Amazon.com essential recording

Time has been extraordinarily kind to Songs of Leonard Cohen. While it attracted considerable fanfare upon its release in 1968, not everyone was immediately captured by its dusky charms. Randy Newman, for one, couldn't resist the temptation to parody "Suzanne," the album's brooding opener, on his 12 Songs album. (Conversely, director Robert Altman brilliantly drew upon the dirges here for the soundtrack to his classic anti-western, McCabe and Mrs. Miller.) But what some once found to be pretentious and affected has come to feel penetrating and ageless. Seeded with what have become signature songs of the Canadian wordsmith ("Sisters of Mercy," "Hey, That's No Way to Say Goodbye," "So Long, Marianne"), the album has a narcotic quality that owes as much to producer/musical director John Simon's inspired folk-baroque soundscapes as to Cohen's lofty lyrics and earth-bound vocals. --Steven Stolder ... Read more

Reviews (34)

"God's first album"
An astonishingly accomplished debut album, Songs is considered by many to this day to be Leonard Cohen's finest album. With more than a decade's worth of poetry and novel writing under his belt, not to mention having written Suzanne, already a hit by two different people before Cohen himself put it out, it's really no surprise that Leonard made as fine an album as he did here. The album opens beautifully with the aformentioned Suzanne, a song which surely needs no introduction, and it continues on with fine songs throughout. Some of them, such as Master Song and The Stranger Song, astound with their poetry; and some in other ways, such as Teachers with it's breathless delivery and interesting musical backing, and So Long, Marianne with it's beautiful arrangement of acoustic guitar, female backing vocals, and pounding drums. This is an astonishing, touching, heart-breaking, and yet redemptory album. I've seen this album come out on top in polls such as "Best Lyrics On An Album" and things like that, and, I don't hesistate to say, it deserves it. A masterpiece, a must-own.

Wine and Bread
The first album of Leonard Cohen is his best. Moody, mysterious, dark, romantic, and spooky. Yes, spooky. Songs of Leonard Cohen are all of these and more. His deep nasal voice mixed with John Simon's light soundscapes is timeless. This is truly a classic recording that should be owned by any fan of music. This is not simply folk music. It is excellent poetry, beautifully arranged instrumentation, and simply haunting music.

What really draws me into Cohen's music is the way he uses biblical imagery to tell interesting stories. "Just some Joseph looking for a manger...", "And Jesus was a sailor when he walked upon the water..." As a Christian, I found this very intriguing, especially how his songs may or may not have anything to do with these references at all.

I have listened to other Cohen recordings, but this is Leonard in his purest form. This is not music to work out to, but if you are in the mood to relax or listen to something light that makes you think, this would be one of the top ten albums in that category.

Perfect recording.
This is a perfect recording, Cohen's best. It's one of the 10 best recordings of the 1960s. This record changed the face of popular music for decades to come. I can think of so many, who came out of this one recording directly or indirectly...even today.

A gold standard then, a platinum standard now
I listened to Leonard Cohen when I was in my teens and early twenties. I loved Suzanne, Bird on the Wire and other Cohen songs with some level of appreciation. Thirty years later, after hearing In My Secret Life on The L Word on Showtime, I was drawn back to Leonard Cohen. I bought this cd and found on it songs that have weathered better than I have. After sailing life's seas, I found them like a lot more wise and rich than I did earlier. Listening to this compilation is like biting into a great deli sandwich piled high with rich tasty ingredients--a feast for the mind and heart, worthy of playing over and over again long after the sandwich wrapping is gone.

Ageless
Right now, this is probably my favorite disc. I think everything I really have to say about Cohen has been iterated enough on this page; but I can't recommend it enough. I have yet to listen to his other albums, but I really can't expect any better material than this. "Suzanne" is the one of the most lyrically perfect songs I've ever heard; possibly THE most beautiful. It encapsulates desire, a search for purity, and idealism in a timeless way. The whole album glides along with a fierce, inevitable progression, yet it's so smooth and haunting, you won't realize just how you've gotten to this new level. Yes, you will be on a new level by the end, and I can't explain what it's like, you have to listen to understand.

That said, the songs range from excellent to superb. The ones in the latter category, for me, are: Suzanne, Master Song (the most haunting track), So Long, Marianne, and Teachers. The last number is oddly hypnotizing, as well. ... Read more

Amazon.com's Best of 1998

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

Reviews (51)

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

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

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

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

Total time: 39:22

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

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

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

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

Reviews (4)

leon in the early years
i believe this is the second leon redbone album, and it is one of his best efforts. if you are unsure about leon redbone, listen to a sample of "diddy wah diddy," the first track off this album. if you only like serious musicians, you will not like this. there is no doubt this album was fun to make, but the instrumentalists are all professional-caliber musicians and the arrangements (all arrangements on any of his albums are by leon himself) are minimal and superb.

this album covers classics from hank williams to the authorless "jelly roll baker," and makes all the songs sound like his own. this album also contains one of my personal favorites, "the sheik of araby," which contains at least a full minute of nonsensical mouth effects in the style of fats waller. this is probably my second favorite leon redbone cd, and i own every last one of them.

Good music, good fun
Leon Redbone is kind of like that favorite uncle who knew all of the interesting stuff and you suspected of having all sorts of adventures.
The music is uncommon both in content and quality. Redbone often had a taste for fun music that sounded like it should have been recorded 70 years earlier. Most people could not get away with that. But as far as that goes how many performers would you pay attention to singing about laundry detergent or beer?
Just as much fun as on the track and fun for the whole family.

*REAL* Music!! You'll love it.
Only one review listed on this CD. I couldn't pass up a chance to rave about it. I bought the record when it first came out in the 1970s and promptly wore it out along with several other Redbone albums. The songs are classics, the artist equal to the best who ever performed them. If you want a bite of musical history, a relaxing half an hour of pure entertainment and the nostalgic whimsy of real americana, you MUST have this CD!!

A lot of fun, makes you happy kind of music
Uniquely Leon is this jazz trumpet style voice. His tunes are light and easy and lift your spirit with their simple lyrics and fun tempos. If you listen to music for fun, you will love this album. ... Read more

Amazon.com essential recording

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

Reviews (68)

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

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

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

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

**

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

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

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

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

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

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

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

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

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

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

Amazon.com

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

Reviews (77)

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

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

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

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

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

Amazon.com

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

Amazon.com essential recording

Over the course of her first albums, including her fourth, 1992's Every Time You Say Goodbye, Alison Krauss probably did more than any of her contemporaries to attract mainstream-country attention to bluegrass. A traditionalist might say this is because Krauss and her band, Union Station, offer a kind of "bluegrass-lite" that's cut with pop sensibility, absent any manic-fast picking, and awash in Krauss's goes-down-easy vocal. Nonetheless, this is a solid album that pushed Krauss deservedly further into the limelight. Highlights include the title track, Union Station banjo picker Ron Block's fine gospel number "Shield of Faith," and the traditional instrumental "Cluck Old Hen." --Anders Smith-Lindall ... Read more

Reviews (19)

A lovely album
One of my favourite Alison Krauss albums, every song is a gem. Well, really this is as the title says, an Alison Krauss and Union Station album and 5 of the songs have either Tim, Adam or Ron on lead vocals. This album has a wonderful mix of music, a traditional bluegrass instrumental, 'Cluck Old Hen' to soft country romantic ballads, to Christian songs like 'Jesus Help me to Stand'. All mixed with Alisons wonderful fiddle playing and the bands bluegrass sound.

New Grass Blue Grass Good Grass
Bluegrass is cool again. Wait, when was it cool in the first place? I'm sure there was a time when everyone in town would gather together at the barn hoedown and Ma and Pa would take a spin on the dance floor. Well, this one by Alison Krauss and Union Station puts you there. It's a mix between traditional and an edge-off twang of new grass softness. It's the work that really heralded in Alison Krauss and her crew and dare I say laid a precursor for the popular runaway success of "O Brother Where Art Thou?" soundtrack and to a lesser extent the Dixie Chicks.

This music reaches me quite pure. There is something about an artist earlier works that comes across more raw, true, fervent, pure and "Every Time You Say Goodbye" comes across in places as all of these. Though Krauss carries the band's main moniker, it's Union Station that has the talent that stands out here. Ron Block, Tim Stafford, Barry Bales, and Adam Steffey trade off adding to the harmonies and take the lead in a few songs. Those songs stand-out to me. To my taste, Krauss' voice is a little too soft, a little too sweet to catch the down home spirit of bluegrass. She can play one heck of a fiddle, but let the boys sing for the most part.

Stand out songs are, "Another Night," "It won't work this Time," and "Another Day Another Dollar." O Brother, don't forget the standard "Cluck Old Hen," providing a fitting vehicle to showcase the talent of these talented bluegrassers. Heck, any one of these songs will have you jumping up from the kitchen table, grabbing the molasses jug and beating on or blowing on it, skipping around like a old cluck fool and sliding and kicking those boots across the hay-strewn floor. Yeeehah!!

Alison and an earlier version of Union Station sound great
Dan Tyminski later replaced Tim Stafford on guitar and after mandolin Wiz Adam Steffey left AKUS Dobro Deity Jerry Douglas joined the band.

Ron Block on banjo and guitar and Barry Bales on bass have been with Alison for years, and this version of Union Station sounds comparably polished and talented. I'm going to guess if you're reading this that you have at least a nodding acquaintance with Alison's one-in-a-million voice and the fact that while her bands are built to complement that voice - she also doesn't hog the spotlight.

On this CD standout cuts include "New Fool", "Who Can Blame You", "Heartstrings" along with the Gospel "Jesus, Help me to Stand" and the title cut.

Several of the tracks feature other Union Station members on lead vocals and although they vary from "good" to "not bad" - they suffer from today's perspective in that no one else in Union Station has a voice like Alison's, and no one else in *this* version of the band has a voice like Dan Tyminski.

Still - absolutely required for Alison Krauss fans.

Excellent CD
I am a newcomer to Bluegrass - bought the O Brother Where Art Thou soundtrack and got hooked on it. I was intrigued by the Krauss songs on that album and came to Amazon looking for more. The reviews told me to buy this album, so I did. And I am quite pleased with the purchase.

It is incredible to listen to such skill on the banjo, especially after hearing so much modern guitar strumming. That combined with Krauss' hypnotic voice make the album great. My only problem with the album was that Krauss didn't sing EVERY song!

Pure but fairly mellow bluegrass
Alison Krauss has done much to popularise bluegrass in recent years. Her early recordings were pure bluegrass - this (from 1992) was the last album of that phase of her career. Her more recent albums have included other influences but I enjoy those too, in a different way.

On this album, Alison and her band, Union Station, work their way through a selection of songs that are generally not well known despite several of them being cover versions. Many of these are old bluegrass songs, but they also include I don't know why (Shawn Colvin) and Lose again (Karla Bonoff). There are also some original songs here including two by Sidney Cox (of the Cox family).

At the time, Union Station was made up of Tim Stafford (guitar), Ron Block (banjo - he also wrote three of the songs here), Adam Steffey (mandolin) and Barry Bales (bass). Alison played the fiddle as well as doing most of the singing. The four men could all sing and each of them can be heard on this album, providing harmony or duet vocals, but Alison is the real star.

If you are unfamiliar with Alison's early music, I recommend that you buy Now that I've found you - A collection, which I've already reviewed. That includes one track from each of her early albums, plus tracks not available on any of her other albums so far. If you have that collection and you are looking for more of Alison's early music, you will enjoy this. ... Read more

Reviews (23)

One of the best recordings of the 1980's
You could turn off the heat in your house in the middle of winter--just play this CD and you'll warm the place up. This album might not have the Waterboys' strongest singles, like "Church Not Made With Hands", "The Whole of the Moon" or "Life of Sundays" which are found on other albums, but this is perhaps their strongest, most cohesive effort. There is so much musical, lyrical and emotional depth and range in these songs, and they all fit together so well. Like all great artists, although you can detect the influences (folk, punk, rock, Irish Traditional, soul), the Waterboys don't slavishly imitate any of them--this is a really strong, unique, original interpretation, and the whole is much greater than the sum of the parts. There's a dark edge to tracks like "We Will Not be Lovers", "World Party", and "When Will We Be Married?", a vibrant celebration of life in "Fisherman's Blues", a melancholy wistfulness in "When Ye Go Away" and "The Stolen Child", and a "having a few pints in the pub" sense of nostalgia and humor in "Has Anybody Here Seen Hank?" and "A Bang on the Ear". This album is just so rich--one of my all-time favorites.

A good combination of Celtic music, rock and soul
I first discovered this album in 1990 while I was in college and it is still a mainstay in my regular CD rotation. The Waterboys are one of the most underrated bands of the 1980's, and they produced some of the decade's most eclectic, interesting music. Fisherman's Blues is unlike any other album you will own. It has a little rock, a little soul and a little traditional Irish music. How many albums can you say have that combination? The album was recorded in Ireland and is chock full of top notch Irish instrumentalists. The band's main man, Mike Scott, is actually Scottish, but it is hard to believe it here. Songs like the title cut, When Ye Go Away and an almost note-perfect interpretation of Van Morrison's Sweet Thing are unforgettable. The album isn't totally flawless, but it has a special place in my heart, and if I get in my Irish music mood, I dig it out, mainly because a little Irish music goes a long way and there is just enough here.

An Irish folk-rock success
The Waterboys are best known for the song "The Whole of the Moon," which although overplayed thanks to being released as a single both in 1985 and 1990, is still their best song. But Fisherman's Blues is their best album. It's one of the most cohesive albums I've ever listened to, integrating a range of musical influences: Irish folk, some rock and some soul. As well as a cover of Van Morrison's "Sweet Thing," they use part of a Beatles song and close their album with Woody Guthrie's "This Land is Your Land."
The title track and "A Bang on the Ear" are my favorite songs on this album, also being the most radio-friendly. But I also enjoy the Irish instrumental, "Jimmy Hickey's Waltz," the aforementioned "Sweet Thing" and "When Will We Be Married." "We Will Not Be Lovers" and "World Party" are more reminiscent of their previous album, This is the Sea. While not my favorites, they display the uninhibited fiddle playing that became The Waterboys' signature alternative rock sound.

Awesome
This cd is one if you hear once, you will want to get the cd at some point in time. It is a celtic rock, ballad type sound and the lead singers voice is one to never forget. The first track is the best so listen to it back wards. Hopefully they come as a group to Milwaukee soon instead of acoustic which i probably would not have known as much of. BUY it now, i found a used on on ebay for 6 dollars.

I want to be a fisherman.
This is one of those albums, that is so not what I normally listen to, and everytime I put it on, I love it even more. It's so refreshingly different from what's on the radio. I'm not sure where these guys are exactly from, but I can close my eyes and see them rocking some bar in County Cork, southern Ireland. The singers voice matches the music well, and it's all just a great mix of folk, punk, and traditional rock, with traditional instruments. The song "Fishermans Blues" was in the opening scene of the movie "Waking Ned Devine", and fits well there and here. Another favorite is "And a Bang on the Ear". It's so good, as is the rest of the album. I suggest fishing for this cd, you might get hooked. ... Read more

Amazon.com

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

Reviews (21)

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

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

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

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

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

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

--GFT (Amazon Reviewer)--

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

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

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

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

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

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

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

Amazon.com essential recording

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

Reviews (27)

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

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

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

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

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

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

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

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

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

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

Amazon.com

In addition to being a contest-winning fiddler and an angelic singer, Alison Krauss is also a terrific talent scout. She has assembled a personal stable of the finest songwriters in contemporary bluegrass--John Pennell, Nelson Mandrell, Ron Block, Sidney Cox and Mark Simos--and she has singlehandedly brought Louisiana's wonderful bluegrass/gospel group, the Cox Family, to national prominence. Last year Krauss produced the Cox Family's debut CD, "Everybody's Reaching Out for Someone," and this year she has joined them for a delightful joint gospel album, "I Know Who Holds Tomorrow."

The Cox Family includes daddy Willard, son Sidney and three daughters, Suzanne, Evelyn, and Lynn. All five are solid lead and harmony vocalists, but Suzanne and Evelyn are special singers with the same kind of effortlessly graceful sopranos as Krauss. Between them, Krauss, Suzanne and Evelyn take nine of the dozen lead vocals and with the backing of the Cox Family voices and Krauss' regular musicians, the results are enchantingly lovely. Krauss has picked the hymns from a wide variety of sources--Paul Simon, Loretta Lynn, Thomas Dorsey and Dottie Rambo--but they are united by her tastefully understated acoustic arrangements. Nothing quite captures the mix of hopes and fears that make up gospel music like the duet between Krauss and Evelyn on Lynn's "Everybody Wants to Go to Heaven (But Nobody Wants To Die)." --Geoffrey Himes ... Read more

Reviews (18)

I'm no church goer but this CD is stunning!!
I am not normally a gospel music fan. I bought this album after hearing the sound track to "O Brother Where Art Thou" that featured "I'll Fly Away" by the Cox Family and Allison Krauss. I am now hunting down all I can find. The vocals are bell ringing. The instrumental work is world class. I think that "The Far Side Bank of Jordan" is worth the price of the entire CD. This entire CD is superior work that is a must have. No Prozac or Zoloff will lift your spirits as much as this single CD.

Gospel Bluegrass gets the Alison Krauss treatment
Alison Krauss discovered the talented Cox Family before most of the rest of the world, and she immediately knew what the rest of us were to find out: that they're a talented bunch of musicians.

On "I Know Who Holds Tomorrow" Alison and Union Station join the Cox Family for a disc of polished but soulful country/bluegrass gospel music.

Alison trades lead vocal duties with the Cox ladies, Suzanne and Evelyn, and Dad Willard and Brother Sidney chip in as well on harmonies that are "down-home" and juuuuuuuuuuust right.

If you have no interest in bluegrass gospel - this may not be for you. But if you DO - you really couldn't do better than this CD.

great voices, shallow arrangements
Well, I love Alison Kraus, and the Cox Family, but I'm very dissappointed in this CD. In my opinion the arrangements (sorry Alison) are vapid, and keep the great vocals from ever reaching beyond light entertainment. Basically, even on the ballads, the parameters are set to "light" rather than "deep and soulful." Perhaps I just go in for a more pure and traditional sound. The title track is lovely, and Suzanne Cox is a fabulous singer, but even here the arrangement holds back on power and depth. The cut "In the Palm of Your Hand" is beautiful, but it sounds like something off an Alision Kraus album -- no problem with that, but I sure would like to hear the Cox Family in a less controlled setting.

One of my all-time favorite CD's
I ordered this CD years ago from a club I belonged to and it quickly became one of my very favorites. The soaring vocals and harmonies thrill me always, but when I am "down in the dumps" they never fail to raise my spirits. The title track "I Know Who Holds Tomorrow" is especially uplifting. I have been a fan of Alison Krauss's beautiful voice and amazing instrumental talents for many years and buy most CD's I can find that she is a part of. The harmonies she shares with the Cox Family are incredibly beautiful, even for Alison's standards. Perhaps it is the spiritual aspect of this CD that makes it so wonderful. I recommend it to anyone who is inspired by and who loves music.

A Great Match!
I bought this CD because I (a) think Alison Krauss is the best thing that has happened to bluegrass music in a long time, (b) like the harmony of the Cox Family, and (c) like "Will There Be Any Stars In My Crown" a lot. In addition to that great song, there are many other good ones here: the song made famous by George Beverly Shea years ago,"I'd Rather Have Jesus", "Jewels", and the song that June and Johnny Cash sort of took for their own, "Far Side Of Jordan." Okay. We understand that the theology here probably doesn't match literalist Christianity-- there will be no marrying or giving in marriage in heaven-- but the sentiment expressed is real and touching anyway. Who of us, regardless of our beliefs and particularly at the Christmas season, would not want to get a glimpse of a departed loved one? The only song that moves me not at all here is "Loves Me Like A Rock." A waste of good singing talent.

The Cox Family has beautiful harmony. I would say it's from singing together for a long time as a family. But that doesn't explain the phenomenon of Ms. Krauss, who does "move me like a rock."

A great CD! ... Read more

Reviews (7)

Not quite Paradise, but dern close
Look, I'm not going to feed you crap here. Prine is dang near the best songwriter ever. He is right up there with Dylan, Willie Nelson, Paul Simon, and Randy Newman as one of the greatest American songwriters (as if we know any other kind of songwriters...Elton who?). This early "Best of" might have been a bit premature at the time, but has a great collection of songs, especially for anyone who is not familiar with Prine.
It's too bad that "Paradise" is not included on this set. If you're ready to drop a little more change and get a better range of John Boy's stuff, go for the Anthology. It's well worth it.
Prine was "discovered" by Kris Kristopherson, and wrote a lot of songs with Steve Goodman. If you're a fan of either of those artists, or any of the many they've influenced (Steve Earle, Robert Earl Keen, Todd Snider, etc), then you'll love Prine.
If you're already a Prine fan, and you just want to know if this album is worth it, don't. Get the Anthology instead. It has better recording quality, and much more of Prine's hits.

THE TITLE SAYS IT ALL-THE BEST OF JOHN PRINE !
I'VE BEEN LISTENING TO THIS ALBUM SINCE THE SEVENTIES AND IT IS ONE OF MY ALL TIME FAVORITES.SONGS LIKE SAM STONE,THERE'S A HOLE IN DADDY'S ARM-THESE GO REALLY DEEP INTO WHAT PRINE IS ALL ABOUT.HIS MUSIC AND LYRICS CROSS BOUNDRIES THAT NOT MANY ARTISTS CAN PULL OFF.HE APPEALS TO COUNTRY,FOLK,AND ROCK FANS ALIKE.IT'S THIS KIND OF TALENT THAT MAKES HIM JUST AS COMPELLING TODAY AS WHEN HE WROTE IT.I HEARTILY ENDORSE THIS ALBUM TO ANYONE WHO HAS NEVER EXPERIENCED HIS MUSIC.GIVE IT A TRY AND BECOME A DEVOTED FAN LIKE THE REST OF US!

a collection not to be missed
You can go out and buy all of John Prines albums, or you can just go out and pick up this one, and cherish the best of his best. John Prine is one of the best story tellers in music. He introduces his tales, and brings you through them leaving no detail out of place; There is a warmth, and a personal endeavor in each of his songs. John picks the trials that so many endure, and brings them out for us to acknowledge, and deal with. He sings about drug addiction afflicting people to the point of death, and goes on to sing about old age with its associated loneliness. In other songs, he emulates small town social dilemas that most city folks have no chance to experience, except through the songs John sings for us. All in all, we see the world through the eyes of small town life, with its innocence and simplicity; Something I have not seen since my days in the mid west many years ago.

"......There's a hole in Danny's arm, where all the money goes, and Jesus Christ died for nothing I suppose....little pictures have big ears; dont stop to count the years; Sweet songs never last too long on broken radios..'

"And you may see me tonight, with an illegal smile; it dont cost very much, but it lasts along while. Wont you please tell the man, I didnt kill anyone; No I"m just trying to have me some fun.."

" Grandpa was a carpenter, built houses, stores and banks; Chain smoked Camel cigarettes, and hammered nails in planks. He was level on the level, shaved peter on every door; Voted for Eisenhower cause Lincoln won the war."

His most beatifull is "Hello in There". "You know that old trees just grow stronger,and old rivers grow wilder every day; People just grow lonsome waiting for someone to say hello in there, hello."

I was fortunate to have seen John three times, each with a different show and experience.

The best of his shows was the last time I saw him; He put on a tour with Bonnie Rait, but with a twist. Each performer came out solo; No accompanyment of any kind; Just the guitar around their necks. Each played for about 75 minutes, and gave the most honest performance I can remember for either of them. Watching and listening to John Prine play his music alone, is to see and hear him at his best. He is truly an outstanding performer who does much more than soak up the spot light. When he plays " Illegal Smile ", he rocks forward with each strum on the guitar strings, putting more force and determination with each note. To see this man perform, is to live the music on this album.

Grab this album, and experience a slice of life that many of us will never have a chance to taste, except through Johns music.

The CD Title Says It All
This CD collects twelve of John Prine's best songs from the early to mid-1970s, when he first started recording. The songs tell of the tragedy of a drug-addicted Vietnam war veteran (Sam Stone), John's own grandfather (Grandpa Was a Carpenter), the pain of growing old (Hello in There), and the search for love (Donald and Lydia), among other things. After approximately thirty years, the songs sound as fresh and new as they did when they were first written.

Prine doesn't preach. He isn't self-indulgent. He tells stories about some great characters, and his lyrics are those of a man who loves life and feels that none of those characters is alien to him. In doing so, he teaches important lessons, and makes some pretty good music, as well.

A Gem By An Overlooked Artist
John Prine has to be the most overlooked singer/songwriter in music history, and for reason most people praise; because he is different. John Prine is John Prine, he's not country, he's not folk, he's not rock, he's simply JOHN PRINE.

This collection of some of his greatest moments is a must have for any already Prine fans, and anyone else who is just now being introduced to Prine's way of songwriting. This album is a great showing of what John Prine's songs can do to your life.

Critically acclaimed, and commercially ignored, but that's the sad truth about many great artists. The cover to me is a statement, saying that John Prine has many sides to him, and all-in-all it says that all of us have differnet sides to us. Think about it, if we were all the same, the world would be a boring place. And that individuality is shown greatly on this release.

Finally, I have to say this to the people who pick up this release: buy it, listen to it, memorize it, and apply it to your life. Thanks John, for giving us all something to hold onto. ... Read more

Amazon.com essential recording

The indefatigable folk trio of Peter, Paul & Mary is a wonderful focal point for younger listeners, toward whom this two-CD set is clearly geared. With a decidedly left-leaning approach to its craft--at least as far as the lyrics are concerned--the group selects great examples from its lengthy recording career. "If I Had a Hammer" veers from solemn consideration to exultant declaratives, working excellently enough that adults will certainly dig the music. Ditto for "Down by the Riverside" and "Light One Candle," which booms with an added mixed chorus, giving the song the power of a protest anthem. Not to paint this as an altogether-too-serious effort, though--"This Land Is Your Land" and "Puff (The Magic Dragon)" sweep the ears of kids up in deceptively minimal movements by the trio. Put succinctly, these two CDs mix kid-oriented and adult-oriented music with just the right touch. --Andrew Bartlett ... Read more

Reviews (24)

Buy "The Best of Peter, Paul and Mary" instead
I feel guilty saying anything critical about Peter, Paul and Mary, but "Around the Campfire" was a little disappointing. In theory, it seems like a good idea to put out a double CD of the trio's most memorable songs, from the early sixties, up until their most recent releases, and even with a few previously unreleased songs. However, the album seems geared largely for children listeners as many of the songs are taken from recent children-oriented albums, such as "Peter, Paul and Mommy" and "Peter, Paul and Mommy, Too." Also, a few bad choices detract from the whole, such as including a recent live version of Puff instead of the classic studio version. Two of the new songs are religious folk songs, which might resurrect unpleasant memories of church camp -- or simply church, for that matter. Most disappointing is that time has not been kind to Mary's voice. Peter and Paul sound beautiful in their twilight years, but Mary has lost her high range and sounds raspy. The abundance of recent recordings on this CD makes one's awareness of this inescapable. Even if you buy this album principally for your kids - as I did - remember that you too need to listen to it.

Fun, family-friendly music
The legendary folkgroup of Peter Yarrow, Paul Stookey, and Mary Travers may have become famous during the Protest Era of the 50's and 60's, but they have become great family entertainers. If you've never caught one of their performances for children, buy some tickets, offer to babysit the neighbors' kids, and take them! (If you can't make a live performance, at least bake some cookies and rent one of their performances on video.)

This double-CD intersperses a number of the group's old recordings of their early hits (such as "If I Had a Hammer," "Where Have All the Flowers Gone," "Blowin' In the Wind," and "Leaving On a Jet Plane") with some of their previous recordings of children's songs (including "Puff the Magic Dragon" and "The Marvelous Toy") and some new recordings of traditional campfire songs (such as "Kumbaya" and "Michael Row the Boat Ashore"). It makes for fun listening and a great sing-a-long. However, those looking for a typical "greatest hits" album of the trio should look elsewhere, since many of their most popular old numbers are not on this recording.

Almost as good as seeing them in person
One of the few singing groups who can bring people of all generations together to sing and just feel good. If you don't know the words, they'll help you sing along. I have enjoyed their shows and music for years. My kids fought going because they just knew they wouldn't have a good time and ended up loving them as much as my husband and I.

I recommend this CD as one of the best. It brings back memories of their shows and the good feeling you have while you're there. Their social conscience and feeling for our country, and people of the world are catching. This CD is money well spent.

Great Music From A Great Folk Trio!
I grew up listening to these guys when I was a kid in the 1960's. This was back when the radio stations played folk music on a regular basis (Yes, they actually did!).
Many of these songs bring back a lot of wonderful memories. Some of them are, Puff the Magic Dragon, If I Had A Hammer, 500 Miles, and Where Have All The Flowers Gone, just to name a few. All of the great oens are here. It's truly great music from a troubled time in our history.
The only complaint I have is that there are only 25 songs here. Each disc is less than 50 minutes long. Peter Yarrow could have added lots of more great music to this collection. A better collection is the 4-disc set being offered by Reader's Digest. It has about 80 songs and also has some of the solo stuff they did. So kt's the better anthology between the 2.
But, for the money & the memories, this one still does a decent job. To a old folkie like me or to any new devotees to folk, I'd recommend this one.
God bless Peter, Paul, & Mary!!!

Great!
This CD contains some of the best sing a long hits ever. It seems like a greatest hits CD for Peter Paul and Mary, set live, and with children's voices in the background of many tunes.
The classic songs about ending war are timeless and still ring true.
If you could never sing a long with a CD, this CD will break your silence. Excellent stuff for all ages! ... Read more

Amazon.com

Once again a Canadian perspective helps to bring out the best in American roots music. Like the Band, these three women of the Great North have taken the traditional sounds of their southern neighbor and made them uniquely their own. They inflect the acoustic intimacy of public domain tunes like "Reuben" and "In My Time of Dying," modern classics like Townes Van Zandt's "Waiting Around to Die," and Peter Rowan's "Midnight Moonlight," and their own songs with only the best and most appropriate elements of their punk, trip-hop, and Motown influences. As in the work of Gillian Welch and David Rawlings, you have to listen closely to hear how Frazey Ford, Samantha Parton, and Trish Klein veer off from the past into the future: a soulful melisma wrapped in Ford's whisper, a hint of a funk groove in their arrangement of "House of the Rising Sun," Klein's electric guitar peeking out between her banjo and harmonica. Chinatown taps into the quiet power found on the back porches of what Greil Marcus called "old weird America," and with nary a musical misstep, qualifies as a masterpiece. --Michael Ross ... Read more

Reviews (32)

The Tanyas Are Good
The Be Good Tanyas's album "Chinatown" includes tough accoustic versions of traditional blues and folk songs as well as some of their