Christopher Cross Review

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(More customer reviews)Christopher Cross' self titled debut album "Christopher Cross" marked a return to simplicity as the decade would change from the 1970s to the 1980s. The 1970s had introduced the hard rock sound as well as the disco sound. Christopher Cross' album would be filled with what would today be classified as adult contemporary songs. In some ways, this album was also a sign of things to come for the 1980s - an album that is infused with a keyboards and synthesizers. This album would go on to be the big hit of the 1980 Grammy Awards. Some may be critical of the efforts (my Grandfather attended the 1980 Grammys and was not happy that Cross would win all the awards), but most applaud the efforts (including myself - despite my Grandfathers opinion).
Cross and producer Michael Omartian did a lot of right things when putting together this colleciton. No doubt Omartian knew he had a gem of a songwriter and a gem of a voice in Christopher Cross. This was something that could lead to big things, but what Omartian did is take out an insurance policy - he surrounded Cross with some outstanding talent to contribute background vocals to the songs on the album. The names are Michael McDonald ("I Really Don't Know Anymore" and "Ride With the Wind"), Don Henley ("The Light is On") and the late Nicolette Larson ("Say You'll Be Mine"). There also is a lesser known vocalist named Valerie Carter who does an outstanding job on contibuting vocals to "Spinning". There also is a solid studio band - Tommy Taylor and Andy Salmon play drums and bass respectively on all of the tracks. Rob Meurer contributes keyboards, piano, etc on 8 of the 9 tracks.
Michael McDonald does a tremendous job on his two tracks. His soulful voice is perfect as he echoes Cross on the chorus of "I Really Don't Know Anymore". Meurer's synthesizers will also give this song a very catchy beat. McDonald is much better known for his background vocals "Ride Like the Wind"."Ride Like the Wind" is an awesome song. McDonald is used in a similar role as "I Really Don't Know Anymore" provided the "echo" to Cross. In 1982, I remember watching "The Great American Bike Race" (a transcontiential bicycle race) on ABC Sports. The person who won that race was kind of a "loner" character named Lon Haldeman. They used this song to describe him and I remember how perfect this music was. Even today I have visions of the "loner" cyclist when this song is played.
On "The Light is On", this isn't a song I would expect to hear Don Henley on. Henley contributes vocals and not any percussion or drums. Henley's vocals are combined with Cross himself and someone named J.D. Souther. You won't hear Henley stand out on this song, but I'm sure having someone like him in the studio contributed to great quality this song delivers. As for Nicolette Larson (the late singer who passed away in 1997 - famous for her hit "Lotta Love"), she is the perfect vocalist on "Say You'll Be Mine". On this track, Larson basically performs a duet with Cross. She blends beautifully in this song. Larson doesn't come on to the song til about 1:35 into the song - and she "folds" into the song beautifully as her role gets more prevalent as the song goes on. On "Spinning", Valerie Carter also plays a duet role - but her role starts much earlier in the song. "Spinning" is a hidden gem on this album - it is a very soulful and romantic song featuring some terrific flugelhorn by someone named Chuck Findley.
There are two other songs that are hidden gems on this album. Both of these songs feature terrific lyrics and terrific music. The first is "Poor Shirley" is a song that deals with someone named 'Shirley' that Cross describes as someone who has went through the heartbreak of a breakup. "Minstrel Gigolo" is the six minute finale to the album and is the perfect wrap-up song. In this song Cross takes us the journey of being a star in the music industry. Since this was a debut album, Cross probably wasn't writing from experience but rather taking a peek into the future. "Minstrel Gigolo" is probably the second best track on the collection.
Besides "Ride Like the Wind", there are two other popular songs on this album. "Sailing" won a Grammy for song of the year and is one of those songs in which the songwriter is able to create a "visual" from the music. No doubt, Cross paints the perfect picture of a relaxing day at sea. I think Cross knew he was painting a picture as he references "the canvas can do miracles".The other well known song is "Never Be the Same" - this song has a catchy pop beat to it. It's a nice song, but compared to the other 8 tracks it might be the weakest of songs on the collection.
This CD has a nice set of liner notes. All of the lyrics to the 9 songs contained in the collection are included. In addition, all production and musician credits are done on a song by song basis. There are some real good songs included especially from a songwriting and musicianship standpoint, but the one drawback is that this album sometimes wears thin on me pretty quickly. In other words, after I sporadically play this CD for a day or so, it kind of develops that overplayed feeling. This isn't a knock of the quality of the work of this album, but more a statement of reality. A final note - even without the guest vocalists, this album still has a lot of merit. This album still has a lot to offer and there probably is something for everyone on this collection.

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Japanese only SHM-CD (Super High Material CD - playable on all CD players) pressing. Warner.--This text refers to an alternate Audio CD edition.

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Boy Review

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(More customer reviews)Although U2's real debut came in early 1979 with 'Three' the band broke onto the scene with 'Boy,' from 1980. They had recently been signed to major label Island Records, which was home to bands like Bob Marley & The Wailers in the '70s. 'Three' was released on CBS.
But anyway, this is where it all started. Right here. 'Boy,' their major label debut, gave them their first hit, 'I Will Follow' and contained such fan favorites like the eight minute 'An Cat Dubh/Into The Heart,' one of my personal favorites 'Shadows and Tall Trees' and the early-U2 concert classic 'Twilight.'
The bonus disc is where things get interesting. If you are a casual U2 fan, just buy the standard edition of 'Boy.' However, if you are a lifelong, die-hard U2 fan like I am, than this is a real treat!
The original version of '11 O'Clock Tick Tock' should have made the original cut. I don't understand why it didn't. This song is a great one, and while many people know it from 'Under A Blood Red Sky,' I prefer the studio version. (Note: For those who haven't heard the studio version, you are in for a real treat!)
The previously unreleased tracks 'Speed of Life' and 'Saturday Night' have a more punk rock sound. Clearly influenced by bands like The Clash and The Jam, these songs proves U2 can make great punk.
And finally, 'Three' is available on CD! This is what I've been waiting for for years! This is the real highlight of the disc! 'Boy/Girl' is a classic, and another really good punk rocker. The live version from London in early 1980 that is also featured here is superb as well. And what a treat it is to hear the original 'Out of Control' and 'Stories for Boys'! The songs have a much more punk rock sound here than they do in their 'Boy' album versions.
The final two unreleased tracks that are featured here is a rare, previously unreleased live version of '11 O'Clock Tick Tock' from London in early 1980, and 'Cartoon World' a non-album track that was recorded live in Dublin. Both are really cool.
'Another Day' was released as a single in mid-1979 on CBS Records. This song is a classic. Any U2 fan, whether casual or die-hard like myself, needs to hear this song. It is, without a doubt, one of my personal favorite U2 songs. Another really great one is the instrumental 'Things to Make and Do.' I own a rare live bootleg from Boston in 1981 where that song is performed. Although this version is great, I have to say, I prefer the live Boston version instead.
'Touch,' from late '79, is another one of my personal favorites. The lyrics are great, Bono's voice and The Edge's guitar is great, especially the opening riff.
Overall, the deluxe edition of 'Boy' is the version that you need to own. Everything is digitally remastered, so the sound quality is awesome, and the bonus tracks make it really worthwhile.
This edition of 'Boy' is highly recommended for any U2 fan that wants to hear early U2 at their finest. You won't regret this purchase.
ENJOY!!!

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RE-MASTERED VERSION (1CD): standard jewel case w/ 24pg. book--This text refers to an alternate Audio CD edition.

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Double Fantasy Review

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(More customer reviews)Note: The Lennon songs alone deserve a five star rating.
While "Double Fantasy" was meant to be Lennon's comeback album, it ultimately served as his sweet farewell.
John Lennon was a very proficient artist throughout most of the 60s and throughout the first half of the 70s. Between 1963 and 1975, a year didn't pass by in which Lennon didn't release an album, first with the Beatles and then as a solo artist. The second half of the 70s, however, saw no new music from Lennon. Indeed, he virtually disappeared from the limelight.
In the early-to-mid 70s, before his musical hiatus, Lennon indulged in his infamous "lost weekend." During this time Lennon was separated from Yoko and indulged in drugs, alcohol and general excess. After this dark phase, Lennon took the second half of the 70s off to find himself. In that time he reconciled with Yoko, became a father, and worked on new music.
November of 1980 saw the release of "Double Fantasy." It was Lennon's first album of original material since 1974's "Wall and Bridges." Although it initially received mixed reviews from critics, it was a hit, achieving gold status within a few weeks. The album's first single "(Just Like) Starting Over" also proved to be a hit single. With a new world tour planned for 1981, Lennon was poised to make a strong comeback and take the 1980s head-on.
But then came December 8, 1980, a night in which the world was robbed of one of its biggest talents.
After Lennon's death, fans went to the record stores in droves to pick up "Double Fantasy." It became one of 1981's top sellers and earned a Grammy. Although it had initially received mixed reviews from critics, it is now regarded by fans and critics alike as one of his finest solo offerings. The album proved to be a sad-but-sweet farewell.
Because "Double Fantasy" was released so close to Lennon's death, it's hard to listen to it and take it out of that context. It's a rather paradoxical listen. The nature of the album is celebratory and positive, yet it was released in the wake of such a tragedy. It's so unfair that a man who was so gifted, so optimistic about the future, should have it all taken away. All this makes "Double Fantasy" a very bittersweet album.
John Lennon's music has always been autobiographical. After the demise of the Beatles, when Lennon was coming to terms with his life and fame, he released his brutally honest masterpiece "Plastic Ono Band" (1970). It was an album of letting go, a total catharsis, a release of all his pent up demons. In 1974, when he was separated from Yoko, lost, and didn't know what to do with his life, he released the confessional "Walls and Bridges," which was a diary of that dark time in his life.
In 1980, Lennon was as happy and fulfilled as he had ever been, and "Double Fantasy" is a testament to that. He was happily married, had a young child, and was eager to get back into world affairs, tour, and make a statement.
"Double Fantasy" sees a joint John Lennon/Yoko Ono collaboration. Both sing and pen every other song, so each artist is surrounded by a song of the other. Often the songs are a response to one another, like a dialogue.
Lennon's last few albums before his hiatus had been brilliant, if unfocused. "Double Fantasy" sees Lennon's best work in years. With Jack Douglas producing and backed by top-notch studio musicians, Lennon came up with a stellar collection of mature and polished, yet rocking songs.
The Fats Domino-esque "Just like Starting Over" gets the album off to a great start. The mid-tempo "Cleanup Time," with its infectious horns has a great hook and keeps the momentum going. The downdraught insecure "I'm loosing you" is reminiscent of Lennon's work from "Walls and Bridges." Lennon's tribute to his son Sean, the new age sounding lullaby-like "Beautiful Boy" is both sincere and gorgeous, without sounding corny. The album's big hit, the mid-tempo "Watching the Wheels" offers an explanation as to Lennon's absence from the music world for the preceding few years. Lennon shows his masterful pop-sensibility for the stunning "Woman." The up-tempo "Dear Yoko" is a good, if not spectacular pop song. The horns add a nice touch. The 2000 remaster addition includes a rough demo of the hymn-like "Help me to help myself," which shows Lennon's desire to keep on the straight-and-narrow path.
Although the format of the alternating John/Yoko songs is an interesting idea for a middle-aged love story concept album, in all honesty, it would have been better if John and Yoko each released their own songs on separate albums. Yoko Ono is creative and a gifted songwriter, but her songs just seem out of place next to John's. That said, there are some good Yoko songs to be found on "Double Fantasy," like the disco-esque "Kiss, Kiss, Kiss," the cabaret-like "Yes I'm your Angel," and the infectious club-beat of "Every man has a Woman who love him."
I never actually listen to "Double Fantasy" as is, per-se. Rather; I have a CDR of all the Lennon songs from "Double Fantasy," and all the Lennon songs from the posthumous follow-up, "Milk and Honey," (1984) which was done in the same John/Yoko alternating format. This makes for a far more consistent and enjoyable listen.
While Lennon's early death is the biggest loss rock n' roll ever faced, it is of some comfort to know that Lennon spent the last few years of his life in high spirits. "Double Fantasy" ultimately serves as an acknowledgment of that, bittersweet as it may be.

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Duke (W/Dvd) Review

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(More customer reviews)"Duke" is the 4th post-Peter Gabriel album, originally released in 1980. I never bought the album when this came out as I preferred the prog-rock sound of the band and this alvum continued their evolution into a more commercial, mainstream band. But the temptation of the 6 CD/6 DVD box "Genesis 1976-1982" was such that I just had to have it, and so now I have "Duke" finally.
As to the CD, "Duke" (12 tracks, 55 min.) is, now listening to it 27 years after the facts, quite a surprise to me, and a pleasant one. No, I still don't like the "Misunderstanding" or "Turn It On Again", the album's big hits, all that much. But I discovered quite a few other tracks I really like, starting with the majestic opener "Behind the Lines", the reflective "Man of Our Times" and "Alone Tonight", and then of course the massive 11. min. ending of "Duke's Travels/Duke's End".
As to the DVD, it first brings the album in a terrific 5.1 surround mix, and it sounds fantastic if you have the proper music set-up at home (which I do). As to the visuals, it comes with the videos for Duchess, Misunderstanding, and Turn It On Again, nice but nothing earth-shattering. The "Reissue Interviews 2007" brings about 20 min. of the guys bringing their perspectives on the album, quite entertaining. But the real gold nugget is a 45 min. excerpt of a 1980 London concert where the band showcases several Duke tracks (including a great "Behind the Lines") and then delves into the past and delivers outstanding performances of "In the Cage", "Dance On a Volcano" and "Los Endos". The video and audio quality is tops. Any Genesis fan will want to have this, period.
If you are considering buying any of the reissued CD/DVD albums, you really should look at buying the 6 CD/6 DVD "Genesis 1976-1982" box instead as it offer far more "bang for the buck" (only $69 here on Amazon), and on top it comes with a bonus CD/DVD of assorted B-sides, EPs and other hard to find tracks from that era.

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Dirty Mind Review

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(More customer reviews)"Dirty Mind" sets the tone for the rest of Prince's unparalleled career. In fact, most people think it's his first album. It might as well have been because, despite his impressive first 2 LP's (For You and Prince), he really got recognized for the image he crafted through his music. But it's the great music that makes this album endure, for it created the "Prince sound."
The minimalist approach to this LP is its hallmark. Stripped of all pretensions and indulgences,and centered around funk guitar and synths, it is one of the tightest -- and raunchiest -- Prince LP's. What really makes this LP are 4 all-time classic Prince songs: the title track, the outstanding "When You Were Mine," "Do It All Night," and "Uptown." They are the heart and soul of a great LP. Unfortunately, radio wasn't as liberal as it is now, but I'd like to think this LP contributed to more adventurous music in all genres. If not for this album, would Madonna, 2 Live Crew, Nine Inch Nails, etc. even gotten radio play? Maybe not.
This is an essential 80's record, an essential Prince record, and an undisputed classic. Buy it.

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Japanese SHM paper sleeve pressing. The SHM-CD [Super High Material CD] format features enhanced audio quality through the use of a special polycarbonate plastic. Using a process developed by JVC and Universal Music Japan discovered through the joint companies' research into LCD display manufacturing* SHM-CDs feature improved transparency on the data side of the disc* allowing for more accurate reading of CD data by the CD player laser head. SHM-CD format CDs are fully compatible with standard CD players. 2009.--This text refers to an alternate Audio CD edition.

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Blizzard of Ozz Review

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(More customer reviews)I recently heard that two of my all-time favorite albums, Ozzy Osbourne's "Blizzard of Ozz" and "Diary of a Madman," had undergone a 24-bit remastering process, and were to be re-released on CD. I couldn't wait to check them out, and I purchased them the moment they became available.
The first clue that something was wrong came while I was leafing through the booklet for "Blizzard." The old back cover photo of Ozzy on stage with guitarist Randy Rhoads, bassist (and lyricist) Bob Daisley, and drummer Lee Kerslake had been doctored so that only Ozzy was now visible. Strange, I thought.
Then I sat down to listen. My first reaction to "Blizzard" was that the drumming sounded sloppier than I remembered. Skipping from track to track, I noticed some things were sounding very different, and that the album seemed to have not only been remastered, but had been completely remixed from the original multi-track tapes.
Giving the liner notes a closer look, I discoved that all of the bass and drum tracks for both albums have been re-recorded by current Ozzy sidemen Robert Trujillo and Mike Bordin, respectively.
I'm not kidding.
At this point I began to get pretty upset. The bass and drum tracks have been re-recorded in such a way as to mimic the original sound of the albums, but it doesn't work: Trujillo's bass is actually noticeably out-of-tune on a couple of numbers, and Bordin's drumming never matches the feel of the original tracks. Of course, "Blizzard of Ozz" was a somewhat lo-fi album to begin with. What about "Diary of a Madman," the album I've long characterized as the "Sgt. Pepper" of Heavy Metal?
In my opinion, "Diary" has been ruined. From the opening drum triplets of "Over the Mountain" everything is wrong, wrong, wrong. Every ounce of magic the album had has been sucked out of it. Randy's guitar tones are completely messed up. Some of his solos and fills are barely audible, and his various effects and textures have been replaced with a dry, shrill tone in many spots. The new mix retains none of the charm, atmosphere, or detail of the original. Even "Flying High Again" sounds awful. Why on earth would Ozzy tamper with one of the greatest sounding albums in hard rock history?
Well, according to Sharon Osbourne, Daisley and Kerslake have been removed from the albums because they have been "harassing" the Osbourne family. The truth is that Bob Daisley and Lee Kerslake are suing Ozzy for non-payment of royalties and for crediting others (Rudy Sarzo and Tommy Aldridge) for their work on "Diary of a Madman." By removing them from the recordings, Ozzy can ensure that Daisley and Kerslake will receive no future mechanical royalties from his back catalog. This is simply an act of monumental greed and arrogance, and I implore you not to support Ozzy in this shameful endeavor.
These CD's are being promoted as "original recording remastered," with no outward indication to the buyer that they have been re-recorded with sidemen Randy Rhoads never even met. It is an unforgivable affront to Randy's memory, and it is deliberately misleading to Ozzy's longtime fans. Unfortunately, these will soon be the only versions of these albums you can buy, so get the 1995 22-bit remasters while you still can: They sound fantastic and are the only authentic versions of these hard rock masterpieces.

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Rattle & Hum Review

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(More customer reviews)Rattle & Hum is the soundtrack to the band's documentary on their 1987 tour through America. The album is a mix of live tracks and studio recordings. The album takes on an American sound to it as the band traveled through the States visiting such places as Harlem, Graceland & Sun Studios. "Angel Of Harlem" is a tribute to Billie Holliday and the band shows they've got some soul with the song's stirring horn section. "When Love Comes To Town" is a duet with blues legend B.B. King and he lets loose with some terrific guitar playing. "God Part II" is the band's sequel to John Lennon's "God" from his Plastic Ono Band album. Much like the original, U2 question their own beliefs and the beliefs about them. "Desire" is a blistering song and Bono's harmonica work is impressive. "Van Dieman's Land", "Hawkmoon 269" and the appropriately titled "Heartland" find the band playing sounds with a folky, Midwestern vibe. "All I Want Is You" closes the album with a powerful beauty. The live tracks include a gospelized version of "I Still Haven't Found What I'm Looking For", a take on the Beatles "Helter Skelter" in which Bono adds one of his more famous lines "three chords and a dream", a simmering take of their anti-apartheid song "Silver & Gold". "Bullet The Blue Sky" shows all the power and force of the band on stage. It opens with a snippet of Jimi Hendrix's take of "The Star Spangled Banner" and then merges into a booming Larry Mullin drum beat. Adam Clayton plays an extremely heavy bass while Bono expands on his sermon in the middle of the song and The Edge's guitar soars up and down. The critics dismissed this album when it first came out as bombastic and egotistical, but that probably had a lot to do with the film. U2 had been untouchable up to that and the project gave them a chance to jump on them. The album is uneven in places and the film is precocious at times, but their overall passion and feeling override any flaws and ten years later those feelings are still strong.

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Limited edition double LP vinyl pressing of U2's soundtrack to their documentary of the same name. Universal.--This text refers to an out of print or unavailable edition of this title.

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