One Good Reason Review

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(More customer reviews)...to pick up this CD! Recently I was at a book and music shop in Louisville and they were clearing out their cassettes. That was where I got my copy of One Good Reason, which I actually got for my gf because she likes Don't Shed a Tear. After a listen or two however, I stole the tape back from her, and I've listened to it everyday since. This album is nothing short of brilliant. I'm not even a fan of mainstream pop, but this album is so incredibly good, it's irresistable.
1. One Good Reason - The title track. Has an amazing groove. The song is dark, but somehow uplifting. I think he uses some kind of tympani, or at least a synthesized tympani to get that sound on the main riff.
2. When You Walk In the Room - This is actually a remake, I read off of the Carrack website, and it is the only song Paul plays off this album in concert currently, which is a shame. I don't know who the female singer on this song is, but boy is she strong. The harmonies are brilliant here. This song has an amazing key change that makes for a very nice build up just before the finish.
3. Button off My Shirt - A nice, mid-tempo bubblegum chewer, but don't mistake it, Paul sings in full soulfulness in that range only he can hit.
4. Give me a Chance - Tearjerker. Slow with keys. One of the most amazing ballads I've ever heard.
5. Double It Up - My personal favorite song on this album and one of my favorite songs ever. It reminds you of The Heat Is On by the tempo, and the riff is a bit like the Police's Demolition Man, but that doesn't ruin it for me at all. This song would be great in an action movie, maybe during the opening credits. The whole thing is an adrenaline rush. I've tried to sing it many times but it's way too high. On this number, Paul demonstrates an ability to drive the song, to be bluesy and soulful, and have power at the top of his range, all at the same time. The guitars are excellent in this song, as are the horns, but I suspect they are synthesized.
6. Don't Shed A Tear - It's a priveledge to say that this is one of the weaker songs on the album, but it's still a good song. No further comment needed here, this was a major hit in the US.
7. Fire With Fire - This is a great song. I thought, from a songwriter's perspective, that it was clever how they went into that bridge section just before the refrain. That really set it up nicely.
8. Here I Am - Kind of a fast shuffle beat number. This is one of those songs that you wish you knew the lyrics to so you could really try hard to hit those notes, even though you probably don't have a shot in hell. A very singable, danceable upbeat happy song.
9. Collrane - If I'm not mistaken, Collrane is a woman's first name. I've never heard it over here in the US, maybe it's popular over in Europe. This song is sort of dark, but has an epic feel - a tour de force for the band. If I'd written it, I would have included more tension and had more solos to try for a Stairway to Heaven effect, but as it is, which is somewhat short and sweet, the power and gravity of the emotions are fully there. The bass groove is really cool here, too. The echo on the drums was a nice touch. The whole thing screams of intrigue!
10. Figure in Your Life - If this song doesn't bring a tear to your eye, you have no soul. This is a question I think every man has asked a woman, in some way, at some time. This is where PC really shines: he has a knack for finding that little dark spot in your heart and putting it into the right song with the right lyrics.
I guess that about does it for my long-winded review. I can't speak highly enough about the album. It's too bad you can't get it on iTunes and there are no samples here. Maybe you can find CDs out there somewhere. Suburban Voodoo was on CD, this should be too, if it isn't.

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Raised on Radio (Expanded) Review

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(More customer reviews)"Rasied On Radio" has been called "too pop" by some fans,but I like this album very much,thank you.The main reason to pick up this reissue is the the remastered sound( by Dave Donnelly),since it is a vast improvement over previous CD editions.The bass and midrange are increased,giving songs like "Once You Love Somebody","Positive Touch","It Could Have Been You" and the hits "The Girl Can't Help It","Be Good To Yourself","I'll Be Alright Without You" and "Suzanne" a kick and punch that wasn't there before.Its also contains two live tracks(I'll Be Alright Without You" and "The Girl Can't Help It") and is packaged with a cool booklet featuring photos and tour dates from the "Raised On Radio" period.Unfortunatly,this would be the final album for Journey until a short-lived Steve Perry-led reunion CD("Trial By Fire")appeared in 1996.

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Dirty Work Review

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(More customer reviews)Dirty Work was originally released March 25, 1986, it was the first studio album in *17 years* that did not go to #1 in either the UK or the US. This one broke an unparalleled string of 10 #1 albums in a row, dating from the release of Let It Bleed in 1969. Dirty Work only made it to #3 in the UK and #4 in the US, making it the lowest charting for a studio album since the US release of The Rolling Stones, Now! only went to #5 in 1965.
The album includes the single hits Harlem Shuffle and One Hit (To The Body). Most people know the music, so in my reviews I try to give you data on the sessions and interesting facts connected with the songs and the album. Here we go:
Interesting notes include:
.....the working title for the album was 19 Stitches
.....the final cut (Sleep Tonight) is followed by a boogie-woogie piano fadeout memorial to Ian Steward, the real 6th Rolling Stone, who died Dec 12, 1985, just before the album was released and dedicated to him
.....Mick brought essentially nothing to the sessions because he had used all his latest ideas for his first solo album She's The Boss (Keith had threatened to "slit his......throat" if he toured with another band), so Keith took over the sessions and ran the band when Mick left to promote his album. When Mick returned, he used a different studio and worked at times when he would not be in the building with Keith.....If you watch the videos for One Hit and Fight you can actually see the (real) anger between them....they made up when the Stones played a memorial gig for Ian Steward Feb 28, 1986 at the 100 Club in Oxford St, London....They were billed as Rocket 86....(If you don't know rock history, that's the 1st rock and roll record, Ike Turner's Rocket 88, minus Brian and Ian).
.....things were so bad with the band that when a reporter asked Charlie what he thought of the album he said he didn't know it was out and asked if it was any good
The Dirty Work sessions occurred in early 1985 in Paris. Final mixing was done in New York at RPM Studios (Jul 16 - Aug 17 & Sep 10 - Oct 15, 1985) and at Right Track Studios (Nov 15 - Dec 5, 1985).
Jan 23 - Mar 2, 1985 at Pathe Marconi/EMI Studios in Paris
.....One Hit (To The Body)
.....Fight
.....Harlem Shuffle
.....Hold Back
.....Too Rude
.....Winning Ugly
.....Back To Zero
.....Dirty Work
.....Had It With You
.....Sleep Tonight
The Paris Dirty Work sessions produced a number of unreleased tracks, including What Am I Supposed To Do, Baby You're Too Much, Deep Love, Sending Out An Invitation, Some Of Us Are On Our Knees, For Your Precious Love, Strictly Memphis, What Are You Goin' To Do With My Love.
This information comes from "It's Only Rock And Roll: The Ultimate Guide To The Rolling Stones" by Karnbach and Bernson and from my own collection, with some of the notes from Davis' "Old Gods Almost Dead." Both books are available from amazon.com.

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Digitally remastered reissue of the veteran British Rock band's 1986 album.--This text refers to an alternate Audio CD edition.

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KOHUEPT (Concert) (Live in Leningrad) Review

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(More customer reviews)This album captures the very essence of Billy Joel's concerts.Has some of his best songs including Allentown,Angry Young Man and A Matter of Trust.He does a great job of performing John Lennon and Paul Mc Cartney's Back in the USSR.

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Physical Review

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(More customer reviews)In October 1981, Olivia Newton-John released "Physical"
BEFORE:
The poster-girl of sweet wholesome pop music, Olivia began changing her image in Grease and the "Totally Hot" album which followed suit. She also had appeared in the movie Xanadu, which flopped but had a hit soundtrack. This was to be her first studio album in three years.
AFTER:
The title track was a #1 hit for ten weeks (making it the #1 song of the 1980's), the album went double platinum and peaked at #6. The album had another top five hit with "Make A Move On Me". Olivia was on top of the world at the moment. Hosting SNL, preparing to open Koala Blue, and embarking on a wildly successful 1982 tour. This was the peak of Olivia's popularity.While Physical, the track, has been overplayed to the extent that the song is a caricature instead of an actual record, the album as a whole retains as the strongest album of Livvy's career.
1. Landslide (5/5) is the perfect leadoff single. The song is fast, dancy and sets the pace for the record.
2. Stranger's Touch (5/5) is even better (a shame it wound up on a b-side). The sexiest moment off the album.
3. Make A Move On Me (5/5) is a classic and is catchy as hell. The video was terrible but the song makes up for it.
4. Falling (5/5) is a beautiful acoustic haunting ballad about falling in love.
5. Love Make Me Strong (3.5/5) is a good song but probably the worst track.
6. Physical (5/5), what needs to be said about it? everyone knows this song.
7. Silvery Rain (5/5). Olivia was caring about the environment back when most of the "environmentalist" rock stars weren't even signed yet. The song rocks and is one of the best of the album. Starts out like a mellow 70's ONJ rock song and then becomes a rocker during the chorus. Even though Cliff Richard did the song a decade before Livvy, you can tell she deeply cares about the lyrics.
8. Carried Away (4.5/5). A pretty Gibb ballad that was originally written but then rejected for Barbra Streisand's "Guilty" album, and it probably wouldn't have fit there because it's structured a little too much like "Woman In Love". A soothing upbeat early 80's ballad you could listen to in the tub.
9. Recovery (4/5) kinda reminds me of "(Want You) Back In My Life" by The Carpenters. Kind of a tropical sounding sound with very audible John Farrar background vocals.
10. The Promise (4.5/5). Another environmentalist ballad. Very beautiful and Olivia sings about her love for dolphins (you can hear dolphins in the background). A beautiful song.
I would love Universal to remaster this (I know there's an import) and add some bonus tracks from the period... I heard Olivia recorded a demo of "I Paralyse" around this album, which ended up being recorded by Cher the next year (which was produced by Farrar too)

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Reissue of Olivia's top 10, double platinum 1981 album for MCA. 10 tracks, including the smash title song that spent 10consecutive weeks at #1 in the U.S., plus the top five 'MakeA Move On Me' and the chart hit 'Landslide'. All tracks are digitally remastered. 1998 Festival Records release. --This text refers to an alternate Audio CD edition.

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Midnight Love Review

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(More customer reviews)Marvin became our voice, our collective conscience, our speaker for the excitement and pain of relationships. Because despite our failure to find the right woman, despite the hurt of not being the perfect man for the woman of our dreams and despite the anguish of losing out to another suitor, Marvin kept us all grounded in the reality of life and the struggle to try again. That, for me, was the basis of Marvin's appeal on a global level. People couldn't put their finger on it back then (drugs had clouded most peoples' mentalities and they couldn't think straight enough to figure it out). In my old age, I know what Marvin was trying to say. And he was quite eloquent at it.
This CD/album epitomizes the Marvin Gaye experience with women. He could satisfy them sexually, but he could also connect on a spiritual level; he could also relate on an intellectual level. Marvin got over because he knew the heart of a Woman was not to compete with her. Once you compete, you lose automatically. Women don't play those games. So Marvin gave what he had -- himself, totally and honestly, in all his songs . . . especially on this CD. It turned out to be his last, but it was also the one where you can just sit back, put it on and leave it for the rest of the night.
On a very selfish note, I have to highlight my favorite song on the CD. I don't know who the sax player is on "Til Tomorrow", but from a strictly aesthetic perspective, it is perfectly framed for this song. There are no ill-advised notes, there is no lapse in the structure, there are no flaws in the runs and riffs. It is clinically perfect, and in deference to players who specialize in running scales, this song really shows them how you have to blend the formal training with the street knowledge to produce the solo of your dreams. This guy, whoever he is, takes care of business. It is absolutely one of the best sax solos I have ever heard -- on a par with Gerald Albright, Kirk Whalum or Najee. I get a chill every time I hear it. It literally sets off the vocal inflections and the poignant lyrics as sung by a very sincere Marvin Gaye to his lady to just stay. What Woman could resist?? Marvin made the men jealous of his power over them. You KNOW the Woman stayed!!! She would have stayed without the sax part!!!!!!!
You can't go wrong with most of Marvin's collection of songs. But this one, you have to get and you have to listen to (NOT JUST PUT ON, BUT LISTEN) to really get the most out of. Pure genius. I can't say enough about it. 20 years after the fact, I still miss his surreal presence. There's no telling what he'd be doing if he were still here. And 20 years after the fact, this CD is still a classic.

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H2o Review

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(More customer reviews)This is one of the classic 80's albums. With the opening of "maneater" to the closing notes of "go solo", you can tell that this album is a labor of love and of talent. Highly recommended for any 80' afficianado!

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Revelation Review

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(More customer reviews)I won't go into the over the top review like some younger fans might do (which is plenty alright with me) but being closer to Neil Schon's age then Chris Daughtry's age it wouldn't come out right :)
I've been waiting for way to long for Journey to come out with an effort worthy of me sitting down and writing this review. Generations was ok, Arrival was nice but Revelation brings me back to when I was 18, in love with my high school sweetheart and attending every when Journey show played in my area. I go way back to pre-Steve Perry days. It has never been cool, maybe until now, to be a Journey fan. Back in my day you had to be a metal fan or you were a loser. The thing that always drew me to Journey was the phenomenal abilities of all of their musicians and the voice. The strong melodies, the rockers and the ballads. Really the whole package. A Journey album to me was always like reading a #1 Best Selling Novel. You just can't put it down or turn it off.
I say the voice because it is as much an instrument as the rest. Journey would not be Journey without a classic tenor at the helm. For me the 'voice' was always Steve Perry, he is simply the best voice I've ever heard in Rock and Roll.
With that being said, Arnel Pineda has taken the stage with the other members of our supergroup and simply amazed me. Neil describes him as a soulful singer. I really think that is the best description of him. Thank you Arnel for bring back 'the voice'!
If you're a Journey fan at all, you know what I mean when I say, you put the CD in the player, sit back and smile. When Journey puts out a new CD all is right in my world. This one is so highly recommended by me that there isnt' a number high enough to give it. Just buy it and you'll see what I mean.

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Two CD/DVD. 2008 brings the album Revelation from Journey. Neal Schon (guitar), Jonathan Cain (keyboards), Ross Valory (bass), Deen Castronovo (drums)--are proud to introduce fans all over the world to their new lead singer, Arnel Pineda ('pin-eh-da'). He replaces Jeff Scott Soto, who parted ways with the band earlier this year after stepping in for Steve Augeri, who had to leave the band in 2006 for medical reasons.

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Storm Front Review

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(More customer reviews)In March of 1990, when I was 27, my long time friend Betsy Matteis told me she had several tickets to Billy Joel's then-current Storm Front concert tour. She had watched (with some bemusement, I think) me become a Joel fan over the years, and three months before she had stood in line at a local Ticketmaster outlet for hours so we could go see the Piano Man perform live at the Miami Arena. At the last minute she could not go, but she arranged it so that two friends of hers would accompany me to Overtown and attend the concert.
Of course, Billy's live performances were never really replicated in the albums they promoted. Rather, they tended to be a mix of the new material being presented and a selection of older songs that audiences can sing along to. (The Billy Joel: Live from Yankee Stadium DVD is very close to the content of the Miami shows, down to the sing-along of "Piano Man.")
Storm Front was one of Joel's last pop music albums -- his last offering of original songs, River of Dreams, would come out in 1993 -- and it is one of his best. Six of the 10 songs in Storm Front were included in his Greatest Hits Volume III album, including "Shameless," "And So It Goes," "Leningrad," "The Downeaster Alexa," and "We Didn't Start The Fire."
"We Didn't Start The Fire" is a guitar based song (a rare such one for keyboardist/pianist Joel) that sums up major events in Billy's first 40 years. It's pretty catchy (but difficult to sing along to without the booklet of lyrics) and has had the unexpected but welcome effect of getting kids to remember historical events. Joel, in the DVD of Greatest Hits III, says that teachers would say to their students to listen to "We Didn't Start The Fire" and write the words down.
"Shameless" is a down-and-dirty tribute to the late Jimi Hendrix, who had insouciance to the max and would even chew gum as he sang. Well, here Joel also sings and chews gum at the same time, to the accompaniment of the guitarists in his band. The lyrics are very Hendrix-like, and "Shameless" is an ode to the power women have over their lovers: "I'm shameless, baby I don't have a prayer...."
"Downeaster Alexa," (the name being inspired by Joel's daughter Alexa Ray) is Billy's earnest attempt at writing a true folk song. With a driving backbeat (provided by drummer Liberty DeVito) reminiscent of Celtic music, it deals with the struggles of the Long Island fishermen. "I was a bayman like my father was before," Joel has his narrator inform us, "Can't make a living as a bayman anymore." The song mixes both defiance and wistfulness for a way of life that is passing.
"Leningrad" is an ode to the end of the Cold War. Its opening piano intro sounds very Russian, and the song itself tells the parallel lives of Viktor, a Soviet "child of war" who lost his father during World War II, and Joel, who was "a Cold War kid born in McCarthy times." It is both a requiem to the many victims of the Cold War and a hymn of hope for reconciliation ("we never knew what friend we had/Until we came to Leningrad") which resonates even 14 years after the song was written.
"I Go To Extremes," a song written especially for drummer DeVito, is really an ode to manic depression. In his remarks about the song on the Volume III DVD, Joel explains that most creative people tend to be manic depressive. Whether this is true or not I can't say, but this song is definitely a rock song. With the pounding drums, the restless keyboard, and the pulsing guitars, "I Go To Extremes" talks about the extreme highs and lows most of us face in life.
"And So It Goes" is perhaps the most melancholic song on this album. Dealing with the theme of star-crossed love ("So I would choose to be with you/That's if the choice were mine to make; But you can make decisions too/And you can have this heart to break"), it talks about the feelings lovers have when they know they are in a relationship they know can't last. It's sweet yet sad, and its stark simplicity simply adds to its power to elicit tears.

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Time Review

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(More customer reviews)I don't know if its being the first LP I ever bought has anything to do with it, but I've always cherished *Time* and continue to listen to it with surprising regularity. The arrangements are both more intricate and more atmospheric than those on many other ELO albums, and the loose but present narrative thread (of a man lured to an enticing but ultimately lonely future) has always captivated me. "Ticket to the Moon" embodies more than one kind of longing, and its heart-wrenching beauty has few parallels in pop music.
This fresh edition of the album is superlative in almost every respect. The sound, while still dynamically compressed, is extremely true to the astonishing quality of the original LP, with perhaps greater heft in the bottom end (but not so much as to make it sound overly equalized) and of course no surface noise in the quiet moments!
It probably goes without saying that the new version trumps the original CD, mastered by the great Joe Gastwirt in the late '80s. While timbrally respectable, Gastwirt's version still suffered at the hands of the relatively poor-quality analog-to-digital converters of the day, and for some reason certain song transitions did not originally make it the CD intact (track 5 into 6, track 11 into 12); these are restored on this new edition.
The original CD lacked lyrics and complete liner notes, and these also can be found on the remastered disc. The CD's only failing is in the petty "commentary" from Jeff Lynne, who more often belittles than illuminates his music (the commentary on the new box set, *Flashback*, is little better). At best, Lynne offers insight on the keyboard sounds used in the haunting instrumental, "Another Heart Breaks"; at worst he sounds put out at having to say anything at all: his comment for "The Lights Go Down" is merely "I guess the lights went down." One would think this reissue were being put out under duress!
In any case, if you liked this record or are feeling adventurous and want to hear one of the best albums released in the 1980s, add this to your cart!

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Abacab Review

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(More customer reviews)Genesis did not "stab their fans in the back" with Abacab. The "fans" who felt this way (like trickoftail and all the rude boo-ers from the Abacab tour) were never really Genesis fans in the first place. They were just progressive rock fans who liked Yes/ELP/Rush etc. and some of the longer epic pieces and concept albums that Genesis did.
Yes, Abacab doesn't sound like early Genesis or other early prog bands...so what? It's still a great album full of fresh, creative ideas. Progressive rock isn't the only good style of music on the planet. To say that this is on the same level as Backstreet Boys or N'Sync is just plain ignorant, just as it is to say that it sounds just like Phil Collins' solo material. The only songs that sound anything like Phil solo on this album are No Reply At All and Man On The Corner, the rest are definitely Genesis songs.
Bottom line: if you only like the prototypical "progressive" side of Genesis, like the 10-minute epics and the long keyboard/guitar solos and the classical-sounding arrangements and the concept albums, then you might not like this album. But if you like bands that aren't afraid to change their sound and experiment with new ideas (which is the REAL meaning of "progressive"), then give this one a chance.

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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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Genesis: Live at Wembley Stadium Review

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(More customer reviews)The good news: This was an excellent performance with outstanding video & audio quality as well as great camera angles.
The bad news: Whoever edited this thing made poor use of the available footage. For some reason they change cameras every two seconds with no regard for what was taking place on stage. It's annoying and a shame some thought wasn't put into the final product.

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Studio: Wea-des Moines VideoRelease Date: 03/23/2004Run time: 131 minutesRating: Nr

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Belinda Carlisle - Runaway Live (1990) Review

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(More customer reviews)I got my DVD copy of this at the same time I got Sarah Mc Lachlan's "Mirrorball", so my review may be somewhat biased in favor of the latter (which I believe is superior in both sound quality and overall "investment worthiness").
Don't get me wrong; I'm a diehard Carlisle fan and have been collecting her LP's/CD's (solo + Go-Go's) for years. I'm just somewhat disappointed with certain renditions in "Runaway Live". "Mad About You", for instance; Belinda was virtually drowned out by offkey-sounding second voices. Also a terrible-looking white-colored pant-suit outfit at the start ( later redeemed, however, when she changed into a dark, lacy dress and bare feet a la Mc Lachlan!).
Having said this, the DVD does have its high points. I especially liked her live performance of "Summer Rain", "I Get Weak", "Heaven Is A Place On Earth" and "World Without You". Despite these songs being personal favorites, I think that the blending of both Carlisle's distinctly raspy voice and that of her back-ups, along with strings, was perfect in these cuts. This plus the fact that it's the only available Belinda Carlisle DVD to date makes "Runaway Live" a worthwile investment for both fans of Belinda and retro/pop/new-wavers alike. Hence the four-star rating.
This disc's songs are as follows:1. Runaway Horses; 2. Summer Rain; 3. The Same Thing; 4. Whatever It Takes; 5. Mad About You; 6. Circle In The Sand; 7. Nobody Owns Me; 8. I Get Weak; 9. Valentine; 10. La Luna; 11. Vision Of You; 12. Leave A Light On; 13. Heaven Is A Place On Earth; 14. Our Lips Are Sealed; 15. We Got The Beat; 16. World Without You; 17. Shades Of Michaelangelo.
I wish they eventually come out with a music video collection (Belinda + Weidlin + Go-Go's perhaps).

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With the face and the figure of an angel and a voice that'd charm the stars from the sky, Belinda Carlisle glides through her greatest songs and a medley of the Go-Gos' biggest hits. An evening with Belinda adds up to a heavenly experience. Songs: Runaway Horses, Summer Rain, (We Want) The Same Thing, Whatever It Takes, Mad About You, Circle in the Sand, Nobody Owns Me, I Get Weak, Valentine, La Luna, Vision of You, Leave a Light On, Heaven is a Place on Earth, Our Lips are Sealed/We Got the Beat, World Without You, Shades of Michaelangelo.

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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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Farewell: Live at Universal Amphitheater 1995 Review

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(More customer reviews)I used to listen exclusively to studio albums. A pre-recorded song, I argued, sounds more polished -- it can be redone to iron out the imperfections; the sound quality is more even; you don't have to deal with annoying band in-jokes or audience noise. This recording changed my mind almost single-handedly.
I own a handful of other Boingo albums; I've got "the hit songs" in all their orchestral glory. All I can say is, thank goodness they didn't cover "the hits" in their farewell concert. Instead, what Danny Elfman & co. give us is *their* favorites. The popular songs, the B-sides, the hard-to-find classics from their very early days.
What you very quickly notice when you listen to this album is this familiarity and love for the songs: how the band can wrap their voices and instruments around the tunes, and let them loose in an exuberant display of modern balladry. Boingo rocks with such intensity, the CD nearly jumps out of the player. This energy just wouldn't be there in a "greatest hits" album. There has to be a certain measure of self-indulgence in order to polish up songs until they shine.
One of my former roommates has commented that the beauty of live albums is that songs which weren't very good in the original can gain new life. Take "Reptiles and Samurai." The original (over two decades old) had interesting lyrics, but was flat and sparse-sounding. Boingo's remake on "Farewell" is brilliant. I feel much more rewarded having heard such a song transformed than I would have been if they'd used the space for, say, "Just Another Day" -- a great song to start off with. Boingo also takes the opportunity to rein in some of their more experimental material: "Change" (originally from the album "Boingo") is shrunk from 13 minutes to 9, mostly by cutting 4 minutes of vague instrumental meandering and kicking the beat up a notch to danceability. The live version sounds in every way superior.
I disagree with some of the band's selections, but how can you avoid that when condensing 17 years of songs into 140 minutes of concert? Ultimately, it doesn't affect the quality of the album, and "Farewell" remains two of the strongest CDs in my music rotation.

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Big Thing Review

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(More customer reviews)I was a die-hard Duranie in the 80s, but felt like I got ripped off when I plunked down money for Pop Trash and Medazzaland. I picked up Big Thing in a used CD store and felt like I had stumbled across undiscovered treasure. Very mellow, more like Arcadia's So Red the Rose than Astronaut (or even the wedding album). Like the other reviewers mentioned, Edge of America, Palomino, and Too Late Marlene are haunting, beautiful tracks. It's one of my favorite CDs to listen to at work---quiet enough to not be distracting, yet interesting and anything but bland.

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