almost epic-like progression throughout that sends the listener on a roller-coaster of emotions.

One of the greatest things about this album is the fact that Damien recorded this (mostly) in his basement over the course of a year. Instead of being thrown into a studio for a month to record the album using manufactured emotion (having to record on days you don't feel like it), Damien recorded each of the songs when he was "feeling it". That's why all of the emotion in these songs are SO real, so genuine. There is nothing manufactured about its sound. Another magnificant thing about it is the range of instrumentation and musical genre used. As I said, there are the slow, soft ballads, and rocking songs as well as Operatic elements (Eskimo)and beautiful orchestration in "Amie" and "Cold Water".

From listening to the album and several live shows I have, I can tell that Damien does not have a powerful, controlling, confident voice. Rather his voice sounds strong at times, but is usually more reserved and cautious. This cautious tone makes the album all the more believable, showing it is true emotion that has not been overproduced or forced.

I really can not say enough good things about this album and if I could give 10 stars, I would. As I said, my favorite tracks are #1 Delicate, #6 Amie and #9 I Remember, but there is not a bad song on the album.

As one other reviewer already said, my only complaint is that the last song (Eskimo) has 2 "hidden tracks" [Prague, and Silent Night (a song set to the tune of the traditional Silent Night Christmas song, but with different lyrics)] that should have been seperate tracks finishing off the album with 12 instead of 10. But as my only complaint, I must still recommend this album.

E-mail me if you have any questions whatsoever.

Loved it!
Damien Rice is such a talented musician. His music never gets old, you can listen to it over and over again. His soultry voice is always nice to listen to. I highly recommend it!!

Fearless
This is my first review of anything on Amazon, though I am a constant reader. I simply had to talk about this album.

The best way to describe this album is fearless. He takes the road less traveled by other up-and-coming singer-songwriters. While the new batch has had some very good singers, nothing compares to this album. They seem more interested in making a "clean" album, while this album seems like he is alone in a room baring his soul.

Though the strange thing is about the album s that you know he could not have been alone in a room. There is so much going on, so many chances taken that it is hard to descibe. Simply saying that it is an acoustic album is wrong. The album brings in much more.

Fearless in his atempts to expand beyond just him and his guitar. Consider how at the end of Amie, out of nowhere comes what sounds like an entire orchestra. It sounds beautiful and it becomes almost impossible to imagine the song without it. Then the gorgarian (sp?) chants that enter into Cold Water. By the end of the album it seems only appropriate to have an opera singer at the end of Eskimo.

But the wonderful things about the album is that it doesn't rely on these tricks. They are simply used to enchance the songs. Cannonball is simply him and his guitar, and it is one of the best songs on the album (a song friends of mine have confessed crying to when they heard it).

Another huge difference between him and others is the feeling involved. I have yet to hear another singer coming out now who you can feel their pain so clearly and identify with it(Howie Day is close). The only line in the chorus of The Blower's Daughter is "I can't take my eyes off you..." The way he sings it and the passion in his voice make the line more romantic and meaningful than an entire boy-band album.

Just the other night I went outside with my CD Player to sit on the front porch and listen to music while I smoked a cigarette. I started at track one, and became so engrossed in the songs, I just sat there until the album finished. It is THAT good. And it is that feeling that is put into every song that gives me the impression this album will age very well.

I agree with others that he brings back memories of when Jeff Buckley was around. They invoke the same spirit. And that is nothing but a compliment, because if there is anything music needs now, it is someone who can do to people what Jeff did. Even though Jeff died too soon, people are still listening to his music because it means so much to them. I have the feeling that this album will do the same. It is Damien Rice's "Grace".

My only concern is the same as others. How in the hell is he going to follow this up? But here is the fun part, imagine if he somehow makes a better album?

Finally...
When I first heard Damien Rice I immediatley felt pleasantly confused and relieved, thinking to myself, "Finally someone new with passion and true emotion".

I highly recommend this CD and hope more people discover this wonderful collection of songs. A true music fan will appreciate this one. Damien Rice's music is honest and full of heart. His backing vocalist, Lisa, is a purely gorgeous angelic voice that compliments Rice perfectly. The comibation of acoustic guitar and cello is simply beautiful. This CD has a refreshing classical feel that is delicate but full of power. The album was made to be heard loud from the first track all the way to the end. The songs are ordered to perfection and have a lot to give out to its audience. Don't miss out.

We need more artists like Damien Rice and it's wonderful to know true artists are actually creating good sound somewhere. It's difficult to believe this is Damien Rice's debut CD, the possibilites are endless for a follow-up. ... Read more

Amazon.com

Songbird cherry-picks tracks from the three locally released albums of Eva Cassidy, whose hauntingly beautiful vocals went virtually unheard outside her native Washington, D.C., during her short 33 years with us. Lost to melanoma in 1996, Cassidy sang with an unaffected purity and an astonishing ability to make both classic and contemporary songs sound like they were written just for her. Sting's "Fields of Gold" finally lives up to its title through the alchemy of Cassidy's transcendent rendition, while other tracks on this anthology showcase her ease in the realms of pop (Christine McVie's "Songbird"), soul ("People Get Ready"), gospel ("Wade on the Water"), and traditional standards ("Autumn Leaves" and "Over the Rainbow"). Framed by understated jazz and pop arrangements, Cassidy's clear, soulful voice and exquisite phrasing make her that rarest of vocalists whose interpretations are a complement to any song. A fine introduction to a true talent. --Billy Grenier ... Read more

Reviews (496)

from Solo Piano Publications
I usually review piano and keyboard CDs, but this album is so good and is making such a stir that I decided to throw in my two cents. One of my adult piano students gave me this CD for my birthday, and I had never heard of Eva Cassidy, so I was a little skeptical. Just goes to show that there are still new wonders to discover! Compiled from three previously-released albums, "Songbird" clearly indicates the many facets of Cassidy's voice and the incredibly natural way she was able to use it to convey such depth of emotion. From standards ("Autumn Leaves", "Over the Rainbow") to gospel ("Wade in the Water", "Wayfaring Stranger", "Oh, Had I A Golden Thread"), rock ("Fields of Gold", "Songbird", "People Get Ready"), and gorgeous ballads ("I Know You By Heart", "Time is a Healer"), she slips effortlessly from one genre to another with a voice as pure and honest as a Judy Collins or a Joan Baez. On the gospel and R&B songs, she gets down with the best of 'em! Could this really be a slender, painfully shy, white girl? And then she goes on to a simple ballad and her guitar, and the sweet-voiced folkie returns. The backing instrumentation (usually bass, guitar, and drums) is simple and fully enhances the vocals. It is such a tragedy that Eva Cassidy's life was cut short at the age of 33, but God bless Chris Biondo for recording her singing whenever he could so that her gift and talent can live on and grace us all.

This really deserves six stars
This is the best voice I have ever heard. Eva Cassidy easily ranks with Aretha Franklin, Janis Joplin, and Billie Holliday in the ability to express pure emotion through voice. You probably know her story, and it is tradegy. This album is a compliation of previous recordings. Several tracks are live, and the album's producer chose to edit out the applause. You won't be able to tell the the studio from the live tracks unless you look at the CD sleeve. That's impressive. There is no bad track on this disk. Song styles range from folk to gospel to ballad...it doesn't matter what she's singing or what your musical preference is, if you HAVE a soul, her voice will hook you and reel you in. Sting's "Fields of Gold," is the first track, and it somewhat showcases her ability to make a song hers. She does this by putting her soul in her vocal. After hearing this rendition a couple of times, you'll forget that some other guy wrote this song. "People Get Ready," a popular popular cover tune, really shows the range of her voice. Man, she can belt it out. My favorite song on the album is "I know You By Heart." This is the most beautiful/sad song I have ever heard. Period. My wife has a hard time listening to this disk because it is so sad, between the power of emotion Miss Cassidy sings with in addition to her tragic demise. This collection of different genres is ultimately the blues, sung with passion only rivaled by the greats mentioned earlier. I hope she can here all of us listening to her music and have the ability to understand the depths her music is able to move its listeners.

This one's a perfect ten
I believe I'm writing this more for myself than for readers who can look at five hundred previous reviews. I was so moved by Eva Cassidy's songs that I want to share my thoughts with everyone. I recieved a copy of 'Songbird' from my sister in law. I rarely prefer a second version of a familiar song so I was hesitant to even listen to this CD which included some old favorites. Then I had to take a long drive and had nothing new to listen to, so I listened to Eva. I was stunned. The music really got to me and I had not seen her or heard Eva's tragic story. I've since purchased all Eva's CDs and enjoyed each as much as the first. It is difficult to describe the impact of listening to Eva Cassidy for the first time. I doubt anyone will ever forget the experience. She is amazing!

Perfect
Just listened to "Over the Rainbow" again. Wow. That's just about as well as a mortal can do it.

6 stars out of 5.....
The beautiful, irreplaceable Eva Cassidy died at the young age of 33, leaving behind a treasury of beautiful and bluesy songs she reinvented with her beautiful voice, guided by an intuitive grace. SONGBIRD is like no album I have ever heard. It has a quiet strength, not unlike Eva herself, that sets it apart from all folk, jazz, blues and pop albums.

The first cut, "Fields of Gold," was made completely unrecognizable from Sting's original. The words took on a different meaning for me, and Eva's melancholy voice made me think of those moments of solitude in the early morning before life begins to emerge, where you can truly be alone with your thoughts in introspection. Eva also has an amazing talent for pumping even more soul into the blues, R&B, gospel and jazz songs she interprets on the album. ("Wade in the Water," "Wayfaring Stranger," "People Get Ready,")
Of course, one of the most well known tracks off of this collection is her arrangement and interpretation of "Over the Rainbow." This truly brought tears to my eyes! When I finished listening to it, the yellow brick road and Dorothy were nowhere to be found.......all I could see was Eva, surrounded by her beautiful light and energy that permeates throughout this recording.

This album will change the way you think about music. Please listen to the samples and make your call. Believe me, this will become a frequently-played part of your CD collection. ... Read more

Amazon.com

Their setup was primitive enough--guitar, Autoharp, and vocals--but in the late '20s the trio of A.P. Delaney Carter, his wife Sara, and his sister-in-law Maybelle would change (chart?) the course of country music forever. They did it with haunting harmonies, incredible guitar playing (thanks to Maybelle's driving strums on her Gibson L-5 guitar), and a vast repertoire that included murder ballads, gospel tunes, love songs, and Appalachian folk tunes--many of which would be covered by musicians for decades to come. Unlike their musical peers in the late '20s and early '30s, the Carters weren't just playing "hillbilly" music; this was, quite simply, country music, and their timeless output still resonates with listeners today. JSP's bargain-priced, five-CD collection is easily the most complete, essential collection of their music available, capturing and remastering their RCA Victor recordings (their later, less-seminal sessions for Decca and the American Record Company are not included). Hearing five CDs' worth of music from the Carter Family is almost sensory overload--from the initial 1927 Bristol sessions, which Johnny Cash hailed as "the single most important event in the history of country music," to their depression-era recordings. Even today, Sara Carter's voice sounds aching, yet empowered. Whether they're yodeling through "The Foggy Mountain Top," singing a feminist anthem like "Single Girl, Married Girl," or harmonizing with Maybelle on "Worried Man Blues," you can hear the Carters' profound influence on country music. A must-have. --Jason Verlinde ... Read more

Reviews (5)

The real song catchers, dont miss this at this price!
This is just about 1/2 to 2/3 of the hundreds of records that the Carters made between 1927 and 1941. Sara Carter later remembered they had made more than 600 records during those years. At the end of 1941, they all went their separate ways: Sara just to get out of the music and live with her new husband in Central California. AP returned to Maces Springs to run a general store and to try to get his relectant sons and daughter to play and sing music. Maybelle and her daughters kept playing Carter Family music until daughter June passed away last year.

I have just listened to every CD on this set one by one. Even though I have been playing this kind of music since the 1960s, even though I have had this or that single disc Carter Collection, even though I am judged as some kind of expert on old time music by some, I was shocked at how many tunes that I know as old time music tunes or bluegrass tunes identified with other artists were Carter Family versions of those tunes.

The Carters performed an immense service for the history and preservation of traditional American music, black and white.
They were not allowed to record already copywritten and published songs since Ralph Peer who recorded them for Victor Bluebird only got paid for publishing rights and could take only tunes he could claim publishing rights to. At the beginning the Carters were not such great song writers, although in the later 1930s when they began living in Del Rio Texas and broadcasting over Mexican border radio, they did write a number of great songs.

AP Carter traveled up and down the hills and hollers, mountains and valleys of Southern Virginia, Tennesee, North Carolina, and Kentucky asking Black and white working people, farmers, musicianers of all kinds, if they had songs for them to record. During the times late in the years covered by this set, when AP moved to Detroit to get cash paying work, and when his brother Eck and his wife Maybelle moved to DC where Eck got railroad work, they asked Southern people in those towns for songs.

During much of this time AP travelled with Leslie Riddle a black blues guitarist so that they were able to find songs African Americans as well as whites had in their hearts and minds. The Carters accepted Leslie as an equal. He lived in their home like a family member defying the Jim Crow Ettitique of the times. The Carters were all solid anti-confederate Lincoln Republicans. AP's dying words were "Don't vote Democrat" which in 1960 in Virginia meant don't vote Dixiecrat.

Old AP used to delight in the relatively small royalty checks all these songs brought him in the 1950s which he dutifully divided with Sara and Maybelle, even though all the songs were in his name. It is too bad he died in 1960 just before the folk revival brought all these songs back onto hundreds of records by folk singers, then by bluegrassers, then by country Western artists. Those checks would have gotten a lot bigger.



People brought these songs to the Carters, mostly to AP and Leslie Riddle, singing them on their porches, or in juke joints, or often when AP would stop after hearing a rumor that used saw mill parts could be obtained at a good price, something he was obessed with. Some folks did bring them the songs in yellowed old sheet music with crackled paper from the 19th Century, or as pages cut out of poetry books published deep in the past. Some of them would go back stage at the little school house and church shows the Carters did in the mountain towns during the depression and gave an old ballad not sung since their grandparents time. Some of them would request a song that the Carters didn't know, and AP might ask them to sing the tune right then and there.

On top of this, of course, AP Carter had been known since he was a boy for singing songs, teaching singing schools, being willing to walk all day up and down the Southside Virginia mountains to find a good singer or good music. This is how he found Sara Addington, his wife who was a hell of a singer. Then when AP's brother married Maybelle Addington who was known as the best guitar and banjo picker in the valleys around there (and no slouch on the fiddle and mandolin too)since she was a teenager (and she was only 18 when the Carters began recording) they were set. This may have been a plot, because a lot of the time AP would go up and over the mountains up and down walking all day to court a reluctant Sara, she would be sitting in the parlor singing or playing the autoharp, or learning guitar chords, along with her cousin Maybelle's guitar, banjo, or fiddle.

AP Carter was the real song catcher. These were a few of the hundreds of songs he caught, a few that were written by himself, Sara, and Maybelle.

So this is, in fact, an encyclopedia of the songs that were sung by Black and white working folks, farmers, musicians, rounders, up and down the mountains of Viriginia, North Carolina, Tennessee, and Kentcuky and the songs migrants took with them to Washington and Detroit. This is a treasure trove for anyone wnating to return to the lost world of those people, or to find songs from those years that speak to our lives and problems. Besides they are pretty good to listen to!

One good thing about this collection is that you hear a lot of the tunes they did in finger picking and slide guitar styles that Maybelle learned from Leslie Riddle. A lot of modern performers do them just flat picking, or the thumb and strum style Maybelle is best known for.

At this price, everyone with ears needs this.

If at all interested - PURCHASE!!!!
This collection is simply one the best bargains you can possibly get - The music is great obviously and the price and the sound are tops - I can not reccomend this set more highly

Great price, great content!
I listened to these CDs in one sitting, it was so captivating. JSP has done a very good job at remastering, and if you want a comparison then go to www.honkingduck.com, click on 78s, then click on Artist, then click on C to get to the Carter Family. They have entire songs from original 78 records as well as from tapes from original records. Listen to the samples on Amazon and compare them to the originals. The remastering is so good that you can hear Maybelle's nails on the strings of her guitar, and you can hear Sara's autoharp ringing in the background.

This set is 100% recommended.

If you want to listen to the roots of our musical heritage, listen to the Carter family!

Musical History
I read the book "Will You Miss Me When I'm Gone?" by Mark Zwonitner which is an outstanding history of the Carter Family. The Original Carter Family broke up when I was 5 years old so I had only heard very little about the Orginal Family but became very familar with Mother Maybelle and her daughters. After reading the book I shopped around and found this 5 CB set of the remastered RCA recordings. By the time you get to the #5 CD you fully understand what an impact the folks had the music industry. A.P., Sara, and Maybelle probably never realized how good they were at the time these songs were recorded. All these recording were done with primitive equipment and I would imagine most all were done on one take using a single microphone. There are several songs included in these recording that will absolutely knock your socks off if you listen to them a couple of times and listen closely. If you enjoy the music of Hank Williams, Merle Haggard, Johnny Cash, Roy Acuff and other legends do yourself a favor and get the Carter Family RCA recordings.

Unbelievable value!
This is one of those stunning bargains which leaves you with gaping jaws and a big smile, if that's possible. For the price of TWO cds you get FIVE instead, all packed with 70 plus minutes of Carter Family gems, all in chronological order, and with fabulous sound quality which is BETTER than the American Rounder releases (and those releases only have about 45 minutes of music - I know, I bought some of them!). Can this really all be true? YES! It's true. The only thing you don't get in this dirt cheap box set is decent sleeve notes, but I'm not going to complain!
As for the actual music, it's unmissable early country music sung and played by Sara and Maybelle Carter with the help of A P Carter, husband of Sara. It has a deep magic about it - try a few if you never heard them, they'll hypnotise you. The harmonies are splendid, the guitars are luminous, it's pure like a mountain stream. You cannot go wrong with this one! ... Read more

Amazon.com

On her first studio album since 2001's Clock Without Hands, Nanci Griffith hearkens back to her best early albums, particularly the Jim Rooney-produced work of the '80s. Whereas her '90s music veered off into arch or uncomfortable pairings with lofty-minded producers and members of U2 and R.E.M., here she takes stock and strives for, as the title of the leadoff track says, a "Simple Life." Griffith was wise to assume the lead as her own producer (with Pat McInerney), scaling back to a more organic, folk-singer approach ("Last Train Home," a 2002 song which appears here, would have fit well on her first Philo albums) and reuniting with guest vocalists Mac McAnally ("Rise to the Occasion") and Jimmy Buffett ("I Love This Town"). While the material draws on a variety of influences, Hearts in Mind wraps its thoughts around two themes: Exploring the hopeful beauty of the romantic heart, and honoring soldiers and civilians lost in the wreckage of war ("Heart Of Indochine"; "Old Hanoi"; "Big Blue Ball of War"; and the exquisitely sad, Julie Gold-penned "Mountain of Sorrow," inspired by the events of 9/11). Throughout, Griffith stretches herself as an artist: "Beautiful," a tribute to her stepfather, marks a lively, clarinet-accented departure from her usual repertoire, while only her delivery lifts "When Ted Loved Sylvia," Le Ann Etheridge's intriguing take on the relationship between Ted Hughes and Sylvia Plath, above its lyrical shortcomings. The singer makes fine use of her lower register at times, and continues to push for a fuller voice than the feathery vocals that marred her freshman efforts. The end result is her most accessible album in years, one that deeply satisfies on both a musical and an emotional level. --Alanna Nash

Recommended Nanci Griffith Discography

The Last of the True Believers	Other Voices, Other Rooms	One Fair Summer Evening
Once in a Very Blue Moon	Other Voices, Too (A Trip Back to Bountiful)	The Complete MCA Studio Recordings

... Read more

Reviews (15)

Voice in the Wilderness
In an era where the President of the United States betrays the trust of the American people by taking them into war based on fictitious intelligence resulting in over 1,650 American casualties, the most since Vietnam, and packages as patriotism the effort to prop up oil business buddies with American blood, it is refreshing to see an artist like Nanci Griffith -- a country artist -- take a strong anti-war stand.Her composition that compares our Earth to a "Big Blue Ball of War" is effective as a philosophic statement & as a musical one, "Almost a century the blood has flowed; We've killed our men of peace around this ball & refused to hear their ghosts....These men of evil deed can be proven wrong if we join hand to hand with Abraham so not a soul falls off."Griffith's voice has never sounded braver, crying out in the American political wilderness.Griffith does not confront the current conflict, but instead takes a more indirect (and probably more effective) approach by focusing on the Vietnam conflict."Old Hanoi" focuses more on the regression and polarization of that war, "Where is the eloquence of the ladies on their bicycles?Dressing in their au dias in the lotus flowered nights of Indochine; They rode to progress; They've flown away.""Heart of Indochine" likewise revisits the horrors of conflict, "Oh, deliver me to the river of souls."On her lovely CD, "The Girl I Found," singer/songwriter Julie Gold sounds more like Carole King on "Mountain of Sorrow," a post 9/11 elegy.Nanci Griffith gives the song a powerful reading with her expressive vocal, "How high the top must I climb?Ever blue ... when can I stop & be fine, knowing I'm over you?"

"Before" written with Le Ann Etheridge is delightful Cajun-flavored track that is a repeater in my changer.My very favorite is Clive Gregson's "I Love This Town" with Jimmy Buffett on guest vocals & the insistent toe tapping beat, "Still we can do just as we please, as long as no one's watching."Tom & Jennifer Kimmel's "Angels" that I have on an early 90s lp by John Farnham is remade into pure gold with Nanci's glorious chorus, "We're lifted up by angels, higher than the world."Co-writer Keith Carradine does a guest vocal on the set's closer "Our Very Own" that boasts a charming melody."Hearts In Mind" is musically successful and a gutsy statement from this excellent musical artist.Bravo!

Her Best In YEARS
After several years of tinkering with the style of music that put her on the map (with usually decent, but mixed results) Nanci Griffith returns with her best album of mostly original material in more than 15 years.Yes, this album is her best of original material since "Little Lover Affairs" back in 1988.

Kicking off with the song "Simple Life," co-written and sung with up and comer Elizabeth Cook," the album finds Nancy touching on many of the same themes that she has explored over the years.Her interest in Vietnam continues with "The Heart of Indochine" and "Old Hanoi".Long term Nanci fans will delight in the literally reference that later song makes to the great writer Graham Greene as well as to the Sylvia Plath inspired "Back When Ted Loved Sylvia."

Wonderful produced by Griffith and pat McInerney HEARTS IN MIND has a host of guest artists including Jennifer Kimball, Jimmy Buffett, Clive Gregson, Mac McAnally and the aforementioned Elizabeth Cook.That a gorgeous jazz flavored track like the appropriately titled "Beautiful" can find a home on this album without seeming out of place rings as a real testament to the fact that Nanci's muse is well on target.

bad
nanci needs to get back to her roots. I would just like to hear some new work from the "old" nanci. This cd is terrible

Beautiful!
This may be Nanci's best album/CD ever.I love it.I have tried to choose a favorite song from the CD, but there isn't one song that stands above the rest.It is complete as a collection of songs.And although many of the songs deal with war, after I listen to this CD (while commuting in my car) I feel calm and content and joyful.Even the sad songs are sprinkled with hope.

Griffith Mindful of "Hearts"
Prime Cuts:Old Hanoi, Mountain of Sorrows, Before

Some songwriters with a few musical vignettes could paint some provocative pictures of faith, love and compassion that even the nullifidian would take notice.Nanci Grifiith is such an example of the highest order.With her easy, yet heartfelt storytelling style, Griffith has the proclivity to take simple tuneful melodies and bring her characters to life.Taking the themes of war and love as her conversation pieces, this Texan native returns to the mother milk of her art: rustic country story songs with compelling messages.Digging deep into the song's tissue, Griffith's take of Julie "From a Distance" Gold's "Mountain of Sorrows" is stellar.Though written as a visceral response to the 9/11 tragedy, "Mountain of Sorrows" has such a transcendent message of healing that it extends beyond the Twin Towers menace.Collorary to "Mountain of Sorrows," Angels" is an uplifting ode of hope with an almost spoken verses perhaps played at an octave too low for Griffith.Nevertheless, it's a fetching piece that complimentarily brings out Griffith's vocal nuances.

Inspired by her recent trip to Vietnam, Griffith's pacifisms is brought out through acutely observed songs.Case in point is the surging anguish twang of the dobro-rich album opener."Simple Life" presents a moving plea from a mother who laments over the devastating effects of how war can deprave her of her husband and her children. Contrary to Toby Keith's in-your-face jingoistic approach, Griffith's political views are acutely presented through the gentle sounding ballad "Heart of Indochine" where there's a longing for peace in a city besieged by blood stained and foreign powers."Old Hanoi," with its gentle strumming of the guitar, finds Griffith in search of any vestige of culture in a city that has been pillaged by progress.With a simple plaintive nostalgia, but this time with the focus on the US, "Before" is another catchy ballad bemoaning the truculent effects of loss and changes.

But war and nostalgia are not the only concerns of "Hearts in Mind."In a celebratory note, Griffith (dueting with Mac McAnally) metered out a more joyous disposition on the blissful "Rise Above the Occasion" written by Blue Moon Orchestra's Ron Davies.While the bluegrassy feel of "Last Train Home" (which first appeared on Griffith's previous "Winter Marquee" CD) certainly makes one thankful that Griffith has returned to using the country card.In returning favor to Griffith for singing on the parrot's latest CD, Jimmy Buffett joins Griffith on the doop-woop Tropicana-infused jaunty "I Love This Town."

Out of Griffith's twelve studio CDs of new songs, "Hearts in Mind" ranks loftily as one of this singer-songwriter's best.However, there are a few minor tarnishes: the tetchy feministic bent of "Big Blue Ball of War" is uncalled for.Also, despite its sentiments, "Beautiful," a tribute to Griffith's step dad, with its jazzy inclinations is a tad out of place in a country-hued CD.Other than these quibbles, "Heart in Mind," is an album abounds with heartfelt moments; it is one CD that is highly endorsed. ... Read more

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Celtic fiddles, Irish reels, old-time banjo, gospel vocals, and Latin percussion forge a common spirit within the uncommonly vibrant fusion of the Duhks (pronounced "ducks"). The young band from Winnipeg casts a wide net over traditional influences, breathing fresh life into the age-old balladry of "The Wagoner's Lad," generating a dynamic tension between the soulful depth of Jessica Havey's vocals and Tania Elizabeth's fiddle on a pair of spiritual standards ("Death Came a-Knockin'" and "True Religion"), and keeping the dance floor jumping with their sprightly instrumental medleys. Though the Canadian quintet doesn't feature much original material, they extend their interpretive reach to contemporary songs as well, with the desperate edge of Ruth Ungar's "Four Blue Walls" providing a bracing change of mood, while the bittersweet rendition of Paul Brady's "You and I" (with the songwriter on harmony vocals) carries the musical interplay beyond the traditional realm. (Their attempt at fellow Canadian Leonard Cohen's "Everybody Knows" represents a rare misstep, lacking both the droll humor and the dark fatalism of the original.) Banjo iconoclast Béla Fleck coproduced the album, championing the Duhks as fellow trailblazers who use traditional elements to create a sound all their own. --Don McLeese ... Read more

Reviews (9)

Phenomenal!
I was flipping channels one day and came across the Duhks video for "Mists of Down Below" on a country music channel and became completely blown away.I had to hear more.I logged on to Amazon to hear samples of the rest of the songs and instantly fell in love.I knew I had to have that cd the same day.I have not felt that connect with a group and song since I ran out and bought Tracy Chapman's debut album after hearing "Fast Car".I should have bought 2 copies because I usually can't wait to leave work so that I can hear it in my car.Love every bit of it!

Duhks Explode!
Duhks explode on their self titled CD with delightfully infectious "Death Came A Knockin'" with Scott Senior's percussion making the track pop & crack as Jessica Havey's lead vocals send this track through the roof."Four Blue Walls" written by the Mammals' Ruth Ungar is a powerful soulful bluesy acoustic track about family secrets with Havey's vocals snarl with passion, "He told her she was looking for trouble & she said, "That's right.""True Religion" is another traditional track that the Duhks polish to a wonderful luster.Duhks take Leonard Cohen's "Everybody Knows" and supply great musicianship with Leonard Podolak taking a turn on lead vocals making this a classic interpretation of this great songwriter's work.The French track "Du Temps Que J'Etais Jeune/Gabriella's Jig" transports us to Quebec.Sting's "Love Is the 7th Wave" is sung in medley.Duhks has great energy and showmanship that makes this a great recording.Bravo!

Wonderful even for Folk-ignorant listeners
I don't know anything much about folk music, but I really love this.I saw their video on a late-night cable country music channel, loved the song, and looked them up at one of the online music download stores.I was going to buy just that song (Mists of Down Below), but they had more than three that I liked, so I ordered this CD.I'm pleased to say that I love all of it, even the instrumental pieces. The more I listen to it, the more I like it.I love Jessica Havey's voice and the fast, intricate instrumentation.If this folk-ignoramous likes it this much, it has real cross-over appeal.

Formerly Scruej MacDuhk
I SAW THESE GUYS TWICE AT THE WINNIPEG FOLK FEST(ONCE UNDER THEIR FORMER NAME, WHICH THAT EVIL CORPORATION DISNEY MADE THEM CHANGE), THEY FREAKIN ROCK

Acoustic bliss!
I've been watching the Duhks live and been a listening fan for a couple years. These "kids" can rock/jam/and beat some fine rhythyms! They are individually and singularly talented musicians. Keep em coming!! ... Read more

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With her impeccable musicianship and consummate taste, Alison Brown takes the banjo far from its rural traditions. If this is roots music, it no longer has any dust on its boot heels, as she engages in sophisticated interplay with Stuart Duncan's soaring fiddle on "The Sound of Summer Running," takes a Celtic romp with Sam Bush's sprightly mandolinon "The Magnificent Seven," and fashions a tone poem of atmospheric impressionism in "The Pirate Queen." Though instrumentals dominate, guest vocalists include the Indigo Girls on a revival of Simon and Garfunkel's"Homeward Bound," Beth Nielsen Chapman on a spiritually radiant rendition of Jimi Hendrix's "Angel," Andrea Zonn on the folk ballad "One Morning in May," and Mary Chapin Carpenter--billed as "Thigdalia Boomchick"--backed by a female chorus of Boomchicks onBoo Hewerdine's "Prayer Wheel." Brown's eclectic synthesis of bluegrass/jazz/classical/folk/new age is closer to NPR than Grand Ole Opry, more fitting for Sunday brunch than a Saturday night hoedown. --Don McLeese ... Read more

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Less than a year after the release of CSN's groundbreaking debut, the group returned with Stephen Stills's former Buffalo Springfield cohort/rival Neil Young augmenting the threesome. The result is a less concentrated but more kinetic creation; Young swims through the celestial harmonies of rock's best barbershop trio like a fly in consommé. While somewhat dated ("Almost Cut My Hair"? Wait a while, David, it'll fall out), Deju Vu is teeming with early '70s FM staples, including "Helpless," "Teach Your Children," and "Our House." --Steven Stolder ... Read more

Reviews (79)

Rock Classic
For the release of Deja Vu, the already powerful trio of Crosby, Still & Nash became even better by adding a fourth, Neil Young. The album is a great collection of songs, played by artits at the peak of their powers. Although some of the themes (i.e. "Almost Cut My Hair") are heavily dated, CSN&Y's harmonies are timeless. Their vocalizing on "Our House", "Teach Your Children" and Neil Young's brilliant "Helpless" is absolutely gorgeous. The album brings forward each of the members' individual stylings from Stills' folk-rock to Nash's ballads to Young's country-rock to Crosby's hippie-rock and blends them seemlessly on the album. "Carry On" opens the album with a kick, "Deja Vu" adeptly captures Crosby's state of mind at the time, "4+20" is a short but powerful song and the scorching "Woodstock" is the hippie generation's anthem. It would be 7 years before CSN would release a studio album and almost another 20 before the quartet would release one(the awful American Dream). They never again would match the creative and commercial power of this album.

perfecto mundo
Deja vu is the quintessential album of the 1960's counterculture. No less than 7 cuts from the disc, 'Carry On', 'Teach Your Children', 'Almost Cut My Hair', 'Woodstock', 'Our House', 'Deja vu', and 'Everybody I Love You' can be considered poster children for all the New Left stood for and aspired to in the late 1960's and early 1970's. It is a remarkable disc, equaled only by the debut Crosby, Stills and Nash LP in its social relevance, and in pioneering and defining the folk-rock genre.

Each of the four artists in this, the quintessential rock 'supergroup', contributes two of the most essential compositions in their careers. The album was particularly noteworthy for the writings of David Crosby ('Almost Cut My Hair' and 'Deja vu') and Graham Nash ('Teach Your Children' and 'Our House'), and the stunning background vocal contributions they provide on the Stills and Young compositions, excepting the solo acoustic '4 + 20'.

Stills, who played most of the instruments on the debut CSN LP, backs off a bit to leave room for Dallas Taylor on drums and Greg Reeves on bass. Jerry Garcia and John Sebastian are also credited with instrumental contributions. In addition to the stark '4 + 20', Stills reaches back into his past, culling lyrics from his Buffalo Springfield classic, 'Questions', to serve as a coda on the opener, 'Carry On', and springs forward into his future to graft lyrics that would open 'Know You Got To Run' from his second solo LP into 'Everybody I Love You'. Neil is given a rare co-songwriting credit on 'Everybody...' with Stills (can you name another?). In spite of their long association, they weren't exactly Lennon and McCartney!

Despite all the aforementioned blockbuster songs, CS&N were apparently insecure in releasing the disc without adding Y. Neil offers the classic composition 'Helpless' and the underplayed medley 'Country Girl', which stands high among Young's finest works. Top off the collection with the hyper, grinding, high-flying rendition of the Joni Mitchell anthem, 'Woodstock', and you have one of the finest rock albums ever produced.

The album is a near perfect mix in terms of musical styles and subject matter. Though thought of today as somewhat stereotypical in personifying the 'hippie mystique', the album 'Deja vu' is representative of the ideals youth held, or at least liked to think they held, in the midst of the various social revolutions going on around them. It is nothing short of essential to any comprehensive collection of modern rock music, and to an understanding of the era and a generation.

A sign of the times, and their best offering.
Though they have released other fine albums, this is the best from these four legends. What else would you expect from former members of "The Byrds", "The Hollies", and "Buffalo Springfield"? Included are the classic tracks "Carry On", "Teach Your Children", "Our House", and "Woodstock". The others are all good too however. If you looking for this same quality of record without "Neil Young" (why would you do that), check out the debut from "Crosby Stills & Nash", it's just as good. Also the short but great "So Far" collection is roughly the best of these two albums. All of these releases will make you feel like you're in the 70's again. I think that's called "Deja Vu".

A quintessential album
This set may be well considered the best work of this unforgettable ensemble.
This album contains the real essence of the seventies. Filled with inspiration, and overall, commitment. This quartet was one of the top ten notable bands in USA , original sound , lyrics and wildness, charming and rebelness , country folk and wonderful songs . Think in Our house , a superb ballad , in contrast you have Woodstock .
This work is a must in your collection and in my personal opinion , one of the twenty most influyent albums in the rock music in any age.
Don't forget this team worked out in Woodstock and became one the most shinning stars in that unique musical meeting in 1969.

This Album Is CSNY's Defining Statement
DEJA VU is Crosby, Stills, Nash & Young's defining statement. With Neil Young having overcome three handicaps (epilepsy, diabetes, polio) to add a little muscle to the original trio, this album combines hard rock and ballads with enormous success. This album defined not only CSNY, but a whole post-Woodstock generation, and is essential to any folk-rock collection. ... Read more

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Warner Bros. did with the CD release of the 1970 vinyl LP 10 Years Together: Best of Peter, Paul & Mary what every label should do with CD reissues of vinyl compilations. They took into account the longer length of CDs and added tracks. The original release of 10 smash hits has been fleshed out here with three additional tracks, including a melodic take on Dylan's Basement Tapes rarity "Too Much of Nothing." Otherwise, it's hits and nothing but hits, ranging from definitive folk interpretations ("If I Had a Hammer") to pop ("I Dig Rock 'n' Roll Music") to Dylan and Gordon Lightfoot covers that compete with the originals and first brought such material to the mainstream. Only "Cruel War" is missing. --Bill Holdship ... Read more

Reviews (46)

Wonderful Compilation Of Their Biggest Hits!
My introduction to contemporary folk music was through my immersion in the innovative music of Peter Paul and Mary early in the 1960s, as they first came to prominence with songs like "The Lemon tree" and "Blowin' In The Wind". Of course, with the advent of the anti-war movement a few years later, they became quite involved, just as they had been in the struggle for civil rights in the American South quite early on. Yet Peter, Paul, and Mary were much more than urbane and well-educated Jewish intellectuals singing traditional and avant-garde folk music. They introduced a whole generation of young Americans and Europeans into a whole welter of cultural ideas and issues that both they and others like Joan Baez, Bob Dylan, and Paul Simon were also dealing with as performing artists. Yet what is central to remember is the fact that the music of Peter, Paul, and Mary came first.

They acted as the forerunners and popularizers for the work of artists as diverse as Dylan, Baez, John Denver, Gordon Lightfoot, and Tom Paxton. Their early albums were filled with what became standard contemporary folk classics like "500 Miles', "If I had A Hammer", and "Stewball". Yet they also had a number of top-ten hits, the biggest being "Puff, The Magic Dragon', which despite their stringent and consistent denials is about the joys and hazards of smoking dope. They also scored with "Day Is Done" late in their career, and had success with "I Dig Rock And Roll Music", "Leaving On A Jet Plane", and "too Much Of Nothing".

Also included here are their quite classical covers of songs written by others but made famous as album grist for them, including "For Loving Me" and "Don't Think Twice". Unbelievably, they are still touring, with Peter and Paul now in their seventies, and I am sure they are as terrific on stage now as they were when I first saw them in the Boys' Club gym in my home town one snowy Friday night in December of 1963, about three weeks after JFK was assassinated. They are a part of American history, and this album serves up a wonderful dollop of their original recordings for your listening pleasure and cultural edification. Enjoy!

This is the type of music that made the 60's the 60's
The harmonies of "Crosby, Stills, Nash & Young", "The Mammas and the Pappas" and "Peter, Paul and Mary" were the cornerstone vocals of the "love and peace" movement. Many of PP&M's songs don't come to mind until I hear them on some oldies station. Then I once again hear that simplistic innocence of yesteryear flood the air waves with the heartfelt idealism that created these masterpieces. When I hear "500 Miles" and "Day Is Done" thirtysome years later, the time warp of today's digital world vanishes. These two are folk music at its very best. Then we have the pop hits "I Dig Rock And Roll Music" and "Leaving On A Jet Plane" and it's the late 60's and early 70's. Both are as fresh today as they were thirty years ago. "Blowin' In The Wind" is Dylan's song. PP&M give a harmonic interpretation but this one needs the cutting edge of Dylan's sarcastic vocals. "Lemon Tree" and "Puff (The Magic Dragon)" have their place but have never held my attention. "Don't Think Twice, It's All Right" works well with their style. "If I Had A Hammer" still rings true and right! "Early Mornin' Rain" and "For Lovin' Me" are two of those campfire folk songs that sound good even without the harmonies and snap, crackle, pop of a campfire.

Peter, Paul and Mary have been a great gift to us all!
This CD is one of those rare times a single CD can demonstrate all the incredible beauty of a powerful group like Peter, Paul and Mary! The CD offers very thoughtful and beautiful classic ballads such as "Blowin' In The Wind," "Stewball," and "Don't Think Twice, It's All Right." "Blowin' In The Wind" is also an example of the group's being willing to take a stand on social and moral issues facing our society. The group's versatility is demonstrated with the song about "Puff (The Magic Dragon," which, although it's a children's song, can easily be enjoyed by adults as well. Although they are mainly folk singers they also celebrate rock and roll music with the song "I Dig Rock and Roll Music;" many thought Peter, Paul and Mary were making fun of rock and roll with this song but they insist they are paying tribute to it-and I think that they are. The CD ends with the song "Day Is Done" which is defiant of the evil in this world. This song includes a good sized chorus and adds a triumphant flair to the end of the song set.

The artwork on the CD is very good; but unfortunately the only photo we get of the group is very tiny on the front cover. The sound quality is excellent. There is a brief history of the group although it about them in the 1960s when these songs were originally recorded. I only wish that lyrics had been included!

I recommend this CD for Peter, Paul and Mary fans as well as fans of folk music. This is also an excellent choice for music lovers who want a superlative introduction to the group if they are as yet unfamiliar with their work. We are better off for having their music and Peter, Paul and Mary should be congratulated as well for not being afraid to deal with social and moral issues throughout their long history!

PIECE OF GARBAGE!
How can people actually call this piece of garbage music? It is disgusting. NOne of them , not Peter, not Paul, not Mary can sing. This is idiot music! Puff the magic dargon, indeed! I can't believe anyone over the age of 3 liking that dummy song. Come on, there is such a thing as music in the world, why buy this? This is only for cheesebrain old geezers who actually remember when the age of music was like this. STAY AWAY!

Don't Think Twice- - -It's Alright To Buy This CD!!!
The Folk Era of the early '60's is long behind us, most suitable these days for parody (such as the recent Christopher Guest movie A Mighty Wind), or for good old fashioned reminiscing. It's easy to see that the (relatively) few folk artists that have stood the test of time had real talent, whether lyrically (Bob Dylan, of course), musically (Joan Baez) or both (The Kingston Trio). After almost fifty years, the music of Peter, Paul and Mary still sounds to these old jaded ears as fresh as, well, a new breeze blowin in the wind. This trio of course had loads of talent, both lyrically and musically, and helped not a few songwriters along the way (John Denver, Gordon Lightfoot, and the aforementioned Mr Dylan). On furthur reflection (having enjoyed this album in LP form for many years), it seems to me that the songs that have best stood the rigors of time are those sung by Paul Stookey. "Don't Think Twice, It's Alright", "I Dig Rock and Roll Music" (featuring hilarious parodies of Donovan and the Beatles, and especially, the Mamas and the Papas. Mary does a perfect Cass impression!), and most glorious of all, "Early Morning Rain," with Paul's lowdown and dirty (yet smooth) delivery making the most of Gordon Lightfoot's lyrics. Outasite!!! Mary Travers is limited to just two lead vocals, but both are outstanding: the lyric, whistful "Leaving on a Jet Plane," and the achingly beautiful "500 Miles" (later covered splendidly by Bobby Bare). Peter Yarrow's songs are not as strong, with the exception of "For Lovin' Me" and that most fabulous stirring ballad about "Stewball," the racehorse worthy of a king. Brilliant! However, "Puff, the Magic Dragon" is quite charming, but not great, and "Day Is Done" is almost forgettable. Luckily, all three members of the trio take the lead on several songs: the rousing "If I Had A Hammer," "The Lemon Tree" (OK, well maybe just Paul and Peter sing lead on that one), "Too Much of Nothing," and the unforgettable classic that started it all for Mr. Bob Dylan, "Blowin' In The Wind", still utterly moving after all these years. Fabulous!!! So, get Best of Peter, Paul, and Mary right away- - - and don't think twice about it!!! ... Read more

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Though he rose from the ranks of journeyman '60s folksinger to become apotent and consistent '70s hit maker, Canadian singer-songwriter GordonLightfoot's stock in trade was as much hard-eyed, dispassionate observation asromance or poetic whimsy. Perhaps that's why his songs have been covered byeveryone from Elvis (thisset's "Early Morning Rain") toDylan. If there's such athing as an alpha-male folkie, Lightfoot certainly fits the bill. Spanning thetongue-in-cheek chauvinism of 1965's "For Lovin' Me" and the cheatin' ways of"Sundown" to more introspective fare like "If You Could Read My Mind" and"Beautiful," this 20-track collection presents a concise primer on Lightfoot'scareer and craft. After his career peaked with one of the most unlikely top fivehits ever, the gloom-laden 1976 narrative "The Wreck of the Edmund Fitzgerald,"Lightfoot's production tailed off sharply, though this anthology's "Stay Loose"('86) and "Restless" ('93) are testament to his enduring skills as a songwriterand performer. --Jerry McCulley ... Read more

Reviews (30)

Terrific Compilation Of Gordon's Greatest Hits!
I have always been a fan of Canadian Gordon Lightfoot's music. From the first time I heard Peter, Paul and Mary's wonderful covers of Lightfoot songs like "Early Morning Rain" and "For Loving Me", I knew anyone who could write songs like that was a huge talent. So when I got turned onto his own voice and music I was astonished by just how good he was (and still is). This is a perfect album because it traces the course of his rather singularly spectacular career so faithfully. T the song cycle presented here is unforgettable, because it has so many terrific Lightfoot songs back to back. From the first song in this incredible four CD collection, he shows why he is so famous and so popular. And likewise he threads his way through twenty something beautiful and memorable songs, from the early works like to later works like "Sundown", "Rainy Day People", and "If You Could Read My Mind'.

And so on with each of the songs here. My personal favorites are "Sundown", "Carefree Highway", and "Beautiful", but I really love them all. There are literally way too many to list here, so I will resist the temptation to list them all. In addition, one gains access to a number of lovely later songs such as "Wreck Of The Edmund Fitzgerald", "The Circle Is Small", "Baby Step Back", and one of my all time favorites, "Race Among The Ruins". If one listens to all of the similarly terrific albums Lightfoot put out over more than a decade one comes up with literally dozens and dozens of wonderful and memorable songs that fill this great compilation, which wonderfully summarizes Lightfoot's long and illustrious career. This guy was far more prolific than anyone else producing work in the sixties, seventies and eighties. Buy this compilation album, and after listening to it for a week or so you will be back for "Sundown", "Don Quixote", "Summertime Dream", "Cold On The Shoulder" and "If You Could Read My Mind". They are all great. Enjoy this one of a kind artist and his amazingly consistent flood of terrific and appealing mainstream folk albums.

The Greatest From The Greatest
OK, I'm a devoted fan. I admit it. But this 20 song collection is just the best single CD hits collection there is. Of course, when you look at the song titles, you will know that it has to be.

It is the first Lightfoot single CD greatest hits collection to have the original version of all of his top charting songs, and also his original recording of songs that were hits for others before he was well established as a singer. So you find If You Could Read My Mind, Sundown, Carefree Highway and Wreck Of The Edmund Fitzgerald - the original recordings - as well as beautiful early recordings of such folks standards as Early Mornin' Rain, For Lovin' Me and Canadian Railroad Trilogy. In the only departure from "original" recordings, The Circle Is Small is the rerecording from Endless Wire, but this is the recording that charted. And, in his inimitable style, Lightfoot personally selected the final cut, the song Restless from the out of print 1993 album Waiting For You. Lightfoot loves the song, and when you hear it - perhaps for the first time - you will too.

So, put together, you have an outstanding single CD collection - for the casual music lover or for the devoted Lightfoot fan. Even if you have all these songs on CD already (and the devoted fan probably does), you don't have them sounding like this! The remastering is unbelievably exquisite; it is almost hard to believe, but some of the songs sound even better than on the Songbook boxed set! There are four songs here that aren't on the boxed set, and these sound much better than on the original CD. Also, two of the hits are from the single (vs. album) mix, so they really are somewhat different.

The single mix of If You Could Read My Mind includes harmony vocals (by Lightfoot) that are not on the album version. The boxed set used the album version of every song (that had been on an album ever), while here Bill Inglot (who did the remastering for both Rhino Lightfoot releases) went to the single. The single version was also previously used on Gord's Gold, but the sound doesn't compare.

And for Sundown also, Inglot went to the single. I still don't have a definite explanation of the difference, but you have only to listen to this cut and the one from any other CD and you will know you are hearing something different. And really great.

Finally, Rhino has packaged this new greatest hits CD in their characteristic loving manner: full of photos, biographical text, and complete track notes. Thane Tierney (who co-produced the boxed set with Lightfoot), is the producer of this collection and he has done himself proud.

If you don't have it yet, what are you waiting for?

Sad song selection
I was so diasappointed by the selection of early UA trax on this CD, it now sits in the used CD section of my favorite CD store. What could have been an awesome CD, is only mediocre at best... Sorry Thane. Where are his best UA songs, Did She Mention My Name?, I'm Not Sayin or Ribbon of Darkness??? Several songs on here are below Lightfoot average -- why Go-Go Round (very amateurish) & Pussywillows (peraps the most boring song ever written). A great opportunity -- lost...

Complete Canadian Class - Terrific
One of my favourote singers of all time. The is a marvellous collection of classic Lightfoot tracks. All the hits that this very underrated singer-songwriter had, either himself or by others' interpretations, are here from "Early Morning Rain" through "If You Could Read My Mind" and "Sundown" on to "Restless". OK, there are some obvious omissions which other reviewers have, quite rightly, pointed out.

Lightfoot was one of those who had the tag of "the second Bob Dylan", which is like having a monkey on his back. They are very different writers, with Lightfoot being a dispationate observer and reporter of love, the wonder of Canada, great events and all with a wonderful baritone voice.

His usual band - Terry Clements, Red Shea, Rick Haynes, John Stockfish and Pee Wee Charles - deserve a mention. They hold it all together and enhance Lightfoots delivery.

Lightfoot's recent (September 2002) illness and long (many months) hospitalisation will have shocked and horrified his fans. However, they will be relieved that he it is reported that he is on the way to full recovery. More good news is the imminent release of his 20th album at the end of April 2004.

As for this collection, it shows just what a top class artist he is. If you are new to Lightfoot, you have the choice of albums to introduce yourself to his music. You could buy the 4-CD box-set "Songbook" - 5 hours of glorious Lightfoot. Or you could buy "Gord's Gold" (the first album - not Vol. 2), which has some of other tracks; or you could have this. Personally, I would have them all, as the man is a genius. In fact, spend some serious money and buy ALL his albums.

I could play this from sunrise to "Sundown".
Seems like it would be hard to better "Gord's Gold", but this did. This collection is perfect for the average fan. 20 tracks including "Carefree Highway", "If You Could Read My Mind", "Beautiful", and the excellent "Sundown". Also here is "The Wreck Of The Edmund Fitzgerald", which other collections miss. Something about "Gordon Lightfoot" stood out among the other 70's singer/songwriters. Be it his looks or voice, he was gentle, yet more masculine than others in the genre, and some of his songs even had a western vibe to them. Dare I call him cool? Highly recommended. ... Read more

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When Eva Cassidy is swinging her way through "Cheek to Cheek" and getting down and bluesy on "Stormy Monday" on this live set from 1996, it's nigh impossible not to get swept up in her voice's vast, barreling force. Her full range, though, becomes most obvious--and soul-shaking--on the slower side, as with Paul Simon's "Bridge over Troubled Water," Buffy Sainte-Marie's "Tall Trees in Georgia," and "What a Wonderful World." On these latter tunes, Cassidy's mix of aching clarity and rich warmth has a melting quality, speaking through the body to some evanescent presence that she seems to know all too well. She improbably makes Sting's "Fields of Gold" an emotional powerhouse just as easily as she makes Billie Holiday's "Fine and Mellow" an offhand declaration of feeling equal to nearly anything in the jazz vocal canon. In doing so she earns her place among the great singers--artists who could take any song and stamp it indelibly as their own. What Eva Cassidy had in her short life was an unbelievably perfect voice and a musical soul that grasped gospel, folk, blues, jazz, and all points in between as if they were mere stops on a single train ride. Alas, her ride ended in 1996, tragically early. --Andrew Bartlett ... Read more

Reviews (109)

this cd will rarely leave your cd player, it's that good.
the first time i ever heard eva cassidy was 3 years ago, on a local dc jazz station (which, sadly, has since gone off the air). it was the song "what a wonderful world," which i normally find cloying. but eva's clear, strong, beautiful vibrato cut through my work day and made me sit back and listen. wow. when i went to buy the cd at the store i was looking for an african-american woman on the cover. i was shocked to see a blue-eyed blonde, looking folkie and meek, on the cover. but my god, the woman has the soul, depth and power reserved for the best of the best, including mahalia and 1960s aretha.

this cd, all covers, ranges from swinging jazz to traditional folk to blues. eva handles it all with incredible control and taste, with real singing and not the pyrotechno crap you hear on the radio these days. her range inspires awe, especially on "golden thread," in which she reaches a note that would give anyone else a hernia. her interpretation skills are amazing; she manages to breathe new life into songs that have been covered hundreds of times. particular standouts are "autumn leaves," "tall trees in georgia" and "fields of gold," all of which will make you cry; "golden thread," which is as spiritual as any hymn; and "fine and mellow" and "cheek to cheek," which are fun and sexy. the band is also in top form, keeping the sound tight and crisp while giving eva the spotlight.

eva's passing robbed her of what surely would have been a big, long career, and us of an enduring talent. buy this cd and you will not be disappointed.

Not the best Eva recording but still something truly special
At this stage, what is there to be said about the genius of Eva Cassidy that hasn't already been said a thousand times before?

All I can add is that you have never heard Ms Cassidy's voice before, I PROMISE that you will love it. Absolutely and completely fall in love with it. Eva's voice bypasses the head and instead goes straight to the heart. Once it is there you won't be able to remove it.

This CD was my introduction to Eva Cassidy and while I think the selection of songs could have been better, it is clear that she is a unique talent. I don't want to give the impression that this isn't a good record - quite the opposite; it is on occasion truly magnificent with Oh, Had I A Golden Thread and Tall Trees In Georgia being among Eva's best recordings and two of the most moving songs I have ever heard. It is a great place to start your Eva Cassidy collection - buy this CD, fall in love with it, then move on to Eva two crowing artistic acheivements Eva By Heart and Time After Time. That's the way to do it!

I don't joke when I say that the music of Eva Cassidy has enriched my life more that I thought any singer ever could and I am sure it will do the same for you.

If God wants you to own only one disc, THIS IS IT.
Hands down, the best music recorded ever, and i believe, eternally and a day.

The Artist/s. Eva Cassidy is so impressive and versatile on this disc. Words are not enough to describe her. She massages and caresses each and every note that would make your hairs literally stand from your skin (I call this a hairstanding ovation). But wait, unlike other Eva discs, this Blues Alley recording puts the other musicians (Chris, Lenny, Keith and Raice) right smack there in the center. A total BAND effort. And that makes it more exhilirating for me. The drums, the guitar licks, the bass, the piano . . . all were perfect.

The record. Another thing that makes this record such enjoyable is that it is recorded live in a very HOME-y set-up. You go to your house, put the disc in, you sit in and close your eyes and youll be mesmerized as the music comes alive, complete with a FEW claps from the relatively small Blues Alley (unlike in massive concerts). So, you'll get the feeling that they are REALLY performing at your house/room when you close your eyes. The recording is so great that the disc is now being used as a tester for branded speaker companies.

The songs. The songs herein would fit for almost any person. I love rock, and there's song #11. But I also love blues, so there's song #2. And man, song #3 or Bridge Over Troubled Water, now that's what I call sensuality in spirituality! You got to hear it. Then there's the songs Cheek to Cheek, Fields of Gold, What A Wonderful World and a lot lot more. Each song, perfect.

Overall, this disc WILL MOVE you in a way you've never felt before. To quote from someone, it's the "best glimpse of heaven yet." And it sells as how much? $30 was it? Nahh, this is priceless. Buy this, thank me later.

If you haven't bought any Eva disc yet, start with this, then American Tune.

Amazing
I first heard of Eva Cassidy in 1987 when I performed in the DC area... She was amazing then, and I wish to God she were with us today.

I have bought this CD for countless friends and family members, and they have all been bowled over. Everyone that I purchased this for is in the music business. Contrary to one reviewers opinion...Eva Cassidy embodies soul, and I love Ella, and Louie and many other great performers from yesteryear, but again, contrary to another reviewer, if Eva were alive today, she WOULD be at the top of the charts month after month.

Everytime I hear her rendition of a popular standard or cover tune I think..."it will never be done any better than that!"

Please order this, and as many of her other albums endorsed by her family as you can...you will NOT be disappointed. She is truly amazing.

wow.
I cannot tell you in words... how this cd moves me. There are a handful of songs on this cd that are sung with such depth and soul... you cannot help but fall in love with it.

I get a chill down my back just listening to the cd right now. If you want a cd that will touch you right there - right there on your heart - music that speaks to YOU as if she is singing directly to you.... this is the cd to have. ... Read more

Album Description

Reissue of the late British folk icon's final full-lengthalbum, released in 1972. 11 tracks. Slipcase. Island. ... Read more

Reviews (214)

Raw. Dark. Inspired.
Nick Drake has been an underground hero for musicians for many years now but only recently got any real public attention because of a VW commerical. There's nothing wrong with VW using his song, it's just a shame that commercial success never happened for Nick when he was alive. He deserved the attention he has received in 1999 way back in 1970.

Nick was an incredible acoustic guitarist with a diverse fingerstyle technique with great finger-rolls and clever melodies woven throughout complex harmonies and various tunings.

Pink Moon is raw and dark but absolutely pretty at the same time --and precisely played with just one acoustic guitar and an occasional piano. His baritone voice is delivered in an often slurred and breathy haze with lyrics that convey a sense of despair and emotional nakedness. The chords in his songs will weave a Minor progression of almost hopeless despair then break into a Major bridge and rising vocal melodies that brings a hope of soaring transcendence into the light - only to have it dashed back down to the ground. Beautiful.

My favorite track is "Parasite." His guitar line brings a sense of calm and reassurance -even thorugh lyrics filled with personal inadequacy and despair. "Pink Moon" is the lead-off track that was used by VW and gave Nick life after death. If this album came out today, it would sound completely fresh and new, unlike many other folk albums from the same time. Timeless.

The best of a genius
I "discovered" Nick Drake in a roundabout way, through the fiction of his fellow Brit, author Phil Rickman, who seems to have been profoundly affected by Drake's music. The only album of his that I could find in print way back then was "Way to Blue," a sort of "Best of" collection. And I thought that Pink Moon was the best of the songs. when the CD was remastered and released, I bought it,and although this phrase is trite and overused, I was blown away. I've listened to his first two albums, and read about arguments with his producer about whether or not to add the (unnecessary, IMO)horn and string sections. Nick, quite correctly, felt his music could stand alone. Why he was not successful in his lifetime, I'll never know. I don't think he was having a breakdown as he wrote and recorded "Pink Moon," I think he was finally allowing himself to speak without euphemisms or too much symbolism. It is Nick being Nick, and it is his best. Finally, you can hear his guitar clearly. Listen closely, and you'll see that he has been sadly underrated; I believe he was the best acoustic guitarist in the 20th century (no offense to Robert Johnson and Eric Clapton fans). The song "Which Will" is my favorite track from the CD; the theme of love lost and watching the beloved move on is not unusual, but what he does with it is magical. I also love "Pink Moon;" some months after hearing it, I learned that in British superstition, the sight of a pinkish or reddish full moon means that someone is going to die. Perhaps a foreshadowing of "Black-Eyed Dog"?

If you only buy one Nick Drake album, make it this one. You won't regret it.

My favorite CD by my favorite musician.
This has to be the most beautiful album ever created. I have probably listened to this CD 75 times, in full, since I got it, and every time I am almost put in a trance by the beauty that is Nick Drake's music. Nick Drake uses differen't tunings for his guitar that sometimes make it sound as if a mini-orchestra is playing on his albums, but is just the sweet, melancholy tunes of a hushed voice singing out lyrics and the strings of a lone guitar slowely winding an environment of peace and serenity around your life, letting you fully relax, and see the beauty in things. I may sound like a hippy, but this is no exaggeration, you must get this CD now, and cherish it forever, for once you hear these beautiful songs your life will never be the same, it will be better.

Let's get one thing straight about this record.
Its average -- heh, virtually unanimous -- rating of five here probably has something to do with this: Nick Drake died, not certainly but quite likely a suicide, about two years after its release, and in retrospect this sounds like his suicide note, whether it was or not. It also has something to do with a car commercial that came out about 26 years too late to help Nick.

And none of us should be ashamed of this.

The facts of an artist's life are an inextricable part of his work. We've known this, cherished it in fact, since the first artist put a voice into music, or drew pictures and made gestures that expressed thoughts without words. Nick Drake was one depressed dude at the end. Either he killed himself deliberately or the drugs that did it -- and they were antidepressants -- were powerful enough to do it by accident.

I got "Pink Moon" about five days ago and have played it about 35 times. The title track and the final one ("From the Morning") move me about as much as anything I've heard. Everything in between establishes a mood that could be interpreted as heavily flavored by sadness, if not dominated by depression. Even "Morning," a song of hope and uplift if ever was, is tinted by the small, haunting ache that attends the knowledge of death as an inevitable part of life. And the death that's on our minds is, unavoidably, Nick Drake's. It matters not why and how he died; it was too soon, this was his last record before it happened, and it colors -- unavoidably and rightly -- what we hear. When one knows how an artist's pain worked itself out in the artist's own life, it has an inevitable impact on how one receives the record.

I join the people who thank Volkswagen for this record. I never saw the VW ad; I don't watch TV enough to do that. But I sure read enough about it here; and I only recently found that the wonderful lavish sounds I'd been hearing as sign-on music back in the early-mid '70s on good ol' WMAL-FM were Nick's own "Bryter Later." So I can claim to be one of the fogies who Knew Him (sorta) When. But only the one piece. That and the VW ad -- what's all this about a damn ad? -- prompted one of my best album purchases ever. I'm torn -- just run back to the store where they have his other two studio releases, nine-ninety-nine the pop? Or spring for "Fruit Tree"?

Drake's first two albums are lusher, more lavish, more produced, more, well, what? optimistic. Then this one. Nick, his guitar, and a smattering of overdubbed but perfect piano. It would be interesting to have heard "Pink Moon" AFTER his first two records, instead of hearing it first. The contrast between those discs and this one is startling enough as it is. If you want to hear folk guitar played about as well as it can be, accompanied by a voice that, light and almost airy as it is, seems to triple the weight of the lyrics, Do not pass Go. Head straight to this record. If you don't have "Pink Moon" yet, and kind of wish there wasn't quite so much production on those two lovely Drake discs you do have, pick this one up. 'Cause the production is, well, not. I think it's wonderful that we got to hear not only as much of Nick Drake as we did, but as many different sides. I wouldn't want the first two records without the overdubbed strings and keyboards. This one, likewise, is perfect, just as is. Stark, painful, full of despair and full also of hope and appreciation for the beauty the artist saw in the world. It's just as in the first two records, but expressed differently and just as spot-on beautifully.

Don't feel bad that you first heard about Nick Drake from a car salesman. Carlos Santana was right: It's getting it, not how, that counts. You have the music now, is what matters. The world is beautiful and it's OK. Play "Pink Moon" again, and again. That's Nick, telling you so.

Buy two copies
It is a damn good thing that this man is not alive today. His purity and ethics would have left him in an even deeper state of depression if he were to suffer the fandom his music has earned him as well as the use of his music for commerical purposes. People this sensitive are gifts to the world, but they usually implode and lack the coping mechanisms to survive in modern society. Nick was a walking open wound, a raw exposed nerve and one listen to his art will reveal this. What an amazing thing that he was open enough and talented enough to bear his soul in a way that makes us feel ours so.

The second track, "Place to Be" makes my chin quiver every time and cry most of the time I hear it, and I am not ashamed to admit it. There is something exquisite, decadent and enlightening about indulging in this artist's "dark" music. Depressing and melancholy? Yes, certainly. Beautiful, nuanced, and intimate? More so. I can say, as a heterosexual male that if I had a time machine, I would go back to 1972 and embrace this guy, tell him everything will be alright, and take him of a road trip through the wilderness. And I'd bring a tape recorder. ... Read more

Amazon.com essential recording

A poll-winning fiddler since her teens, Alison Krauss was an established bluegrass star when her label persuaded her to step out from her usual projects with Union Station, her crack band, and sanction this compilation of various band and solo guest performances. The ploy worked, yielding a wonderful, odds-beating crossover hit with Krauss's cover of "Baby, Now That I've Found You," a carousing late-'60s pop chant transformed into a delicate, vulnerable declaration of love. Focusing on Krauss's lovely, yearning soprano, the track elevated the musician above her resolutely democratic role in her quintet, catapulting Krauss to the biggest bluegrass success story in over 30 years. Krauss has stayed true to her bluegrass roots, as well as to Union Station, but this cross-section of contemporary bluegrass songs, joyous gospel, and canny rock covers testifies to the young artist's luminous appeal. --Sam Sutherland ... Read more

Reviews (97)

A Pure Delight!
I can't describe how wonderful this recording is, but I'll try. Whether you like bluegrass or not, if you appreciate good singing, good playing, and wonderful melodies, this CD is for you. Many people have talked about how relaxing, soothing and peaceful (not to mention fun!) this collection is. It's that and more. These are songs that you will find yourself singing, humming, and thinking about after just a few listens. Alison does a wide range of covers, including the title track from the Foundations, a song by Bad Company ("Oh Atlanta"), and a wonderful version of the Beatles' "I Will." Now about Alison Krauss...

You can read here and in many other places about the enormous talent Alison has been blessed with. That is obvious in the initial hearing of the CD. I appreciate the talent, but even more I appreciate the love that she has for music. I've seen and heard many performers in several different genres of music, but it is becoming a true rarity to encounter artists who really, truly love what they do. You can tell that Alison Krauss (and Union Station) has a geniune joy in doing what she does. It comes across in the music. That joy of singing, performing, communicating with an audience is sadly lacking with most artists today. Too many artists (some who once had this joy and lost it somewhere along the way) are in music for all the wrong reasons...money, fame, you name it. Krauss will have none of it. She still records for Rounder Records, a relatively small label, even though she's had offers from the big labels. She refuses to perform in big arena concerts because she would lose the close connection she has with her audience. I admire her for her decisions and for her love of her craft. Take one listen to this CD and I think you'll agree.

Sweet, sweet music...
Alison Krauss and Union Station have been recording and treading the boards long enough now that, despite her still rather young age, Alison is now considered a veteran of the bluegrass scene. And a very worthy one. She is not only an extremely gifted musician, but a nice vocalist and an artist who respects tradition. Everything I've heard her do I like, and that holds especially true for this compilation. Every track is a winner thanks to the remarkable taste and ability on display. Here's my introduction to Alison. It must have been 1994 or so. Late one night I was listening to my local college radio station, drifting in and out of sleep. Then from out of nowhere came this beautiful, angelic voice from my speakers, covering Paul McCartney's Beatles classic 'I Will'. I was astounded, as it was the greatest Beatles cover I had heard (and I'm a huge Beatles fan.) To my disappointment they didn't say who the artist was and they wouldn't answer the phone when I tried calling. It took me a good while, but I finally found the recording. And it is, of course, on this cd. This is a great cd. I recommend this highly.

WHAT?!! A Platinum Bluegrass Album without a movie/tv tiein?
It took a few albums for the rest of the world to discover what the Bluegrass community already knew about the phenomenal Alison Krauss - her voice is a once-in-a-lifetime gift.

She had recorded about 4 albums when independent label Rounder and Alison came up with the idea of a "Greatest Hits" collection for an artist in a genre that pretty much never HAS a "hit". Now That I've Found You opens with three new tracks - each one of them became a hit - then is filled in with another nine tracks from the previous albums, plus a few gems she recorded as a guest vocalist on other's CDs, such as "I Will" from Tony Furtado's "Within Reach" and "I Don't Believe You've Met My Baby" on Jerry Douglas' "Slide Rule"(a wonderful old Louvin Brother's song that received another wonderful treatment in the recent Louvin Brother's tribute album - check THAT one out too!) Suddenly the young woman had a platinum album, selling millions and zillions of copies in a Genre that no one outside of Bluegrass listened to.

What was going ON?

Bluegrass had a FEW hits in the Rock and Roll era:

Flatt and Scruggs "Foggy Mountain Breakdown" - the music used as the musical theme to "Bonnie and Clyde".
Flatt and Scruggs "The Ballad of Jed Clampett" - the theme to "Beverly Hillbillies"
"Dueling Banjos" - from the soundtrack to "Deliverance"
"Rocky Top" - by the Osborne Brothers
"Fox on the Run" - by the Country Gentlemen

But it was pretty much unheard of for a Bluegrass recording or artist to get much notice outside of the Bluegrass die-hards, unless there was a movie or television tie-in.

Then along came Alison Krauss, with her stunning crystalline voice that caught the attention of the Bluegrass community while she was still a teenager.

This CD really IS just a "sampler" of Alison Krauss' voice - but it's a good starter disc for someone who wants to hear the kind of voice that only comes along once a generation....

Soothing
I first saw Allison Krauss and Union Station on TV about a month ago. While surfing through the channels to find something interesting I heard Allison's sweet voice, Needless to say I was hooked from that point on.

She has a very soothing and comforting voice and along with Union Station and their great musicians that accompany her on some of her albums, you are in for a lot of enjoyment. She's great.

Simply the best!
Just compare Alison Krauss's superb version of "When you say nothing at all" to Ronan Keating's pathetic attempt. Actually, I like Alison's version better than Keith Whitley's. Alison sings with so much class and style. ... Read more

Amazon.com essential recording

Joni Mitchell would go on from this '71 recording to make more popular, more ambitious, and more challenging albums, but she's never made a better one. Working with minimal accompaniment (Stephen Stills and James Taylor are two of the four sidemen), the Canadian thrush summoned an involving song cycle of romance found and lost. Though Blue is an uncommonly intimate representation, it's also astonishingly open and gracious. Songs such as "All I Want," "Carey," "California," and "A Case of You" work equally well as poetry and pop music. --Steve Stolder ... Read more

Reviews (166)

One of the Very Best
There is little to criticize on Joni Mitchell's brilliant album. (Oh, perhaps that "My Old Man" is about 40 seconds too long?) It is an almost perfect package. From the free-flying rhythms of "Carey" to the intimacy of "Little Green," Mitchell's emotional and vocal range is unsurpassed. The opener, "All I Want," immediately hints at her jazz sensibilities. Her fluid voice paints pictures, dipping and soaring through emotional draft winds.

Joni sounds like she singing directly to you. She seems unafraid of where her voice will take her, and vocal and musical risk-taking (listen to the very brief Rolling Stones-like riff on "This Flight Tonight") are incredibly rewarding. The dominant themes are longing ("Little Green, " "River"), love lost and found ("A Case of You," "All I Want") disillusionment ("The Last Time I Saw Richard") and hope ("California").

This 1971 effort is one of the finest vocal albums ever made. The restrained accompaniment is superb, with guitars by Stephen Stills, James Taylor, and Sneeky Pete, and drums by Russ Kunkel. By the way, let's make "California" the official state song.) Highly recommended, very deserving of its reputation, you simply must hear this one.

a true blue classic
every song here tells a sorry, usually a sad one. even the apparently cheery 'carey'is wrought with a painful sense of resignation. the melancholic mood throughout is evoked by joni's plaintive singing, accompanied sometimes by only the piano or hushed drumming of the acoustic guitar. she's not singing to an audience, not even to herself. sometime the singing turns into a desperate wail, as in the last bars of 'the last time i saw richard',one of the most profoundly personal song ever written by joni, or anyone. joni's usual deeply felt lyrics is once again evidence of her unique ability to express an emotion with utmost economy. for 'green' the little girl who has never seen her father, there'll be 'icicles and birthday clothes, and sometimes there'll be sorrow.' life goes on but the regret of an incomplete life is real and lasting. a lover is a case of wine, it's bitter, bitter and so sweet. it's poetry that has stood 'blue' up as a landmark album by joni mitchell, and it has remained one of her best loved and most enduring.

the most addicting album ever
"Just before our love got lost you said, I am as constant as a northern star, and I said, constant in the darkness,
where is that at? If you want me I'll be in the bar..." -Case of You, Blue

It takes alot for me to listen to an album over and over and over and over... and still not get sick of it.
i've had "Blue" for about 3 years and Joni still makes it into my cd player more than once every few days.
There are at least 2 songs that most passerbyers would recognize: "California" and "River", but many more to be appreciated.
This album has a beautiful balance of alternating very rich, almost sorrowful songs and whimsical upbeat songs...

"My Old Man" exhibits such simplisticly passionate poetry-
'...but when he's gone me and them lonesome blues collide; the bed's too big the frying pan's too wide...'
"All I Want" gives us an all-around bold, declarative statement that shows her desire to be a part of the grand 'adventure'/excitement that life offers through loving.
'..alive alive! I wanna get up and jive, i wanna wreck my stockings in some jukebox dive. do you want, do you want, do you want to dance with me baby? do you wanna take a chance in maybe finding some sweet romance with me...?'

With the occasional accompaniment from James Taylor and Stephen Stills, this album is worth much more than it's priced.
And as always, the mixture of Joni's voice, her beautiful piano playing, and her amazing lyrics are pure proof
that she is a true uninhibited musician... and she's still going strong.

housewife mediocrity
this album might fly when the hippy flag was not yet torn to complete shreds and everyone was feeling a little blue but i'm sorry joni i just don't care about you and your songs are self-indulgent in a way that just makes me feel annoyed and further from christlove that even Prince Myshkin could ever imagine. When joni is blue i don't want to come in your kitchen. . . period.

"Oh Carey, get out your cane."
There have been arguements over what was the greatest year in Rock and Roll history. Some will say 1964, others 1967, 1969, 1975, 1991, 1983, 1968, or even 1977. But for me 1971 is hands down the greatest year ever. Just look at the albums that were released:

Led Zeppelin-LED ZEPPELIN IV
The Who-WHO'S NEXT
Carole King-TAPESTY (Amazingly, won Grammy for Album of the Year)
The Rolling Stones-STICKY FINGERS
Rod Stewart-EVERY PICTURE TELLS A STORY
Traffic-THE LOW SPARK OF HIGH-HEELED BOYS
John Lennon-IMAGINE
James Taylor-MUDSLIDE SLIM AND THE BLUE HORIZON
Chicago-CHICAGO III and AT CARNEGIE HALL
Elton John-TUMBLEWEED COLLECTION and MADMAN ACROSS THE WATER
The Altman Brothers Band-AT FILLMORE EAST
Carly Simon-CARLY SIMON and ANTICIPATION
Yes-THE YES ALBUM
Alice Cooper-LOVE IT TO DEATH and KILLER

And at the heart of these remarkable landmarks was Joni Mitchell's BLUE. What she does to the songs CAREY and CALIFORNIA are truly amazing. There were a couple of X factors as to why I think '71 is the greatest ever: It was the first full year that there wasn't a song by The Beatles and it marked Rock's unsolved mystery with the mysterious demise of The Doors' Jim Morrison(Did he really fake his death in Paris to escape prison like what happened to Roman Polaski?). Could it be possible that the incident inspired Mitchell to write "Free Man in Paris" three years later? ("But for the work I've taken on/Stoking the star maker machinery/Behind the popular song) Above all, BLUE was the beginning of what made Joni Mitchell great. ... Read more

Amazon.com essential recording

As much as any record, CSN's 1969 debut ushered in the early '70s singer-songwriter boom. Yes, this was a group, but it was one made up of three coequal composer/vocalists, each with a heady resume--Crosby an ex- Byrd, Stills in Buffalo Springfield, and Nash a former member of the Hollies. Each supplied distinctive material and contributed to CSN's trademark harmonies. The addition of Neil Young made the supergroup an edgier outfit. There's a purity to the original trio recording, however, that would never be recaptured. --Steven Stolder ... Read more

Reviews (50)

Awesome debut
Crosby, Stills, & Nash's debut was a fantastic album and arguably their best. Simply put this is a classic album with excellent songs, beautfiul harmonies and stellar musicianship. Several tracks from this album are still standards on album-oriented radio. All three members are in top form here. Leading the way is their most popular and memorable track, Stephen Stills's "Suite: Judy Blue Eyes", a beautiful song which has not aged one day since its original release. He also contributes the classic acoustic tracks "Helplessly Hoping" and "You Don't Have To Cry", which are two of the band's best examples of their soaring harmonies. David Crosby's "Guinnevere" and "Long Time Gone" are classic rock standards and are two of the best tracks in his long and illustrious career. Graham Nash also wrote some of his best pop songs here with "Marrakesh Express", "Pre-Road Downs" and "Lady of the Island". But the strongest track would have to be "Wooden Ships", written by Crosby, Stills, and Paul Kantner of Jefferson Airplane. This is a powerful track with excellent lyrics and an awesome performance by the band. While CSN would release a few other strong albums after this, such as the excellent Deja Vu album, this is the band at their best. Highly recommended.

ONE OF MY FAVOURITE ALBUMS...EVER!!!
When Crosby Stills and Nash blasted onto the rock scene in 1969 they were immidiately hailed as a super group and for good reason. David Crosby had already been known as one of the founding members of the Byrds. Stephen Stills had been the leader of Buffalo Springfield and Graham Nash had been in the Hollies. So when their debut was released on May 29 1969 it became an instant chart success.

Unlike some supergroups Crosby Stills & Nash had great chemistry from the day they were formed. They harmonized wonderfully together and wrote some excellent songs throughout their career.

Each member contributed some awesome material to this album. In my opinion there is not a single weak song on this record. Yes some songs surpass others but there is absolutely no filler on this album.

Stephen Stills has always been my favourite member of this supergroup. His SUITE:JUDY BLUE EYES is one of my faves and it features some great harmonization. YOU DON'T HAVE TO CRY has some great acoustic guitar playing by him and HELPLESSLY HOPING is a nice love ballad. He also wrote 49 BYE-BYES the powerful album closer. However his most powerful track here has to be WOODEN SHIPS which he co-wrote with Crosby.

David Crosby's compositions are very good also. GUINNEVERE has been considered a throw away to some but if you listen carefully you realize the awesome uses of an acoustic guitar and harmonizing voices. LONG TIME GONE is a bit of a hippy anthem but I love the singing voice he uses on that song it is so unique and powerful and the chorus is gold.

Graham Nash proves he can work with the best of them as his MARRAKESH EXPRESS (a song obviously tied in with hash) is a very fun song. He also composes the hearty rocking PRE-ROAD DOWNS and performed the prettiest love ballad on the album with LADY OF THE ISLAND another one of his own compositions.

The success of Crosby Stills & Nash's debut led to them winning best new artist of that year at the grammy awards
some of their songs were also featured on the Woodstock movie. Neil Young would later join the group in 1970.

In conclusion "Crosby Stills & Nash" should be in everybodys cd collection. Whether you are a young music fan or an older fan, you'll love this. Heck I'm only fifteen and it is one of my top 10 favourite albums that I have every heard! Yes folks it is that good! So if you want wonderful harmony, excellent guitar playing and great songs and just overall good music then may I suggest you do yourself a favour and get this cd! You will not be disappointed my mom showed me her old LP of it and I immidiately fell in love with it. So I got the cd and have not stopped listening since the day I got it. Highly recommended!

you can start a music collection right here
'Crosby, Stills and Nash' is a classic case of the sum of the parts being greater than the whole. When this album was released in May of 1969, all of the main players had achieved a degree of notoriety. What they brought to this project was a talent matured and seasoned by Stephen Stills in 'Buffalo Springfield', David Crosby in 'The Byrds', and Graham Nash in 'The Hollies'. While it may be tempting (and presumptuous)to contend that what CS&N wrought was something completely different, never before had such a mix of divergent styles blended together so effortlessly, and with such a distinctive and savory result. Couple this with the great cultural significance of the album, and the sheer quality of the compositions and performances, and you have one of the epic albums in rock history.

'Crosby, Stills and Nash' defined a generation. More than any other single work, this album defined the ethos of the Baby Boomers, The New Left, the counter-culture. While their 1970 release 'Deja vu' played on the 'hippie mystique', 'Crosby, Stills and Nash' elucidated it. No longer tied to established values, this generation would live to emulate lyrics such as "Don't let the past remind us of what we are not now", "Listen not to what's been said to you", "Seagulls circle endlessly, I sing in silent harmony, we shall be free", "You are living a reality I left years ago, it quite nearly killed me. In the long run it will make you cry, make you crazy and old before your time", "and then I will lend you my will and your days will be filled with love", and "Speak out, you got to speak out against the madness". To what degree were these artists mirroring society as opposed to creating a mindset? Certainly a bit of both.

'Crosby, Stills and Nash' offered an eclectic mix of sounds. While the performances in this debut album are certainly categorized in the folk or soft-rock category, subsequent interpretations of numbers such as 'Wooden Ships', 'Pre-Road Downs', and 'Long Time Gone' divulged their heavy-rock potential (check out Stills' version of 'Wooden Ships' on his 1974 'Live' album). Virtually every song is a conservatory of vocal harmonies. While Dallas Taylor (seen peering out the window on the album cover) contributes percussion and David Crosby rhythm guitar, the lion's share of the instrumental work is single-handedly Stephen Stills'. Stills' lead guitar solo's, both electric and acoustic, are imaginative, inspired, and at times, such as on 'Pre-Road Downs', rabidly innovative and unparalleled.

'Crosby, Stills and Nash' harbors a wealth of creative genius, from the bold alliterations of 'Suite: Judy Blue Eyes' ("Lacy lilting lady, losing love lamenting") and 'Helplessly Hoping' ("Wordlessly watching he waits by the window and worries'), to the dynamic,desperate exchange between warring soldiers introducing 'Wooden Ships' ("If you smile at me I will understand, because that is something everyone does in the same language"), so pertinent to the Vietnam era. Stills offers five compositions, including a co-credit with Crosby on 'Wooden Ships', and there isn't a loser in the bunch, though '49 Bye-Byes' gets a save from Crosby and Nash's steep and ascendant harmonies. Crosby is in his prime, cataloging the beautiful 'Guinnevere' and the ominous 'Long Time Gone', this album's complement to 'Deja vu's 'Almost Cut My Hair'. 'Lady of the Island' is Nash's 'Guinnevere', and 'Pre-Road Downs' and 'Marrakesh Express' give the body of work a much-needed buoyant lilt.

'Crosby, Stills and Nash' is a close to perfect as the men, the times, and their resources could impart. It is nothing if not an essential componant of any comprehensive modern music collection.

Doesn't get better than this
I hear everybody say that, "CSN's debut album is nothing compared to Deja Vu" That is complete and total bulls**t. This album, along with The Beatles' Sgt. Pepper, and Dylans Highway 61, is the pure definition of 60's culture. The polotics, the music, the harmonies, its all amazing. Some of the most incredible lyrics I've heard on any album, and i've heard most of Dylan, and Youngs stuff. Stand out tracks here are defeitly Suite:Judy Blue Eyes, Marrakesh Express, Guinnevere(or however you spell it) Pre Road Downs, Wooden Ships, Helplessly Hoping, and Long Time gone. Much like Deja VU, there are about 2 songs the album could do without like lady of the island, and 49 bye byes. And I really don't like You DOn't have to cry at all to tell you the truth. BUt get this album, you won't be let down.

Not a perfect debut - but still excellent
1969 was a great year for rock and roll. Why, you ask? The number of reasons is virtually impossible to count. But, there's one MAJOR reason it was a great year for the genre - a classic rock "supergroup" was formed. David Crosby of the Byrds, Stephen Stills of Buffalo Springfield, and Graham Nash of the Hollies united - and the supergroup Crosby Stills and Nash was formed (sometimes called CSN for short.) This year, the band released its self-titled debut album. Read on for my review of it.

Suite: Judy Blue Eyes - The most popular song to emerge from this album, and unquestionably one of the group's finest. It's a little overrated - but still one of the band's masterpieces.

Marrakesh Express - This one was never a big hit, but it's not exactly a forgotten masterpiece either - it falls somewhere in the middle. It seems a little silly in comparison to the other songs on the album, but it's actually an excellent piece of pop music. The guitar is VERY nice here.

Guinnevere - Many fans of CSN will tell you this song is a masterpiece. Why, you ask? BECAUSE IT IS! The band really slows things down here, but the quality certainly doesn't diminish. This song is solid proof that these guys could do softer stuff as well as any other kind of song.

You Don't Have to Cry - Another slower track, but not quite as slow as Guinnevere, and a little more upbeat. This isn't exactly a stand-out track - but it's still good. Don't skip it!

Pre-Road Downs - Here the band gives us a southern/country rocker, which is one of the finest songs the trio (later a quartet) would ever shell out. If I had to name any one song on this album its "underrated masterpiece", this would be that song!

Wooden Ships - Another ultra-slow and melodic venture. Here's another song that has become a fan favorite over the years. If you want to know why so many fans love it, listen to it!

Lady of the Island - Though the vocals in this slower track are undeniably CSN vocals, the general way the track is set up is strikingly similar to that of many Simon and Garfunkel tracks. Compare this to, say, I Am A Rock, and you'll see what I mean. Good song.

Helplessly Hoping - This isn't a bad track by any means, but it never really stood out for me. Though the album doesn't have a single weak track in my opinion, this is probably the closest thing on here to one. But it isn't bad!

Long Time Gone - MY FAVORITE SONG ON THE ALBUM. This is another rocker, albeit a little slower than Pre-Road Downs. The vocals here are top notch, and the instrument usage is also excellent. To not like this song is the ultimate sin!

Forty-Nine Bye-Byes - The band closes with a track that is the happy medium between a rocker and a ballad. The last song on an album should always be a memorable one - and this one certainly is!

Crosby Stills and Nash's self-titled debut album is one of 1969's many rock and roll masterpieces. Later in the year, Stephen Stills' Buffalo Springfield bandmate Neil Young would join the band, and they would change their name to Crosby, Stills, Nash, and Young (CSNY for short). That new incarnation of the band would release later in the year what would go onto be their masterpiece - the Deja Vu album. When you compare this album to Deja Vu, Deja Vu is the stronger album - but not by much.

Overall, this album is HIGHLY RECOMMENDED to any fan of good classic southern rock. The follow-up, Deja Vu, is also recommended. Don't pass this supergroup by, or you'll live to regret it! ... Read more

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Gillian Welch has captured the ethos of mountain music in a way that few lowlanders have managed, and that's just a little disconcerting. Outsiders aren't supposed to be able to infiltrate tight-knit clans. Producer T-Bone Burnett creates intimacy by recording Welch live with a small cast of supporting players, including Welch's partner, David Rawlings. While many of the songs are built around duo acoustic guitars and two-part harmonies, Burnett spices up a few of them up with some neat tricks, mixing an upright bass above the vocals on "Pass You By" and getting a fat, dirty sound out of three instruments. Welch's vocals, meanwhile, are stoical and matter-of-fact as her songs, which are infused with a repressed dread and contrition that's utterly convincing. White gospel tunes like "Orphan Girl" and "By the Mark" feel as if they were culled from hymnals, yet they were written when Clinton, not Coolidge, was president. --Steven Stolder ... Read more

Reviews (60)

Gillian Welch; powerful artist
Thanks to Amazon, I found Gillian Welch via their "customers also bought" information bar while purchasing an Emmylou Harris recording. Ms Welch posesses a sincere and refreshing approach to "country" music. Her soul searching lyrics are brought together with her haunting voice as a Hermann Hesse novel. They both express the human life experience. Ms Welch's diversity is far reaching with "Paper Wings" (Billy Holliday would love this song) to "Acony Bell" (a sweet and precious song). I used to write and play similiar songs to my daughter Amber Faith. If you desire an experience with soul searching music, purchase this recording.

One I can't live without...
I walked into a record store one day and heard the first few songs off of Revival over the store speakers and they stopped me in my tracks. I immediately bought it (and I'm not the impulsive type) and my husband and I played it just about every morning for the first month we owned it. Gillian and David have somehow managed to channel the ghosts of Appalachian oldtimers through their souls and onto this disc. This music is as real and haunting as it gets. I can't say enough about it, it just gets under your skin and stays there. If you ever get a chance to see them live, you'll understand how incredibly gifted they are. If you like alt country or twangy folk, this is a must have!

Essential Gillian Welch
Forget the hype of 'O Brother Where Art Thou'. Forget about "alt-country". Forget about "mountain music". This is the debut album from Gillian Welch and David Rawlings. And its an experience.

How can you NOT mention Rawlings every time you talk about Welch? It is only together, that they've created some of the most beautiful, haunting, melancholic songs I have ever heard. I've been fortunate enough to see them play on two occasions, they're also outstanding live musicians and they had the audience spellbound for the entire length of the concert. This is the perfect record to start your GW/DR collection with...

Beautiful alt-country debut album.
It's hard to believe this is Welch's first album: the songwriting is unbelievably solid, and the music is hauntingly reminiscent of early bluegrass and country music. She came from a musical family (her parents scored the music for "The Carol Burnett Show"), and she attended the Berklee School of Music in Boston, where she met her musical partner David Rawlings.

Welch's and Rawlings's voice and instrumentations blend beautifully, and one of the standout songs on the album is "By The Mark", where you can hear Rawlings clearly echoing and harmonizing with Welch's voice. Other songs worth mentioning are the mournful "Annabelle" and "Tear My Stillhouse Down".

It should be noted also that Emmylou Harris was so impressed with Welch and with this album that she later covered "Orphan Girl".

Disappointing
If this is her best (as indicated by many others here), I'm incredibly disappointed. I bought this CD because I heard one song (from "Soul Journey") that I liked on the radio. After reading the reviews, I chose this CD because it was the most raved about.

Three of the songs on this CD sound just like her tune on "Oh Brother..." The rest of the CD is, well... mediocre. There's absolutely nothing original or touching here. I don't care about Gillian's background, I just want to listen to great music. This is not great music. She sounds like any other mediocre country-folk artist.

... ... Read more

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Everything about this CD, from its eye-popping cool packaging to its beautiful booklet, is wonderful, perhaps peerless. It's a study that spans 16 countries, catching paeans to childhood sleep from varied traditions. The set traverses the Cape Breton Gaelic tradition with the Rankin Family, Haiti with pop stars Boukman Eksperyans, and the African continent with music from Tonga, Algeria, and Cameroon. Despite their distances from each other, at times the songs sound quite alike. Voices might begin alone but then gather into choral size, with a reliance on wordless passages to emphasize the flow of time as sleep encroaches. In execution, the surprises are many. Algerian Houria Aïchi sounds East Indian; the Traditional Japanese Music Ensemble of New York sounds poised somewhere between a stately concert of historical court music and a touching homage to childhood; and German singer Michelle sounds pop-music ready even as she toes the line on singing a sleep-triggering song. Beyond being a great collection of international music, this is probably the most interesting mix available of cultural voices approaching the issue of children sleeping. --Andrew Bartlett ... Read more

Reviews (36)

Uniquely enchanting, lullingly blissful--a worldly baby gift
Initially, I ordered The Planet Sleeps to add to the multicultural music collection at my daughter's elementary school library; the CD arrived last night, and I became so taken with it that I already plan to order several more as new baby gifts as well as one for my own children. The hauntingly beautiful "Chi Mi Na Morbheanna" (which I listened to nearly 20 times in the first 24 hours) is worth the entire purchase price, but the other songs are marvelous too, and those that don't have immediate appeal will most likely grow on you. I was holding my toddler son in my arms while listening to the CD, and he fell asleep during the sitar lullaby from India. For those of us trying to raise our children with a familiarity and appreciation of other world cultures, this lullaby collection is truly invaluable.

The extensive liner notes (36 pp.) are often quite moving, offering details about each artist, country, song, and recording experience as well as a song translation. The back of the case says "music meant to bring bliss into a frantic world." This collection certainly achieves its goal--and it's not just for bedtime by any means.

The most beautiful CD ever to grace my home.
This CD is exactly what I have been looking for. I play it softly as background music while playing with my 2 year old and 6 month old. "Ana Latu" is one of our favorites. I also feel that the write-up on "Oj Talasi" alone is worth buying the album. David Field journals his work at compiling these lullabies, adding to the feeling of connectedness that imbues from this collection. I was especially glad (and surprised) to find a lullaby from my own distant heritage, "Yahnaway Hay Yowna". This disc makes a wonderful baby shower or blessingway gift for expectant parents. The "jewel" case is all-natural, too, better for our Mother Earth!

Perfect for Calming
I started listening to this CD when I was 7 months pregnant to help myself go to sleep. Since my daughter was born 5 months ago, we put it on whenever she has trouble calming down to go to sleep. As soon as the music starts she begins to relax and takes her nap. We all love hearing the beautiful lullabies play throughout the house.

A relaxingly adventurous album!!!!
I can't understand most of the songs (I think there's only one in English, if that), but the music speaks a lot just as the words do, so it's good. Each song is enchanting and engrossing, you get lost in the melodies. They are all smooth and calm, peaceful. I suggest this album to anyone who just wants to unwind and let loose all the stress of the day!

Dream Time
I have been listening to this album for the past seven years and never grown tired of it. I bought it to play for the children I taught, but I have come to love it myself. It is the sure cure for nighttime tension, and beautiful to listen to at any time.

The material is interesting and eclectic, but above all, lovely. ... Read more

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One of the most striking debut albums ever released, this disc instantlyestablished Chapman as a musical force, and with good reason. Immediacy, integrity ofpurpose, and unqualified artistry are apparent in nearly every song. And while "Fast Cars"remains Chapman's best-known work, "Talkin' Bout a Revolution" is that rarest breed: asong which is both topical and timeless. Any exploration into Chapman's work shouldbegin with this at times stunning effort; it's a disc of remarkable uniformity and claritythat Chapman has yet to improve on. --Wayne Pernu ... Read more

Reviews (73)

Absolute perfection
I genuinely don't think this disk could be any better. There is not a single song on here that isn't a work of art. I owned this on tape initially, but I had to get the CD because the tape was getting worn out, because I listened to it constantly - particulary to Baby Can I Hold You, Why, and Talking About A Revolution.

Chapman's voice is stunning, particularly on the a capella Behind The Wall, which never ceases to bring a chill down my spine. I always thought I didn't like folk music, but Chapman has made me reconsider that belief. Her lyrics are meaningful, and the collection of songs come together to form an overall feel, a mood, that is extremely moving and empowering. She exemplifies how music can bring people together and be an impetus to change, ala the greats like Bob Dylan. Make no mistake -- this is a political album and Chapman wears her left wing leanings like a badge of honour. If you can't tolerate her political views, you probably won't like the album as much as her core fans. That said, her voice and the music itself may make it possible for you to give it at least an intial listen. Chapman is more than a singer and musician - she's a poet, and her message is one that I believe we all need to heed.

I highly reccommend this album to everyone. Even if you don't agree with her politics, hopefully she'll make you think. At the very least, you'll be listening to one of the purest, best voices in modern folk/r&b/soul around today.

Tracy tingles your soul with her lyrics & voice
Tracy Chapman's first album "Tracy Chapman" shows depth & bredth of an artist with at least 20 years more maturity and experience. The lyrics to her songs are deceptively simple yet manage to touch deep social issues and provoke contemplations on your world-outlooks. The songs "Talkin' Bout A Revolution" and "Fast Car" were her big breakout hits, but the entire album is stellar. A special standout is her chilling acapella " Behind The Wall"--if that doesn't wound you to the core, then turn in your membership card to the human race!

Time to call it a classic
I think enough time has gone by that this album should finally be called a classic.

With a voice this expressive, lyrics this blunt, and a musical sensibility this exciting and haunting ... Tracy Chapman deserves legendary status for this album alone -- even though she's made more good ones since.

Hard to imagine anyone going through teenaged years without lying in bed and listening to this at least once or twice. It's gritty and honest -- brutal, yet strangely comforting all at once. Made a whole generation want to buy guitars and make up their own songs!

One of the essential albums of the 80's!
Winner of 3 Grammys in 1988 for Best New Artist (one of the few winners that were the best of their years), Pop Female performance (Fast Car), and Folk Album. It was also nominated for Album of the Year, and Best Song & Record. I was shocked to find out that she lost Best Song to Bobby McFerrin for "Don't Worry, Be Happy". While I remember McFerrin's song, it has not aged well. But "Fast Car" still sounds relevant, with its telling lyrics about people who reach for a better life. A theme in her album is a cry to the lowly to try to rise above their conditions. While she doesn't give an answer how, she gives words of encouragement to let others know that there is hope.
On this album a lot of musical genre influences can be heard. You can hear things from Pop (Fast Car) to Reggae (She's Got Her Ticket). This was labeled as Folk music but it has such a blend of styles that you really can't categorize it. It's a great album and is mentioned many times when people talk of great debuts and great albums of the 80's.

Unparalleled
After almost 16 years and over 7 million copies of this album sold, each of these songs still bears an importance to just about anyone who is willing to listen carefully. Tracy Chapman tells stories, sometimes entertaining, always emotional, through her songs. Whether she is singing acapella or with accompaniment, her voice, lyrics, tone, and just about every facet of her tracks are inspiringly unique. Tracy Chapman is without imitation or contenders, for this album is truly without flaws. Besides being a work of art, it is excellent listening as well. ... Read more

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Minus all the machinery that the music industry can put behind an artist, Eva Cassidy sang bewitchingly in Washington, D.C. and then died without fanfare in 1996, when she was a mere 33 years old. And then the world began hearing Cassidy, thanks largely to Songbird, a posthumous collection of locally released album tracks that went on to garner media attention, critical praise, and commercial success. This collection gathers both live and studio cuts delivered within warm, mostly acoustic settings; often it is simply Cassidy, her voice, and her guitar. Inside are some of Cassidy's best-executed covers, beginning with Paul Simon's "Kathy's Song" and ending with a stellar rendition of the traditional gospel "Way Beyond the Blue." In between are heart-wringing versions of Bill Withers's "Ain't No Sunshine" and Cyndi Lauper's "Time After Time." What distinguishes Cassidy so completely is her offhand ability to transform songs beyond their initial character with a voice that brilliantly mixes an airy floating quality and an edge that you know can pop open to reveal a belt-it-out strength to rival the best in the singer's trade. --Andrew Bartlett ... Read more

Reviews (101)

Beautifully Mesmerizing
When God gave us Eva Cassidy he blessed us with a voice so implicitly perfect it seemed to shine like a beacon from Heaven. Eva's was a voice that came from such an innocent place that it simply came and stayed a while and then left us with only its haunting memory. Although Eva Cassidy died of cancer in 1996, her life continues to bless us through this beautiful CD.

Equally at home with jazz, folk, blues, rock, or folk, she was a woman who colored outside the lines and refused to conform to any boundaries in her art and music - boundaries that most of us take for granted every day. It was not just her voice that captivated and moved people, it was the texture and color of it and the way it made every little word seem to take a breath and have a life of its own.

Most of the songs on this CD are colored with simple often acoustic arrangements - some with just Cassidy's voice and guitar. Her version of Paul Simon's Kathy's Song will now forever be the definitive version for me. Also included is a jazz inflected version of Bill Wither's Ain't no Sunshine recorded live at Blues Alley.

In the CD's closing song, Eva sings "Oh Lord do you remember me way beyond the blue?" Yes Eva he does, and so do we in your special place singing with the Angels.

It's A Gift To Be Simple
I have listened to several of Eva Cassidy's albums over and over. I've studied them, and I've listened to them as background music. Because I'm interested in voice, I've listened closely to how she sounds when she sings with a blues style or with a soft, ballad style. I have to honestly say now that I am much more of a fan of hers when "less is more". This album stands out, in my opinion, over "Songbird" because there are many songs where she is not trying to hard to have "soul". My absolute favorite on this album is "Penny to My Name". Her voice is so beautiful because it is gentle and soft, and she truly speaks for the yearnings of a girl who becomes a woman and must live with the realities of a very drab existence. I love "At Last" and "Time After Time" (which I did catch on "Smallville" as well), and I could mention others, but my wish would be (were I more technically proficient!) to capture all of her soft moments on one CD- "Songbird", "Somewhere Over the Rainbow", the songs I mentioned above, "Kathy's Song", "Fields of Gold" come to mind, I'm sure there are others I have neglected to mention. When she sings some higher notes in a more blues-oriented style, she almost has a harsh tone to her voice, and not necessarily the depth of a woman born into blues.
I love the sweetness and the softness of Eva's rendition of ballads.

A Wonderful Talent Who Left Us Too Soon
I discovered Eva Cassidy's "Time after Time," and I was blown away by her talent and ability to sing a wide variety of songs.
Simply said, Ms. Cassidy had a wonderful voice, one that was strong and one that could elicit emotion, all at the same time. She puts her stamp on such standard popular songs like "Kathy's Song," "Ain't No Sunshine," "Time After Time," and "Woodstock." The other songs on the CD are equally amazing.
Get this CD. You will not be disappointed.

EVA and GENIE are the best
Time after Time is not my favorite Eva album, but I think you should have all of the albums by EVA and Genie.

I would get this one and Songbird and get WILDFLOWERS by GENIE.

Just Between Us
This is Eva's best album. "Songbird" is fine but I prefer the songs on this CD. Isn't it amazing that "Time After Time" and "Songbird" have remained ranked so high on Amazon sales and have retained their resale value so well? Maybe not so amazing when you consider the wonder of Eva Cassidy. ... Read more

Reviews (4)

Tough task, but a fitting tribute and subtle, sublime effort
Songwriters like Dave Carter come along only a few times in a generation and one must wonder what sort of musical expectations his partner Tracy Grammer must have placed on herself after Carter's tragic and heartbreaking death.And while one may miss the rough-hewn quality of Carter's drawl on Flower of Avalon, Tracy Grammer's elegant, rich vocals and trademark violin shines through any sadness in this loving musical tribute to Carter and some of his last songs.But "Flower of Avalon" is also a lofty indication of the measure of Tracy Grammer's talent as player, vocalist and producer.While the overall production and playing strikes one as ever-so cautious (at times), the arrangements are all sophisticated and rich.And things do jumpon the jazzy "Phantom Doll", a hint at yet another musical direction Carter was probing, the playful and rootsy "Loughlin Boy" and the dark and ripping "Preston Miller", where Grammer spills out a cascade of dire lyrics and literally tears through her violin solo.Grammer's interpretation of some of Carter's reflective songs, the deeply philosophical "Mother I Climbed" and starkly social "Hard to Make It" gives one a chance to fathom how varied and rich Carter's word craft was.And what a great interpreter Grammer is.

Given the incredibly difficult task of musically translating Dave Carter's work, Tracy Grammer has crafted a loving, respectful, musically ambitious and sophisticated work that is deserving of much attention and admiration.5 stars.

Honors the spirit of the composer and heralds a new phase
Dave Carter's unfathomably brilliant talent for rich, unexpectedly compelling lyrics is captured well here by his partner following his tragically early death.The missing voice of the composer is somehow forgotten for just a moment as you get lost in Tracy's own delicious vocal talent.Carter will be deeply missed, but it is somberly reassuring to hear how well Tracy honors his spirit on her own.The music on this album is generally, all considered, as beautiful as anything they played together ... which is saying a lot.The vocal contributions by Mary Chapin Carpenter are subtle and welcome.

The choice of songs is part of the success of this album for me, as it was in Carter and Grammer albums in the past. There is the album's released single, a pleasantly textured traditional style folk song with a civil war resister theme called "Loughlin Boy." Then there are bittersweet love songs with the with the usual Carter and Grammer nuances.Look forward to Tracy's eerily dark interpretation in "Preston Miller," which recounts the fate of a noble's secret illegitimate son.Best of all, there are the unique sort of songs that fans expect, like "mother, I climbed," which only Dave Carter could have written and only Tracy Grammer could have performed so perfectly.

This album both showcases Dave Carter's talent and gives a glimmer of what Tracy Grammer can do on her own, and foreshadows even better things from her in the future to look forward to.

Singing alone
How can one do an album of Dave Carter songs without Dave Carter? The sound of his voice has been so much a part of the unmistakable feel of his lyrics. Well, Tracy's done it somehow. Dave Carter's inimitable kind of lyric writing is given full (minus Dave) voice here. It amounts, I guess, to a kind of tribute to him and a very good one. All the songs save one are Dave Carter originals. Tracy does a very fine job of delivering them--even the ones which would have been lead sung by Dave himself--both the slow, mournful Carter songs and the fast, jaunty Carter compositions. Tracy herself does wonderful instrumental work on violin and guitar. Jim Henry plays great dobro and mandolin. Jon Carroll has a way with the piano. John Jennings (Mary Chapin Carpenter's protege) co-produces, plays and sings harmony--as does Mary Chapin herself. It's a wonderful success. You'd know these were Dave Carter songs anywhere. Just two examples of that lyric-writing voice that is so familiar:

"lonesome stranger, won't you share my bed
the sidewalk siren at the bus stop said
love is a tear in a salty bay and it's
hard to make it in this world today."

"my love is like a gypsy rose
wild is the only way he grows
out where the sweet july wind blows
he blooms over yonder."

Tracy deserves a lot of praise for the idea and the carrying through of this project to bring Dave's voice back for all of his fans. Terrific.

A Fitting and Moving Tribute
Give the overwhelming favorable reception to the Dave Carter and Tracy Grammer CDs from Amazon customer reviews, I am surprised nobody has stepped forward to review this one yet.

In any case Tracy's first CD since the loss of Dave is a lovely, fitting and ultimately deeply moving tribute to the gifted songwriting talents of her late partner.From the playful musical vibes of "Phantom Doll," to the sweetly sad (or is that sadly sweet) ruminations of "Gypsy Rose," to the jaunty feel of politically charged "Hey Ho," to the absolutely heartbreaking "Mother, I Climbed" Carter's vision as a songwriter shine through and have no better interpreter than the lovely voice of the lovely Tracy Grammer.Aided by the coproduction of John Jennings and, on two tracks, the vocals of Mary Chapin Carpenter it is difficult to think of a more fitting and moving tribute to Dave Carter than this album which is clearly one of the year's best.It does Dave's talents the justice they deserve and that is no easy accomplishment! ... Read more