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1. Eagles - Their Greatest Hits 1971-1975
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2. Yankee Hotel Foxtrot
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3. Best Of...Retrospective
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4. Hotel California
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5. Summer Teeth
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6. Yes I Am
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7. Southern Rock Opera
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8. Gp/Grievous Angel
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9. Best Of The Outlaws: Green Grass
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10. The Eagles Greatest Hits, Vol.
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11. A.M.
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12. Trace
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13. Being There
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14. Live at the Old Quarter Houston
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15. Shady Grove
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16. Nick of Time
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17. Jerry Garcia/David Grisman
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18. Luck of the Draw
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19. The Bonnie Raitt Collection
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20. Skin

1. Eagles - Their Greatest Hits 1971-1975
list price: $18.98
our price: $13.99
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Asin: B000002GVS
Catlog: Music
Sales Rank: 641
Average Customer Review: 4.43 out of 5 stars
US | Canada | United Kingdom | Germany | France | Japan essential recording

The pre-Hotel California years were arguably the best for The Eagles (though there were, thanks to Joe Walsh, some stellar future moments). Their mix of country, folk, and rock had a harder, grittier edge, and helped define what would become known as the Southern California sound. There was just enough of a country feel in the beautiful harmonies of "Best of My Love," to blur the edges between the genres. "Take It Easy" and "Lyin' Eyes" could easily have come out of the new Nashville school, as well. The twang that characterizes the guitar intro to "Already Gone" and the leads in "Witchy Woman" and "One of These Nights," also pays tribute to country's guitar greats. Greatest Hits 1971-1975 houses a scant ten singles, but not only does it illustrate the magic of the collaboration between Glen Frey and Don Henley, it shows the breadth of The Eagles impact on the many who would follow their lead. --Steve Gdula ... Read more

Reviews (120)

4-0 out of 5 stars A great album that any Eagles fan would enjoy
Before I begin I'd like to point out that what most people don't seem to notice is that this is only the best selling album in the United States NOT of all time (meaning around the world). "The Eagles Greatest Hits 1971-1975" has only sold 29 million copies worldwide. Worldwide, Thriller still stands at 56 Million worldwide. So while Thriller is second in America its still the best selling album of all time.

Though some may argue that "The Eagles" rightly deserves the number one spot. Traveling around the world you'll notice that "The Eagles" isn't nearly as popular worldwide as Americans wish they would be.

These songs are classics however and I'll say that while this album is better than Thriller in many ways why compare THIS music to Michael Jackson? Sales don't mean a thing! It's about whether or not the people like it or not. Just because it sold 27 million in the US doesn't mean all 27 million that bought it loved this album.

I did love this album however, enjoy this CD a lot. Ten songs is great but they really should've put more songs on this album. More hits, and maybe even some of their earlier hits could've been used. The album doesn't do nearly as much as it could to secure the music "The Eagles" have given us.

5-0 out of 5 stars A greatest hits that could have taken it to the limit
Having read David Fuller's review, I couldn't agree the gold disc! Worth every penny!

This album has, as of November 1999, become the biggest seller of all time: 26 million copies worth. Thriller is in second place at 25 million. And it's easy to see why. This perfectly captures the Eagles early years of country rock, before the Eagles turned all out rockers with Joe Walsh and Hotel California.

In fact, the ten selections are well sequenced flowing nicely together. Henley's vocals are judiciously split four per side. Each album is evenly represented on both sides of the LP.

The gold disc boasts superior sound, remastered directly from the two track stereo tapes. Curious is the fact that the track times are two seconds longer on each track. Compression on the orginal LP and CD perhaps? The jacket depicts the 3-D effect on the eagles skull, and features all the orginal graphics, including the LP labels.

One reviewer wished this CD could have been expanded. A couple of interesting facts: One, there were two singles from Desperado, Tequila Sunrise is on this, but Desperado was not a single. I'm glad it is on this. It is a track deserving of being on a greatest hits. However, the other single was Outlaw Man! Interesting!

Second, On The Border had three singles. Two of them are on this, but James Dean is not.

Lastly, we have a missing B-Side. The flip side to Take It Easy is a song penned by Henley-Frey called Get You In The Mood. To my knowledge, it is not on any Eagles album. I do not have much information on this 3:52 obscurity.

What we need is a comprehensive Eagles singles anthology. Let's hope we will get that, I mean the 30th anniversary is coming shortly. That's a hint!

4-0 out of 5 stars EAGLES KICK A$$
It F***IN rocks out.If you are a big eagles fan or you don't even like the eagles, you will still say that this album rocks out.Rock the F*ck ON!

5-0 out of 5 stars They're are still loved, even after 3 decades for a reason!
I just wanted to respond to a previous entry about the Eagles being better without Joe Walsh! Of course that is a personal opinion, however here is mine! I love the Eagles, and without Joe Walsh, there would be no Eagles!! Those guys together, are like magic.. This CD is by far one of the best CD's I own! Not only do I recommend it, I encourage it. All of the songs just get you rockin, whether you're on the road, at work, or just hangin out! I was lucky enough to see them perform, and let me tell you, they brought the house down, every single one of them!

4-0 out of 5 stars Better without Joe Walsh
Yeah I know that may be heresy for me to say that but I really didn't care for "Hotel California" or "The Long Run" all that much, and preferred The Eagles when Bernie Leadon was with the band. Just my personal preference, ok?

This CD takes some of the best tracks from those early (pre-Joe Walsh) Asylum albums and by today's standards, it could have been longer, but the vinyl only had ten songs on it to begin with, so it's consistent.

See if you can find this at a steep discount. The same with "Greatest Hits Volume 2" which only pulls off tracks from the last two albums with Joe Walsh.
_ ... Read more

2. Yankee Hotel Foxtrot
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Asin: B00005YXZH
Catlog: Music
Sales Rank: 424
Average Customer Review: 4.13 out of 5 stars
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Named in honor of the three-word codes used by short-wave radio operators, Wilco's fourth album sounds like a late-night broadcast of some weirdly wonderful pop station punctuated by static and the sonic bleed of competing signals. Songs that begin with simple, elegiac grace--"Ashes of American Flags" and "Poor Places"--end in a cathartic squall of distortion. The results can be initially jarring, but it's these tracks more than the sturdy jangle pop of "Kamera" or "Heavy Metal Drummer" that demand, and reward, repeated listens. Mixed by studio experimentalist Jim O'Rourke and produced by the band, Yankee Hotel Foxtrot harkens back to a time when the words "pop" and "sonic adventurism" weren't mutually exclusive. The Beatles and Kurt Cobain knew this, and clearly so do Jeff Tweedy and company. --Keith Moerer ... Read more

Reviews (539)

5-0 out of 5 stars one of the many glowing reviews
..lots of talk out there about this being a classic, a must own, one of the best albums to come out in ten years, on par with the white album, the kid a of alt-country...

...sigh...alright, let me try and gather myself...

upon the first few listens I didn't think much of this album. That's not saying much, because usually great albums do not reveal themselves in the first few listens. The album is rather soft starts out rather minimalistic in instrumentation with the background noise driven "I am trying to break your heart". Tweedy's voice blares out, distinct amoungst the sparseness of the surrounding bass line and (awesome) drum-riff. It's a powerful song when you give it the time. The album picks up a bit, getting (almost) poppy on "Kamera" and then later on "War on War", "Heavy Metal Drummer", and "Pot Kettle Black", but stays rather somber throughout. "Radio Cure" relies heavily on Tweedy's voice as it's centerpoint, with Microphones-ish bass-drum and guitar rising and falling every few seconds. The highlight here in my opinion is "Poor Places", the piano is simply beautiful as it twirls with Tweedy's sad/optimistic lyrical sway.

This isn't typical Wilco faire, but that shouldn't detract from the experience. The band seems much more interested in post-production and song as experience, instead of churning out catchy hook driven music with a few ballads thrown in, as they've done in the past.

5-0 out of 5 stars Finally!!! and worth the wait.
As you probably have heard, "Yankee Hotel Foxtrot" by Wilco was a long time coming. The music on this CD is dark and stunning, with many dimensions to it, much like a multi-faceted jewel. Wilco's innovative experimentation in the studio has resulted in a recording that's worth listening to over and over again.

But never fear -- while the music on this recording is "cutting edge," it's easily accessible. For example, the dissonance of the first track quickly reveals an underlying melody tying it together.

As this demonstrates, although songwriter Jeff Tweedy has definitely departed from alt-country, his creativity and gift with a melody line shine still through. Interestingly, his fascination with short-wave radio is also apparent -- not just in the title of the band and album, but also in some of the staccato rhythmical patterns interlaced within the individual songs.

If you're hesitant about buying this album, then download the free songs Amazon is distributing on the band's behalf. I think you'll like what you hear. Even though this is a recording that in many ways defies descriptions and classification by genre, I highly recommend it. Order your copy today!

5-0 out of 5 stars Tweedy's Uncompromising Sonic Beauty
Since so many people have reviewed this album already, I have no illusions about saying something for the first time nor plan on repeating what has already expressed fully and well.
I do still -specially for those people reading this after listening to YFH's follow-up the also impressive "A Ghost Is Born- need to point to a couple of important things that this album show about Wilco's consistently surprising output.
This album clearly demonstrates that Jeff Tweedy's musical vision and commitment to shed songwriting skins is remarkable and an inspiration, specially in the current midst of so many Rock and Pop icons continuing to repeat themselves, who at best flavor their "butter" differently but go on churning the same formula, forgetting to take the kind of risks that made them important in the first place.
Now, unlike many people have mourned earlier, I don't think this album is an absolute departure from what Wilco has been hailed for before. Although this is not "Summerteeth" or "Being There," Tweedy's love for Pop has not been renounced, "Kamera," "Heavy Metal Drummer" and "Pot Kettle Black" proved that.
More than abandoning former song-glories, Tweedy has evolved, has taken all that he can do and pushed it further into a new atmosphere. Where Jay Bennet was so instrumental in what the albums that preceded this one sounded like, Jim O'Rourke is now Tweedy's full musical partner.
And O'Rourke is no Yoko breaking a great band -actually Yoko did not either!- but rather someone who helped Tweedy say well what he was already prepared to say. His production deepens and thrusts these songs to a higher level. " Ashes of American Flags," "I am Trying to Break Your Heart" and "Radio Cure" are magnificent examples of a composer and a producer making music together that reaches farther that either one would have managed on his own.
This is a great album, not the end of a certain Wilco but the evolution of a sound into brave, new and exciting new possibilities.

5-0 out of 5 stars I'm the Man Who Loves YHF
Like most listeners, it took me several listens before I could even really tolerate many of the songs on YHF. Now I consider it brilliant and truly beautiful. I assure anyone concerned that people only like this album because it's different that my love for the album is genuine. Two years later and the songs still seem to connect more with each listen. The lyrics are sometimes cryptic but make more sense over time and have a distinctive flavor. The song-writing is not really as groundbreaking as some might proclaim, but the production of the songs is brilliant. Although the songwriting certainly comes from a different angle, I can't avoid the comparison to Pink Floyd with the incorporation of extraneous soundeffects into the flow of the songs. Ashes of American Flags is particularly brilliant in this regard, with two stunning but simple guitar parts cutting through out of the swirling static. The result of the production is that even lines of music that essentially amount to pop gain an otherworldly glow; Pot Kettle Black is another great example of this, as is I Am Trying to Break Your Heart. I would also be doing an injustice if I didn't mention how much I love I'm The Man Who Loves You, with its swelling conclusion. This is a collection of songs that would be good without the magical glow of the brilliant production, but which gains a unique appeal in its combination of swirling dissonances and common sense melodies. Buy this album! There's a decent chance you won't like it, but it will become a cherished possession if you do; it occupies a completely unique space in music and will move you more with each listen.

5-0 out of 5 stars Greatness needs to be appreciated and encouraged
Ladies and Gentlemen, we have in our presence an album that breaks ground much the same way Pink Floyd's "Dark Side of The Moon" did. Yankee Hotel Foxtrot is a mind blowing experience that takes Wilco from alt-country to art. Finally burying the legacy of being a piece of the former Uncle Tupelo, this record works on all levels. The songs are well written and meaningful, except perhaps for Heavy Metal Drummer, but even intense drama needs a laugh to lighten the air. This is on my top ten of all time list along with The Beatles "Abbey Road", Pink Floyd's "Dark Side", The Replacements "Let It Be" and a few others. Buy this record! ... Read more

3. Best Of...Retrospective
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Asin: B000002IAZ
Catlog: Music
Sales Rank: 2502
Average Customer Review: 4.32 out of 5 stars
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Only a handful of bands have made a greater impact with fewer recordings than the short-lived Buffalo Springfield. Their history is told in the titles of their three albums: 1967's eponymous debut was followed by the peak-performance Again later that year, which was followed by 1968's Last Time Around. While their entire recorded career encompasses a mere two years, the Stephen Stills-Neil Young-Richie Furay-led quintet produced a number of '60s rock classics. Stills chipped in "For What It's Worth" and "Bluebird"; Furay's "Kind Woman" is one of the touchstones of country-rock; and Young fired off the likes of the raucous "Mr. Soul," the gentle "I Am a Child," the ambitious "Broken Arrow," and the breathtakingly pretty "Expecting to Fly." They're all on this 12-song overview, a suitable option for anyone who isn't up to stocking up on the entire catalog. --Steven Stolder ... Read more

Reviews (38)

5-0 out of 5 stars TOO MUCH TALENT FOR ONE BAND
Buffalo Springfield was a band more known for what it's members did after they left, than the great music they made as this short lived group. Although only together 18 months, they were the blueprint for some of the most successful country rock bands to come, such as CSN, Poco, and the Eagles, along with about every other west coast rock group. The songs on this retrospective, which originally came out in 1969, just after their breakup, were written by either Steven Stills or Neil Young. The lone exception being "Kind Woman", which was penned by Richie Furay, who later recorded it again with his band Poco. The first song here, and probably their most famous single "For What It's Worth", established Steven Stills as a great songwriter. It also had that catchphrase in it, "There's something happening here/what it is ain't exactly clear", which was a popular line in 60's counterculture at the time. Another great Stills song is "Bluebird", which features some nice guitar work. It starts out as an all out rock song, then comes that famous guitar interlude, and then switches gears and becomes a banjo driven country song. Absolutely brilliant! Not to be outdone is Neil Young. He pens 3 great tunes in a row, starting with "On The Way Home". I love this song. With it's horn arrangements, it's different than any other Buffalo song. "Nowadays Clancy Can't Even Sing" is a beautiful folk rock song with CSN type harmonies. His masterpiece here is "Broken Arrow". A unique song that has a bit of everything in it, from full orchestration with a bolero type of drumbeat, mixed with a countryrock sound with numerous rhythm changes. This song rivals anything those boys from Liverpool were doing at the time. There may not have been a better songwriter around than Neil Young during the Springfield period leading up to his first 2 brilliant albums "Everybody Knows This Is Nowhere", and "After The Goldrush". Although this is a relatively small retrospective, every song here is a gem. Buffalo Springfield was one of the most creative bands of the 60's, but because of their strong individual writing and performing talents, this was also the reason for their breakup. This is an excellent historical document of the band that started the whole folk, country rock movement. Highly recommended!

5-0 out of 5 stars A definitive sixties collection here of Buffalo Springfield!
What CD has the excellence of their short lived musical career over a briefdecade period through years together 1967-1968. Buffalo Springfield is chronicled by a lifespan in this music compilation from three of their previous albums. My favorite songs on here are "For What It's Worth" is a classic from the television series soundtrack CD available "The Wonder Years" and it's academy award winning 1994 film soundtrack CD also available in music stores everywhere "Forrest Gump". Other hits include like "Sit Down, I Think I Love You" and "Bluebird". The original band members who were Stephen Stills (Crosby, Stills & Nash), Richie Furay & Jim Messina (Loggins & Messina) three americans. Neil Young & Bruce Palmer two canadian musicians from canada in the group. Get this CD album don't pay any attention or listen to what other critics say. It's truly the best rock'n'roll, folk-rock & country style tunes all combined. It will save your money's worth for sure!

5-0 out of 5 stars These guys were "Truly Original"many spin offs from this gro
My lord look at this line up.Sephen Stills Neil Young Richie Furay,and Neil said "hell we were just playing what we felt"So true ,they came off with some fantastic songs.They werent even trying it was so natural.They tossed out songs like new shiny dimes.Unadulterated,pristine,hard,soft,all very good.Iam a realist,old stuff is better than this crap they hype down your throat now.Stephen.

5-0 out of 5 stars Sixties classics
Around about the time that music was starting to get downright bizarre with groups like the Mothers of Invention stirring things up these guys came out of left field with their country-folk-rock slant and threw a curve into my little head. Every song was totally different in feel and intent. You can tell they weren't really studio rats yet because the tracks are uneven in tempo and arrangement/production from time to time but that didn't dampen their enthusiasm or imagination. Neil Young really stands out on this collection because he was blazing his own trail, not just following Stills and Furay down the path. But these songs are very special to those who grew up listening to this band and, as best-of cds go, this one represents them quite well.

4-0 out of 5 stars Bizarro Supergroup
In Superman's Bizarro World everything is reversed. So it was with Buffalo Springfield. While some refer to this band as a 'supergroup', such as Blind Faith, they were really a collection of emerging artists who, instead of coming together in their prime, broke apart to establish their true claims to fame. This is the band where Stephen Stills and Neil Young, and to a lesser degree Richie Furay and Jim Messina (who together later founded Poco), honed their artistic styles, and rather tentatively dipped their toes into the waters of stardom. Ironically, it was Crosby, Stills, Nash and Young, featuring two members of Buffalo Springfield, that eventually became the quintessential 'supergroup'.

Buffalo Springfield are often characterized as a pioneering 'country-rock' band, and while they certainly helped develop that genre, they were much more. Stills and Young were never awkward about delving into inspired rock and roll, and Richie Furay and Jim Messina contributed a soft-rock alternative, so the band had a very diversified feel. The 'Retrospective' collection does a good job of exploring these territories, although it unjustifiably focuses too much attention on Young's experimental psychedelia ('Broken Arrow' and 'Expecting To Fly') which is marginal at best. A serious omission is made in selecting these numbers as opposed to Stills' fine composition 'Questions' from the 'Last Time Around' LP.

Stills and Young do all the songwriting on this compilation, with the exception of Furay's 'Kind Woman', which sounds more like a laid-back Eagles composition than most laid-back Eagles compositions. Stills and Young both offer a trio of classics, opening with the biggest and only hit the band ever had, the youth protest anthem 'For What It's Worth', which rose to number 7 on the national charts in 1967. The song is still a real treat, especially in the stereo version offered on this CD, which separates out the vocal harmonies nicely. When the song was released as a single, it included "(Stop, Hey What's That Sound)" after the title, since the words "for what it's worth" appear nowhere in the lyrics. Without the parenthetical documentation, many would not have associated the title with the song.

Still's other standout contributions are 'Bluebird' and 'Rock and Roll Woman'. Together with 'Questions', 'Bluebird' represents the best of Stills work with Buffalo Springfield. The song is a tapestry of electric and acoustic guitar virtuosity, with the lyrics woven seamlessly throughout. It segues unpredictably into a banjo coda for a melencholy concluding verse. It is highly representative of all the best work Stills has produced. 'Rock and Roll Woman', for some reason, always impressed me as a precursor to 'Suite: Judy Blue Eyes', and I've often wondered if Judy Collins, who inspired 'Suite: Judy...', also inspired 'Rock and Roll Woman'. It's another gem, only slightly less dazzling than 'Bluebird'.

Young's contributions are impressive as well, and a foreshadowing of where he was bound as a solo artist. 'For What It's Worth' is followed by the driving guitar strains of 'Mr. Soul', which had every right to be a Top 40 hit. Young also contributes the orchestrated ballad 'On the Way Home', and the timeless 'I Am a Child', which has only gained credibility and an auditory patina over the decades.

The remainder of 'The Best of Buffalo Springfield' (a name reportedly lifted from the back of a parked steamroller) consists of lesser fare. Stills 'Sit Down, I Think I Love You', and 'Go and Say Goodbye', though featuring pleasant vocals, offer only rudimentary melodies and lyrics. Despite its shortcomings, 'Sit Down...' does feature all three of the Springfield's guitarists (Stills, Young, and Furay) weaving a nicely wound melodic bridge, and the interesting use of the word 'you' as a hinge between two verses (check it out!). Young's 'Nowadays Clancy Can't Even Sing' is similarly a cut below the capabilities he would later exhibit in a stream of songwriting prowess which continues strong today.

For myself, this collection and the CD 'Last Time Around' are essential componants of a Stephen Stills collection. Unless you are of a mind to purchase the Buffalo Springfield box set, which is a bit more than I was personally looking for, both CD's are necessary to collect the best of Stills' early work. As a bonus the fine Neil Young selections make the entire collection a very pleasant listen. Since we are generally inundated with these artists later works, hearing them in their genesis is an ear opening experience. ... Read more

4. Hotel California
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Asin: B000002GVO
Catlog: Music
Sales Rank: 3583
Average Customer Review: 4.35 out of 5 stars
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It's no accident that The Eagles Greatest Hits might one daypass Michael Jackson's Thriller as the best-selling album of all time-- the Eagles made great singles.By contrast, their albums could be spotty andstrained by self-conscious artistry.Hotel California was arguably theband's best single album--it was certainly the Eagles' biggest original disc-- and it also underscored the band's need to make a big statement.The title tunereflected the album's theme of paradise lost in California, painting thispicture with a musical arrangement that punctuated strumming guitars withdramatic drums, and perhaps the band's most famous lyric:"You can checkout any time you like, but you can never leave.""New Kid inTown" was an equally fine albeit much more traditional Eagles ballad. "Life in the Fast Lane" aspired to hard rock but largely gunned itsengine without taking off.The rest is okay, but nothing more than secondaryEagles songs that happened to be nestled into the album that came to define the`70s supergroup. --John Milward ... Read more

Reviews (117)

5-0 out of 5 stars A true classic
A truly great classic rock album from start to finish. The haunting, classic title track is along with Stairway to Heaven one of the most played songs on rock stations of all time. A strong sense of melody along with conceptual songwriting drive this album much like the Beatles Sgt Pepper album and Floyd's Dark Side of the Moon. There are no filler songs here, apart from the Title track other standouts are New Kid in Town, Life in the Fast Lane, and Wasted Time.

The closing track which closes out the album beautifully might be one of the Eagles best tracks, The Last Resort. Although some people find the song a bit 'preachy' because of its lyrics, this is an incredibyly, beautifully composed ballad and Don Henley delivers the vocals in one of his most impassioned recordings.
Listening to him sing the lyrics to this song, you are almost transposed into the world of Hotel California.

4-0 out of 5 stars Classic for a reason
I'm truly astounded that anyone could give this album 1 star. No, it's not their best work, but it's still a classic, and has probably one of the top 10 best rock songs of all time (the title track). "Hotel California", "New Kid In Town", and "Life in the Fast Lane" are all great songs that have earned their way into the popular music canon. "Wasted Time" is also an excellent song. "The Last Resort", the last song, is an epic, beautifully-written song about (according to Don Henley) "how the West was lost". It's probably the most beautiful and most underrated Eagles song.

The reason I can't, in good conscience, give this album 5 stars is because of "Pretty Maids All In A Row" and "Try And Love Again". I suspect that these songs being on the album were a compromise that the band struck up internally so that bandmembers other than Henley or frey could get a chance to sing lead and write songs for the album. Those two songs are really not up to usual Eagles standards.

1-0 out of 5 stars Even disco was better than this.....
Take yourself back to 1976. Rock was growing tired. Bands like the Eagles had their string of hits and were losing their imagination. So what do the Eagles do? They hire Joe Walsh and dedicate the rest of their professional careers to POP.

It was music like this that spawned the disco and punk backlash. If you want some good Eagles music, skip this one (and The Long Run), and pick up one of their first few LPs.

5-0 out of 5 stars The Eagles' arguable finest hour
The Eagles' fifth studio album(sixth overall) Hotel California was released just in time for the Christmas sale in December of 1976. The album is always regarded as the band's best and for good reason. The album was the band's first album of original material since 1975's chart-topper One of These Nights. A chart-topping Greatest Hits album which hit #1 was released in February of 1976 as a holdover until the band got a proper replacement for guitarist Bernie Leadon whom left in late 1975. Enter solo superstar/ex-James Gang guitarist Joe Walsh as he joined drummer Don Henley, guitarists Glenn Frey and Don Felder and bassist Randy Meisner and went to Criteria Studios in Miami that March to record the band's classic contribution to rock and roll history. The opening title track contains one of the greatest dual guitar solos of all time with Felder and Walsh alternatilg ala Clapton and Allman and the song itself is a treat about a state of mind called Southern California as it was in the 70s. That track was the second single and second #1 hit from this album. The first chart-topping single New Kid In Town follows and harkened back to the early Eagles sound and tells the story of fame and failure and knowing them as impostors that they are. The hard rocking Top 20 hit Life In The Fast Lane is next and brings Walsh's guitar riff together with biting lyrics from Henley and Frey about excess and self-destruction. The first half ends with the classic Wasted Time, which slowed things down again and is a great Philadelphia-soul sounding ballad about a good person in a bad relationship with a beautiful Philadelphia-soul sound type string arrangement. The second half kicks off with the Wasted Time Reprise before rocking out again with Victim of Love, the only track without overdubs at all. We slow down again with the first Joe Walsh vocal on an Eagles track with the ballad Pretty Maids All In a Row with Joe on piano and synthesizers. Randy's Try and Love Again is a mid-tempo song and would be a great way for Randy to finish his time with the band as he would leave in the summer of 1977. The closing The Last Resort is a great ballad and the lyrics are about the world destroying its environment and is a song that still holds up today. Hotel California deservedly hit #1 on the album charts upon release in late 1976 and has sold a staggering 16 million copies in the US alone and still holds up today, especially with the remastering job courtesy of Ted Jensen in 1999. Highly recommended!

2-0 out of 5 stars Can't hold a candle...
I have major trouble writing short reviews. However this lack-luster album makes it easy. It is to my books
the second worst Eagles album (Long Run taking that title)
and yes, I'm aware it had successfull singles.
"The New Kid In Town" is an impressive creation and the one tune on this album I keep coming back to, it's a pearl. "Hotel California" however never appealed to me as more than a bad spoof on Reggae, what? I'm supposed to like it for some layered guitaring? Queen did that before them, and much better and with way more creativity. The title song is probably one of the most overplayed and overrated tunes around. Someone who's name I've forgot said it best, this is an average rock-album by an average rock-band, that USED to be a great country-rock band. Sums up my feelings. But on the plus side, used copies are found in almost any records store round here, so might aswell pay the 2-6 euro and make up your own mind. ... Read more

5. Summer Teeth
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Asin: B00000I5JS
Catlog: Music
Sales Rank: 990
Average Customer Review: 4.3 out of 5 stars
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Wilco's de facto frontman, Jeff Tweedy, sports a colorful past, one where he wrote paint-peelers dedicated to late Minutemen founder D. Boon as a member of the feted (and maybe fated) Uncle Tupelo and where he dolefully crooned Woody Guthrie lyrics on 1998's Mermaid Avenue. But Wilco's Summer Teeth shows hardly a tatter of Tweedy's herky-jerky postpunk intensity or the agrarian rootsiness that so often came in the past from him. Instead this layered album spreads its digits far into guitar-heavy Britpop, with full-group backing vocals carrying bouncy choruses and synths whistling over the melodies. The tunes sound like a crosshatch of orchestral plans and an execution drawing on Alex Chilton and Big Star, the Kinks, and, only distantly, Wilco's debut, A.M. "We're Just Friends" and "Via Chicago" stand as harmonized twists on ballad formulas, the latter recalling Mermaid Avenue's "California Stars" with the opening line, "I dreamed about killing you again last night / And it felt all right to me." So it's not always uplifting or cheery, but it's got dozens of surprises in a mere 15 songs. --Andrew Bartlett ... Read more

Reviews (167)

5-0 out of 5 stars A Musical Explosion
Wow. That's all you can say about 'Summerteeth' after you listen to it for the first time. Being a longtime fan of the band, I was excited when I had first heard about this album. While I first heard Wilco on 'AM', I had not really grown to like them until 'Being There', a rich, diverse album that showed the band ready to grow in new directions. Looking back, it seems the band was merely streching it's muscles. Tweedy takes Wilco to new heights here, demonstranting, once again, while the band is so important right now. Instead of focusing on radio friendly music, the band continues to refine the experimentalism of 'Being There', which results in a whole new catalouge of rich, atmospheric work. From the opening track of 'Can't Stand It' to the lushness of 'Pieholden Suite" to the power of 'Nothing'severgonnastandinmyway (Again)', this album marks the new Wilco, with only the faintest glimmer of Uncle Tupelo in their work. While I loved 'Yankee Hotel Foxtrot' for the continued experimentation, for people who just want a great album and do not desire to explore the band, this is the single ablum to get.

5-0 out of 5 stars It had to have been made
Upon "Summer Teeth"'s release in 1999, Wilco had been playing the stripped-down, folk-tinged rock card to excess. Their two previous albums, the unnoticed "A.M." and the poppier double-album "Being There", were good, but hardly distinguishable from frontman Jeff Tweedy's first band, the seminal Uncle Tupelo. The songs off the first two releases were, for the most part, good to exceptional, but the country-esque lullaby production was getting rather redundant. Here, it seems, multi-instrumentalist Jay Bennet's pop influences have more presence. By using a more Brit-pop approach to their catalogue here, Wilco created their first masterpiece album.
It's surprisingly consistent, too. From the organ-driven first track "Can't Stand It" to the Kinks-like hidden closer "Candyfloss" everything here is outstanding. Even the folk songs like "She's a Jar" and "We're Just Friends" (the former of which is Wilco's best lyrical song to date) seem to have a new life when put into this masterful collection.
After this came Wilco's finest hour, the Amazing "Yankee Hotel Foxtrot", and by listening to "Summer Teeth" it's not difficult to see where they were headed.

5-0 out of 5 stars Apex Versus Turning Point versus Evolutionary Progress?
This was the first Wilco album I listened to, and (cliche, I know) was quite blown away. I was giddy for three days. Now I've been a shamelessly obsessive Wilco fan for 5 years or so, and can better digest what this album represents. Take the defining alt-country band Uncle Tupelo, launch a spinoff with Tweedy as frontman, Tweedy takes over, steers the band to ever more progressive obtuse pop. This is the first album where that direction was clear: the irrevocable departure from straight ahead roots rock towards an unknown realm of experimentation (though their latest work remains unapologetically listenable, unlike much of the other stuff promulgated by the likes of Captain Beefheart). Here we still see fairly simple country based ditties, but even in these is visible the desire of Tweedy and company to get a little darker, scarier, more surreal at times. There are upbeat rockers aplenty (Shot in the Arm, Can't Stand It) but listen to the lyrics and you'll see they're well beyond boymeetsgirl. There are breezy country-rock styled riffs, but again, scratch the surface and you'll hear Jeff Tweedy singing about growing old, fighting loneliness, etc. Bonus track Candyfloss is a shameless Beach Boys raveup, pure hyperglycemic pleasure. My two favorites are quite dark: She's a Jar (somehow it's about physical abuse and pervasive disappointment, though the lyric is a bit obtuse at times)and Via Chicago (darkest imagery, powerfully presented).
Even with the breakthroughs of Yankee Hotel Foxtrot and A Ghost is Born (their two subsequent albums) Summerteeth remains my favorite. The next two continue to depart from the pop mainstream while remaining quite accessible; Summerteeth was closer in, more comforting, more satisfying in a very basic way.

5-0 out of 5 stars the greatest pop album ever made
Poetic lyrics, excellent production, wonderful melodies, truly the best album I have ever heard and one I cannot go a week without listening to at least once. If the beatles could have made one more album and brian wilson produced it, it might sound like summerteeth. Just go buy it, words cannot describe how great an album it is.

5-0 out of 5 stars Great Great Great Disc
What do you say about one of our generation's most defining albums when no one has heard of it? The music, lyrics, and that undefinable edge of this album rank it as an all time classic, but few critics would rank this in their top picks. The reason is simple: Wilco's success has always been limited to intelligent discerning individuals looking for great music-not the next big thing. Wilco might never become Top-40 radio darlings, or their next album might propel them to popularity on par with the Beatles. Either way, they remain one of the best bands out there-no matter what genre of music you listen to.

Summerteeth is a miasma of rock, pop, and country music swirled into an amazing tapestry of sound. The songs evoke hard and true feelings: bitter anguish and bubbling euphoria. Like all truly great albums by truly great bands, they defy description and they work together. Wilco doesn't use cheesy concepts or themes to tie their songs to one another, but this is one disc you have to listen to all the way through to appreciate.

In the end, that greatness may be their commericial undoing. Although certain tracks would certainly work on pop radio, they're not as good by themselves. To hear one of Summerteeth's songs without hearing the rest of the album is like reading a single and random chapter of a great novel-it may be good reading while you're reading it, but you have to read the whole thing to appreciate its magnitude.

Buy this album, and listen to it, and it alone, for a week. Then buy Yankee Foxtrot Hotel and Story of the Ghost and consider yourself a Wilco fanatic. Trust me-it's worth it.

PS: also check out Greg Kot's forthcoming (June 15th) book on the Wilco. Greg is the Chicago Tribune's lead rock critic and one of the most honest and earnest voices out there today. His reviews are right on and transcend criticism to bring you the true story and significance of the music. ... Read more

6. Yes I Am
list price: $13.98
our price: $13.98
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Asin: B000001G0U
Catlog: Music
Sales Rank: 2850
Average Customer Review: 4.46 out of 5 stars
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Yes I Am is the album that catapulted Melissa Etheridge into superstardom. The 1993 collection's mercilessly driven, bluesy songs--nearly all dripping with sensual lyrics and rousing rhythms--made it the ideal breeding ground for a couple of career-enhancing music videos. The eerily possessive rock ballad "Come to My Window" hit the tube first with a bizarre twofold portrait of Etheridge and her guitar and actress Juliette Lewis having a nervous breakdown. This single brought the album into the public consciousness and was quickly followed by the similarly obsessive, slow-groovin' "I'm the Only One" and the co-dependence-battling "If I Wanted To." But the album's real strength is in the hidden gems untouched by MTV programmers. The slow-building "Silent Legacy," the undulating blues scream "Yes I Am," and the playful, acoustic "Ruins" are what make this album a whole. --Sally Weinbach ... Read more

Reviews (39)

5-0 out of 5 stars The quintessential Melissa
First of all, the album title is very appropriate - "Yes I Am" - alluding to her coming out as a lesbian earlier in 1993. And this album is indeed all about the now-public lesbian pride, felt through several high-energy songs and thoughtful lyrics. This is also the Melissa that most people are familiar with, as this album was the best-selling Melissa album ever.

The first track, "I'm The Only One," sets the tone with powerful bass and and a strong message affirming her love against all hostile circumstances. It is followed by "If I Wanted To" - a very high-energy song. "Come To My Window" is rather a let-down, but that may be because the radio stations tended to overplay it. The rest of the album is made up of high-energy songs like "All-American Girl," which is about the everyday life of a working-class single mother, and thoughtful vocal reflections such as "Silent Legacy," "I Will Never Be The Same," and "Talking To My Angel." Don't forget the title track either!

I find every track to be a gem in its own right, and do not hesitate to give album the highest rating. Coming out of the closet often means devastation to an artist's career, but Melissa has done what she has been always good at - great music and meaningful lyrics - to turn it into an even bigger message and success. This album may not have the subtlety of Melissa's earlier works, but it is nevertheless a great one... buy it and you will find yourself shouting "Lesbian Power" before you know it. Even if you are straight or male!

5-0 out of 5 stars The unofficial Melissa Etheridge coming out CD
I have a pet theory that the strength of an artist is not found in their hits, the songs that make the charts or get made into music videos, but rather by the quality of their "other" songs. My favorite albums tend to be those where I can say, yes, you want the hits, but the better songs are the other ones (I always thought that was particularly true of Elton John, for example). Consequently, "Yes I Am" has my favorite "other" Melissa Etheridge song, "Silent Legacy." I lucked out when she came to town to play a concert on her "My Little Secret" tour (clearly her best album), and "Silent Legacy" was the only non-hit song from her earlier albums that she performed, which probably just means she knows how good it is too. Much was made of the "obvious" meaning of the title song from this album, but when you get into Etheridge's lyrics that strength was that they were always about love and heartbreak without respect to the genders of the parties involved. Trying to force her songs into the mold of gay/lesbian anthems strikes me as both misguided and unnecessary. The songs are powerful because of the music and because they are intensely personal, not because they are about love between two women. Etheridge will never shake the label of being the female Bruce Springsteen, not (to quote Jerry Seinfeld) that there is anything wrong with that. The comparison is apt although certain the Boss sings about more than good love gone bad. They are both two of the best live performers around so let the comparisons continue. Final note: Unlike most artists where all you need to be happy is their Greatest His CD, Etheridge is an artist where you are going to want all the albums.

5-0 out of 5 stars an excellent CD
I must confess gay people make me very insecure,but I like Melissa,her songwriting and rough vocals make this an excellent rock album.Every song here is good,no need to program your CD player to skip tracks,let it play all the way through.The production and recording quality are great,provided by Hugh Padgham.Mauricio Fritz Lewak contributes a great drumbeat throughout.

2-0 out of 5 stars Bottom line: Two awesome songs. Get the singles instead
Yes I Am, and Etheridge in general are both severely overrated. The rest of the reviewers here make it sound like Yes I Am is a masterpiece when most of the songs are barely even mediocre. It doesn't make her music profound or emotional just because she's sexually attracted to other women. And it certainly doesn't make her an amazing songstress, because she isn't. I bought Yes I Am for "The Only One" and "Come to My Window", and expected the rest of the songs on the album to be on par with those two singles. How wrong I was. Don't get me wrong, Melissa has a certain passion to her voice when she sings, but most of the songs still sound like filler due to their overall lack of catchiness. None come even close to the two singles I mentioned above. I got Yes I Am in a tape lot at a yard sale. Since I was already familiar with Melissa's two breakthrough hits off Yes I Am, I immediately got that cassette along with her self-titled debut, Never Enough, Brave and Crazy, and Your Little Secret. I've yet to listen to them all, but I've also listened to Brave and Crazy all the way through along with Yes I Am, and Brave and Crazy is even more boring than the filler off this album. As of right now, I'm working my way through Your Little Secret, and the only half-decent song off side one is "I Really Like You". This review is just a warning to those expecting more material that sounds as great as Melissa's two huge hits, because it just ain't there.

Excellent songs:

-"The Only One"
-"Come to My Window"

Half-catchy songs that are by no means above average:
- "All American Girl "
-a song with a store bells jingling near the end (was it "Ruins"? I don't remember)

The rest of the songs are so boring it all meshed into one big bore I can't recall them

5-0 out of 5 stars YES YES YES SHE'S THE ROCK QUEEN!
Oh!, Please bring me some water!, this album it's so hot, you should own it, "I'm The Only One" it's a great break up song, that you can dedicate to anyone, of course we are the only one's, a rock classic!, "Come To My Window" one of the most easy to follow songs ever!, great lyrics, great music, amazing feelin', "If I Wanted To" a more easy and simple song, "Yes I Am" soulful and intimate, overall this is a classic album of rock music, the best album ever release by Miss Etheridge, a must have in any collection. ... Read more

7. Southern Rock Opera
list price: $19.98
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Asin: B000068FUS
Catlog: Music
Sales Rank: 2947
Average Customer Review: 4.12 out of 5 stars
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You don't need a bottle of Jack or even a trace of Southern lineage to appreciate the genius of Drive-By Truckers' Southern Rock Opera. Without a hint of irony, the Athens, Georgia, quintet creates a fast-driving, hard-living tribute to the indelible music and legacy of Lynyrd Skynyrd. Like any good concept album, there's a modicum of plot and a theme to these 20 songs (loosely based around the rise and fall of fictitious Southern rock band Betamax Guillotine), but the best tracks make you forget the story line altogether: "Birmingham," "Zip City," and "Let There Be Rock." The "opera" aspects bog things down a bit--you probably only need to hear the spoken-word track "The Three Great Alabama Icons" once--but the overall concept still comes off without a hitch. The lyrics are great, the trio of electric guitars is blessed with raw production, and the tunes--though lacking the pop sensibility of, say, "Gimme Three Steps"--will have you cranking up the album for your friends. And, after a few spins of Southern Rock Opera, you might even find yourself digging out those old Skynyrd LPs to hear the real thing again. --Jason Verlinde ... Read more

Reviews (34)

4-0 out of 5 stars The Drive By Truckers aren't trying to BE L.S.
Reviews so far are either glowing or very bad. The later seem to involve people who bought this recording based on reputation and the fact that it's supposed to be "Southern Rock." I can see how a purchase with those expectations might lead to disappointment, particularly for those who don't really like '90's and '00's roots rock and were expecting a faithful remake of Lynard Skynard. The band lists L.S. as an influence, but they obviously have a lot of other influences. I hear a good bit of Rolling Stones, Neil Young, Steve Earl, Seattle grunge and more in their music.

Pros: If you're a Southern person of the 30 something age range whose had any issues coming to terms with what being Southern means, both good and bad, then the theme of this album is likely to hit you between the eyes. These guys speak with a certain honesty not often heard. The album works on both first and repeated listenings and is one of the most REWARDING new releases to listen to in several years. These guys are fast becoming my favorite band.

Cons: A half star or so deducted due to rather primative guitar soloing (which also has its good side) and here and there a little bit of crudeness in the lyrics (I'm not talking about profanity . . . I mean the lyrics are a little unpolished in spots). Note, both of these criticisms are mere nit-picks when the work is considered as a whole.

Overall, an amazing album!

5-0 out of 5 stars The best Southern rock album of the last twenty years
I'll stand behind the title above. DBT are proud of their Southern heritage but at the same time very realistic about the shortcomings of Southern life. Hence their songs have in the past been about everything from incest to glue sniffing. Intelligent lyrics and keen insight are crucial aspects of DBTs songs.

In Southern Rock Opera they push the envelope in an odd way. They record a two cd song-cycle that is basically about life in the seventies and the end of Lynyrd Skynyrd. It could have been a disaster or a pigeon-holed curiousity. Instead it may be one of the best rock albums of the last twenty years.

There are great songs here such as "Ronnie and Neil" and "Dead Drunk and Naked". Truth be told there really aren't any throwaways in the bunch. But the real stand outs in my mind are the near spoken word "Days of Graduation" and "The Three Great Alabama Icons". I don't think anyone who went to high school in any small town or lived in the seventies and knew who Wallace was can listen to this and not feel the impact.

Highly recommended.

3-0 out of 5 stars It's a southern thang.
I must say that I never cared about "Lynyrd Skynyrd" much, but I saw this compared to other things I did like, and gave it a shot. Overall I'd say it's pretty good. They definitely walk that line between classic southern rock, and some of the recent alt-country bands, and I can see how "Southern Rock Opera" could please either crowd. There's a few slower/speaking parts that drag this down some, but tracks like "72 (this highway's mean)" and "Guitar Man Upstairs" rock along well. "Ronnie And Neil" is really good, and actually sounds like "Crazy Horse" to my ears, which may be the point. Not every song amazes, and I wonder if this wouldn't have been a better 15 track single disc, but oh well. So even though this is a decent album, I think when the mood strikes, I'll reach for "My Morning Jacket" instead.

4-0 out of 5 stars Southern Gothic
The theme of this album is obsession. Obsession with Lynyrd Skynyrd, Neil Young, George Wallace, Southern/Classic Rock and what the whole "southern thing" means in general to this band. No one in this group can play, write or sing on the level of the legendary groups that inspired them. The music is not melodic at all, the singer sort of shouts raspily along to the ragged but rockin' sound of the band. But I will say their music and the themes of their lyrics are very refreshing in the face of what else is out there in the world of music today and they definately pour their hearts into it and that counts for a lot. The vocals have such a thick southern accent at times,(particularly during the spoken word segments) that it sounds like the cornpone accent Mick Jagger used to use as a goof on songs like "Sweet Virginia" or "Far Away Eyes". Highlights for me were,"Let There Be Rock" and "Ronnie And Neil". These guys have some serious raw talent and ambition to spare and they are definately inspired by the right guys. I hope they grow and transcend their great influences, but for now, this is one of the most interesting rock CD's I've heard in awhile.

3-0 out of 5 stars Missed the point
I discovered these guys roaming around amazon and was intrigued by their comparisons to Lynyrd Skynyrd. As a big Skynyrd fan I bought the CD hoping that a band may have finally successfully found the tone and attitude Skynyrd celebrated. These guys haven't done it. The music is good, but they seemed to miss the point as far as who Skynyrd was musically. It is no surprise that they self admitedly just started listening to Skynyrd after years of growing up in Alabama ignoring the music.The album lacks the fun and honky-tonk rock Skynyrd virtually invented. While not a bad album, you don't shake your ass or tap your toes like a Skynyrd album would induce. It lacks the riffs, and electricity. These guys have taken something pure and turned it into melodramatic college rock. Talented musicians, but not worthy of the Skynyrd, Zeppelin, AC/DC comparisons they are recieving on this site. ... Read more

8. Gp/Grievous Angel
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Asin: B000002LKH
Catlog: Music
Sales Rank: 3999
Average Customer Review: 4.71 out of 5 stars
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On his two early-1970s solo albums, collected here on one disc, Gram Parson lends his fragile, aching tenor to music that's the definition of what he called "country soul." Neither of these titles is quite as strong as the work Parsons had previously done with the Byrds and the Flying Burrito Brothers, but with originals as great as "She" and "In My Hour of Darkness"--not to mention backing from Emmylou Harris and the core of Elvis's early-'70s band--both GP and Grievous Angel still stand as country-rock classics. --David Cantwell ... Read more

Reviews (59)

5-0 out of 5 stars A Great Voice Lost
After his brief tour with The Byrds and his founding efforts with The Flying Burrito Brothers, Gram Parsons released two solo LPs in the early '70s, "GP" and "Grievous Angel" that in many people's minds defined him (for better or worse) as the central figure in the evolution of the musical genre that came to be known as "country-rock." Listening to these songs today (now available on one CD), I'm struck by the fact that by today's standards they are much more "country" than "rock" ("country-rockabilly" is probably a more apt description, with songs like "I Can't Dance," "Oooh Las Vegas", and the not-exactly-live version of the Louvin Brothers' "Cash on the Barrelhead" providing a lot of foot tappin'), and would probably have a hard time penetrating today's watered-down country music programming.

Which is a shame - Parsons had few peers as a country singer, and his songwriting (often centered around the theme of sin and redemption) has endured since his mysterious death in 1973. The band assembled for these sessions would belong in anyone's Hall of Fame, led by the legendary guitarist James Burton, pedal steel maestro Al Perkins, and noted keyboardist Glen D. Hardin, and augmented by appearances from Country Gazette's Alan Munde and Byron Berline, along with then-ex-Burrito and future-Eagle Bernie Leadon. Most importantly, Gram introduced the music world to Emmylou Harris, who served as Parsons's vocal soul mate throughout the recording of these songs, be they heartbreaking ("Hearts on Fire", "Love Hurts"),... kicking ("Still Feelin' Blue", "Cash on the Barrelhead"), longing ("Hickory Wind"), or affirming ("Return of the Grievous Angel). Finally, Linda Ronstadt provides poigniant backup to what turned out to be Gram's epitath, "In My Hour of Darkness."

Gram Parsons did not want to be categorized, and refered to his style as "Cosmic American Music" - but I dare anyone to listen to this magnificent collection and not say to themselves, "Now this is what country music should be all about."

4-0 out of 5 stars Cosmic Americana
He preferred to call what he did "Cosmic American Music." But as a short-lived member of the Byrds, founder of the groundbreaking Flying Burrito Brothers, and the doomed Hank Williams of the hippie generation, the late Gram Parsons was really the Godfather of what we now call the Americana movement. Dismissing the "country-rock" name-tag placed on his projects, he sought to bring his love for traditional country and soul music together with his taste for rock and roll. And now, both of his solo albums--1973's GP, and 1974's GRIEVOUS ANGEL--are finally on one single CD, exposing Gram for the obvious, if tragically flawed, genius that he was.

Both albums served not only to spotlight his imperfect but emotional voice, but they also shone the spotlight on a young Birmingham, Alabama native by the name of Emmylou Harris, who proved to be the perfect foil for Gram's approach. Among his own original songs (such as "Still Feeling Blue", "How Much I've Lied", and the immortal "Hickory Wind"), we get juicy covers of the J. Geils Band's "Cry One More Time", Tom T. Hall's "I Can't Dance", the Louvin Brothers standard "Cash On The Barrelhead", and "Love Hurts" (originally recorded by the Everly Brothers in 1960).

Besides Emmylou, Gram assembled a cadre of musicians to help him, including many (Glen Hardin; James Burton; Ronnie Tutt) that also served as Elvis' sidemen and who would later serve as part of Emmylou's Hot Band. Country-rock veterans Alan Munde, Bernie Leadon (formerly of the Burritos, and at that time a member of the Eagles) and Al Perkins also lent their instrumental virtuosity. And on the final track, the prescient "In My Hour Of Darkness", Gram paired Emmylou on harmonies with Linda Ronstadt, thus setting in motion a friendship between the two songstresses that continues to this very day.

Gram was unfortunately done in by booze and drugs; and the aftermath of his untimely passing is now the stuff of macabre legend. But his genius is ably displayed on this recording, which should be considered essential by anyone with a taste for the unconventional, which Gram Parsons most assuredly was.

5-0 out of 5 stars True legend
Gram Parsons was a true visionary artist in my opinion. GP is his first solo album, originally released in 1972. Here it is coupled with his 1973 album GRIEVOUS ANGEL. On GP, it opens with the swinging country number "Still Feeling Blue". This album also paired him with Emmylou Harris, creating perhaps the best duet partners ever, and an undeniable chemistry. Their vocals really bring the material alive. He helped establish her as one of the most distinct and gifted vocalists. They sound especially great on "We'll Sweep Out The Ashes In The Morning", and "That's All It Took". The standout tracks though are the beautiful "She" and "A Song For You", which are very understated and having a southern soul sound to them which he made his own.

GRIEVOUS ANGEL is a good album, not as good as GP in my opinion but it's still a great one. He died before he would see the release of it however. An immediate standout is "Love Hurts", with Emmylou Harris, this is the best version I've heard of this song, there is an understated beauty to it. They also sound great on the ballad "Hearts on Fire". Other highlights include "Hickory Wind", "I Can't Dance", "Brass Buttons" and the poignant album closer "In My Hour of Darkness".

If you are interested in Gram Parsons, this is definately the CD to pick up. It has some great moments throughout, and really all the best solo material he's ever done. A fine album. The albums flow well together.

5-0 out of 5 stars Another Crown Of Jewels
This stuff is great!
I was one of the idiots who didn't give this guy enough attention.

I always loved the Byrds Sweetheart Of The Rodeo album, but never connected Gram as being the reason the vocals/sound was so excellent.

These 2 albums are just as great as the Sweetheart stuff if not better.
So if you are wondering like I did, if this is as good as that then the answer is - YES!

you definitely want this for your own self indulgence

5-0 out of 5 stars i can't say enough...
about this man. i know it is a bold statement, but no one died more before their time than gram, not even hendrix. he passed so young, but accomplished so much. the track listing is only for the second album, this cd actually has over 20 songs. everything here is so heartfelt to me. especially the live stuff just sounds fantastic, its like you're there. many songs deal with sin, redemption, inner struggles, and other quasi-christian concepts. i am not a religious person, but this stuff just means so much to me coming from gram. the icing on the cake that is gram parsons is his "sidekick" of sorts, emmylou harris. her voice absolutely belongs on every track it is featured. i truly get misty thinking about his words and legacy. please buy this cd ... Read more

9. Best Of The Outlaws: Green Grass & High Tides
list price: $17.98
our price: $14.99
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Asin: B000002VRZ
Catlog: Music
Sales Rank: 3056
Average Customer Review: 4.59 out of 5 stars
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Hailing from Tampa, Florida, and wielding as many as three lead guitarists at a time, the Outlaws are perhaps one of the least likely bands to be deemed worthy of a major-label retrospective CD. Though supremely competent, the band is completely indistinguishable in both style and substance from earlier and better known acts of southern rock's golden age: Allman Brothers, Marshall Tucker, Lynyrd Skynyrd. Green Grass & High Tides culls 16 tracks from the five studio albums the Outlaws recorded between 1975 and 1980, including their two minor hits, "There Goes Another Love Song" and "(Ghost) Riders in the Sky." Recommended for southern-rock diehards only. --Roni Sarig ... Read more

Reviews (34)

5-0 out of 5 stars The Ultimate Collection From The Ultimate Band
BEST OF THE OUTLAWS: GREEN GRASS AND HIGH TIDES is the ultimate collection from the greatest rock & roll band of all time, the Outlaws. I love all of the Southern bands, as well as other classic rock, hard rock, metal, jam, power pop, country, adult alternative, new wave, and modern rock bands, but the Outlaws take the pizza for being the cream of the crop. Get BEST OF THE OUTLAWS: GREEN GRASS AND HIGH TIDES, BRING IT BACK ALIVE, OUTLAWS, HURRY SUNDOWN, LADY IN WAITING, PLATINUM & GOLD COLLECTION, THE HERITAGE COLLECTION, THE ENCORE COLLECTION, DIABLO CANYON, HITTIN' THE ROAD LIVE, and SO LOW all at once if possible.

5-0 out of 5 stars The Ultimate Collection From The Ultimate Band
This is the ultimate collection from the ultimate band in rock & roll. Sure, I love Lynyrd Skynyrd, Blackfoot, Molly Hatchet, The Allman Brothers Band, Little Feat, and all of the other Southern rock groups, as well as numerous classic rock, hard rock, metal, country, jam, modern rock, new wave, power pop, and adult alternative artists, but the Outlaws take the pizza for being the best. The Florida guitar army has perfected a unique blend of sweet vocal harmonies, lightning guitar riffs and leads, rocking rhythms, and catchy songs that makes Warrant, Great White, Guns N' Roses, and Pearl Jam sound like Bread by comparison. This album is an absolute must for anyone interested in rock & roll.

3-0 out of 5 stars No Holiday
I couldn't buy this CD fast enough, however, I am seriously bummed that it does not include the great song "Holiday" on it.

5-0 out of 5 stars A treasure of the genre
A good starting point for those unacquainted with the Outlaws and excellent collection of favorite/familiar tunes for fans. The mastering is crisp and clean which complements the crisp Fender guitar sounds. This offering has substantial representation by both Hughie Thomasson and Henry Paul. And yes, I admit to liking "Green Grass and High Tides" (so sue me). While I wish Thomasson and Paul would contribute some new Outlaws music, I guess that's like wishing that Larry Niven would write a new novel comparable to Ringworld. At least we have these recordings...

5-0 out of 5 stars The Ultimate Rock Collection
This collection of great songs by the Outlaws is the best album ever made. I love Skynyrd, Blackfoot, Molly Hatchet, the Allmans, Marshall Tucker, Little Feat, and plenty of other Southern rock, classic rock, hard rock, jam, metal, country, power pop, modern rock, and adult alternative bands, but these guys take the prize for being the best band of all time. Their blend of sweet vocal harmonies, lightning guitar riffs and jams, rocking rhythms, and great songs is the ultimate in rock & roll. BEST OF: GREEN GRASS AND HIGH TIDES sizzles like a plate of smoky beef short ribs. ... Read more

10. The Eagles Greatest Hits, Vol. 2
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Asin: B000002H1C
Catlog: Music
Sales Rank: 2249
Average Customer Review: 4.15 out of 5 stars
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This second collection of hits features a hardening of sorts for these laid back southern California rockers. The emphasis shifts away from the lazy, rolling rhythms of the first collection to the tighter and harder-edged material contained herein. Part of the blame may be the inclusion of James Gang veteran Joe Walsh who adds noticeable lead guitar work and galvanizes Don Henley and Glenn Frey into taking greater chances. "Hotel California" is the obvious potboiler, but "Heartache Tonight," "Life in the Fast Lane," and "The Long Run" are close runners-up. Timothy B.Schmit's vocals on "I Can't Tell You Why" return the band full circle to their mellow, country-rock roots. --Rob O'Connor ... Read more

Reviews (53)

5-0 out of 5 stars Underrated compilation
The Eagles' first greatest hits-album became the first-ever LP to become certified platinum, and it remains the best-selling album ever in the US.
But "Greatest Hits volume 2" hasn't received the same accolades, and with the new "The Very Best Of The Eagles" compilation out, it looks like it'll be pushed even further into the background.

And that's a shame, really, because this collection brings together the very best from the group's last three albums (as well as one album track from "One Of These Nights", the lovely ballad "After The Thrill Is Gone", which is placed last, almost as if it was intended to serve as a comment upon the 1982 demise of the Eagles).

Unlike "Their Greatest Hits 1971-75", which featured primarily acoustic material and a few electric rock songs, "Greatest Hits volume 2" gets eight of its ten songs from the Eagles' last two studio albums, the multi-million seller "Hotel California" and "The Long Run".
Sure, there were great songs on "Hotel California" which aren't included here, particularly "Try And Love Again" and the ballad "Wasted Time", but this is the cream of the crop, really. The Eagles always chose the right songs for single release, and "Greatest Hits volume 2" brings together megahits like "New Kid In Town", "Heartache Tonight", "Life In The Fast Lane" and of course "Hotel California". (The only really significant omission is Joe Walsh's "In The City" from "The Long Run".)

"The Very Best Of The Eagles" is more comprehensive than "Their Greatest Hits" and "Greatest Hits vol. II", obviously, since it features 33 tracks as opposed to two times ten, but the combination of the Eagles' two original compilation albums remains a fine purchase for the casual fan who just wants the best of the best.

5-0 out of 5 stars Some of the best music ever made- in one cd
I got the Eagles - Greatest Hits Vol. 2 this week, and I must tell you- this is a fantastic album. I'm only 15, and weren't around when these songs were hits, so I'm very glad I made this purchase. If you've only heard the biggest hits, such as Hotel California or New Kid in Town, and like them- then you'll like the whole album, since it is filled with great songs in the same Eagles style. But if you don't like those two songs that much (how is that possible?), I would still recommend you to buy this piece of music history, since I'm pretty sure you will fall in love with the music after a few listens. I would suggest you to listen to the sound samples on this site, that will help you a bit if you're not sure. But they don't do the songs justice. One of my favourite tunes of the whole album I Heartache Tonight- it Really rocks. I can't tell you why is a beautiful song in the Eagles/Country/TOTO style (sung by Timothy B. Schmit). The long run is a great showcase of Henley's great vocals. I've listened to this cd 5 times, in 5 days, and it's getting better each time. Follow my advice- Buy this cd, it's some of the best music ever made. I'll be going to see the Eagles for my first time in two weeks, and I can't wait... Viktor

5-0 out of 5 stars Volume 2 Is Necessary If You Bought Volume 1
This is a great collection and is necessary to have if you bought "The Eagles Greatest Hits (1971-1975)". The best thing about Volume 2? It will save you from buying "The Long Run" if you want to avoid that album. In my opinion, you will ONLY need the hits from "The Long Run". The worst thing about Volume 2? Two things: "Please Come Home For Christmas" should have been included and You MUST buy their first volume because The Eagles were A LOT more than "Hotel California".

If you want just 2 CDs, then get their most recent "Very Best Of..." which includes "Hole In The World", an excellent song.

4-0 out of 5 stars Good compilation for when it was made
The Eagles were classic rock legends - no questions asked. Combining the talents of musicians like Don Felder, Don Henley, Glenn Frey, and Joe Walsh, this band served up a number of classic rock masterpieces that still get played on the radio to this day. Their music has stood the test of time and then some. How does this, one of the band's hits compilations, measure up? Read on for my review.

-Let's say you're a casual fan of the band and you want their big hits from their latter years. You'll get many of them on here - Heartache Tonight, Hotel California, Life In The Fast Lane, and Get Over It are among the masterpieces you'll find on here.
-Unlike the band's first greatest hits, this one also relies on a number of excellent songs that were never hits.
-This compilation is readily available in a number of stores.
-The price of this compilation will make it even more appealing to the casual fan.

-This compilation doesn't even come close to filling the eighty minutes that you can fit onto a compact disc. When you're making a hits compilation, fill ALL of the space on the CD!
-The compilation only covers material from the band's latter years - So it doesn't span the band's whole career. That means you don't get anything before 1976 - including Peaceful Easy Feeling, Desperado, Already Gone, and Witchy Woman.
-Die-hard Eagles fans will say that many underrated masterpieces from the band's latter albums should have been on here but got cheated, and I agree with this entirely.

As with any band, I recommend you buy all of the band's albums as opposed to a hits compilation. But if you must buy a hits compilation, the band released a new, dual disc one. I recommend getting that one instead of this one, since that one spans the band's entire career. Although this compilation was good for when it was made, it's dated now. If you're gonna get THIS compilation, don't pay too much.

3-0 out of 5 stars OK for casual fans
I am only a casual fan of the Eagles, and for my money you can't beat thier first greatest hits CD, but pick this one up too to complete your Eagles greatest hits collection. I got this one mostly for the well known hits to accompany the well known hits from the first disc, tracks like "The Long Run", "I Can't Tell You Why", "Hotel California", etc... but listening to this disc I found some other cool tunes like "Victim of Love" and "Sad Cafe" so this was worth the $$$. Again I do prefer the first disc but this ain't bad, get it and then you really have all the Eagles you need. My only real complaint with this CD is not seeing "Those Shoes" on here. I'm not sure if it was ever a hit but I thought it might be on here. Cool tune by the band. ... Read more

11. A.M.
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Asin: B000002MWY
Catlog: Music
Sales Rank: 1699
Average Customer Review: 4.26 out of 5 stars
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Comprising frontman Jeff Tweedy and other former members of legend Uncle Tupelo, Wilco was an apple that didn't fall far from the tree. A.M., the band's debut, continues that older group's brand of updated country-rock (emphasis on "rock") and emotionally powerful songwriting. However, many of the best creations here--the driver's-licenseless drunk in "Passenger Side," the bar-band celebration of riverboat gambling on "Casino Queen"--sport an unprecedented sense of humor and are unexpectedly catchy, too. Best of all might be "It's Just That Simple," in which Tweedy turns the mic over to the high and mournful singing of bassist John Stirratt.--David Cantwell ... Read more

Reviews (35)

5-0 out of 5 stars The "Yin" to SON VOLT'S "Yang"
A lot of people love either SON VOLT or WILCO and hate the other. I can't understand it, personally. They are both necessities in your music collection. Buy "A.M." and set it next to "Trace," Son Volt's debut. I think you'll be pleasantly surprised.

While "Trace" is more sober and serious, "A.M." prefers a bit more tounge-in-cheekiness. Tweedy taunts hard-luck gamblers in "Casino Queen" -- "I split my paycheck/ With my wife that I just met/ She's lookin' like a wreck," he shouts. And the lamentations of the drunk in "Passenger Side," is laugh-out-loud funny -- "You're gonna make me spill my beer/ If you don't learn how to steer."

But Tweedy knows how to be both silly and inspiring. Songs like "Box Full of Letters" and "Pick Up The Change" will linger in your mind long after they're over. They're both catchy and thought-provoking. The line that really sticks with me is "I just can't find the time to write my mind the way I want it to read." Get this album, and you'll find plenty of lyrics and hooks that speak to you, too.

5-0 out of 5 stars Sits very well over time
Wilco is one of the two bands to rise from the ashes of Uncle Tupelo, the band that created the so-called "Insurgent Country" genre. The second of these two is Son Volt. This album was not received very well by the music press as it was released at about the same time as Son Volt's debut which was crically acclaimed. The comparison of these two albums is somewhat unfair as they are stylistically very different. Wilco is led by Jeff Tweedy, the member of Uncle Tupelo who tended toward catchy Roots Rock songs as opposed to Jay Farrar (now in Son Volt) who tends much more toward traditional country. A.M. is immediately listenable and struck me initially as something that I would tire of - this initial reaction has not held up - I still love this album each and every time I listen to it. It has almost direct follow on from "Anodyne", Uncle Tupelo's final album, with catchy songs like Box Full of Letters and Shouldn't be Ashamed. Yet there is depth provid! ! ed by moody, soulful songs like Dash 7 and I Thought I Held You. Jeff Tweedy's trademark sense of humor is as strong as ever in Passenger Side and I Must Be High. In short, if you loved "Anodyne" by Uncle Tupelo, in particular these songs: Acuff-Rose, The Long Run, New Madrid, We've Been Had and No Sense in Lovin - then you will LOVE this album. But even if you prefer the style of Jay Farrar and Son Volt, this album is worth its price as the natural successor to the Uncle Tupelo era.

4-0 out of 5 stars From the ashes of Uncle Tupelo....
came Wilco. Wilco began as a vehicle for Jeff Tweedy, who was basically the understudy to Jay Farrar in UT. AM pretty much continues in the vain of Tweedy's past work, mixing mid-tempo rock with a little twang and a blue collar sensibility.

Some would have you beleive that this is Wilco's finest work, although I beleive that this is just the starting blocks of one the most artisticaly successful bands of this century. AM is a collection of solid, well written songs that would stand proud in any artists catalog. PASSENGER SIDE(in my humble opionion, the one for the ages from this release), BOX FULL OF LETTERS, PICK UP THE CHANGE and CASINO QUEEN remain some of my favorites after numerous spins

Tweedy would find his true voice with the next release, BEING THERE, and then continue to push his boundries in new and exciting ways that may have offended some of those originally drawn to his music. For those who have been along for the ride, it's as exhilerating as it can get, for those who lost the faith along the way, they always have AM as a souvenier.

5-0 out of 5 stars My favorite Wilco album
I wish Wilco would go back to making music like this, this album is just wonderful. This is their first and best album as far as I'm concerned. It might take a little while to really grow on you but this album has an inner beauty that is often over looked.

4-0 out of 5 stars Early REM fans take note!
I like records that let you know they mean business right away - and A.M. definitely does that. From the minute you put it on, it's like you've discovered a favorite record you've had buried for years in the back of your closet - all the tunes are catchy, all the words make a quirky kind of sense, and it's just plain great to listen to.

I love this record, not only because of the infectious quality of the music, but the lyrics are so great you'll be humming them to yourself later, eager to hear them again. Shouldn't Be Ashamed, Box Full of Letters, and I Must Be High are all really great, but my favorite is Passenger Side - a plaintive paean to losing your license and having to be carted around (I've got a court date coming this June/ I'll be driving soon/ Passenger side/ I don't like riding on the passenger side.") The songs are deceptive in their simplicity, played by a band that can really play their instruments well. Jeff Tweedy's voice may take some people a while to get used to, but he's got a great, vulnerable quality and he can really write a great song.

I gave it four stars because Summerteeth is supposed to be their best album, and the last song kind of lets the album taper off. But if you like REM (even as late as Out Of Time) you'll really like Wilco, and A.M. is a great record to get to know your new favorite band. ... Read more

12. Trace
list price: $11.98
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Asin: B000002N1V
Catlog: Music
Sales Rank: 3847
Average Customer Review: 4.64 out of 5 stars
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Trace is obsessed with time. "Can you deny there's nothing greater ... than the traveling hands of time?" asks frontman Jay Farrar early on, and song to song, he deliberates time's tyranny. Farrar's voice always sounds beaten but never quite broken here, and when on the impossibly catchy "Windfall" he wishes "may the wind take your troubles away," it feels like nothing short of a blessing. Trace is alternative country's most perfect moment: the Uncle Tupelo-ish electric crunch rocks for something better, even as its twangy steel and fiddle never forget the very country fact that time will beat us all. --David Cantwell ... Read more

Reviews (56)

5-0 out of 5 stars Talk About the Passion
Talk about the passion. No, this isn't a review of Murmur, though if you listen closely to Trace, there is no denying that Jay Farrar and his band Son Volt have been influenced by 1980s R.E.M. The passion I'm talking about here is the passion Son Volt clearly feel for the country/rock music they make, as well as the passion you'll feel for this album once you fall under its spell.

If you're like me and have found yourself "searchin' for a truer sound" in recent years, you need not look any further than the opening track on Trace, "Windfall", to find it. Very few songs in this world are perfect from beginning to end, but "Windfall" falls into this exalted category. Astonishingly enough, two songs later, "Tear Stained Eye" nearly tops "Windfall", plunging you into a beautiful melancholia in the process. Just when you are ready to start crying into your IBC, "Route" rocks you back up from the depths of despair. That catch in Jay Farrar's voice when he sings the word "reality" is absolutely gorgeous and the song is as anthemic as anything U2 have ever produced.

Though as the Amazon reviewer astutely points out, many of the songs on Trace deal with the inevitable passage of time, it is not always easy to grasp the meaning of Farrar's lyrics. As Michael Stipe or Robert Plant would tell you, however, this lyrical obliqueness is not necessarily a bad thing. To this day, I can't tell you what most of Lifes Rich Pageant is about, yet it still sounds darn good to me. And, as you can tell by my review, Trace sounds darn good to me as well.

5-0 out of 5 stars The album that ruined Son Volt
How on earth can any band be expected to top such a triumphant debut album. Jay Farrar's complex lyrics along with his haunting voice(and wonderful backup vocal work) are a perfect complement to the heartland rock/country arrangements. While you always want to judge each of a bands albums on their own merits, it just seems that Son Volt was caught up in attempting to revive the magic of Trace in its next two albums. Who could blame them?

Trace embodies all that was good about the Alt-Country movement, without stepping too much into the standard pitfalls. The obsession with alcohol and failed relationships which tormented Uncle Tupelo are washed away in this album. It is too easy for some Alt-Country acts to breakdown into whiny rants about how life is unfair. There is a quiet and reserved optimism in this album which was especially refreshing in the midst of the Grunge rock era.

Overall it is an album that has aged gracefully. With Ryan Adams recent popularity I hope that many will take another look at the Alt-Country/No Depression community from where he came. If they do Trace is a fine place to start.

2-0 out of 5 stars Droning and depressing
You'll enjoy this album if you're depressed and you want to stay that way. It's not melodic, the vocal style of Jay Farrar is a droning monotone - I guess some would consider it folksy, but I believe he could do better. None of the songs stick in my memory after 5-6 listenings. I'll probably sell it or give it away. The type of music I like: Dwight Yoakam, BR-549, Steve Earle, Lyle Lovett...hope this helps!

5-0 out of 5 stars So good . . .
This is music so good that you can smell it. It smells like fresh air, hay, the taste of a cold beer on a hot day, a pretty sunset. It smells like the wind, crackly static, and the first fish you ever caught. Then later, it picks up, and it starts to smell like the first bar you ever went into, and the first cigarette you ever smoked. It smells like girl in front of you's perfume as you stood there, waiting for the show to start and wondering how you'd talk to her- hoping that maybe she'd back up and bump into you - or like standing outside on a rainy day.
And when you're done listening to it for the first time - or even the hundredth time, it smells like heaven.

5-0 out of 5 stars Lost Moment of Promise
1994. Radio was suddenly, briefly, free of sound-alikes. Pearl Jam and Blues Traveler and Son Volt were played side by side. Any band might emerge as the Next Big Thing.
Jay Farrar had written one of the most brilliant rock singles of the decade, "Drown," and it was everywhere, utterly out of place and perfectly beautiful amidst the grunge sludge and the epic jam band singles of the moment. A three-minute promise. A raw blend of country, punk, and existential loneliness: "Living right is easy; What goes wrong, you're causing it."
On the plains, a hundred thousand young men filled with sunny-day angst, a sorrow neither parallel nor at odds with Seattle's rain-induced joylessness, heard for the first time their voice, their cry, their raging against the shrinking of the world and its possibilities.
Here was something different from John Mellencamp, a sound come off the prairie that spoke for those of a new generation whose entire existence had in the previous decade been reduced by record executives and money-minded producers to a strummed acoustic guitar and some jaunty fiddle solos spooled onto tape and then off again over the FM airwaves.
This was a deeper song resounding over the wide, flat middle of the country. A promise that simultaneously summarized all that had come before - Johhny Cash, Chuck Berry, Gram Parsons, Jason and the Scorchers, the Clash, the Replacements, and even Nirvana - and at the same time looked toward a horizon falling ever away. Possibility. Truth on the radio. Places unnoticed, unspoken of, perhaps even unseen. Stories untold. Lives a person might recognize.
It's hard to imagine that moment if you were not there. If you came of age a year or a decade too late, if you have only known the homogenized sound of the late 1990s and early 21st century. To hear this record now and to know it was once a viable commerical venture is to mourn what has been lost. A moment of promise.
Jay Farrar is still making records, but they aren't on the radio. The prospect that your local deejay (if such a thing still exists) will spin one is laughable. Radio crept away from risk, from honesty, from what could have been. John Mellencamp remains, to many, the only voice of the heartland in American rock and roll.
Switch over to the AM. Perhaps you'll find a truer sound. ... Read more

13. Being There
list price: $18.98
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Asin: B000002N7G
Catlog: Music
Sales Rank: 1763
Average Customer Review: 4.61 out of 5 stars
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Wilco's follow-up to A.M. impresses first with its size: 19 tunes fill the double-CD package, and the packaging unfolds like a larger-than-life 1970s-era gatefold album cover. But the love affair with the artwork is short-lived, fading as the music takes center stage, making plain the band's overwhelming stretch into innumerable styles. Jeff Tweedy's love of pop and the mechanics of making pop albums is clear almost immediately, as he and his cohort utilize the studio to create and manipulate undertows and snaky recorded elements throughout many of their tunes (a keyboard touch, a guitar's flair, a cymbal's unexpected crash). There are the plainspoken acoustic numbers, recalling Tweedy's tenure in Uncle Tupelo, and there are also unwinding swoops of tinted, guitar-heavy rock--one of which collapses into chromatic jabs at a piano only to resolve in silence on "Sunken Treasure." Oodles of influences fill Wilco's collective mind, and they're perfectly content to pile the trace elements atop each other and make scrambled pop perfection. --Andrew Bartlett ... Read more

Reviews (71)

5-0 out of 5 stars The Absolute Best Album in Years by ANY Band!!
If you've never heard an album by Wilco, start now. They, along with Radiohead and Pearl Jam, have something in common you never see anymore: integrity. These bands have changed a lot in music, and have been solace to a lot of people. Wilco excels at that. No one is better at expressing emotions than Jeff Tweedy. Being both the main songwriter and singer, he has that knack for telling a good story and making you want to come back for more. Of the 2 Wilco releases so far, this is the better listen for people new to the band. It shows such diversement and uniqueness . The tracks go from straight out rock ("Monday", Outta Site (Outta Mind)"), to the more mellow and thoughful tracks ("Far, Far Away", Red-Eyed and Blue", "Sunken Treasure"). My personal favorite would have to be "Don't Forget the Flowers" off of Disc 1. Wilco always picks the right instrument to use, and they choose a slew of guitars and a banjo to keep this one going. It's not easy to liken Wilco's sound to anything else, but that's what makes them so great: they're unique. If you love catchy melodies, diversity, and from-the-heart songs, give these 2 discs a few spins. And then add yourself to the ever-growing list of Wilco fans.

5-0 out of 5 stars The last great country album.
The addition of studio and musical talent Jay Bennett makes the hidden force of Wilco become apparent. This is very much a collaborative effort between lead Jeff Tweedy and Bennett, and it's got some of Wilco's best lyrics. The melodies are excellent, and you'll be listening to the music, which compliment the lyrics nicely. Some of these guitar solos, for instance, have made a few of my more musically proficient friends turn heads.

Standout tracks and hooks would be "Misunderstood" (an excellent opener and lyrical rockout, but better live), "Monday" (I dare you not to tap your foot to this one), "I Got You [At The End Of The Century]" (EXCELLENT hook and intro), "Hotel Arizona" (Get a load of that solo), "Sunken Treasure" (the hands down best country or epic EVER -- "I was maimed by rock and roll"), "Why Would You Wanna Live" (good time melody, cynical lyrics, hopeful turnout - everything I want).

And how could I forget the five minutes and seventeen seconds that *is* "Kingpin". You need to hear this song. Your mother needs to hear it. Your estranged relatives need to hear it. Buy Being There for "Kingpin" alone, and the other tracks will also blow you away.

Get this album. Impress your friends.

4-0 out of 5 stars The lows are low, but the highs are staggering
This was a fairly staggering conception, warts and all, and it wouldn't be until the next release that Wilco truly become masters of the artform, but it's quite a worthy, powerful ride for what it is. The record, for the first place, should have been on one CD and trimmed a bit. There are some half-songs ("Red Eyed and Blue," "I've Got You," which while peppy has some pretty dumb lyrics, and "Kingpin") and it gets a bit mired in its own moroseness towards the end (though "(Was I) In Your Dreams," Why Would You Want to Live," and "The Lonely 1" are all lovely songs in their own respects, it's a bit punishing to have them back to back to back), but there are such dizzying moments of transcendence on this record that you can mostly forgive it for its faults.

The two focal points of the record, "Misunderstood" and "Sunken Treasure," are powerful, emotionally geared epics that set the course for the whole record- themes of loss, betrayal, and distance. The whole record throbs with an organic closeness- the songs feel like they're no more than a few inches from reach. "Far Far Away" sounds like the band's encircling you in the studio, Jeff Tweedy in front of you strumming an aching melody. "Dreamer In My Dreams" is like a racous live take (hoe-down, even?), with some frenetic violin playing and an improvised feel with Tweedy's hoarse vocal.

One could say the record throbs with pain, as well- the sonic equivalent of pain and trying to be ambivalent about it. It's the band's most intimate recorded performance, and though they will aim for and achieve higher, this will hold a special place in any fan's heart too.

5-0 out of 5 stars Brilliant- an amazing effort
This CD is just stupendous. Its awe inspiring almost. The 2nd CD by this amazing Chicago-based band leaves a fresh taste in your mouth. The CD manages to avoid the problem that many artists have of having all the songs sound the same. "Being There" has many different sounds to their songs, from the sweet country feel of "far, far away" to the almost Weezer-ish sound of "outta mind(outta site)"- all of which are driven by their impressive lyrics. If you like any of Wilco's other work, or if you appreciate good lyrics or slow mesmorizing melodies, you must buy this CD.

4-0 out of 5 stars The Beginning
Being a longtime fan of Wilco, I love introducing people to the group. While I was first introduced to 'AM', I think they really moved to another level with 'Being There'. The album foreshadows the directions that Wilco will take in the future, while still remaining attached to their progenitors, Uncle Tupelo. From the juxtaposition of the alt-country in 'Far Far Away' with the power pop of 'Monday' to the overwhealming saddness of 'Sunken Treasure' to the sheer joy that is evident in the rousing 'Dreamer in My Dreams', Wilco is found noodling around with many different ideas. Try to name a recent album that brings to mind everything from the Beatles to the Beach Boys (yes, the Beach Boys! Listen to the harmonies on Outta Mind, Outta Sight!) 'Being There' shows the band trying on so many different styles, experimenting with so many different paths to follow that this becomes a must for anyone attempting to follow the band's rise. ... Read more

14. Live at the Old Quarter Houston Texas
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Asin: B000066ALO
Catlog: Music
Sales Rank: 5496
Average Customer Review: 5 out of 5 stars
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Legendary Texas singer-songwriter Townes Van Zandt was just 29 years oldwhen he recorded Live at the Old Quarter. The result of a five-nightstand at a tiny club in Houston, what is arguably his best album was originallyreleased on vinyl as a two-album set, and later on compact disc in a slightlyabbreviated version. Tomato's reissue, however, restores the album to its fullglory, complete with remastered sound and insightful liner notes by music writerChet Flippo. Van Zandt, who died of a heart attack in 1997, sings of love andloss in a world-weary voice that begs you to pay close attention. Afterapologizing for the club's broken air conditioner, he kicks things off with astirring version of "Pancho and Lefty," perhaps his most famous song. But that'sjust one gem among many, such as the longing "If I Needed You," the fatalistic"Don't You Take It Too Bad," the bleak "Kathleen," the bitter "Tower Song," andthe touching "Tecumseh Valley." Unlike his studio albums, some of which sufferfrom overly busy arrangements, Live at the Old Quarter finds Van Zandtperforming solo and acoustic, which only makes his emotionally honest music allthe more powerful. --David Hill ... Read more

Reviews (10)

5-0 out of 5 stars Homer, Taliesin, Robert Frost... and Townes Van Zandt
It takes a minute to understand what you're really listening to with a Townes Van Zandt album, and that's twice as true with a live disc like this one. As he speaks his songs and gets out of sync with his guitar, you wonder why he's bothering to record songs at all. And then it hits you. Van Zandt isn't a musician. He's a bard.

His songs are as loaded as any poetry you'd find at a university bookshop, and much more accessible. This is true whether you're speaking of a tongue-in-cheek piece like "Fraternity Blues," a more hermetic piece like "For the Sake of the Song," or something that's crossed over into popular music like "Pancho and Lefty." He can't sing, he's only okay at his guitar, but what really brings it home for you is the poetic structure of the song lyrics.

In addition to being an account of an interesting concert, this album also serves as an introduction to Texas music as a whole and a synopsis of Van Zandt's music in particular. It bears up to repeated listening, and the liner notes included in this most recent CD release are very readable and informative. It's no wonder, in considering this CD, that Willie Nelson and other progressive Texas musicians have so often covered Van Zandt's songs: they're simply beautiful to listen to and stimulating to consider.

5-0 out of 5 stars Great Album
I guess that I'm one of the few that actually have the vinyl version of this great recording. Not long after my wife and I began dating (early 90's) she found it in a Goodwill thrift shop, of all places. So many of his great songs are on this album, all delivered with youthful perspective and wisdom. I first heard Townes live on a Houston public radio station in around 1974. He performed Pancho and Lefty, and single handedly turned me onto what has become a lifetime of appreciation of his music and of course his lyrics. I even saw him one night at the Hole in the Wall in Austin (1978,79?). I think I was as drunk as he was. Anyway, God bless him and his music.

5-0 out of 5 stars Could have been a Dylan but never had the voice
During his later years Townes Van Zandt used to occasionally joke about his voice during his performances. He never really had one. And it never mattered to anyone who'd sat through his live appearances, or listened to a few of his songs on vinyl. Live at the Old Quarter is Towne's oldest recording (I'm guessing) and managed to catch him when his voice was at the prime. That's to say, it's an acquired taste. The songs make up for it. As with a lot of other of the greats, Townes' talent was in songwriting and in his method of delivery when he performed his own songs. "Pancho and Lefty" was a worthy for Willie Nelson. Listening to Townes sing it is an entirely different order of experience and magnitude. The same is true of his other songs you've heard made popular by other singers. If you've never heard Townes sing his own songs you probably won't find a better place to begin than in the Old Quarter of Houston when Townes was young. We all were.

5-0 out of 5 stars The place to start
I'm usually wary about live albums, since it seems strange that an artist could do his greatest work on the fly, instead of when he has all the time he needs to get things exactly right. Sure enough, Townes's voice cracks a little when straining to hit a few high notes, but for some reason it doesn't matter at all. He was usually ill served by producers who slathering his songs with strings and flutes and the rest of it. His presence is so strong when he performs that additional orchestration would only dilute what makes the songs so good. After a few listens I even started to like the missed notes and the cracks in the voice, and for the same reason I like such moments in Dylan, because these moments put the singer in front of you as a human being, and what you start to love as much as the songs is their presence. You enjoy the slips in the performance as much as the little idiosyncracies of an old friend.

5-0 out of 5 stars Gone and Not Forgotten
It has all been said. This man was inspired and inspirational. He paid to learn what he thought and how he felt. You can hear it in these songs; played live on a cool hot-summer night in Houston. Townes Van Zandt was as close to a soul as I've heard in a long long time. ... Read more

15. Shady Grove
list price: $18.98
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Asin: B00000391J
Catlog: Music
Sales Rank: 1531
Average Customer Review: 4.5 out of 5 stars
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Throughout his life, Jerry Garcia had an abiding fondness for the banjo, bluegrass, and roots-folk music. It not only helped shape the Grateful Dead's vast repertoire, but also led him on various musical excursions outside of the Dead. One of his most consistent collaborators in his extra-Dead adventures was "newgrass" mandolin master and bandleader David Grisman. The two of them formed the nucleus of the short-lived but influential bluegrass ensemble Old & In the Way in the early 1970s. These 13 delightful folk songs were culled from numerous laid-back Garcia-Grisman sessions that took place in Grisman's studio between 1990 and 1995, often joined by Joe Craven on fiddle and percussion and Jim Kerwin on bass. Garcia and Grisman pulled these songs--some of them quite obscure--from a variety of American eras and genres. Included is a vivid rendition of Mississippi John Hurt's "Louis Collins," as well as folk odes like "Casey Jones," "Whiskey in the Jar," and "The Handsome Cabin Boy." Throughout, the resulting music is mellow and evocative, likely to appeal to both neo-folkies and open-minded Deadheads. --Bob Allen ... Read more

Reviews (22)

5-0 out of 5 stars This album happily re-enforces the musical power of Garcia
This is stunning! Garcia and Grisman at their best. I have always been a defender of Garcia's genious, and this recording proves it in an exciting and refreshing way. It's not just the same old "Dead" tunes one might expect. It's a wonderful collection of mostly traditional folk songs. If you like it raw, down-home and intimate, then Shady Grove is for you. Everytime I listen to it I almost think Jerry's in my living room with me; it's that for real. No overdubs, no edits, just unadulterated musical prowess. The mandolin is superb, the bonjo's superb, it's all just plain superb. Buy it, hear it, love it.

5-0 out of 5 stars Absolutely wonderful collaboration with Grisman
This CD is an absolute essential for anyone who loves "old timey" music, acoustic music, Mississippi John Hurt's smooth Delta blues, Jerry Garcia/David Grisman together or alone, or English folk and sailing songs. Yeah, the CD is THAT eclectic. The CD kicks off with the old English classic, Shady Grove, which was made popular back in the late '60s when Quicksilver Messenger Service included a rocked-out version (with great Nicky Hopkins piano) on an album titled, Shady Grove. Then we slip off into so Stealin', Louis Collins, Casey Jones (not the Dead's version), Dreadful Wind and Rain and, from a '60s album of sea chanteys, the wonderful tale of The Handsome Cabin Boy. The CD closes with the American classic Down in the Valley. (Well, there's a bonus track after that, but you'll have to buy the CD to find out what it is.) I've owned this CD since it was released in 1996 and it has never gotten old. (A companion to this, in a way, is the equally enjoyable Pizza Tapes CD by Garcia/Grisman.) This CD captures Jerry in a relaxed atmosphere, away from the pressure of being JERRY GARCIA OF THE GRATEFUL DEAD, and his gentle humor and comments reveal the soft side of the Jerry many of us loved so dearly. Grisman balances Garcia wonderfully (the songs were recorded in Grisman's home studio), and there is a gentle friendship and love of music that the two share that comes across so sweetly on this album. For me, it's the best Jerry Garcia solo album. It shows a rare side of Garcia, and at 64 minutes, it's a nice hour of acoustic music with the listener having the honor of sitting in with two old friends. Highly, highly recommended.

5-0 out of 5 stars For both trad. folk lovers and jerry fanatics alike
I fell in love with this album the second I heard it. This album captures the essence of two friends just sitting around and playing old time tunes. This album also affirmed by admiration for jerry garcia showing his true talent outside of the grateful dead.

4-0 out of 5 stars tell me, how long . . . do i have to wait?
did anyone notice the "bonus" track?

on my copy of the disc, final Track 13 "Down In The Valley" is followed by about 30 seconds of silence . . . then--still contained inside Track 13--an ~2 minute workout on "Hesitation Blues" commences!

5-0 out of 5 stars A Labor of Love ...
As I work my way through various Grisman & Garcia collabarations I continue to be astounded & elated. I am particularly taken w/this disc. It is as much a celebration of their musical powress as their friendship. This disc is the first of several volumes arranged by Grisman according to genre. These are traditional folk songs & ballads. Grisman is releasing them to showcase Garcia's musical depth & breadth. The same could be said of Grisman's artistry.Many of the songs here I heard for the first time but definitely not the last. The accompaning booklet is lovingly crafted. The history of each song is presented as are the lyrics. Grisman's & Garcia's friendship allow us to connect to a simpler & purer time that is very much a part of our legacy. As always the Acoustic Disc quality has to be heard to be fully appreciated. ... Read more

16. Nick of Time
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Asin: B000002UU5
Catlog: Music
Sales Rank: 4262
Average Customer Review: 4.76 out of 5 stars
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Nick of Time is the watershed moment in Bonnie Raitt's recording career, the sound of a survivor finding new focus and purpose in her art after nearly 20 years of generally superb, commercially underachieving recordings. An exquisite interpretive singer and formidable guitarist who'd long ago honed her bluesy chops, Raitt raised the stakes by mixing the usual gourmet spread of smart cover choices with her own candid songs--and she knocked one over the fence with the opening track, the album's title song and a moving confession of a boomer's anxieties about age, death, and the impermanence of love. "Nick of Time" catapulted a feisty rock tomboy into a new station that made her as admired by female fans as the stage door johnnies who'd long loved her rock technique, and she covered the bet with other outside songs from John Hiatt ("Thing Called Love"), Bonnie Hayes ("Love Letter," "Have a Heart"), and Jerry L. Williams ("Real Man") that resonated with her persona as a tough, smart, but ultimately tender woman. --Sam Sutherland ... Read more

Reviews (21)

5-0 out of 5 stars Wow!
Unless you were born after 1989 or else have dropped in from another planet since then, you have probably heard the song "Love Letter" from this album. It's only the most gritty, earthy, and outstanding torch song in rock. It was also the lead single from this album, and the rest of the album is no letdown. The songs here run the gamut from experienced toughness to aching vulnerability, hitting a lot of bases in between. Raitt's expressive singing and first-rate guitar playing take these quality songs and drive them home very effectively.

"Nick Of Time" dominated the Grammy awards and the charts in 1989, and rightfully so. It is one terrific album and earned Bonnie Raitt recognition that was long overdue. She labored long in relative obscurity before hitting it big with this one. Built on solid rock tinged with blues and country overtones, the songs here all feature mature lyrics delivered with real feeling. Listen to the title song. Nobody over thirty can fail to identify with those words. "Love Letter" is my personal favorite song, but I also especially like "Thing Called Love", "Cry On My Shoulder", "Nobody's Girl", "Have A Heart" and "I Will Not Be Denied".

This is a truly outstanding album. Give it a listen and I think you'll agree. Very highly recommended.

5-0 out of 5 stars Bonnie Raitt Deserved All The Gold For This One
Why all the Grammy's? Because of a brilliant piece of work, by one of rock's pioneering women. Bonnie knows when to be smooth (the title track), knows when to rock (Thing Called Love), and knows when to get down with the blues (The Road is My Middle Name). She's a hard-working artist, who is well-respected by her peers and fans. Take a listen, and hear why.

4-0 out of 5 stars Sometimes it just all works right
What's not to like about this cd? Perfect production and arranging. Great vocals and musical performances. And if I had to choose a song to dance around the den floor to it would be "Love Letter" without a doubt. Bonnie blends blues with funk and rock and roll effortlessly and this album surely deserved all the accolades it received. A must-have for your collection of great music.

5-0 out of 5 stars New fan
This is my first Bonnie Raitt album and I am hooked for life! I enjoyed one song after another on this album, and when I heard "Too Soon To Tell" it was like "wow, I love this stuff"!

3-0 out of 5 stars Some great songs/Some safe for the supermarket
The beginning of this recording is not promising, the title track sounds like the worst of soft rock, safe for any supermarket. There are a number of songs that follow this format, ("Cry on my Shoulder," "Have a Heart" "Too Soon to Tell") but the good stuff compensates for the dross. John Hiatt's "Thing Called Love" gets a great work out, and Jerry Williams's contributions ("Real Man," "I Will not be Denied") let Bonnie show she's no softy. Not quite a balanced work, but the good songs make it worthwhile and when Bonnie gets motivated with that slide, a good time is guaranteed. ... Read more

17. Jerry Garcia/David Grisman
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Asin: B00000390S
Catlog: Music
Sales Rank: 2389
Average Customer Review: 4.86 out of 5 stars
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After nearly dying in 1986, Jerry Garcia not only spiritually revived the Grateful Dead but also rekindled his love for acoustic music. To that end, in 1989 he recorded Almost Acoustic with his 1960s Palo Alto folkie pals and also began collaborating with his longtime friend and mandolin master David Grisman. This 1991 set offers a brilliant assortment of acoustic music that ranges from bluegrass-inspired stomps to B.B. King covers, age-old folk songs, standards by Irving Berlin and Hoagy Carmichael, and an exotic album-ending modal-jazz journey. The playing is stellar throughout, but the mood is warm and welcoming as well. --Marc Greilsamer ... Read more

Reviews (14)

4-0 out of 5 stars ONE GRATEFUL DAWG'S REVIEW
Hearing this CD is a wonderful experience. Starting with a haunting version of BB King's "The Thrill Is Gone" that totally captures the essence of the original plus some, then "Grateful Dawg" which features Jerry's patented Dead licks intertwined with Dawg's mandolin. "Two Soldier's" has a very traditional New England sound, then comes the best version of "Friend Of The Devil" I have ever heard. "Russian Lullaby" is nice listening and so is "Dawg's Waltz". But the clincher is an old Clarence Ashley tune called "Walkin' Boss". I have always loved Clarence's original but Jerry really does justice with this interpretation. "Rockin' Chair" has the feeling of an old perfectly broken in rocker. But the last tune "Arabia" is a little too long (16:25) and somehow just doesn't work well on this CD. But hey I considered this track a freebie as the whole shabang clocks in at 58:28. Overall 4 stars but every track is worth 5 except "Arabia". A must have CD.

5-0 out of 5 stars One of the greatest acoustic disks ever
I initially picked up this disk from the library. But the tunes stuck in my head long after the CD was returned. The playing throughout is warm and pristine. The song choices are simultaneously compelling, unified, and ecclectic--blending blues, bluegrass, celtic, traditional folk, jazz, and ethnic music. Jerry, while never a great vocalist, brings something special and unique to the songs. Listen to his very-different-than-BB King rendition of "The Thrill is Gone." I've since bought the album and found that it gets even better over time, allowing almost unlimited relistening.

I've heard both Garcia and Grisman, together and with separate projects; they've never sounded better than they do together on this album.

5-0 out of 5 stars One of the first I would re-buy . . .
if, heaven forbid, all my CDs were stolen. There is not a bad moment on this CD, and it's a must for acoustic fans. Some find the last track a bit tiresome. I did too at the beginning. Repeated careful listenings, though, bring out subtlies in the structure that a casual hearing misses.

The musicianship, of course, is excellent. It's difficult to chose a stand-out, but both Garcia's and Grisman's solos in "Friend of the Devil" are literally other-worldly.

In short, a must.

5-0 out of 5 stars Perfect!
This album was recorded in the spring of 1991. I have never heard Grisman and Garcia sound as good as they do on this cd. Garcia's picking and singing is tasteful. Garcia's picking on this album are much more inspired and timely than on So What. As for Grisman his soloing on Friend of the devil is the best mandolin solo I've ever heard. And I'ver heard many. This version of Friend of the devil is the BEST I've ever heard because everything is perfect about the song. Garcia's voice on that track and throughout the whole album is yearning and soulful. The song also has a slower and more longing sound to it. This album is composed of an eclectic mix of songs that include: celtic, blues, the dead, southern bluegrass, I guess what you would call "russian music", spanish music, and original grisman garcia compositions. The mix is perfect there's something of everything and somehow it all fits together seamlessly. It starts off with a BB King tune and then goes into a wonderful celtic sounding Grisman composition. Then a "real" Irish/Celtic song that sounds sad if you listen to the words. Then, of course, the best version of Friend of the devil ever. With Garcia's desperate voice and Grisman's sweet mandolin tremolos reflecting Garcia's feeling. Then a nice russian lullaby that reminds of a cold winter night. Then another Grisman composition that shows how great of guitar player Garcia can be. Then perhaps my favourite track "walkin' boss" comes next. It starts out with a great introduction then goes into the verse and chorus. It ends with both Grisman and Garcia soloing at the same time and somehow sounding like they are reading eacother's minds because they are totally synchronous throughout the entire song. Grisman makes use of the harmonics on his mandolin to great effect on this one. Track 8 is a nice bluesy southern song about being bored. The last track is a composition by Grisman that is underrated in my opinion. Some have said it's different that all the other tracks on this album, but I say it's the culmination of all the previous tracks. Arabia has everything that all the other tracks had except for Garcia's passionate voice. It's a spanish-flavoured song that is definitely worth listening to all the way through. There are bass, guitar, mandolin, and conga solos in it. This album is PERFECT. If you took anything away it would be less than, so do yourself a favour and hear two of our greatest musicians in their finest hour. Total time 58+ minutes.

5-0 out of 5 stars A Great Duo!
Garcia and Grimsan should have done more acoustic performances. This recording is AWESOME! Velvet-smooth vocals accompanied by masterful instrumentation (both guitar and mandolin) make this album an instant favorite! This CD hasn't and will not leave my car. If you know what's good for you, then add this to your cart! ... Read more

18. Luck of the Draw
list price: $16.98
our price: $13.99
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Asin: B000002UXM
Catlog: Music
Sales Rank: 4419
Average Customer Review: 4.91 out of 5 stars
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As its title makes clear, the 1991 sequel to Bonnie Raitt's platinum breakthrough on Nick Of Time takes nothing for granted. Raitt had achieved sobriety, renewed commercial focus, and then the payday that the prior album yielded, but Luck Of The Draw mirrors an even fiercer determination to make music as if her life depended on it. Again teamed with producer Don Was, Raitt surpasses herself with her best album to date: her wonderfully lush, blues-rimmed voice and sinuous slide guitar wrap themselves around a dozen potent songs culled from a typically shrewd mix of writers including Paul Brady, John Hiatt, Bonnie Hayes, Shirley Eikhard, and Billy Vera, and Raitt herself turns in her most generous batch of originals yet. Sympathetic guests include Brady and Delbert McClinton on harmony vocals, Richard Thompson on guitar, and Heartbreaker Benmont Tench on organ, in a program including the sassy "Something to Talk About," the sultry "Slow Ride," a soaring "Not the Only One," and the heartbreaking "I Can't Make You Love Me." This isn't luck, it's artistry. --Sam Sutherland ... Read more

Reviews (23)

5-0 out of 5 stars Definitely, something to talk about!
"Something to Talk About" was a big enough hit that this album got the attention of people who weren't familiar with Bonnie Raitt. If you don't know who she is, listen to "I can't make you love me" which just gets to me every time I listen to it.

Raitt's voice has fascinating purrs, growls and soaring tones. Her guitar playing is outstanding and her style defies classification. For example if you like Country you'd probably like her, but if you hate Country music you'd also like her. Go figure.

Bonnie Raitt is one of the most talented singer/songwriter/guitarists ever and why she isn't a bigger mega-star than she is just amazes me. She was the headline performer at our college homecoming in 1970 and she is still going strong strong strong. If you don't have any of her albums, this one is a sure winner to start with. Not a bad song in the bunch.

5-0 out of 5 stars Bonnie Great
Everything about "Luck of the Draw" is perfect.What made me buy this CD was the single,"I can't make you love me." I've felt the same way so many times like Bonnie sings in this beutifull ballad.Bruce Hornsby on keyboards makes this cut that much special.The hit single,"Something to talk about," is such a fun record,but my favorite number is "Not the only one." The music reminds me alittle of Fleetwood Mac's,"Gypsy." The soft love song,"One part of me," that Bonnie's X,Michael O Keefe co-worte with her, is wonderfull also,along with all the other numbers on this tape.I can't say nothing bad about "Luck of the Draw."Its a good time album,with heartbreaking ballads,and beutifull love songs.

5-0 out of 5 stars Just great music
Unless you absolutely cringe to even the slightest twang of a slide guitar, you will love this CD. I used to hate country music but received this CD when I forgot to return my Columbia House card one month. I opened it thinking it was something else and was stuck with it, so I gave it a listen. At the time, I listened primarily to 1980's hair metal bands and Top 40 music, and I hadn't even heard Bonnie Raitt's name before. But after 2 spins of this CD, I was hooked.

Bonnie's voice is powerful and rich. The songs are true to the heart and the soul. Need to relax? Listen to this. Need to feel better? Just listen. Want to feel sorry for yourself? Grab a beer and wallow in the Luck of the Draw.

I recommend this disc for anyone with a heartbeat. It will beat a little healthier after making a connection wtih Bonnie Raitt.

5-0 out of 5 stars A Classic
I played this tape so much my tape player finally ate it!! Every song is great!You will definitely love this music!

5-0 out of 5 stars The Best!
Without a doubt, this is the finest record Bonnie ever put out. From "I Can't Make You Love Me" to Slow Ride and Tangled And Dark, this record has something for everyone. She really caught my attention with this record. Great spin! ... Read more

19. The Bonnie Raitt Collection
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Asin: B000002LLP
Catlog: Music
Sales Rank: 5468
Average Customer Review: 4.73 out of 5 stars
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When Bonnie Raitt collected four Grammies for her 1989 multiplatinum breakthrough Nick of Time, it offered sweet justification for fans that had followed her through years of great recordings but plenty of hard luck in terms of commercial success. The Bonnie Raitt Collection shows why those fans were right all along. From the early blues-mama stylings of "Give It Up or Let Me Go" and "Love Me Like a Man" to the increased pop sophistication she brought to songs like her funky reworking of Del Shannon's "Runaway" and Bryan Adams's straight-ahead rocker "No Way to Treat a Lady," the set offers a worthwhile sampling of the decade and a half she spent recording for the Warner Bros. label. Of special note are a pair of live recordings; a previously unreleased version of "Women Be Wise," featuring one of Raitt's primary mentors, Sippie Wallace; and a duet with John Prine on "Angel from Montgomery" that first appeared on the Grammy-winning Tribute to Steve Goodman. If you only recently discovered Raitt, this collection will help you decide which of her earlier works to sample next. --Daniel Durchholz ... Read more

Reviews (15)

5-0 out of 5 stars DO NOT MISS THIS CD!!!!
If you only buy one Bonnie Raitt CD, make it this one. Bonnie is a great performer. Whether it's blues, rock, or country, she can lay it on you and make you feel it. Her singing and guitar playing are superb as always. This CD has cuts from many others and they're great ones. "Give It Up or Let Me Go" is a rollicking good time tune. "Woman Be Wise" joins forces with a legendary blues mama to give women some good advice in a classic blues way. "Love Me Like A Man" is another classic Raitt tune. Then there's the soulful wail of "Love Has No Pride" that is an anthem for lost love. Bonnie does wonders with the classic "Angel from Montgomery" and makes it her own even in a duet. Remember the old rock and roll song "Runaway" by Del Shannon? Well, you'll never think of it again after hearing Bonnie's version.

Bonnie Raitt fans may merely enjoy this CD because it what they have come to expect from her. Newcomers to Bonnie will certainly be impressed. Bonnie is HOT and so is the CD.

5-0 out of 5 stars An essential for Bonnie Raitt fans...
On this 20-song CD Bonnie Raitt amply demonstrates her talent and diversity of style. Most people are familiar with Raitt's pop hits from the radio. Here you get a more rounded sample, from bluesy (in fact the hysterical live duet with Sippie Wallace, "Women Be Wise," is alone worth buying the CD), to countryish-folksy, to rock-and-roll. "Guilty," "Angel From Montgomery" (another live duet, this time with John Prine), and "Louise" exemplify Raitt's ability to hit an emotion dead-on and tell a musical story. Other songs, such as "Give It Up" and "Love Me Like A Man", exemplify her attitude. Overall, there is something for everyone here, and for fans, each one is a gem.

3-0 out of 5 stars A mediocre collection
Featuring songs culled from her 1971-1986 releases, and encompassing classic blues, blues-rock, New Orleans-styled R&B and even quasi-reggae, "The Bonnie Raitt Collection" obviously doesn't include every good song from her first nine albums, and some selections are certainly debatable (a few more up-tempo songs would have been nice, too).
But there is still some really good stuff here:

Junior Wells guests on the excellent original "Finest Lovin' Man", and Raitt demonstrates that she can also play some truly magnificent acoustic rhythm guitar on the superbly groovy "Love Me Like A Man". And there are other highlight as well, including the lovely country-rock ballads (!) "Love Has No Pride" and "Louise", a funky, bluesy rendition of Del Shannon's classic "Runaway", Frederic 'Toots' Hibbert's "True Love Is Hard To Find", and the catchy Bryan Adams-penned rocker "No Way To Treat A Lady".

So, 3 stars or there about - pretty good, but several of Bonnie Raitt's original albums, from which these songs are drawn, are much better. Strangely enough, since Raitt herself made these selections, but she somehow failed to make a truly representative compilation, and this album ends up being less than it could have been.
If I were you, I'd pick up her first two albums instead, they make a better introduction.

3-0 out of 5 stars The minority vote: doesn't do justice to her earlier work
I'm obviously in the minority here if everyone else gave this CD a five star review, but I just don't think it's a great compilation of her work with Warner Bros. Granted, Raitt supposedly compiled it herself, so it's very unlikely it was picked without care. However, this was the first disc I checked out after her trio of Don Was-produced albums for Capitol, and later one when I explored her Warner albums in their entirety, I felt like this CD shortchanged them.

A single disc compilation of her Warner work is ideal, though, because after three solid albums, it became wildly uneven. Furthermore, many songs were done far better live (check out "Write Me a Few of Your Lines/Kokomo Blues"; the version on the current Capitol live album is great, but so is her mid-70's live interpretations), so mixing it up would make it even better. To this CD's credit, it does just that, including two excellent live cuts. However, there are still some glaring omissions, and a handful of cuts here that don't reflect her best work. The cuts from "The Glow" show how mismatched she was with Asher's production (so mismatched, I would've considered excluding the album altogether; a better choice may have been to use live versions), and "No Way To Treat A Lady" feels too mechanical, too manufactured, something that plagued most of the other cuts from the same album. "Runaway" may have been her only 'hit' until "Nick Of Time," but it's not a good reinterpretation of a classic. Meanwhile, "Too Long At The Fair," "Cry Like A Rainstorm," "Write Me a Few of Your Lines/Kokomo Blues," "Run Like A Thief," and "River of Tears" are missing; all of these are GREAT recordings, not to mention great performances vocally, and have some excellent guitar work.

This CD isn't bad for what it is and has some great tracks, but as a whole, it doesn't showcase her best work with the label.

5-0 out of 5 stars 20 songs from the blues guitar queen's first 20 years.
Hearing Bonnie Raitt's music, you'd swear her roots were somewhere in the Mississippi Delta - not, of all places, Southern California. And indeed, the red-haired, freckled daughter of Broadway star John Raitt ("Oklahoma!") fit in badly with the crowd of teenagers who listened to the Beach Boys and other representatives of the so-called "California music," went to the beach and learned how to surf; whereas Bonnie "didn't get tanned and ... lived in the canyon," as she recalls in her biography written by Mark Bego, "Just in the Nick of Time." But by that time, she had already found solace in music: "That was my saving grace. I just sat in my room and played my guitar," she remembers. One day she heard a Newport Folk Festival recording entitled "Blues at Newport '63," featuring John Lee Hooker, John Hammond, Brownie McGee, Mississippi John Hurt and other members of the blues's all-time elite. And Bonnie was hooked: "I tell you, once you get exposed to the blues, you can't get enough."

Thus, it was only natural that she would soon be found more frequently in the Cambridge, MA, blues and jazz clubs than in the hallowed halls of Radcliffe College, where she had enrolled to master in African studies. Before long she had an agent, and began to open for her idols Junior Wells, Arthur Crudup, Buddy Guy, John Lee Hooker and ultimately her mentor, Sippie Wallace, and met singer-songwriters and future soulmates Jackson Browne and James Taylor. In 1971 she was offered her first recording contract. And from her self-titled debut to 2002's "Silver Lining," her over three decades-long career is one of the most amazing examples of personal growth, combined with stellar musicianship and an active voice for society's victims and underprivileged and again and again, for women's rights; even if it would take the music industry until 1989's triple Grammies for the Capitol Records release "Nick of Time" to officially recognize Bonnie Raitt's achievements.

This collection, released shortly after her Grammy-winning album, chronicles all stages of her career until then, drawing on the nine albums she had released on Warner Records before changing labels. It features all-time classics such as "Give It Up or Let Me Go," "Love Me Like a Man," "Willya Wontcha," "Love Has No Pride" (one of her earliest signature songs), her intensely personal interpretation of Randy Newman's "Guilty" (which still cuts so close that she doesn't perform it live as regularly as other songs), the Tex-Mex ballad "Louise," her Al Green-inflected version of Jackson Browne's "Runaway," her hard-driving recording of Bryan Adams's "No Way to Treat a Lady" ("I sing a lot of songs for women who've 'had it,' and this is a powerful dose of that feeling," she comments on the album's liner notes), a rare 1976 live duet with Sippie Wallace on her mentor's "Women Be Wise," and an the Grammy-winning 1985 live duet with John Prine on "Angel From Montgomery," written by Prine but now a signature song for Bonnie Raitt as much as for him.

Much more than a "best of," this is a very personal collection of songs by the singer whose very first female role model was "Gunsmoke"'s red-headed, independent Miss Kitty (Amanda Blake); who learned to successfully compete with boys and men from early childhood on ("I just couldn't stand the way girls got the second best of everything," she recalls in "Nick of Time"), and who now donates the revenue from sales of her signature model Fender Strat to her own project for inner city girls. It amply showcases her feeling for the blues and her extraordinary talent as a guitar player: she is one of the few women who have mastered the bottleneck guitar, a feat she achieved even before her first recording contract, and her slide guitar skills are matched (if that) by only the best in the business.

Bonnie Raitt is rightfully considered part of the all-time elite of blues musicians, and recognized as a peer by the artists she once admired from afar. This album contains excellent examples of her cooperation with many of those artists, who appear on her records again and again - the list almost reads like a blues and rock music "who is who." There are, for example, Junior Wells (harp on "Finest Lovin' Man"), Freebo ([fretless] bass on almost every track and tuba on "Give It Up or Let Me Go"), A.C. Reed (sax on "Finest Lovin' Man"), John Payne (sax on "Give It Up or Let Me Go"), T.J. Tindall (e-guitar on "Under the Falling Sky"), Paul Butterfield (harp on "Under the Falling Sky"), Lowell George (slide guitar on "I Feel the Same" and "Guilty"), Bill Payne (keyboards on "I Feel the Same," "Guilty," "(Goin') Wild for You Baby" and "No Way to Treat a Lady"), Steve Gadd (drums on "What Is Success"), Will McFarlane (e-guitar on "My First Night Alone Without You," "Sugar Mama" and "Runaway"), John Hall (e-guitar on "My First Night Without You" and "Sugar Mama") Jai Winding (keyboards on "My First Night Alone Without You" and "Sugar Mama"), Joe and Jeff Porcaro (percussion on "Sugar Mama"), Norton Buffalo (harp on "Runaway"), Rosemary Butler (backing vocals on "Runaway" and "No Way to Treat a Lady") Waddy Wachtel (e-guitar on "(Goin') Wild for You Baby"), Bob Glaub (bass on "(Goin') Wild for You Baby"), Ricky Fataar (drums/percussion on "Willya Wontcha"), Michael Landau (guitar solo on "No Way to Treat a Lady"), Nathan East (bass on "No Way to Treat a Lady") and countless others.

Intimidated by her mother's skill as a pianist, Bonnie Raitt exchanged keys for steel strings when she was barely eight years old. She later did return to the piano, though, and even if she may not be Martha Argerich (or, for that matter, Marjorie Haydock Raitt), her true gift shines through even there. But even if she had never learned to play anything but guitar ... listening to this album, I doubt we would seriously be missing anything. ... Read more

20. Skin
list price: $13.98
our price: $13.98
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Asin: B00005LODB
Catlog: Music
Sales Rank: 4193
Average Customer Review: 4.76 out of 5 stars
US | Canada | United Kingdom | Germany | France | Japan's Best of 2001

During the dark days of the singer's split from Julie Cypher, hercompanion of 12 years, Melissa Etheridge retreated to her home studio to pensongs lit from within with her searing pain and confusion. From thoseheart-wrenching sessions comes arguably Etheridge's finest work. She vents and ragesand all but spits on her Tony Llama boots, giving these 10 songs a depth and grit that she only hinted at in her prior six albums. And those early albums were plenty gritty. But early tunes such as "Come to My Window," and "Yes I Am" don't approach the naked vulnerability heard here--even though the breakup was hinted at in "Stronger Than Me," on 1999's Breakdown. Skin peels back layers of Etheridge's pain and addresses her personal melodrama in such a compelling way that her despair is transmuted into true art, as she takes the listener through the stages of grief and recovery. And what a journey, beginning with the bristling "Lover Please" ("Didn't I love you right / Then tell me where are you going dressed to kill tonight? / Oh, this one's gonna hurt like hell") and ending with the stirring "Heal Me," which features background vocals by famous pals Laura Dern and Meg Ryan. That's almost all the help she has on the record; Etheridge plays almost all the instruments and penned all the songs. But, ultimately, Skin is the sound of one heart breaking. --Jaan Uhelszki ... Read more

Reviews (117)

4-0 out of 5 stars Melissa's New Skin
Being a big fan of Melissa Etheridge, I'm torn on my feelings on this new release. While she continues to enlighten the world with her raw and honest lyrics, this album is quite a different style for her. The music leans much more towards "pop" music than her previous releases which really ROCK. Her voice and attitude seem somewhat less "edgy" and somewhat more "resigned" and sad which is expected given she has described this release as a tremendous healing experience after her difficult year. I really do love the CD, including the background vocals provided by Meg Ryan and Laura Dern on "Heal Me". However, I miss the great guitar work and use of her tremendous voice she showed on "Yes I Am" and her self titled album.

5-0 out of 5 stars A Musical Triumph
While Melissa Etheridge has always been a commanding performer and fairly decent songwriter, her albums as a whole were often inconsistent, containing several great tracks, with the rest of the albums filled out by average songs. This is the fifth Etheridge album I've listened to, and overall it's probably her best work to date. Gone for the most part are the searing electric guitar work marked by such songs as 'Your Little Secret' and 'If I Wanted To', and in its place gently rocking acoustic guitar work, almost bordering on acoustic pop. It's a slightly different direction, somewhat began on '99's BREAKDOWN, but in full fruition here. Obviously building on her recent personal tribulations, the writing is at times both heartbreaking and hopeful, as she dreams of loves past('Lover Please') and future('I Want To Be In Love'). It's hard to list standouts, as the whole package is uniformly excellent, but check out 'Lover Please', a musical sequel of sorts to 'I'm The Only One', and 'The Different', a sonically adventurous acoustic rocker punctuated by industrial/tribal production. For those who tired of Etheridge's slight oversaturation in the mid '90s, the time is right to once again embrace this talented and vital artist.

5-0 out of 5 stars Etheridge's most honest effort
This is a really extrodinary album from Melissa Etheridge. There are so many emotions, the songs are painfully real and vivid with detail. Of course this album came on the heels of her breakup with longtime girlfriend Julie Cypher. It is an incredibly vulnerable and at the same time, a brilliant record. The songs range from dispair, disappointment, hope, and other emotions. The album opens with the wonderful rocker "Lover Please", which is an instant hit upon listening to it. I really like "The Prison", a song I can very much identify with, about feeling stuck in a situation or a place, state of mind, whatever. Great song! "Walking On Water" is a great song, just very blunt and obvious. "Down To One" is simply heartbreaking, another great song. The first single was "I Want To Be In Love", an epiphany of sorts, a nice pop/rock song with a positive sound and message, about knowing what you want and doing whatever you can to get it. The album closes with "Heal Me", a positive song about renewel and starting over. This is a really good album, very deep in terms of lyrics. She wrote all the songs and played a number of instruments on all of them. She really brings the revealing lyrics alive with her raw vocals, she truly sounds like she poured her heart all over this and wore it on her sleeve for all to see. A very impressive Melissa Etheridge album that does not disapoint in the least.

5-0 out of 5 stars SKIN...... oh my...!!!!
I have always been one for deep and meaningful music. I have always enjoyed Melissa Etheridge. When I heard SKIN for the first time, I honestly thought I had died and gone to heaven! Her emotional ballads, such as The Prison, had me in tears. I not only enjoyed the 'tunes' but the words as well. Her music inspires me to be happy, but sad at the same time, thinking of lost loves, very emotional but very satisfying, if you can understand that.

5-0 out of 5 stars DarkBard
Simply put, one of the greatest albums made. Compelling, true, and provoking. You will not be disapointed and it will not fail to bring something into your life. ... Read more

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