Amazon.com

A "new Dylan" with critical acclaim but few fans, Loudon Wainwright III moved to Columbia Records and traded his prior albums' unadorned voice and guitar for a higher-octane folk-rock ensemble sound on this 1972 release. The strategy earned the WASP-ish troubadour the left-field Top 40 hit "Dead Skunk," which is still his best-known song--a Pyrrhic victory that confirmed Wainwright's wit and roguish vocal style, but obscured the depth and nuance of his pointedly autobiographical material. Album III offers more telling, if still funny, glimpses of its author, as well as more sobering slices of his deceptively concise art. Most striking of all is the blink-and-you'll-miss-it "Red Guitar," which in less than two minutes paints a startling self portrait of the rage behind the smirk. --Sam Sutherland ... Read more

Reviews (6)

Another good starter disc for the fledgling Loudon fan.
When you see reviews of fringe artists like LWIII in Amazon, they are usually done by zealots like me. We give 4 or 5 stars to anything our boy does, even the ca-ca. We tell you how great all his songs are and what an unappreciated genius the artist is. We do that because we are cultists, and can't possibly utter blasphemy about our cult-object. Please forgive us our excesses. We mean well.

I finally got this disc on CD after going thru two vinyl versions and a several self-recorded tapes. I'm glad I did.

It starts out with 'Dead Skunk', the witty, popular novelty song that that he will most probably (and regrettably) be remembered for. I first saw him perform about mid-tour in the Fall of '72, at the Red Herring, a Champaign, Illinois church-turned-coffeehouse with a few hundred other devoted fans. It was soon after the album was released, so repeated and incessant shouts came from the audience for 'Dead Skunk! Reluctantly yielding to his fans, Loudon said something like, "God, I'm so ****ing tired of this song."

I don't ever recall hearing him perform it again.

More's the pity, because *Dead Skunk* is an excellent example of LWIII's talent to successfully synthesize subject, melody and lyric.

I agree with the reviewer who said that Album III was a push by the record company to make Loudon a 'pop star'. And Loudon was glad to participate, even deep into his thirties. Aside from those indulgences, there are a few successful syntheses on this disc that must have for your collection.

*Muse Blues* is the all time artist's/writer's block song (are there any others?). Loudon nails the emotion, frustration and pain associated with the creative process. The lyrics are universal---substitute 'any lover's name' for 'Muse', and it becomes a damn fine love song. His rollicking acoustic guitar captures the twisted angst he feels as he thrashes for creative insight.

On *New Paint*, Loudon shows his under-appreciated sensitive side. The song is so romantically pure; taking you back to the tenderness of that first date with your first love, walk in the park, watching TV on the sofa, meeting the parents, and that first kiss "that tastes so sweet, like you hoped it would."

Alcohol consumption, one of his favorite subjects propels *Drinking Song*. Unlike most of his songs of this genre, it is sung in third-person view. One of his best song stories is accompanied by a rollercoaster guitar melody; a fast and furious fusillade of image and metaphor assails our senses. "Back to the yachts and the subway cars, to the hip flasks and the fruit jars, flat on your back and flat on your be-hind." Sounds a lot like *Muse Blues*. Perhaps the change in perspective burst the creative dam.

As with most discs, there are a few stinkers. But over the years I've grown to find hidden beauty even in *Home team Crowd* and *B-Side*.

If you're a new Loudon fan looking for a good first disc, get this one or *Attempted Moustache*. These are Loudon at his youthful best. I've been a Loudon fan for 30 years. This disc made me a zealot.

*** 1/2, really....
Probably the best of the '70s albums, it only hints at the greater Loudon to come. A lot of long-time fans will take me to task on this, but at this point, Loudon seemed to waver between making social statements and trying for a hit. And the social statements tended toward the heavy-handed ("East Indian Princess") while the hits tended toward the--well, not very Loudon (the classic example being "Two Song Set" from the hard-to-find "T-Shirt" LP).

This is probably his best of the '70s because that stuff is mostly absent, the album having secured its hit with the goofy "Dead Skunk." (The only top 40 hit in history to use the word "olfactory"?) Unless the desperation-edged "Say That You Love Me" or the dead-skunk-esque "The B Side" count.

"Red Guitar" is a perennial favorite, though not one I've ever been especially fond of, and the amusing "Hometeam Crowd" doesn't really strengthen the album.

"Muse Blues" rounds out the A-side, and is probably the best song of the first six, with its honest glimpse into the desperation of a writer with writer's block.

The B-Side of the album is better, with "Needless To Say" opening up and giving us a taste of what Loudon could do with a few simple chords and words. (Album I and Album II had the feel of a songwriter trying very hard not to use "standard chord progressions", where this album tries not so hard.)

"New Paint" is probably our first glimps at world-weary Loudon, and it's at this point we begin to see a pattern. The best songs on the album: "Red Guitar", "Muse Blues", "Needless To Say", "New Paint" and "Drinking Song" are the ones that hit closest to home. It would be another ten years before Loudon would "come out of the closet" and be his own focus for most of his songs (even the social commentary songs).

Anyway, the B-side (the last six songs) is rounded out by the fun "Smokey Joe's Cafe" and the jaunty "Trilogy"--the latter also being personal, but also being a somewhat fragmented collection of thoughts. These songs age well and end the album well.

Still, after buying this album, Loudon dropped off my radar for nearly 10 years (he moved to England) and it wasn't until I saw him perform live that I realized how far he had come in that decade.

This is Wainwright at his best
If you want an introduction to Wainwright, or if you're going to buy just one album of his, "Album III" is the one to get. It has his only popular hit, "Dead Skunk," which is as good today as it was 30 years ago: witty lyrics, a great tune, and some of Wainwright's best vocals. It also has a number of very moving ballads, including "Red Guitar" (see discussion below) and "New Paint" (which is my favorite): "You meet her at the station with a smile/a woman that kind is hard to find...." Great stuff. Those of you who have never heard Wainwright before are in for a big treat.

Wonderful, touching and silly
This is definitely one of Loudon's best albums. "History" is more moving and "A Live One" is more intimate but this reflects his versatility as well as anything he's done. I prefer the ballads here myself--"Needless to Say" is absolutely gorgeous and "Red Guitar" is everything a self-deprecating song should be--but the goofy stuff here is wonderful, too. "Dead Skunk"--sadly, his only hit--still holds up today and I defy anyone not to smile when they hear it. Any Loudon fan should own this record and play it as an introduction to future Loudon fans. This is the album that turned me onto Loudon in the first place and I still love it.

His early best
This album shows fans the young Loudon at his best the way that "History" shows the more mature Loudon at a later artistic peak. The songs here are really excellent. My personal favorites are "Needless to Say", a gently touching love song, and "Red Guitar" on which, in a true touch of genius, Loudon plays piano. Afterall, as he says in the song, one guitar's in pieces and the other paid for some junkie's fix. This album's a must for anyone with a love for folk music or just plain honest songwriting. ... Read more

Amazon.com

Leonard Cohen is famous as a major seller in much of the world outside the U.S., the Canadian singer-songwriter's adoptive home; in Europe, this album's title is Greatest Hits. Even listeners barely familiar with Cohen's name will know "Suzanne" and "Bird on a Wire," but those oft-covered numbers are the least of it. The former novelist's mission as a wry, resigned troubadour is better reflected in songs like "Chelsea Hotel No. 2," a remembrance of Janis Joplin with a devastating closing line, and "Who by Fire," which updates a Jewish prayer. --Rickey Wright ... Read more

Reviews (49)

The perfect rainy day album
Other than "The Future", I am relatively unfamiliar with Leonard Cohen's music. I first discovered Leonard's music when I heard "Closing Time" on the radio back in the early '90s and loved the irresistably catchy song. When the film "Bird on the Wire" came out, I didn't realize that The Neville Brothers' rendition of "Bird on the Wire" was originally by Leonard Cohen. One of my favorite Leonard Cohen covers is the late Jeff Buckley's interpretation of "Hallelujah". It is one of the best cover songs I have ever heard. My favorite Leonard Cohen cover has to be Tori Amos' version of "Famous Blue Raincoat". I first heard her version during Tori's Strange Little Girl tour in 2001. I was completely moved by the melodies and the melancholy lyrics. Tori's version was the sole reason why I had to buy "The Best of Leonard Cohen". I wanted to hear the original version. Both Tori and Leonard's versions of the song are wonderful. While listening to this album, I couldn't help but notice a contrast in Leonard's singing style back in the '70s and compare it to the raspy vocals on "The Future". As a song lyricist, Leonard Cohen is truly a poet. Unlike many of his contempories, Leonard's lyrics truly shines through the fragile acoustic melodies as opposed to being drowned out by drums, bass, keyboards, and electric guitars. Leonard's music is the ideal music to listen to on a cold, rainy day while you are snuggled up underneath a blanket and reading by the window. "The Best of Leonard Cohen" is a nice introduction to newcomers to Leonard Cohen's music. I find his music very soothing and comforting to listen to any day.

"The Best of Leonard Cohen", what else do you need to know?
Best of is an adequate representation of the early career of the seminal folk poet guru, Leonard Cohen. All of the "must-have" songs from this period are included - particularly of note are the masterpieces Suzanne and Bird On The Wire. However, those are far from the only classic songs here. Seminal intimate, poetic songs such as So Long, Marianne, Famous Blue Raincoat, and Hey, That's No Way To Say Goodbye are included. This is an excellent starting place for the fan new to Cohen, and the ideal companion to his latter-day More Best Of. One of the more nicely refined and ideal "best of" albums you're likely to come across.

Hmm
Didn't find this CD good. When you buy a "The best of" CD you expect to get a bunch of good songs but on this one there is only one (the first track).
That's at least what I think

We are ugly, but we have the music
This an excellent introduction to Leonard Cohen's music. It contains three of the most beautiful songs ever recorded - 'Famous Blue Raincoat'; 'Chelsea Hotel No 2' and 'Take This Longing'.

His songs are sparse poems with sparse instrumentation. His words and his observations are honed - there are no wasted or sentimental lines. Instead he spans lost love and lust and dissidence, rebellion in his idealistic cynicism. There are a lot of people who won't like Leonard's music, but then there are many to whom it will become soundtrack and anthem to their lives.

A almost randomly chosen collection
Most of this cd is very good. No surprise, since Cohen generally only put good songs on his first four studio albums, from which this collection is drawn. But "The Best of Leonard Cohen"??! Not even close. I'm looking at the comp cd I made of songs from the same four albums after many years of playing them, and only six of the seventeen songs on my disk are included on this disk (hereafter refered to as 'BOLC'). Not the best six, either, and BOLC manages to get BOTH of the stinkers from the otherwise classic 'Songs of Leonard Cohen'. A good starter for a collection? I'd recomend 'Songs of Love and Hate' or 'New Skin for the Old Ceremony' instead, if you want the old, folk-blues songs of the then-young Cohen. Best of all, though, would be the classic later albums 'Recent Songs' and 'I'm Your Man', which contain his very strongest songs and better (well, at least more modern) production. ... Read more

Reviews (2)

7 stars champaigne and cigars
The story goes that the boss (B. Springsteen) once recorded one of Russell's songs that never made it to any of his records. "close but no cigars" is what Russell said about it in an interview.

Russell has been for a long time one of the most admired songwriters in America and nobody knows why he isn't a superstar today, why he is not selling at least like The Band, or like Springsteen himself.

Here we find Russell with a new label, Hightone, and like many people recording for small labels he is rerecording some of his best known songs. more than half of this cd are songs he has recorded in the past, and many more than once. The number of versions of Gallo Del Cielo on Lp's and Cd's by Russell himself must be very close to 10 (!).

That's the question I aksed when I heard about this cd: Do we need another version of Gallo Del cielo, Claude Dallas, Alkali, etc...

I dont know if we need it or not ( do we need another cd? another bar? another pair of pants?) but I sure can hear that these songs work well together making this the best cd by Tom Russell, in a long discography that has many highs. The songs are played all acoustic, his voice is at his best, and although we don't have the exitement of the first versions we find instead the calm voice of wisdom.

For those who are a bit afraid of the west or the cowboy word attached to this cd, dont worry, this is just one of the greatest singer-songwriters's cd's of the year, as well as one of the best american roots music around. buy and enjoy.

Revival of a time where campfire music was life at its best
This is a follow up album to Cowboy Real, where Tom uses his lyrical talent to tell stories of life in the west. A wonderful mixture of county and folk, by the end of the album you will wish you knew the rich characters of each track. Most of the songs are original, but some are an amazing adaptation of classic cowboy poetry set to music. Not only are the words amazing, but the guitar riffs are classic Tom Russell - clean, rich, and unique. ... Read more

Reviews (10)

Great album for fans of cowboy music
If you're looking for traditional cowboy music, you might want to look elsewhere because some of these songs, particularly "Rhymes of the Renegades" and "The Wild West Is Gonna Get Wilder" strike me as being fairly recent compositions. But if you're looking for a collection of ballads and songs about the Old West, this album is well worth getting. Many of the songs tell, in brief, the stories of famous outlaws. Some of the songs like "Big Iron", "Rhymes of the Renegades", and "The Wild West Is Gonna Get Wilder" are bright and spirited. Others, like "Ghost Riders in the Sky", "Frank James' Farewell", and "Birmingham Jail" are melancholy and haunting. Overall, if you'd like an album that gives you a taste of the Wild West, this is the album to get. The only thing keeping it from getting a 10 is that some of the songs, "El Paso", "Sonora's Death Row", and "Belle Starr" in particular, don't hold up well with repeated playings.

Carrying on the traditions of Marty Robbins
Cowboy music was given a massive boost when Michael recorded several albums in the nineties full of cowboy songs. Not since the heyday of Marty Robbins had any singer had any singer been so successful with such music.

Marty's influence is evident from Big iron, the opening track, a duet between Michael and Marty made possible by modern studio techniques - Marty died in 1982, ten or eleven years before this album was recorded. Michael also covered Marty's classic cowboy song, El Paso.

Several cowboys are the subject of songs here - Billy the Kid, Jesse James, Frank James, Cole Younger and Sam Bass. Michael recognises women's contribution to the old west with Belle star (generally described as a brazen hussy, according to Michael's interesting notes) and Queen of heartaches.

Strawberry roan is a great song about a rodeo horse. Riders in the sky has been covered many times, but Michael's version is among the best.

If you enjoy this album, you will also enjoy his original Cowboy songs album, and the Christmas album Cowboy songs 2.

A Natural Follow up
Once again, Murphey resurrects cowboy classics. Many deal with the exploits of legends of the West, both the "white hats" and the "black hats". If you've enjoyed MMM's early recordings of cowboy songs, this is a natural. If you didn't enjoy the earlier collections, you've got a loose connection somewhere and you'd better get it checked out. On this CD, Murph is joined by various guest artists who contribute a nice touch to the finished product.

I bought this as a result of "Cowboy Songs" and "Cowboy Songs II" and haved played it over and over. Overall, it holds up well to repeated listening and is usually in my "travelling collection" of CDs that I take with me on the road.

Cowboy songs 3
I was 20 years old when I first met MMM. I was a student at that times. One day, when I was passing by a music market I heard a cowboy song playing. I asked who's singing this song. The salesman said "He's Michael Martin Murphey. This cassette is very well. I recommend you to buy it." As I like cowboy songs, I bougth it.
Now I'm 35 years old and still MMM is my favorite singer.
In fact, once I used to have this "Cowboy songs 3" audio cassette. But it's become deformed and out of use by the heat of the sun. I wanted to buy a new one but I could not find it in Turkey.That's why I ordered this cassette.
The songs are really very well. Especially Big Iron is the best for me.

Thanks to MMM.

New and old, good tales are told...
This mix of traditional cowboy songs and contemporary compositions with a wild west theme is my favorite MMM release.
As a general rule, I like my cowboy ballads done with only a male voice and a guitar, but on this disc, MMM's adornments usually work quite well. The "duet" with the late Marty Robbins on "Big Iron" works surprisingly well, and MMM's version of "El Paso" is almost as good as Marty's original...a distant almost, but a worthy imitation. Even better are: "Billy the Kid", "Billy Gray" and "Strawberry Roan". While "The Ballad of Jesse James" is good, his rendition of "Frank James' Farewell" is even better. "Cole Younger" and "Sam Bass" are high-quality, but the one I wanted to hear most often is "Belle Starr." Another reviewer mentioned that he did not think that song held up well to repeated listenings, but for me it does. Michael wrote this, and he crams so many facts into his verses that it is amazing he could keep it so musical. It is very close to the quality of Woody Guthrie's great ballads, "Tom Joad" and "East Texas Red." Not as dramatic as those, of course, but still a fine achievement. If you like songs about the old west's badmen, you will find this CD worthwhile. If you just like MMM, but have limited yourself to his pop and country hits from the 1970's, try out this item for another side of a fine musician. ... Read more

Amazon.com essential recording

Folky chanteuse Judy Collins is generally known for two things: Her great eyes (memorialized by Stephen Stills) and her ability to interpret other people's songs in that crystalline voice. 1966's In My Life, her sixth record overall, was considered a watershed when it was released--the album on which Collins moved beyond narrowcast protest-folk and into more expansive, romantic, contemplative material: everything from cabaret theatrics (Brecht and Weil's "Pirate Jenny," the wonderful medley "Marat/Sade") to pop (the Beatles' title tune) to undiscovered brooders ("Suzanne" by the then-unknown Leonard Cohen). Yeah, there's a Dylan song on here ("Just Like Tom Thumb's Blues"), but the record is more often (gasp!) sexy than polemic. Along with Who Knows Where the Time Goes and Wildflowers, one of Collins' three best albums. --Keven McAlester ... Read more

Reviews (15)

One of those albums that defined the 60s.....
It's not very surprising how this album is regarded as Judy Collins' finest effort. Although this record didn't feature any of her own compositions, Judy has never been more marvelous than she is here. She covers a wide territory of styles and makes the daring move of setting the songs to orchestral arrangements. From the theatrical "Marat/Sade," to the dramatic "La Colombe," Judy's voice shines amid Joshua Rifkin's musical backdrop. However, it is actually Judy's readings of the contemporary material here that set her aside from the rest of her 60s peers. Dylan's "Tom Thumb's Blues" and the Beatles' "In My Life" are perhaps the loveliest covers of these songs ever done. Cohen's "Suzanne" is here and Judy's take on it is absolutely superior. The frenzied piano on "Hard Lovin' Loser" and the magnificent "Sunny Goodge Street" are some of the strongest performances in Judy's career.

Although Judy continued in this vein with the subsequent WILDFLOWERS, it seemed that after that album, she never matched the intensity of IN MY LIFE again. WHO KNOWS WHERE THE TIME GOES had some problems with it, mainly due to an overcooked country/western veneer. Her later albums are still good, the best being 1973's TRUE STORIES AND OTHER DREAMS, which showcased her songwriting abilities in top form, yet even an effort such as 1975's JUDITH, although remarkably diverse in its range of styles, has problems because it indicated that Judy was headed straight into the world of easy-listening pop that would dominate the rest of her later recordings. So it just so happens that IN MY LIFE was and still is the album that has yet to be matched. But hey, maybe there is supposed to be only one best....

diverse and magnetic
For anyone used to the sugary sweet Judy Collins from later in her career, be prepared for a shock, because this album features a startling range of styles and emotions. In Marat Sade and the great Kurt Weil song from the Threepenny Opera Pirate Jenny, Collins sounds unbelievably menacing. On Dress Rehearsal Rag, an unappreciated Leonard Cohen classic, she is haunting. And of course she also sings other songs with her usual beauty and grace, like Suzanne (one of the masterpieces of all time), In My Life, Sunny Goodge Street, etc. She also does a wonderfully understated job with the early Randy Newman classic I Think It's Going to Rain Today. All in all, an incredible range of singing and songs, very special even for those who don't like Judy Collins.

In My Life, I've Loved You, Judy!
This is the first album I ever heard by Judy Collins. I remember it well. A group of us English graduate students at a Southern state university sat around blown away by "Suzanne" and tried to figure out what it meant-- as only pretentious graduate students can. Although I didn't understand it then or now, it remains one of my favorite songs-- and no one with the possible exception of the writer himself sings it better than Judy. We owe her a debt of gratitude for introducing Leonard Cohen to the U. S.

Thre are so many other beautiful cuts here. I particularly like "La Colombe," Dylan's "Tom Thumb's Blues", and Randy Newman's "I think It's Going To Rain Today." Then there is Judy's incomparable version of "In My Life." She doesn't get better than this.

An ESSENTIAL album
This album ranks right up there with "Sargent Pepper" in importance. Some of her most frequently played songs are in this classic album, such as, "Suzanne" or of course the title track, "In My Life" . It represents a turning point in her career which like many artists of the genre paralelled that of Dylan in its change from a more purist accoustic style to a more instrumentally open style where poetry could be interpreted with much less musical correctness than traditional folk required.
Artists who either were or would become icons of the era of the folk renaissance, Dylan, Donovan, Leonard Cohen, the late Richard Farina (the only artist to ever be considered at that time on a par with Dylan in lyrics) can be found here. Bertolt Brect is in this album as well, which is appropriate because of Judy Collins continuous connections as an artist to the theater. There are no blah tracks. Every song is excellent and classic. The musical arrangements are in every song perfect and flawless. As of this writing there are only five copies left. Get it before it gets discontinued and only a few songs remain on some "Greatest Hits" album.

In a way, it's her best
This set was produced at a very special time in Collins' and, indeed, pop music's history, a time when the walls separating virtually all sort of music vanished. By 1966,Collins' days as a pure folkie had passed and here she took on, with amazing success, a dazzling array of material, everything from material from "Three Penny Opera" and "Marat/Sade" to the Beatles ("In My Life," which to me remains the definitive performance of the piece) to art songs by Jacques Brel ("Le Colombe"), Leonard Cohen ("Suzanne," "Dress Rehearsal Rag") and Randy Newman ("I Think It's Going to Rain Today"). There's a nod to the folk scene, of course, in Dylan's "Just Like Tom Thumb's Blues" and Richard Farina's "Hard Lovin' Loser" as well, but in haunting or wry transformations. Stunningly arranged, often by Joshua Rikfin, and beautifully sung, the album remains a beautifully wrought, wonderfully sung and timeless classic. Now and then, Collins would come close to matching her work here again as she transformed into a less-engaging pop chanteuse in the '70s and '80s, but she never consistently topped her work and the selections on this set. ... Read more

Reviews (23)

Brooke and Kimball - Angels of Boston Folk
The Angel in the House is by far one of the most singularly fantastic albums of all time. The lyrical quality is top notch. The harmony is lush and beautiful, especially the graceful and complicated dissonneces. This is a Masterpiece of Contemporary Folk Music. No musician, no lover, no thinking, emotional human being should be without this CD. The Story, comprised of Jonatha Brooke (lead vocals / guitar) and Jennifer Kimball (harmony - not to be taken lightly) went to Amherst College and sang in their A Cappella Group The Sabrinas. In recent years the power duo has gone their seperate ways and each have continued to creat e beautiful music with Boston-based Folk solo and pop projects. The best songs on this disc are Missing Person Afternoon, Amelia, The Guilded Cage, In The Gloaming, and The Angel in the House.

"My mother moved the furniture When she no longer moved the man We thought nothing of it at the time..."

Patience rewards plenty
I have no idea why this took so long to click with me. Idiscovered Jonatha Brooke's work after being seduced by her voice ontrumpet player Chris Botti's recent "Midnight Without You" album, started with "10 Cent Wings", then worked backwards and sideways. Initially, neither of The Story's albums did much for me. Then one day, during a seven-hour drive that took me along the magnificent scenery of the east coast of England through to northern Scotland, everything fell in to place. This CD refused to leave the player. Since then, it's one of a handful among over 1000 CDs that still selfishly takes up regular residence in my CD player at the expense of newer, still-to-be-absorbed albums. "So Much Mine" and "At The Still Point" are beautiful pieces of melancholic song writing. "Missing Person Afternoon" has some fantastic percussion work underpinning two of the purest voices of their genre. And "When Two And Two Are Five" is one of those great, great songs that has 'huge radio hit' painted all over it, yet as with so many bands in this modern age, I never heard a note of it before I picked the album up. (Radio programming in the UK is so desperately bland.) Even the humour that belies the half-serious intent on "Fatso" isn't misplaced - how can you not enjoy a song that preaches the joys of whipped cream filling while undermining the popular media's perception of the perfect female form? The real achievement with this album is one of thoughtfully considered balance - no shortage of light and shade, delight and sorrow, exhilaration and fragility. Of their two albums, this is by far the stronger effort. Rather wonderful, in fact.

Should Have Been a Hit
The Story lasted as long as Jonatha and Jennifer could stand to be in each other's company. Kind of like Simon and Garfunkel. Jonatha was definitely the Simon part of the equation and has gone on to release some very rewarding solo efforts. Jennifer has released only one and it comes across just like an Art Garfunkel CD... nice, but not quite enough. However, while they were together the chemistry was electric. The tunes were not only beautifully written and the lyrics thoughtfully penned, but the harmonies were exquisite. Exquisite to the point of being rapturous. Being able to do that and also package the tunes in a format that was radio friendly (despite the total lack of recognition by mainstream radio) really does make it difficult not to compare this duo to Paul and Art. As if everything they touched turned to gold - each album the duo released was a complete, tight fitting, beautiful and passionate work. This one is the best. Any new listener will scratch their noggin and wonder why there weren't a string of Top 40 hits pulled from this album.

A Collage Of Emotions.
I haven't heard this disc in a while, but many of it's tracks remain haunting nonetheless. The album is one of the few out there that can range from comedic to flat-out moving and it doesn't sound out of place. This may well be both Jonatha Brooke and Jennifer Kimball's finest moment, and unfortunately, it dropped under the radar over 10 years ago (Is that right? Can be it that 1993 was THAT long ago?).

The album opens with the stunner "So Much Mine", which deserved to be a hit. It is one of my personal favorites of all time. The lyrics are absolutely great and while the song actually gives the impression it is about a child who has moved away from home, it retains enough ambiguity that it could easily work for anyone who has had to live through loving someone, having them leave and having that person change. (witness the lyrics: "Where'd you get that dress? Where'd you learn to walk like that? Don't talk back. Tell me where you've been - maybe I don't want to know. Oh, Lord, why me? You were so much, so much mine. Now I reach for you and I cannot find you").

But, then the album is able to completely change gears for "Fatso", and "Fatso Part 2". In this day and age where the Atkins Diet and Curves Fitness Centers run rampant, this is a song for our present times. It doesn't poke fun at the obese public, no. It instead tackles the individuals who are starving themselves for the wrong reasons. ("Because someone will adore me when my ribs show clearly, and I'm thin even when I sit down. Yeah, right"). It is sarcasm at it's finest. The track has a decidedly Latin feel that is oh-so-fun to listen to. Even MORE interesting is the reprise, or "Fatso, Part 2" which is sung entirely in Spanish by a male. Who was on drugs to get this inspiration?!? Who cares!

But, what may be the greatest song on here is the title track, "The Angel In The House". It is sheer beauty and worth the cost of the disc on it's own (though "Fatso" and "So Much Mine" definitely make it TOTALLY worthwhile). Rarely does a song come around that is able to tell a story and drop you into a mood so instantly. Usually when a line is repeated over and over and the end of a song, it becomes redundant... but at the end of this song when Jonatha repeats the line "The angel in the house" several times, each one is like a stabbing knife into your heart and by the time the last note is played, you are looking at your insides all over the floor. No lie.

Another gem is the a capella "In The Gloaming". Normally, I am not one for a capella (a lot of people believe one of Tori Amos' finest moments was her a capella turn on "Me And A Gun", a song I despise because I don't think it's suited for just a voice, despite the cleverless of it's revelance to the title), but this is so harmonic and haunting, I cannot help but love it.

I don't normally hand out 5 star reviews... but this one gets one. If you wish that Sarah McLachlan hadn't gotten so overproduced and stuck with simplicity (not that Sarah can often hold a candle to the quality of the lyrics here), this may well be the lighthouse you've been looking for. Also check out Jonatha's underrated solo work, some of it gets more "plugged in", but her voice and sublime writing style is always the showcase.

If you like The Story don't miss "The Wayfaring Strangers"
Jennifer Kimball of The Story appears with 6 other EXTRAORDINARY musicians including Matt Glaser and Bruce Barth as, "The Wayfaring Strangers". Jennifers unforgettably beautiful vocals that we all know and love from "The Story" permeate the CD.
It is an exceptionally satisfying and beautiful listen and oh so great to hear Jennifer again. ... Read more

Reviews (26)

Another classic Lightfoot album
This Gordon Lightfoot album from 1976 is one of his best albums by far. Not only does it include the major hit "Wreck of The Edmund Fitzgerald" in its original form (his final top 10 hit) but there are a lot of songs on here that should have been hits. Some of them include the title song, I'm Not Supposed To Care, The House You Live In (which BTW is the B Side to "Wreck") and Race Among The Ruins. If you are new to Lightfoot's music and/or a longtime fan who has worn out the vinyl, this is a must pick up for 10 classic Lightfoot songs as he is one of the most influential singer/songwriters in popular music and the music flows from one great song to another.

Gord's Last Great Album
Contrary to why many others have bought "Summertime Dream", I bought the album despite the presence of "Wreck of the Edmund Fitzgerald". Its not that I dislike the song, its just fine. If ever a song was overplayed, WOTEF has to be contender for the crown. This album just happens to be Lightfoot's best since "Don Quixote". His talent not only lies in his rich voice, his evocative guitar and his tremendous storytelling ability but also in his credibility as a writer. When Lightfoot sings, you can imagine that yes, he does feel that way or yes, he has been to that place and experienced those things. Those qualities tell the world that he is more than just another hack cranking out tunes even if that was all that he is. On "Summertime Dream", those talents are on display again. Just listen to the musicianship and wordsmithing in such songs as "Race Among the Ruins", "Protocol", "The House You Live In", and on the title cut. Gordon Lightfoot is still making fine music, but in my estimation this is the last album that really stands out and as such is worthy of a place in your collection.

Only Lightfoot Could Create a "Dream" Like This
Shipwrecks, old seadogs who would storm the gates of hell, a room full of ghosts and desolation, and an ocean of ruins are not exactly the things one would find in a summertime dream, a reference so pure that the listener finds that they've been wonderfully misled once they dive into this, one of Gordon Lightfoot's greatest albums. Irony is something that has always drifted into Lightfoot's music, and has always made it all the more unique. Unfortunately, an ironic fact here is that "Summertime Dream," released in 1976, was the last album of the singer/songwriter's wave of popularity.
In characteristic fashion, Lightfoot ends his era of commercial popularity with a bang, and "Summertime Dream" boasts a body of some of the most solid, conscious songs ever produced in the 70s. Most of the songs here contain some reference to the ocean, a metaphorical symbol that would be cliched with any other artist, but Lightfoot keeps his lyrical prowess flowing like the waters he describes. The first notes of "Summertime Dream" are misleading, as an upbeat tune describes a 'Race Among the Ruins,' one of many Lightfoot songs that should have been more commercially successful than it actually was. The album's biggest hit, the harrowing true story 'The Wreck of the Edmund Fitzgerald' remains popular to this day, and is a lasting example of the soft-spoken folk era gritting its teeth and unleashing a powerful, ominous tale that defies the old acoustic formula. But it doesn't end there, as some of Lightfoot's most stirring imagery unveils itself in 'Too Many Clues in This Room,' and 'Protocol,' but the title track seems to be an honest, lyrically whistful song set amidst such deep tunes as these. There's even some old wisdom appearing in the nearly 40 year old Lightfoot (as of 1976) in 'The House You Live In,' seemingly reflecting New Testament teachings ("And the house you live in will never fall down if you pity the stranger who stands at your gate").
Like most of Gordon Lightfoot's material, this album is more dense and meaningful than his associations with the "folk" genre allow people to realize. "Summertime Dream" may have been among the last of Lightfoot's commercially successful releases, but it certainly wasn't the last breath of his poignancy and musical determination.

This is so stupid
Come on!!!!!!! How can anyone listen?????????It is 7:00am and I still can't listenby real player to the songWreck of the edmund Fitzgerald.EVERYTIME HERE LATELY ITS THE SAME.Windows Media is NOT COOL.Why can't this problem be solved?Better to get told then never comeback.

Crew of the Edmund Fitzgerald
I first heard this track,The Wreck of the Edmund Fitzgerald,in a ducumentry on the Discovery channel.It struck a cord with me to the battle the crew made to save their ship in the worst storm the great lake had seen.The words and tune stuck in my mind,it is trully a great track and album. ... Read more

Reviews (7)

One of the best of the genre
This CD has most of MMMs best work.Geronimo's Cadillac is poignant.Wildfire was a chart topper in the mid 70s.By the way, MMM has a web site where you can buy the original CD which has the version of Wildfire with the piano intro and exit.It is still hauntingly beautiful 30 years later.Reminiscent of Billy Joel's early work ("The Legend of Billy the Kid") and Dan Fogelberg's first album, "Homefree".They don't make music like this anymore....

Wonderful Compilation From The Guy Who Sang "Wildfire"!
This is a wonderful compilation of an artist who has done a number of interesting career turns since crashing onto the popular charts thirty years ago with the folk-country crossover hit, "Wildfire". Many of the songs included here were in a terrific album released early in the 1980s, with the hit song "What's Forever For" propelling it up the charts. Murphey is always delightful and surprising, and from a guy who has done everything from "Geronimo's Cadillac" to cowboy albums, this album is a provocative turn toward more contemporary music, which may be difficult to classify, but is absolutely impossible to resist. From the opening "Carolina In The Pines" to the intriguing "Still Taking Chances", Murphey's songwriting, singing, and arrangement talents are wonderfully showcased, and each of the songs provides an interesting look at the nature of contemporary lives and relationships as seen by someone with common sense, an earthy appreciation for the values of the simple life, and an ardent celebrant of life. Although I like all the songs included here, my special favorites are "Love Affairs", "Cherokee Fiddle", and, of course, the absolutely captivating "Wildfire, an absorbing word picture and fable all wrapped up in a memorable and evocative song. Believe me when I say this one song is worth the price of the album, and compares well to anything by James Taylor, Van Morrison, or Paul Simon. I love this album, and it is permanently installed in my new 100 CD player for my convenience. I highly recommend it. Enjoy!

Looking for Wildfire with Piano intro and Close!
I have not heard this album but am looking for the version of the "Wildfire" track with the great piano solo intro and close. Based on other reviews, this CD does not have that version. The SagebrushSymphony also does not appear to be the one either with one reviewer citinga "different version than what you might be used to". Can anyonehelp me out? Please email me at bradd@concordtrans.com if you can provideany assistance.

Music full of memories and feeling
This is an excellent CD, however I was dissappointed that it wasn't the original Wildfire and the long piano intro and ending.Does anyone know where I can find that version? Please email me at stevencharles atwilcatsfan dot com if you have information.

Caution - A Few Remixes
This CD contains similar versions to MMM's hits, some some have been re-recorded (e.g. Wildfire).If you're used to the hit mix, you'll be surprised; but the newer version will likely "grow on you"! ... Read more

Reviews (15)

Dan's the Man!
"High Country Snows" is simply more proof that Dan Fogelburg can do any type of music and do it well. You listen to and enjoy other collections Fogelburg has made in different types of music such as "River of Souls", but none of them quite match the skill at which he played Bluegrass on "High Country Snows". There is a wonderful blend of songs. It is impossible to tell which songs Fogelburg wrote and didn't write, they are all that good. Fogelburg included many stars to join him on this album such as Ricky Skaggs, Vince Gill, and others. I grew up having my Dad play this album often and to this day I remember classic songs like "Down the Road", "Mountain Pass", and "The Outlaw". My personal favorites are "Shadow Rivers," and "Go Down Easy." Few of these songs, if any, appear on other Fogelburg albums even though they are as good as any other of his. Whether you like Bluegrass or not, no fan of Fogelburg should be without this album in their collection.

Possibly Dan's best album
.
The first thing you notice about this album is that it's really well produced. Fogelberg's albums often sound synthetic and over-produced but this one sounds organic and attractive.

It's quite an unusual "country" album. I don't know another one like it. It's very "Dan Fogelberg". Shame he didn't do more in the same vein.

There is a mixture of original songs by Dan, and some by other writers, but they gel really well. The stellar cast of musicians do a fantastic job, showcased especially on the instrumental "Wolf Creek", a rollocking, bluegrass tune that is especially effective and exciting. Dan's vocals were never better than on this album too.

The style of the album ranges from ballads to bluegrass to gospel. All of it seems to genuinely suggest the title too. This really does seem like "High Country" music.

Very highly recommended.

I wish Dan would give us another one like this!
This album has more of a country feel to it, being bluegrass and all. It reminded me more of his early works, which I fell in love with in the 70's. As time went on, Dan seemed to get more into writing love songs, and giving us highly produced music. I always liked the country rock feel, and rawness of his early work, and would love it if he would get back to this sort of music. Sadly, 18 years after High Country Snows came out, I have not enjoyed much of Dan's work since then. Did he do an album of Christmas songs? Dan, if you read this, perhaps you could do an album of Hannukka songs, or better yet, traditional Jewish songs? Anyway, High Country Snows will always be a classic, and one of my favorites.

Rock star delivers brilliant traditional country
When singers record an album in a different style of music to what is normal for them, the results are not always great. A closer analysis shows that those doing it for artistic reasons are much more successful than those doing it for commercial or egotistical reasons. Dan recorded this album for artistic reasons. He always loved traditional music and he'd written some songs that didn't fit his normal pop-rock style, so the time came to make an acoustic country album. Nobody could accuse Dan of doing it for commercial reasons - I understand that this was the least successful album he ever recorded. Well, I did my bit, as I bought it on vinyl and again on CD.

Dan obtained the services of the best musicians around at the time - Herb Pedersen (banjo, harmony vocals), Ricky Skaggs (harmony vocals), David Grisman (mandolin, mandola), Chris Hillman (mandolins, harmony vocals), Al Perkins (pedal steel guitar), Charlie McCoy (harmonica), Russ Kunkel (drums), Jerry Douglas (dobro), Emory Gordy (bass), Jim Buchanan (fiddle), David Briggs (piano), Vince Gill (harmony vocals), Michael Hanna (synthesiser) and Doc Watson (acoustic guitar). Of course, some of these appear on many tracks, while some only appear once, but fans of bluegrass and country music who take an interest in the musicians will recognize many of these names.

Dan wrote most of the songs - and they are brilliant, but among the covers are Down the road (Flatt and Scruggs) and Think of what you've done (Carter Stanley). I cannot speak for Dan's regular fans (who should hear some of it before buying), but I can say that this is an album that will be appreciated by fans of traditional country music.

The Real Thing
When this album first came out in the mid 80's, I listened to it apprehensively. I mean, Dan Folgelberg doing traditional-oriented country music? I had my doubts. But, I was lucky enough to work at a record store and was able to get a promo copy. Lord knows I would never have spent my hard earned cash on a Dan Fogelberg album. I took my country music seriously (still do). But one listen had me sold. From the opening notes of 'Down the Road' til the closing fade of 'The Higher You Climb,' I was mesmerized.
Country Music in the mid 80's was at a crossroads, with the "young country" drivel beginning to show and traditional hillbilly music starting to fade. So it was quite nice to hear an album done in the southern style with intelligent lyrics and, most importantly, SOUL! Not the R&B kind of soul that implies a style of music, but the soul that you hear when the artist sings and plays with conviction - from the heart.
I must admit, I never thought of Dan Fogelberg in that sense. I've always considered him to be a nice kind of singer songwriter mellow music man. But on 'High Country Snows,' this boy lets loose with all the vigor of any true country music singer. Top notch musicianship from top notch bluegrass and folk musicians accent Fogelberg's vocals and lyrics. My particular favorite is 'Sutter's Mill,' probably because I'm such a history buff, and this song tells the story (just like the old traditional songs used to) of old John Sutter, the man generally accepted as discovering gold in California in the 1840's and beginning (unintentionally) the infamous gold rush. Another wonderful story song is 'Go Down Easy,' creating perfect images in the listener's mind of what is happening in each verse of the tune.
Actually, there is not a bad cut on the album, and I'm sure Sony could put a couple of tunes on a re-release of this disc of music originally recorded for this album but, for some reason, never included on the original.
The sound quality is every bit as great as the individual tunes, by the way. The strings on the acoustic instruments ring true and clear as if they were performing in your living room.
A worthwhile collection to own, and would fit in easily with the Patty Loveless 'Mountain Soul' disc, the Nitty Gritty Dirt Band's 'Will The Circle Be Unbroken' set, Emmylou Harris' 'Roses In the Snow, 'O Brother Where Art Thou,' and many other traditional CD's. Click around www.Amazon.com and take up their offer to allow you to listen to snippets of songs. Experiment!
By the way, when I call something "hillbilly music," I do not intend that as a durogatory slur against southerners. I mean it as about the highest compliment as I can give when it comes to country music. You will NEVER hear me call this current crop of country ... like Faith Hill, Garth Brooks, and Shania Twain (just to name a few), hillbilly music. That would be a sin in my eyes.
You done good, Dan! ... Read more

Reviews (12)

Like a Comfortable Friend
Like an old friend, this album goes with me wherever I go. It's just one of those albums.

Cris Williamson has a low folk voice -- smooth as satin, and yet she can make it "break" at just the right moment of expressiveness. I love the way she sings. She has one of those voices that makes it obvious ... she was born to sing.

The songs are comfortable ballads with a folk edginess, meaning NO watered down lyrics. The songs feel easy and warm, but the lyrics are clear and never dull.

The opening number, WATERFALL, will have you singing along in about three listens. It's a song about feeling good, about being kind, and about relaxing - letting go.

WILD THINGS is a lush ballad that leaves no doubt - this woman can SING like crazy.

And the album as a whole just rings "keeper" from the very first listen. It quickly becomes a staple in your music collection.

IF more stars were available...100+ might do it!
Cris is the "gift" to music. She shares her heart and soul in vocal stylings that are easy on the ears, touching to the heart, and life affirming. If you have no other woman's albums...start here...you will be ordering all of her albums, none of which deviate from the superb quiality of this album. Cris is undoubtedly the finest musician never palyed on "pop" radio...if they only knew what they are missing!

Good music and lyrics all the way
I had this album in the 80's given to me by a male friend, my daughters loved it and we learnt the words to the songs,recently we began to yearn to hear it again and have been persuing it.

The songs are classic, some will be inspired by their feminist nature but all should be impressed by the lyrics and the emotion in the music.

Totally Awesome!
I was introduced to Chris Williamson's music/women's music appoximately 12 years ago at a retreat and fell in love with it almost instantly. I had never heard any music classified as "women's" prior to that. Chris sings with such feeling...she is truly an inspiration.
I have owned the cassette for approximately 12 years and like it so much I plan to purchase a CD of it. I can honestly say I really like all, but one of the songs.
"Wildthings" is out of this world! My nieces and nephews like it too. They sing along...even the nephew that acts like Mr. Cool! When the tape is over, my nieces ask me to play it again.

one of the finest albums ever!
i am so thankful that a friend introduced me to the music of cris williamson. she has a subtle honesty that so few artists are capable of expressing. each time i listen to this album, i hear something new. she is an artist that transends genre. she is an artist that defies definition. ... Read more

Amazon.com

Canadian poet Leonard Cohen sings with great weight and authority and his lyrics are among the most elegant and scripted of the rock era. This collection is culled from his past three albums (1988's I'm Your Man, 1992's The Future, and 1994's Cohen Live) and shows a man whose voice has deepened to the point of grim, foreboding death with lyrics sharpened to masterful precision. The arrangements are deliberately clunky--the cheese- whiz female back-ups lend unusual tension bordering on parody--but the sentiments are for real. Two previously unreleased cuts, "Never Any Good" and the non-event, "The Great Event" suggest his well is currently dry. But the unrelenting bleakness of "The Future" and uneasy celebration of "Democracy" are among the past decade's most challenging pop works. --Rob O'Connor ... Read more

Reviews (13)

Incredible music!
I have never heard such music before--it is almost indescribable. "Closing Time" dredges up old memories that overflow. "Dance Me to the end of Love" will take you out of your skull if you possess any romance in your blood and "Take This Waltz" with its incredible score and blow-your-mind lyrics --what can I say? "Hallelujah" envisions Old Testament emotions. The music of Leonard Cohen will blow you away if you have never heard it before. I know.

Jeff Buckley fans beware
Though Leonard Cohen is definitely a lyrical and poetic genius, I hope no customers are swayed to buy this CD because of Jeff Buckley's brilliant cover of "Hallelujah". If you are expecting to find Buckley's sound in Cohen's work, your new purchase may be a bitter pill for you to swallow. I must admit that Cohen's lyrics are some of the most powerful and magical words I have ever heard uttered. This is where the 5 stars come in. For those that were moved greatly by Buckley's rendition of "Hallelujah", I recommend Leonard Cohen's lyrics, poetry, and literature.

Time to hang it up
After being stunned by the genious in Cohens first greatest hits, I had to pick this one up to see what other greats he had out there. Big mistake. This music has no structure and no raw emotion like his older works. Even the lyrics are pretty tame compared to earlier work. Obviously musicians change over the years but this sounds like something you would hear down at an Atlantic City lounge, but with a terribly weak singer. Having a band is a waste of time, most of this music sounds like it could have been generated by a cheesy synth.
I will continue to hunt down the old greats but this is just Elvis later years wish wash with nothing thought provoking except what happened over the years.

Been away too long
For too long I didn't listen. Works used in movies as varied as "Pump Up the Volume" and "Shrek", ya gotta luv it. I just keep playing it and liking it more and more, so will you.

GREAT ARTIST - QUESTIONABLE SELECTIONS
I can't believe that "FIRST WE TAKE MANHATTAN" is not on a "BEST OF COHEN". I would also rather hear the studio versions over the live. My advice instead is to buy "I'M YOUR MAN" and if you like that get "THE FUTURE". His newest cd is very good too. Mr. Cohen releases albums so rarely that 3 CDs in 13 years is not that much of an investment. If you want a good live tape I would seek out his PBS Austin City Limits video. ... Read more

Amazon.com essential recording

"I choose the rooms that I live in with care / The windows are small and the walls almost bare," Leonard Cohen sings in a particularly telling couplet in "Tonight Will Be Fine," one of the highlights in this aptly titled album from 1969. The Canadian poet-performer's sophomore release has the sub rosa feel of an attic hideaway, thanks in part to Bob Johnston's restrained production. Cohen's near-monotone vocals are suitable for conveying his finely honed, meditative musings but--at this stage in his development--not much else. Johnston's soundscapes aren't as beguiling as the ones John Simon created for Cohen's superior debut, Songs of Leonard Cohen, though lovely orchestral shadings flatter such Cohen classics as the oft-covered "Bird on the Wire" and "Story of Isaac." Songs from a Room is only a secondary effort when it's stacked up against its consummate predecessor, But by any other measurement, it's an exceptionally literate and enigmatic recording by a true original. --Steven Stolder ... Read more

Reviews (8)

I'm so ashamed...
I don't know what to say; I really don't. Ordinarily, I delight in having contrarian opinions (but only when I feel they're warranted, thankyouverymuch), but here...what can I say? I'm a big Cohen fan; I have all his stuff, and his first album may well be my favorite CD ever. But...geez. No matter HOW many times I listen to this, I simply CANNOT get into it. It's my least favorite of his albums, by far. That is not, of course, to say there's nothing I like here; indeed 'Story of Isaac' is very possibly my favorite Cohen song--it's simply an incredible piece of music. "Thought I saw an eagle/but it might have heen a vulture" just sends chills down my spine every time. Along with a number of other parts. Furthermore, okay--'...Nancy,' 'The Partisan,' and 'Tonight will be Fine' aren't bad (I almost feel obligated to include 'Bird on a Wire' in that list, but I'm just not feeling it--it would almost certainly be my least favorite track on any given Cohen 'best of'). The REST though--my god, it gives new meaning to the word 'bland.' And even the lyrics--which, at least, are usually a high point even in a bad Cohen song--seem pretty monochromatic. Or maybe not--when I see them written out, I think, okay, that's not bad, but in the context of the songs...there just ain't no life in them. A shame.

Out of ten songs, one classic, three 'okays,' and six that might as well have been left off. Thus, two out of five. Though I want to emphasize again that I'm not happy to have this opinion. It's just that...well, what can I say? Would it make up for it if I noted that I think Death of a Ladies' Man is a great, underrated album? Probably not, eh? Well, it's true. I'd buy that one before this, although 'Story of Isaac' alone makes it ultimately worth the purchase for the committed.

I am the one who loves changing from nothing to one
Cohen followed up his debut album with another masterpiece, this collection of magnificent songs of solitude, despair and resignation. Besides The Partisan, a song about the French resistance with its beautiful French verses and female vocals, all compositions are by Cohen. The most popular number here is Bird On A Wire that has been covered by artists as diverse as Johnny Cash, Joe Cocker, Judy Collins, Rita Coolidge, Tim Hardin, The Neville Brothers and Jennifer Warnes. For some reason, the opening lines of Bunch Of Lonesome Heroes makes me think of Frodo's journey to Mordor (in Lord Of The Rings): "A bunch of lonesome and very quarrelsome heroes/Were smoking out upon the open road." Other highlights include The Story Of Isaac and The Old Revolution, in both of which Cohen's characteristic Biblical imagery surfaces, and the somber Lady Midnight with its many levels of meaning. Seems So Long Ago is a wistful confessional dirge whilst You Know Who I Am is a delicate love poem with esoteric undertones:"I am the one who loves changing from nothing to one". The mood lightens up on the closing track Tonight Will Be Fine with its catchy melody, driving rhythm and erotic lyric to end the album on a more optimistic note, although even here the sadness is just a sigh away. Cohen's sublime music has a transcendent, spiritual quality. These haunting songs "from a room" have lost none of their poetic impact after 3 decades; their grace, elegance and beauty shine on.

"Even damnation is poisoned with rainbows"
Although not as good as his debut, Songs From A Room is an even darker and more melancholy affair. Cohen's near-monotone, backed with the sparse, vague musical accompaniment delivering Cohen's stark, bitter, heart-wrenching lyrics make for a near-claustrophobic atmosphere. Bird On A Wire still stands as one of Cohen's best compositions, and it has been covered countless times by other artists. Other standout tracks include Story of Isaac and Lady Midnight. The rest of the songs are good, especially when taken in the context of the album, but, personally, I don't like this as much as his other albums that I own. This is not a detriment to the album, it is a testament to the quality of Leonard Cohen's catalog as a whole. Leonard Cohen once wrote a book called "Beautiful Losers." It was in the pre-recording artist stage of his career, but it might as well have been describing his songs. As another reviewer has said, "They are beautiful; they're just not pretty." Many people still don't know Leonard Cohen, but, some day, he will be recognized right up there with Bob Dylan as one of the greatest songwriters of the century; this album being another gem in his canon.

Master Songs
I once spent the whole of a night in Vancouver, B.C. filling a small apartment with balloons as a gift to the woman I lived with at the time. I imagined her delight at opening the door to find the rooms crowded with inconvenient color. But she didn't come home that night.

Leonard Cohen's Songs From A Room played continuously until the sun rose. It was a perfect Cohen moment: pathetic but also comical, lonely but not altogether lost, in turn full of bright buoyant images and pale, creeping light.

He likes his rooms more spartan, but he would have appreciated the irony: Cohen's heroes often balance on a knife edge between sacrifice and suspicion; ready to give it all up for love one moment, and caught in wry resignation the next.

Although overshadowed by its haunting predecessor, The Songs of Leonard Cohen, Songs From A Room is probably my favorite of Leonard's albums. It is - unbelievably - more personal than the first. It seems to begin and end in resolute introspection. As Cohen fans may agree, one almost wonders after living with his songs for years whether Leonard wrote them and sang them for you, or whether you wrote them and gave them to him - so much do they become a magnetic North for our own emotional compasses. In Songs Leonard seems to explore every human relationship: that of lovers certainly ("Tonight Will Be Fine"), but also father and son ("Story of Isaac," "The Butcher"), patriot and country ("The Partisan," "The Old Revolution"), and ambiguous, erotic friendship ("Seems So Long Ago, Nancy").

In this album more than in any other, one of Cohen's most consistent themes repeats: that of the revolutionary. Specifically, how revolutionaries embody an awkward convergence of the saintly, the solitary, and the social. As the heroine in "Joan of Arc" (Songs of Love and Hate, 1971) declares,"..."I'm tired of the war,/I want the kind of work I had before,/a wedding dress or something white..." Like Joan, these heroes are often betrayed by the forces they fight for, and they tend to disillusionment. "I fought in the old revolution/," sings the narrator of "The Old Revolution", "on the side of the ghost and the King./Of course I was very young/and I thought that we were winning/I can't pretend I still feel very much like singing/as they carry the bodies away." To what does the song refer? The Vietnam War? Rock and Roll? It doesn't matter. We know what it feels like.

Love is a revolutionary act. It may overturn countries, or it may not. But it does overturn us.

The sixties saw the appearance of a phenomenon called the "singer-songwriter." We were told that in the best of their work, popular singers were writing and singing poetry. Only a bare handful - among them Paul Simon and Bob Dylan - were legitimate contenders. Leonard Cohen, despite the self-consciousness of his early work, will join Dylan as the best of these. Stack any line of Yeats against this from "The Stranger Song:" "And while he talks his dreams to sleep/you notice there's a highway/that is curling up like smoke above his shoulder..." (Songs of Leonard Cohen, 1968). The image in its compactness chills.

In "The Butcher" the protagonist comes upon a man slaughtering a lamb only to recognize that the butcher is his father. We are always at the mercy of what we love, Cohen seems to say. And betrayal is just around the corner when we dare to love - whether it is a country or a woman. But in the end, however pointless the exercise seems - like a roomful of balloons - we sometimes find ourselves surrounded by beauty. I recall that when Jennifer Warnes put out Famous Blue Raincoat, a compilation of Cohen's songs, the master himself seemed astonished that in her mouth his songs were so "beautiful." They are beautiful, Leonard. They're just not pretty.

"Like a drunk in a midnight choir . . ."
An album with some great songs ("Bird on the Wire", "Story of Isaac", "The Partisan", "Seems So Long Ago, Nancy"), and some not-so-great but not-too-bad songs (pretty much everything else). Not a bad album by any means, but doesn't really contain enough to stand out as one of Cohen's best. ... Read more

Reviews (19)

Great intro to Dylan..
I had the pleasure of seeing Bob Dylan in concert last year, and while I wasn't familar with the songs he played, I was very impressed.

That being said I decided I wanted to have some Dylan to listen to at home. I thought about getting the three Greatest Hits album, but decided to go with this box set instead. It's been a great listening experience.

Of course you'll get the well know songs, "Lay Lady Lay", The Times They Are A-Changin'", Blowin' in the Wind", "Subterranean Homesick Blues", "Mr. Tamborine Man", "Knockin' on Heaven's Door", among others.

The true gems are the unreleased and B-sides. Not sure why they've been left off the albums, but they're genuine Bob Dylan. Great music and great lyrics are his trademarks and this box set holds true to that premise.

A large (almost the size of the box) booklet comes with the set. It features plenty of color pictures and backgroud information. There are also yellow pages with detailed notes (and Dylan quotes) about every song on the album. A nice touch.

A great sampler for the casual fan. Enjoy.

An impossible task well solved.....
How to make a Bob Dylan box set...well, you could put out one with about a dozen CDs and still be blamed that some song or other was missing.
This 1985 Columbia release wasn't the first ever career-spanning rock box set (the late, great Buddy Holly was honored with that in 1979), but it was the most important by far, establishing the format and rekindling interest in Bob Dylan at the same time.

Unlike many box sets, this one actually offers something to both the casual and the dedicated fan. Most of the must-have songs are here, as well as a generous helping of unreleased songs, B-sides, alternates and demos. And it all gels, making "Biograph" an excellent, if not definitive, summary of Bob Dylan's career from 1961-1985.

Many great songs are missing, of course they are, but with an artist as prolific as Bob Dylan that can't be helped. And the songs that are here are superb (with the exception of two or three that are merely very good).

The track list includes all-time classics like the early acoustic numbers "Blowin' In The Wind", "The Times Are A-Changin'" and "Mr Tambourine Man", electric rock songs ("Like A Rolling Stone", "All Along The Watchtower", "I Don't Believe You"), folk-rock ("I Shall Be Released", "Knockin' On Heaven's Door", "Se?or"), country-rock ("If Not For You", "Lay Lady Lay", "I'll Be Your Baby Tonight") and lovely ballads ("Every Grain Of Sand", "I'll Keep It With Mine", and the simple, yet achingly beautiful "Lay Down Your Weary Tune").

The lesser-known tracks aren't rejects or filler. They are in fact excellent...from the acoustic "Up To Me" and the surreal "Quinn The Eskimo" to the quirky, upbeat pop of "On A Night Like This" and "Heart Of Mine".

There is no such thing as a definitive Bob Dylan-compilation, and three CDs certainly wouldn't contain it if it did. (And besides, "Idiot Wind" is missing, which is a crime.)
But "Biograph" is still 3½ hours of some of the greatest music ever to be issued, and the rarities and unreleased tracks makes it a must-have purchase even for the dedicated fan who already has all the hits.

Uneven, a very tough listen
I had high hopes for this set but was disappointed. The BIG problem is the sequencing of the songs. This would be a much better collection if it was in chronological order. As it is, it is a very tough listen. The unreleased rare stuff is uneven and certainly not good as what is on Bootleg Vol. 1-3. The live version of Isis is AWFUL!!

Box Set
Bob, to quote the barenaked ladies...

I never thought that words like product could ever leave my lips,
but something happened to me somewhere that made me lose my grip.
Maybe it's a lack of inspiration that makes me stoop,
or maybe it's a lack of remuneration; I can't recoup.
But if you want it folks, you got it;
it's all right here in my box set.

an excellent compilation but you know if you're a fan you know that you already got it.

A Box Set You Just Gotta Get
I can just imagine the excitement this set must have generated among Dylan fans when this set was released. Biograph was so much more than a retrospective because of all of the unreleased material on it. The set opens with "Visions of Johanna" from the Sixty-six tour and draws you right into the music. Just imagine, Dylan fans had to wait two more decades to finally get a whole Sixty-six show in the legal Bootleg Series. "Quinn the Eskimo" the third song on the record was recorded at Mr. D's Isle of White show in Sixty-nine and curiously enough left off "Self Portrait" where you can find more songs from that show. "You're a Big Girl Now" and "Tangled Up in Blue" are out takes from "Blood on the Tracks." "I Wanna be Your Lover" and "Crawl Out Your Window" are both songs left over from Sixty-six. "Percy's Song" one of the true gems of this set is from the earlier acoustic period. And there is more, so much more. This is one fine five star Bob Dylan set and if you don't own it, you should.

Reviewed by Stephanie Sane ... Read more

Amazon.com

Atlantic Records' futile attempt to make John Prine a star came to a head with the appearance in 1975 of this bewildering 11-song collection. Stax vet Steve Cropper stepped into the producer's seat with Common Sense, replacing Arif Mardin, who'd helmed Prine's first three releases. Cropper opted for a fuller sound, making liberal use of horns and vocal choruses (Bonnie Raitt and Jackson Browne are among the backup singers). Prine, for his part, responded by penning some of his most obscure lyrics. "Forbidden Jimmy" paints a Cubist portrait of a fellow who "got a mighty sore tooth / From biting too many dimes / In a telephone booth." "Saddle in the Rain" finds the singer imagining God waiting in ambush for him so he can "drink my wine and eat me like a sacrament." Ultimately, even old fans found the likes of "Come Back to Us Barbara Lewis Hare Krishna Beauregard" impenetrable. On the other hand, this might be the Prine album fans of crossword puzzles enjoy the most. --Steven Stolder ... Read more

Reviews (6)

It don't make no sense
With _Common Sense_, John Prine threw off the burden of being the 'next Dylan' and strove more toward being the next Picasso. Cubistic is perhaps a way to describe his songs here. Indeed, Prine says here "It don't make no sense/that common sense don't make no sense no more," and proceeds to show you why.
In "Saddle in the Rain," his use of the preposition "afterneath" is an attempt to do what Picasso did in his paintings, i.e., portray disparate dimensions at once. To my taste, it was a courageous, but, unfortunately, too precious approach. But it's a signal word in the record.
Where his "cubism" does succeed is in "Way Down," where, through an eerie juxtaposition of space and time, he describes narcissistic pain bordering on insanity:
"Thought I saw a neon sign/flash my name with the time/Prob'ly didn't see a thing/Crazy Dreams and broken wings"
In the very funny and very bawdy "Middle Man," he adds up his possessions to describe the same despair described in Way Down: Got an Aunt in Ohio/A boat that won't row/Some Veteran's insurance/ and nowhere to go/Darlin' can I be your middle man?"
This was a difficult work for his fans to understand, with its horns and back beat, and strange lyrics, but it was a courageous attempt at something. It's enough to make you think that Prine is more than just a clever songwriter; maybe he's an artist.

Prine sounds too obviously melancholy this time out!
I've seen some reviews of this album mention the word "poor". While I wouldn't go that far, I will agree that COMMON SENSE is one of John Prine's lesser albums. On paper, the collaboration of Prine and Steve Cropper looked promising, seeing as how Prine's music often had a slight R&B tinge to it. The result doesn't meet expectations. What could have been a joyous sound like Prine's previous albums became somewhat more dark and melancholy. Songs like "Wedding Day In Funeralville" and "Way Down" were too obviously downbeat, whereas Prine often masked a sad song with a catchy melody. Even more unsettling is the fact that these songs are short and almost unfinished, leaving the listener no real resolution. Prine's cover of Chuck Berry's "You Never Can Tell" even has a certain sadness to it. After the stilted COMMON SENSE, it was apparent that Prine's backlog of songs was drying up. So it was no surprise Prine took 3 years off (a long time in the '70s) before rebounding with the magnificent BRUISED ORANGE.

Prine Tamed
I am a huge Prine fan, but in my opinion this is one of the few poor albums he has made. Prine seems uninspired on all of the tracks here and there are few great songs on this album. I think that this is one of his few recordings where the material is actually overproduced and Prine one of the great songwriters of all time has his charm taken away.

You can't go wrong with this one.
You can't go wrong with pretty much any of Prine's work (except maybe a couple of numbers on Lost Dogs), but Common Sense fits in the Prine Canon like Tom Sawyer in the Twain Canon. This album mixes hilarious witticisms (Common Sense, Middleman, Come Back to Us Barbara Lewis...), a make-you-wanna-drive-your-car-off-the-road soul-wrencher (Way Down), scratch-your-head lyrics ("Until he went and lain His saddle in the rain"; "There's a rainbow of babies draped over the graveyard"), and an eclectic mix of well-executed musical styles to arrive at a perfect-pitch masterpiece. I agree with Slinkyman_98 -- "You Never Can Tell" doesn't really fit in. But even Twain has a right to stray every now and then.

Great and Better With Each Listen
Common Sense is one of Prine's best albums. From the blaring horns in "Saddle in the Rain" to the relaxed flow of "He Was in Heaven Before He Died" to the island flavored "Forbidden Jimmy" most all songs are exceptional. The exception is Prine's cover of "You Never Can Tell". Still the rest of the album pulls the slack out. The album also boasts a stellar supporting cast including Bonnie Raitt, Jackson Browne, Glenn Frey, Rick Vito, Steve Cropper and Steve Goodman. This is an album where each time it is heard a different favorite song seems to stand out. ... Read more

Amazon.com essential recording

With Rounder Records, Cheryl Wheeler found a home. With her first recording for the label, Wheeler steps to the plate and swings with confidence. Don't let the hilarious cover art fool you: from the atmospheric title tune to the gliding hooks in "Silver Lining" to the anti-gun hillbilly honk "Don't Forget the Guns" (with Alison Krauss on harmony vocals), this is a singer/songwriter tour de force. "75 Septembers" has a powerful sweep. An accordion adds a nice touch to a pair of tunes, including the bayou-flavored "Spring." And her paean to her adopted homeland, "When Fall Comes to New England," has become a performance staple. Jonathan Edwards, who produced her first two albums, wisely opts for a spare setting this time out, allowing her songs to shine through. Yet another sterling collection from one of the most sage and sly singer/songwriters on the circuit. --Robert Baird ... Read more

Reviews (15)

The one CD that I take on....
Cheryl Wheeler's Driving Home is the one CD that I take on every road trip. It is perhaps my favorite albumn ever. Wheeler is the epitome of a singer/songwriter. I love her voice and the folk-style music is great, but her meaningful lyrics are what truly set her apart. Listening to "When Fall Comes to New England" is like reading a book of poetry. I smile through upbeat "Spring" (I especially love the bridge), weep through the haunting ballad "Almost", and laugh during the satirical (but serious social statement) "Don't Forgent the Guns". This is, in my opinion, her most diverse and best overall album. I love everything she's done, but if you could only buy one of her albums or want to select a good gift...then this is my vote.

Another masterpiece
Following up the brilliant Circles and arrows (the album that first brought Cheryl to my attention) might have seemed a hard task but Cheryl maintained the standard set by that wonderful album. Musically, her style could be described as folk or country but it's actually a mix of the two.

Cheryl's sense of humor is evident in Don't forget the guns, a sarcastic song in which Cheryl ridicules the American obsession with guns.

The title track opens the album in cheerful style, with Cheryl singing about an enjoyable drive through Pennsylvania countryside, listening to the music of Richard Thompson. A different drive home, this time by night, was the inspiration for Orbiting Jupiter. Cheryl sings about the pleasures of listening to music as a teenager in Music in my room. Two other cheerful songs (Spring, When fall comes to New England) extol the joys of those seasons. Cheryl describes the start of a new relationship in Silver lining.

On the reflective side, Cheryl sings of relationships going wrong (Act of nature, Bad connection) and the march of time (75 Septembers - a song in which she asks about how things used to be). There is also a song (Frequently wrong but never in doubt) about somebody who always thinks he's right but rarely is.

This is one of Cheryl's best albums. If you enjoy singer-songwriters with a sense of humor, you will surely enjoy Cheryl's music.

A pleasant experience
While I do enjoy listening to many songs on this CD--it is not my favorite collection of Cheryl's material by any means. I love the title song, "Driving Home" as well as "Silver Lining," "Frequently Wrong.....," "75 Septembers" and "When Fall Comes to New England." But I do have problems with "Orbiting Jupiter" and "Almost." But it is still very much worth listening to and owning.

Turn Up the Volume and Turn Off the Lights
I have owned this album for about ten years now and I can honestly say I never get tired of listening to it from beginning to end. Cheryl Wheeler is an awesome storyteller as well as musician. My favorite track off the album is "Act of Nature". The song chronicles the development of a storm on the literal level but also deals with the break-up of a relationship if you listen more closely. There is a little something for everyone: toe tappers like Spring, Music In My Room, Don't Forget the Guns; sentimental slow songs like: Driving Home, 75 Septembers, and Almost. I have seen Cheryl live on a couple of occasions, a treat not to be missed.

This is a wonderful CD
Well worth purchasing. I keep it permanently in my car and go back to it time and time again. "When Fall Comes to New England" is beautiful. When I die I hope my husband figures out that I really liked this CD and plays a few songs from it at my funeral...well, one can dream I suppose! ... Read more

Reviews (40)

A great Gospel record
Dylan's "Christian" phase (Slow Train Coming, Saved, Shot of Love, Infidels) produced some of his very best music. "Saved" is the most "gospel-y" of the four, and redefines the gospel genre in the same way he had successively done for folk, rock, and country (and later did for blues). If in-your-face Christianity makes you uncomfortable, you won't like this album, but anyone who likes gospel music (or any sort of Christian music) must not miss it.

The only reason it doesn't get 5 stars is that it's not for everybody. Dylan is in a musical groove here that is as compelling as in his great trilogy from the mid-70's (Planet Waves, Blood on the Tracks, Desire). "Shot of Love" had greater individual songs (Property of Jesus, Lenny Bruce, The Groom's Still Waiting at the Altar, Every Grain of Sand), and "Infidels" was more varied and complex, and "Slow Train Coming" was more of a revelation, but "Saved" is the most consistent of the four and the one which works best as a coherent whole.

For this reason, I don't like to single out songs, because they're all excellent and have a cumulative impact. The lyrics are clear, powerful, and theologically both sound and deep ("What Can I Do For You?" and "Saving Grace" showing particular originality). Dylan's vocals are full of such unmistakable joy, thanksgiving, love of God, and concern for humanity that it's impossible for any Christian not to be deeply moved.

The backing band is terrific, with creative arrangements and notable piano playing from Spooner Oldham. Dylan's female background singers, led by Clydie King, have been criticized by some for their over-the-top enthusiasm on his other records from the period, but here their gospelly flair is perfect.

After 1983 Dylan moved away from overtly Christian music. His change in musical style has led some to conclude he's lost his faith, but it's clear from many songs on 1989's "Oh Mercy", 1993's "World Gone Wrong", and 1997's "Time Out of Mind", as well as the old gospel songs he sings in concerts sometimes, that God is still with him and he's still "Pressing On".

Rollicking, Emotional, Sincere - among the best
In the early days of Dylan's career, it took Joan Baez's ANY DAY NOW (ASIN/B000000EKG) and other folk rockers to reveal to people the amazing lyrical nature of Dylan's melodies, which were often concealed behind his now-famous "raunching and rheuming voice" (Tom Wolfe.) Interestingly, once his musicality is discovered, that voice is found to reveal more with its vulnerability and transparency. You don't want anyone else but Dylan to sing, "How does it feeeel.." or "Seeeerve somebody."

SAVED is stuck in the blind spot for many reviewers. This time it is not the voice, but the testimony (to use the Christian word.) And the negative reviews are hiding behind pecksniffian dismissal of the songs' "lack of musicality" or "lyrical depth" or other phrases that seem to have been stolen from a smarmy NPR review. I can prove it: take a listen to the album GOTTA SERVE SOMEBODY: THE GOSPEL SONGS OF BOB DYLAN (ASIN/B00008NGAJ) by the likes of Aaron Neville, Dottie Peoples, Sounds Of Blackness, or Rance Allen. Listen to Saved, Pressing On, Are You Ready - and tell me that there is ANY lack of musical variety and beauty (as well as joy and inspriration) or lyrical insight!

Then, of course, return and listen to Dylan do the same songs. Who else can touch the ache of the heart, speaking to its maker, "What can I do for you?" or praise Him for a "covenant woman?" or the committment to keep "pressing on."

This is a fantastic album. By the way, on the GOSPEL SONGS CZD, Dylan covers his own Change My Way Of Thinking, that will blow you socks off.

Dylan's WORST Album
I used to own the vinyl version. It made a lovely ashtry.

Seriously: SKIP THIS ALBUM. I own almost every album by Dylan, but I threw this one away. Literally.

Dylan was in this period apparently possessed by his born-again christian mania, and his lyrics are intolerant, didactic, humorless, and smug.

Absolutely without a doubt his very worst album EVER. He's recorded over 40 other albums so far... start with ANYTHING ELSE.

I'm so glad!
Mr. Dylan's most strictly "Christian" album is not bad. Musically, it is quite stirring in places. Dylan's voice is deteriorating here, but his enthusiasm for the "message" he's trying to convey is always touching. He really sounds like a man who's been saved from "the fiery pit" in the nick of time.

Much of the criticism of Dylan's gospel work reeks of hypocrisy. Rock music "experts" like Dave Marsh did chastise Mr. Dylan for buying into a prepackaged ideology and trying to force it onto an unwilling public, while simultaneously lavishing their worthless praise on dead, quasi-literate black men like Blind Willie Johnson and Blind Gary Davis, both of whom sang almost nothing but gospel on street corners. (See the ROLLING STONE RECORD GUIDES of the 1980s.) So what if Dylan resembles more Blind Willie Johnson than he does Blind Willie McTell? Judge the music, not the man. Furthermore, the ideology of the "protest song" movement was (and is to some extent) fixed for all time, for anyone to adopt and make his own, if only to sell records to a target audience and make a name for himself - as Dylan did when he was young.

SAVED isn't a failure because it's a Christian album from end to end, or because its maker was an icon of the "counterculture." The problem with SAVED, I think, is that it was somewhat hastily thrown together between two evangelical tours, and poorly recorded at that. Dylan's lyrics on SAVED are atypically focused and straightforward, sometimes to the point of ridiculousness. "Are You Ready?" sounds like a Chick tract [crass evangelical comic books, strategically placed in rest rooms and telephone booths] set to music, though somehow it's one of Dylan's best gospel numbers, a nasty mid-tempo groove similar to "Gotta Serve Somebody" but far more threatening in tone. "Solid Rock" is also very much "by the Book," lyrically, and likewise more compelling on the basis of its music. "Solid Rock" and "Pressing On" hammer home one of Dylan's favorite themes, that of the struggle to maintain spiritual correctness against the contrary forces of persecution, ridicule, and one's own weakness. That's another potentially off-putting aspect of SAVED and Dylan's gospel work in general - the singer frankly anticipates these "enemies" and flaunts his struggle against them, as though he's doomed to suffer the tortures of the damned for his correct beliefs. The album opens with a traditional tune, "Satisfied Mind," but Dylan sounds anything but satisfied most of the time. The one "upbeat" tune is the title track; when the singer chants "I'm so glad," you can almost hear the smile on his face.

In the period from STREET LEGAL (1978) to INFIDELS (1983), SAVED is the least eccentric Dylan album, and it's more raw and undisciplined (in a good way) than the rest. Unfortunately, the original mix doesn't do justice to the music on this album. If SAVED ever gets a remix & the SACD treatment accorded to STREET LEGAL and some other Dylan manifestos, it will get more of the respect it deserves.

3 and 1/2 Stars
Bob Dylan's trilogy of albums released during the years 79-81, of which Saved is the second, have historically been referred to as his "Christian trilogy" or the albums released during his "born-again period." With the release of the excellent Gotta Serve Somebody: The Gospel Songs of Bob Dylan, which has led to a subsequent re-examination of all his work from that era, it is now being widely referred to as his "Gospel period." To be sure, all three albums contained strong religious overtones, Christian imagery, and gospel elements. However, the first of the albums, Slow Train Coming, was still firmly-rooted in rock music, backed, as it was, primarily by the members of Dire Straits, with some R&B elements intermixed. Shot of Love was a far more secular effort, with only a few overt religious songs and much more of a rock element. Saved, on the other hand, is Dylan's fully-fledged gospel effort, by God.

This is apparent from the opening of the very first track, a cover of A Satisfied Mind. This leads into the title track, with Dylan's most overt set of lyrics ever, up to that point. The lyrics throughout the entire album, in fact, are unabashedly Christian. Some of the songs on Slow Train were somewhat ambiguous, and could be taken in more than one way -- I Believe In You, for instance, which could just as easily be a statement of dedication to a loved one as a testament to Christ -- and Shot of Love contained much material that was undoubtedly secular. Not Saved. Every track is a full-on gospel number. The music matches the lyrics accordingly. All of the songs contain huge, striking gospel arrangements, featuring superb piano-playing from legendary keyboardist Spooner Oldham, as well as some fantastic organ playing on a few tracks. The backing vocalists go a long way toward establishing an authentic gospel feel throughout the album, faring much better than they did on the previous two albums, where they often sounded robotic and lifeless. Jim Keltner, as always, provides stellar drumming, and Dylan's harmonica slices adeptly through the mix. As is well-known among those who have actually listened to the trio of albums -- it's a damn shame that many simply refuse to even give them a chance -- Dylan's vocal performances on them are among the absolute best in his entire career. In this reviewer's opinion, Dylan reached the peak of his vocal prowess on the '75 leg of his Rolling Thunder Revue tour, but his performances here rank just below that high watermark, and are even more impassioned and emphatic. Dylan clearly believes what he is singing on this album. The words and the sentiments expressed in the songs are very important to him, and he delivers them with some of his most emotional, impassioned vocals.

Why only 3 and 1/2 stars, then? Simply because this album, in comparison to the greater Dylan canon, does not hold up favorably. I personally find it to be the weakest, both lyrically and musically, of the gospel trilogy, and possibly Dylan's least effective album up to that point, with the possible exception of New Morning. To be sure, the vocals are consistently incredible throughout, and the music is sometimes almost-equally inspired, but the lyrics are very substandard for Dylan, the greatest lyricist of all-time. Most of them are fairly simple, as are the sentiments expressed therein. (I suspect this was intentional. Several of the songs, notably Pressing On, are written in an agrammatical style clearly inspired directly by the King James Bible. Dylan probably kept the lyrics simple and direct, in order to get his message across loud and clear, without any window dressing; this idea is reinforced by the fact that Dylan left several of the more lyrically-ambitious pieces that he composed around this time off of the album. Verses are generally kept fairly simple throughout, while choruses are prominent, frequent, and oft-repeated. Several of the songs feature short, frequently-repeated refrains that achieve a kind of hypnotic effect upon the listener, after they have been heard chanted over and over again -- very prayer-like, very hymn-like... and obviously intentional.) While these songs certainly have achieved Dylan's apparent purpose, they simply do not make for his most compelling set of songs. That is not to say that there is not some very good material here, however: there most definitely is, though I don't think that there is truly a great one. The undisputed highlight of the album is Saving Grace, which features far and away the album's best lyric and an absolutely mesmerizing vocal performance from Dylan, which shows the best of his emotional side. The appropriately-named Solid Rock is another highlight: it is the most rocking song on the album and features a heavy R&B element. What Can I Do For You? and, especially, Pressing On are transcendent pieces that belie Dylan's true convictions and can't help but elicit an emotional stirring in the listener. If these songs do not move you, whatever your personal religious convictions might be, then you are either dead or simply not listening. A Satisfied Mind is effective, if short. The songs that I have not mentioned, however, are much less substantial, and bring the overall quality of the album down somewhat.

In the end, I recommend this album highly to those who are big fans of this period of Dylan's career, and to fan's of gospel and Christian music in general -- a crowd who has, quite shamefully, almost totally ignored Dylan's contributions to their canon. Among Dylan's non-Christian fans, a group that probably constitutes the majority of his fan base, including myself, there is still a lot to like here: great vocal work, inspired music, and a sheer dedication and conviction the music. However, no matter how one slices it, this is a relatively minor album in Dylan's vast catalog, and you should have 15-20 of his other, better albums before venturing into getting this one. ... Read more

Reviews (4)

The 'O Henry' of music
Although some of the songs were co-written, there is no doubt that 'German Afternoons' is unmistakably John Prine. His are short stories set to music...like O Henry, there are the twists of phrase, the surprise choruses....the thumbnails of funny and sad lives told by a confirmed optimist.

With A.P. Carter's 'Lulu Walls', Prine reaffirms the roots that influence not only his phrasing, but also his upbeat and melodic guitar. As a 20th-century man, he is bewildered by women in "Linda Goes To Mars", and loves them in "Lets Talk Dirty in Hawaiian". The latin-flavored 'I Just Want To Dance With You' makes you want to do just that. And in "Speed of the Sound of Loneliness", possibly the capstone of the album, he is surprised by, yet seemingly resigned to, a love gone wrong.

There is something strikingly different about a John Prine song. When you are listening to it, it seems to say so little. And when you are done listening, you are confounded. Because when you start to think about what you have just heard, you know you have heard a gem.

His best, in my book
This is my all-time favorite John Prine album, and I'm a long-time fan. How can you top a line like "You've broken the speed of the sound of loneliness"? The backups are just right for these songs, too. Listen through headphones to get all the subtleties. Like another reviewer, at first I prefered other takes on Paradise, but now I think I like this one at least as well.

Are you kidding?
This album is one of the greatest accomplishments of western civilization! It's up there with the White Album. Prine is this planet's greatest living songwriter, and they're all here on this one. The bluegrass-flavored band he uses throughout the recording is a top notch bunch of fellows. This is the best thing he's ever done, and if you don't agree, you can come to my house and I will personally apologize to you in my front yard.

Not His Best But Contains Bright spots
I am a fan of Prine. I own all the discs. I've seen him a number of times. This album is good - just not as good as some of his others. I don't hear a connection between Prine and the album. Most times it sounds too glossed over and produced. The first three tracks are fine. "Linda Goes to Mars" and "Let's Talk Dirty in Hawaiian" are very good. "I Just Want to Dance With You" (recently covered by George Strait) is o.k. but lacks something. "Bad Boy" may well be the best song on the album with lyrics like "I got a way of / Fallin' in love / With angels / That don't shove / You into thinking / That you are committing a sin, / I've been a bad boy again" The version of Prine's own classic "Paradise" at the end of tha album is not the best recording of the song and leaves me wondering why it was included. If you are a fan - get it. If not, you would be better served by trying some of his better albums like "John Prine" , "Common Sense" , "sweet Revenge" or "The Missing Years". ... Read more

Reviews (38)

David captivates his listeners with this CD
"Wow!" is all I could say the first time I listened to this CD. The melodies captured consist of acoustic guitar and a rich baritone voice. The clear notes of the guitar and lack of overproduction clear the way to hear every word of every song. David is a very "feeling songwriter." He captures a feeling in the music he composes and reinforces it in the words he sings. A whole range of emotions is conveyed and the listener is captivated. If you like James Taylor's greatest hits, you'll love this one. When asked what he listened to when he went home, James responded, "David Wilcox!" If you want a taste of Dave, this is an excellent first step!

Special Stuff!
I would definitely consider this album (which I was lucky enough to have a travelling friend bring back for me from the States back in 1989) to be one one of the very finest albums, both lyrically and musically, to come from any singer-songwriter. Suberb lyricism combined with a refined guitar sensibility akin to Nick Drake.Wonderfully focused song-writing steeped in spirituality with a keen folk sensibility. As a vocalist Wilcox is often compared to the great James Taylor; listen to this CD and you will find that "Great" is an accolade that should be applied to both David Wilcox and this magical album. Of the many wonderful songs on the album, "Language of the Heart" is probably my favourite. I have recorded it myself and sung it many times in concert and to loved ones. Very special stuff.

seriously good stuff ...
one of the best albums ever recorded ... Wilcox is a combination of James Taylor and Cat Stevens ...

He Lives In My Head
If I were picking my top 10 of all-time, this would definitely be on the list. David Wilcox's lyrics make me think he's been living in my head and his voice sounds like it echoes my soul. If you listen to "Saturday They'll All Be Back Again" and aren't reminded of your awkward teenage years, then I feel sorry for you. And what person can't identify with "The Vehicle" and its analogy to a broken heart afraid to jump back into a relationship? And even if it's become a little trite amongst some of his fans, "Eye of the Hurricane" still aptly communicates the desperation and willingness to escape it.

If you listen to David Wilcox and don't get these messages, my guess is you never will. But if you do, then he will grip you with the rest of his work.

Dave's Best
If I had to create a top ten album list from my collection (over 1000), this CD would definitely be near the top of the list. The songs here are so achingly real that on at least one song, you'll wonder how Dave knows your life so well. For me it was "Saturday Night They'll All Be Back Again." I can remember the longing I felt to do "something" in high school and the contained prowling it led to. For me it was up Riverside and then back down Central, over and over again. The song captures the atmosphere so completely that every time I hear the tune I'm immediately transported back 20 years.

The rest of the album is like that too. Powerfully real, almost traumatically so at times. Each song takes you to a place and immerses you there, telling the story so well that you can feel the laughter and taste the tears. Many of the songs go deep below the surface and seem to have multiple meanings. A great example of this may be the title track which may speak to the redemptive quality of pure relationships but may also point to the artist's encounter with God on the eve of his baptism.

I can't recommend this album highly enough. I play it for ever one I know and most end up buying a copy. It belongs in your collection; really, it does. ... Read more

Reviews (9)

The Finest Acoustic Guitarist in the World
I heard Richie Havens for the first time at the 30th Anniversary Concert for Bob Dylan, where he delivered a magisterial performance of Just Like A Woman. I had always loved the song for its brilliant series of chord changes and its overall maturity, but I didn't appreciate its poignancy and beauty until I heard Richie Havens perform it.

I have been a fan ever since. Havens reminds me of another personal hero, Nina Simone, in that he deconstructs a song -- be it a standard, an original composition, or an obscure gem -- and reconstructs it in a way that is breathtaking and intoxicating. He doesn't just take his listeners through a song, but takes them into it, to explore its heart and soul and real meaning. He pours every ounce of his being into each performance, and the emotional effect is staggering.

His uncanny sense of lyrical phrasing, his percussive approach to strumming, and his technical virtuosity are truly unique. He is arguably the finest acoustic guitarist in the world, and deserves to be heard by anyone with ears.

Fire Meets Ice
"Mixed Bag" has been a fixture in my record collection since 1967 when I was a junior in high school. I have aged many years and travelled many miles since, and every so often, I take this album from the shelf, like a fine vintage wine. When I go to play it, I am always stunned at how good "Mixed Bag" really is. Richie's oak-sturdy baritone and his cascading open tuned guitar are unlike anything else I've listened to. It is like being reunited with an old friend every time I play it. On it's own terms, "Mixed Bag" holds up a lot better than much of the music that was regarded as "brilliant" at that time. What Havens established in "Mixed Bag", was a deep emotional bond of intimacy with the listener, that few have been able to create since. It is the perfect after-hours album, because of it is at once, melancholic and catharthic..."Mixed Bag" is the element of fire meeting ice. I don't think it's an accident that it was a masterwork. Havens was a shrewd and calculating performer and a savant at working a crowd and pacing his set. It was, after all, Havens that volunteered to step forward to open Woodstock, when other musical veterans stood gaping in slack-jawed fear of the immense size of the crowd. Whether it was a crowd of 25 at the Bitter End or 500,000 people at Bethel, Havens feared none.

After "Mixed Bag", Havens was never able to produce as dazzling a set of music. Never a prolific songwritter, Havens drew his choices from songwritters as diverse as the avant garde Fugs, to the ramshackle one man band, Jesse Fuller. The post-Woodstock Havens seemed content to retreat from the popularity, that many Woodstock performers seemed to enjoy. Havens veered from finding such strikingly original source music to perform, and instead began doing stylized covers of songs of by established performers like the Beatles or Bob Dylan. It seems to be a shame, because nothing in his latter work matches the passion of "Handsome Johnny", the introspection of "San Francisco Bay Blues", the meloncholy of "Morning, Morning" or the evocative force of "Follow." As a bonus Polydor has included two of his radio hits, "Just Like A Woman" and "Eleanor Rigby."

A voice like you've never heard anywhere!
Richie Havens is probably most famous as being the first performer to take the stage at Woodstock '69. I think that actually, Sweetwater was supposed to have been been the ones, but there was a transportation snafu so that it didn't happen for them. Trying to pay some kind of tribute, Richie kept singing the beginning to one of their songs ["Motherless Child"] while waiting for their helicopter to arrive.

As a result of this 'big gig', his antiwar song "Handsome Johnny" has ended up being his most recognizable work, but it's by no means his greatest. One of the only solo singers from the sixties or any era who does such a great job with such a low voice, Richie was utterly magic to me when I first heard him on Lon's big speakers in the dorm, ca. '67-'68. Richie's voice at all times and in all contexts is utterly soulful and full of benign power, sounding somewhat grainy but also as smooth as melting butter. Fathom that one!

This album is mostly 'folk music', usually with a decidedly jazzy edge expressed via the arrangements and an excellent combo of backup musicians. Havens himself strums along on acoustic guitar using a type of open tuning he himself invented, and which allows some unusually tantalizing voicings and articulations.

"Three Day Eternity" was one of our dorm gang's theme songs that year. Added to songs from other diverse artists, we had a hell of a good time musically and in general. [Others included "Soul Kitchen", "Not So Sweet Martha Lorraine", "2000 Light Years from Home", "A Day in the Life", "In Held Twas I", "For Emily Whenever I May Find Her" . . . and the list goes on and on].

Richie covered other songwriters' songs frequently--he is one of the few people to perform the Beatles ["Eleanor Rigby"] and Dylan ["Just Like a Woman"] well enough that you forget to compare them with the originals. He's really that good. Then he took an old song ["S. F. Bay Blues"], and, completely divesting it of its ragtime context, turned it into a powerful urban jazz-folk ballad. In concert he boasts about how much better he does it than the way it is has always been treated. Not to be disrespectful to old time tradition, but I think he's right.

But by far his best work is when he hits you with tunes, self-penned and otherwise, that hardly anyone's heard before. Especially with the slower numbers, and I don't say this lightly--you come away from listening to him feeling like your soul (and your mind as well) have been strengthened and healed.

As great as the melodies and rhythms are, the biggest strength of some of these less well-known songs are their lyrics. [It was a pity that when Lon and I saw Richie 6-7 years ago at the Ark in Ann Arbor, the soundman was so seduced by Richie's guitar playing that he forgot to turn up his voice high enough that we could hear his words.]

[Note that as good as this debut album was, his second one ('Something Else Again') was even better. It's not currently available, though some of the songs are on various compilations.]

A True Gem
I still vividly recall sitting in the Cafe Wha in Greenwich Village, circa 1965, mesmerized by R Haven's 12-string and his overpowering voice and persona. He epitomized everything vibrant about the folk scene of the era. His intelligence shone through his music, along with a strong dose of artistry and charisma. This album, mouch more than his grand Woodstock improve, displays the full range of his unique talent. This is an album that I probably listened to more often than any other in the late 60's to early 70's, therefore it has a special place on my list in my internal music vault. I'm happy to report that the music holds up extrememly well over time. The Vanguard production values were state-of-the-art at the time, and transcend the years without paling. For nostalgia fans, as well as those who just enjoy thoughtfully-composed, artistically scrupulous recordings. A classic, in every defenition of the term.

One of the most unheralded folk albums of the '60s
I was delighted when I discovered the "Mixed Bag" CD that now stands in for my old and scratchy LP. This album is so good, I'd even suffer through the LP's scratches to listen to Havens' powerful renditions. Remakes of songs made famous by other artists usually don't fare very well..... and for good reason. The musical chemistry of the original sets high expectations and only succeeds when attempted by someone who has an interpretation that reveals pleasing new dimensions and musical point of view. "Mixed Bag" does just that. Havens' raspy voice and strumming guitar combine to make music of great power and emotion. As unplausible as this may sound, Havens needed dental work and the gaps affected his voice in an interesting way!

I remember reading a review in which the writer said he bought an album if it had at least 3 great cuts. "Mixed Bag" substantially exceeds those results. ... Read more