Sound + Vision Review

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(More customer reviews)The problem with this box set is that it is neither a greatest hits collection nor a rarities one. The first edition was released in 1989 as a sort of sampler for the upcoming Rykodisc reissues. Ryko probably chose not to include the best tracks to avoid hurting the sales of the individual albums, when they came out. Yet, at a time when the CD format was booming and the RCA albums had been long out of print, fans were hungry for Bowie's 70's material on CD. So this set was welcomed at the time even though it was a seemingly random selection of tracks with a few rarities thrown in for good measure. These rarities would not reappear as bonus tracks on the regular releases, so they were the very reason for buying and keeping this set.
Now that the original albums have been reissued to death, this box set is released again. It includes a fourth CD and adds a few more rarities to make it desirable even to those who had bought the original edition. But the "mixed bag" concept is still there and it is totally pointless, now. I'm not complaining about the rarities, but they should have gone for an entirely different approach instead of just releasing an expanded edition of the old box. So casual fans beware: this is by no means a "definitive" Bowie compilation. Apart from the rarities, tracks seem to have been chosen by luck of the draw.

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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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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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Night in San Francisco Review

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(More customer reviews)If you're new to Van, start with his GREATEST HITS, VOL.1. If you're an established Van fan & looking for a live album that's nothing but Van, go with IT'S TOO LATE TO STOP NOW. But if you're looking for a live album that's a collaborative effort with great guest artists & plenty of soloing by the band, this is the one. I was initially hesitant because I don't care for medleys or extended jams. I expected it to sound fragmented & disjointed, but the whole show flows naturally. Van does indeed prove himself to be a generous artist, allowing others plenty of time in the spotlight, & the show is all the more entertaining for it. The guest artists enhance the performance, rather than getting in the way. Brian Kennedy & Van's own daughter, Shana, are both amazing vocalists. Candy Dulfer is great on sax, as is Georgie Fame on organ. Van, himself, even seems to be enjoying the show, in contrast to his more straight-to-the-point approach on IT'S TOO LATE TO STOP NOW. The back of the CD pretty much sums it up; ballads, blues, soul, funk & jazz (and I would add gospel). If you like these varied styles of music and a performer who's great at every one of them, don't hesitate to get this one.

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Japanese only remastered SHM-CD (Super High Material CD - playable on all CD players) pressing packaged in a paper sleeve and includes one bonus track. Universal. 2008.--This text refers to an alternate Audio CD edition.

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Big Bam Boom Review

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(More customer reviews)By the time 1984 rolled around, Daryl Hall and John Oates clearly had established themselves as one of the premier duos in the history of the Pop Music era. One year earlier (1983), Hall and Oates released a greatest hits collection called "Rock and Soul Part 1". Hall and Oates had always been terrific at integrating the genres of Rock and Soul in their music. "Rock and Soul Part 1" would go on to be a very successful greatest hits collection and almost seemed to be a culmination of their work over the prior decade. Little did we all realize that bigger things were to come - in the order of their album "Big Bam Boom". "Big Bam Boom" would not only be a commercial success, but many long-time critics of Hall and Oates would now come around and give them the critical acclaim that they so much deserved. This acclaim is well justified - this is one terrific collection.
Although "Big Bam Boom" isn't a concept album, there does seem to be a common thread among the music. The music has a very urban sound. This urban sound expands on the Rock and Soul genres.In 1984, "disco music" was almost obsolete. It had been replaced by "Dance" music. Around this time, studio mixing became very common to many Pop sounds. Many of these songs were known as "12 inch Remixes" (because they would often be released on 12 inch vinyl as singles). This allowed many songs, including those that were not traditional "Dance" style songs to be played in Dance Clubs. As a result, traditional Rock starts such as Bruce Springsteen had many of their tunes remixed into a "Dance" style and were now getting airplay in the clubs (Springsteen had "Cover Me" and "Dancing in the Dark remixed). The design of "Big Bam Boom" really seemed to fit nicely with the Dance Remix movement that was going on during this time. The difference is that Hall and Oates manage to create "Dance Ready" songs that expand on the foundation of their Rock and Soul music. Hall and Oates still did some 12 inch remixes of four of the songs (this can be found on the "Big Bam Boom" Remaster edition), but when you listen to "Big Bam Boom" closely you will hear that this is almost overkill - this is because the original versions really fit this "Dance" formula.
The collection starts out with "Dance on Your Knees". This song is has some nice Rock elements (i.e guitar), but you will hear many dance elements as well. This near 90 second tune has a near flawless segue into the monster hit "Out of Touch". One thing you will hear in "Dance On Your Knees" is the Bass influence. Whether it's Bass Guitar or Bass Drums, Hall and Oates make heavy use of a Bass sound throughout this collection. Much of this Bass influence is probably because their Studio Bassist for "Big Bam Boom", T-Bone Wolk played a major role in the arranging of this album. I think this Bass Influence combined with many of the dance elements help contribute to what is an Urban Sound. As for "Out of Touch", this song has the dance elements integrated into what I consider a traditional Rock song. It's a solid song, but it sounds much better when you hear it with the "Dance on Your Knees" intro.
In fact, Songs 2-5 on the collection seem to take a cue from "Out of Touch". This cue is that they are songs built on the a foundation of Rock music and have the dance elements integrated into it. You will also hear lots of Bass Guitar and Bass Drums throughout these tunes. You will hear some R&B influences at times, but the Rock influence is still strong. "Method of Modern Love" is basically a soft rock song. You will hear some R&B, but this is probably more due to the fact that the dance elements have been integrated. "Bank on Your Love" is a very underrated song. This sounds more like a song you'd hear in a Rock club than a traditional dance club. It has a solid Rock and Roll feel, but also listen closely to some elements that give it a slight dance spin. The fifth song "Some Things Are Better Left Unsaid" is probably the best song of the collection. This song like "Method of Modern Love" has an R&B spin, but has Rock roots - the bass elements are alive and well here.
As you move toward the last four songs, this is where you will hear the Soul/R&B edge to Hall and Oates take center stage. There also seem to be some funk elements you will hear in these songs. "Going Thru the Motions" is a song almost ready made for the dance clubs. Yes this song has some nice guitar work from a Rock perspective, but now its the R&B sound being the dominant sound. There are two songs in which John Oates gets to do some lead vocals. I found the Oates lead vocal tracks to be a real treat. These songs are "Cold Dark and Yesterday" and "Possession Obsession" - I rank these two songs as two of the stronger songs. The other remaining track is "All American Girl". Like "Going Thru The Motions", this song seemed almost ready made for the dance clubs. This song took me a while to get into it, but eventually I liked it.
The disappomting thing is that there are no lyrics and little in the way of studio musician and production credits. The songwriting credits and song durations are listed. There is a terrific writeup on the album that also provides a retrospective on Hall and Oates' career by Colin Escott. Overall, I like what Hall and Oates did on this album. They produced a terrific sound - one that they would never match in their subsequent releases. I highly recommend this collection.

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Nearly Human Review

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(More customer reviews)Despite being out of print, "Nearly Human" is Todd in top form - this one falls in my Top 5 Todd albums (impressive considering how many he has released), so don't overlook it due to its obscurity.
After 1985's experimental "A Cappella" (which was weird, yet largely accessible too), Todd took a whopping four years to release this. As opposed to his 80's material, "Nearly Human" has a much more organic sound. In fact, these songs were assembled with a huge line-up of talented people, and recorded live - a major difference from albums like "The Hermit of Mink Hollow" (and others) that Todd performed all by himself!
Thus, the sound is full and even overwhelming at times, loaded with lush layers of instruments and backup vocals. However, this is his most accessible set of songs in a long time, sticking to soulful pop hooks and introspective ballads.
The energetic "Want of a Nail" opens things up with a rousing, blue eyed soul rush; it's like one long hook. There's plenty more upbeat stuff on here, such as his amazing cover of Elvis Costello's "Two Little Hitlers", and the funky "Unloved Children" (which sewed the seeds, lyrically, for Todd's more politically oriented 90's work).
The lush, intricate pop of "The Waiting Game" is surely a highlight - it'll take a few listens to unravel all the details (the beautiful female backing vocals, etc) in the chorus alone. "Can't Stop Running" is another lush, mid-tempo pop/ballad with hypnotizing verses and a catchy, anthematic hook.
The ballads are fantastic too; "Parallel Lines" is heartbreaking and profound, also laced with a powerful chorus. Like many songs on here, this *should* have been a big hit. "Fidelity" has some interesting, thought-provoking lyrics, soulful crooning, and breezy woodwind flourishes (flute, namely). Todd's remake of The Tubes' "Feel It" (which I believe Todd wrote to begin with) is superb, and has a distinct old school soul feel to it.
These excellent songs are all upstaged by "Hawking", perhaps the quinessential 'introspective Todd ballad'. It has that deep, spiritual, soothing feel (like that of 1981's "Healing"), and an absolutely spine tingling vocal performance from Todd.
The album closes with the crazed gospel of "I Love My Life", which, at 9 minutes, does overstay it's welcome a bit. But it made a great encore live (plug: buy the Live in Japan DVD!).
I paid about $30 for this, and it was worth every penny and more. Along with "A Wizard, a True Star", "Liars", "The Individualist", and "Something/Anything?", this album represents Todd at his absolute best.

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Pretty Little Stranger Review

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(More customer reviews)Joan Osborne's "Pretty Little Stranger" has some shining moments. The self-penned title tune has an excellent beat, a throbbing bass line, and Joan's powerful vocals connecting with the band, "There is a Spanish boy who also rides the A train. I want to tag him like a tiger so I can track him as he moves around the city so I can guard him like an angel." This is a stellar track, on a par with Joan's best work. The beautiful melody of Patty Griffin's "What You Are" is polished by Joan's lovely vocals, "Do you wish you were the silence of the moon? Nobody knows but maybe you will be soon." Joan's "After Jane" is a delight with the vocals passionate and the music cranked, "Will I rise up again? Will I ever know a friend like my Jane!" There are other beautiful moments like Beth Nielsen Chapman's gorgeous tune of "Time Won't Tell," given a country twang with pedal steel guitar and Vince Gill on harmony. Rodney Crowell's "When the Blue Hour Comes" is a lovely ballad. On a few tracks like "Brokedown Palace" & "Shake the Devil" the band seems sleepy, unable to keep up with Joan's vocal fireworks. Most of the CD is excellent and deserves to be embraced by Joan's fans, old & new. Enjoy!

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Hammersmith Odeon, London '75 (2CD) Review

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(More customer reviews)In 1975, the weight of the world was on young Bruce Springsteen's shoulders when he and the E Street Band headed for London for the very first time. Constant touring and rave reviews hadn't translated into record sales and his label, which had taken a gamble on him when they signed him in the first place, was about to dump him. Worse, every night he had to face skeptical crowds who wanted to see why critics kept calling this young ruffian from New Jersey "the future of rock and roll." Such was the case in 1975 when they walked out on the stage at the Hammersmith Odeon.
With everything on the line, Bruce and the boys played like they had nothing to lose. They were lean, young, and hungry. They played with heart. They played with passion. They played with urgency. And, on this night, they were untouchable. This CD captures that show in its entirety (a DVD of the show is included in the 30th Anniversary box set of Born To Run).
Few bands can match the versatility that Bruce Springsteen and the E Street Band display here. Witness the opening tender, wide-eyed rendition of "Thunder Road" followed by a feisty, swaggering version of "Tenth Avenue Freeze-Out." Or "She's The One" which goes from a slow simmer to a full boil in a mere five minutes. Or "Born To Run," which Bruce plays with all of the blue-collar grit and youthful defiance that would later make the song a classic. Or how 'bout the "Detroit Medley," in which the band absolutely ROARS through Mitch Ryder's "Devil With A Blue Dress On," "Good Golly Miss Molly," and "Jenny Take a Ride"? He follows THAT with a heartbreaking reading of "For You" before revving things up again, ramrodding through a rollicking version of Gary U.S. Bonds' "Quarter To Three." Are you KIDDING me?
I didn't even mention the absolute insanity of the 17+ minute version of "Kitty's Back," in which Bruce and the guys go out of their freaking minds, did I? Heck, I didn't even mention "Jungleland," my favorite song in the entire Springsteen catalog. No, I didn't mention most of the songs here, because I want you to experience this show for yourself. PLEASE -- do yourself a favor and BUY THIS CD NOW! You won't regret it, I promise.
(By the way, some other reviewers were wondering about the absence of "Pretty Flamingo" from this CD. This show is from November 18, 1975 -- their first show in London. They played a second show at Hammersmith Odeon on November 24, 1975 and THAT was the show that contained "Pretty Flamingo." By most accounts, the second show was even better than the first, if you can imagine that, as Bruce performed 22 songs in nearly three hours.)

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Young Americans Review

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(More customer reviews)After "Diamond Dogs", the world was thrown off balance again with Bowie's rumors of hanging out in a Philadelphia studio with fans sleeping at the stage door. It was the same city he recorded the "Diamond Dogs" tour - the `City of Brotherly Love'. Black/White Soul Love music from Bowie? No way. Yes way. Although it was a strong departure, "Young Americans" has become one of those Bowie albums that are so unique and distinct in its character that you either love it or hate it. It's all true soul funk with the magical backup of the late Luther Vandross's voice. "Young Americans" made it as a modest single, but it was the collaborative effort of "Fame" with John Lennon that is the song of choice here. There is nothing like it anywhere in the world. Bowie's rendering of "Across The Universe" is an uninspired tribute to Lennon and "Can You Hear Me" is bland. However, "Somebody Up There Like Me" is a true funky bass driven number that completely satisfies. At the very least, this album is consistent and Bowie proves he truly has some serious soul.

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Limited Edition Japanese pressing of this album comes housed in a miniature LP sleeve. 2007.--This text refers to an alternate Audio CD edition.

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Boz Scaggs Review

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(More customer reviews)The rhythm section that propelled the great Atlantic soul singers like Wilson Pickett, Aretha Franklin and Otis Redding...the legendary lead guitarist Duane Allman just as he was forming his great band...the keys to the kingdom were handed to the former Steve Miller Band guitarist and aspiring singer Boz Scaggs for his debut solo album in 1969...and boy oh boy did Boz ever deliver!
"Boz Scaggs" is another candidate for the greatest overlooked, unjustly forgotten album of the classic rock era. It wasn't overlooked in its own day. Back when FM radio was "free form" and could play 10 minute-long cuts, the amazing "Loan Me a Dime," a delicately soulful blues wail that evolves into a monstrous Allman guitar workout, was a staple, especially at night. But the whole album is as good as that climactic moment. "I'll Be Long Gone," which Tracey Nelson also memorably covered, is an emotional inspiration. There are many other highlights--"Look What I Got" has the emotional directness of the Band; "Sweet Release" is heavenly soul. The album is sequenced beautifully; it is almost flawless.
A lot of fans of this album like to bemoan the fact that Boz Scaggs seemed to "go commercial" in later years, especially with "Silk Degrees." I think this is the wrong way to look at his career. This album is so complete, so rich, and so thoroughly occupies the territory, what else could he have done with it? Scaggs obviously loves the whole wide expanse of soul, blues and R & B, and feels no need to settle into a single groove within that broad category. So, with each album, he explores a sound as thoroughly, creatively and thoughtfully as he can, and then, on his subsequent album, moves on to explore another aspect. "Silk Degrees" happened to be very successful, but it's just as fresh as this album, a classy, creative take on the dance music of its time. "Middle Man" went even further uptown; it is the only Steely Dan-influenced album that belongs on the same shelf with them.
Some day, a label like Rhino is going to do the kind of comprehensive job on Scaggs' career that they have done with other artists of this period, finally releasing the albums that have sunk out of sight like "Moments," unearthing some unreleased and obscure tracks that show his work with his consistently great array of sidemen, remastering (although this disk, old as it is, sounds just fine), maybe digging out some live performances (Scaggs has never released a full live album), and finally get this great artist the credit he is due.

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The incredible first album with Duane Allman on guitar and featuring his FM radio staple 'Loan Me A Dime'.--This text refers to an out of print or unavailable edition of this title.

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Station to Station Review

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(More customer reviews)The mid-1970's were a stressful time for David Bowie. His marriage to the obnoxious Angela Bowie was disintegrating, he had become a top-notch coke freak, and was convinced that practitioners of black magic were out to get him. He had laid his Ziggy Stardust persona to rest, in favor of a white-boy soul man character, which was not as well-received as he had hoped. While his "Young Americans" album was a bold step in a new direction, it did not receive the kind of adoration that Bowie had become accustomed to. Somehow, while fighting with dictatorial manager Tony Defries, sorcerers, and the homosexual image he had created for himself, David managed to come up with an absolutely brilliant album that retains the disco-funk of "Americans", but pushes it into a whole new direction. The persona that dominates this album is that of the Thin White Duke, an aristocratic European fellow who likes to cruise around in limos, binged out on cocaine, his head swimming in fascist paranoid fantasies (someone once told me that "Station To Station"-era Bowie was one of the people Pink Floyd based "The Wall" on. I cannot verify this but it seems plausible). So self-absorbed was David during this era that he actually made his band play behind a backdrop during concerts, so that he could be the one and only center of the audience's attention. One look at the photos inside the CD booklet (David, looking like a famished hairdresser in sore need of a dental hygienist, scribbling kabbalistic desings on an asylum floor) will clue the listener in to Bowie's frame of mind at the time. The songs themselves are the antithesis of the shallow yet groovy preceding album; the hooks are there, but not as contrived sounding. The title track starts off slow and menacing, then builds to a disco crescendo that could take the Bee Gees on anyday. "Stay" is fast and funky, "Word On A Wing" is very heartfelt and seeminly religious, "Golden Years" (the closest thing to a hit here) is a doo-woppy dance tune that Dave supposedly wrote about Angela (who was also the inspiration behind the Rolling Stones' "Angie"). "TVC 15" seems to be the favorite of most, dealing as it does with a carnivorous television. And finally, "Wild Is The Wind", while not written by Bowie, has to be one of his most heart-felt performances. This album was the transition into a more experimental phase of Bowie's career, and I strongly recommend it.

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Limited Edition Japanese pressing of this album comes housed in a miniature LP sleeve. 2007.--This text refers to an alternate Audio CD edition.

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Soulbook Review

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(More customer reviews)(3.5 stars)
Rod Stewart's latest CD, "Soulbook," has him singing fairly well but it's not exactly the best album he has ever released. For Rod's fans when he was doing a much, much different style of music, this may not be for them unless they also like this genre of music, too. Rod's voice may not be quite as strong as it was twenty or more years ago; but that's the aging process. I will say that Rod still delivers his songs from the heart and that's admirable. The track set lets the songs flow rather well into each other and that enhances the album but then again there are a few missteps along the way. Some numbers are stronger than others for sure!
"It's The Same Old Song" is very well done; and this starts the album off in a good direction. The drums and percussion add a lot to the arrangement. The music fits in very well with Rod's vocals and he never misses a beat, either! "My Cherie Amour" features Stevie Wonder singing with Rod; I like it but this is truly Stevie's song. Moreover, at this stage in his life Rod's voice just can't measure up to the Stevie's original performance back in the day. Sorry, Rod! On the other hand, however, "You Make Me Feel Brand New" charms me with its beauty; Mary J. Blige does a great job with Rod and that's grand. They should do more duets together! I also really like "(Your Love Keeps Lifting Me) Higher and Higher;" the arrangement works wonders for this classic tune.
"Let It Be Me" is a stunner that has Rod Stewart singing wonderfully with Jennifer Hudson. Hudson was the perfect choice for this duet--heck, she could sing out the phonebook and I'd be standing there applauding! Rod's vocals are also easy on the ear. In addition, "Rainy Night in Georgia" is a big highlight of this album. "What Becomes of the Broken Hearted" is another song that gets a fine treatment; Rod sings this and the backup singers harmonize to perfection.
Whether or not you'll like the other tracks depends on your personal preferences. To my mind, other songs that make the grade include "You've Really Got a Hold on Me" and "If You Don't Know Me by Now." The arrangements for the other tracks are good but they could have been better and Rod's voice just isn't quite solid enough to rank as high in my book as it used to rank although I do get the clear impression that Rod sings with all his heart and soul and I admire that.
Overall, "Soulbook" is an album for people who like classic soul music and covers of those tunes; and Rod Stewart diehard fans may want to get this because they would probably like to have everything Rod ever did or will do. The more casual fan, however, would do well to keep looking for other soul albums; this is a pretty good album but it's just not completely distinguished.

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2009 album from the Grammy Award winning Rock 'n' Roll Hall of Famer. SoulBook is a collection of classic'60s and '70s era Soul favorites sung by one of the most interpretive voices in music. Stewart is personally passionate about this project, which is a return to his beginnings when he fronted The Jeff Beck Band and the critically-revered band The Faces, iconic in the history books for fusing American roots music - Rock, Soul and Blues. Soulbook reunites Stewart with his longtime collaborators, producers Steve Tyrell and Steve Jordan, of Rolling Stones/Xpensive Winos fame, who also brought in top musicians Ray Parker Jr., Waddy Watchel, Darrell Jones, Dean Parks and David Paich to join Rod in the studio for the album.

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Best of Review

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(More customer reviews)Mention Delaney and Bonnie today and most people will ask "Who?" It's been a long time since this soul rockin' duo from the early 1970s last released an album. With the possible exception of "Only You Know and I Know," a terrific Dave Mason cover which cracked the top 20 in the U.S., you are unlikely to hear a single song by this pair on nostalgic radio. Too bad. Those uninitiated are missing out on a soul-soaked time capsule that will have you tapping your feet and singing along.
This greatest hits compilation - or perhaps greatest moments - give us the best of this short-lived union. A husband and wife team, Delaney and Bonnie combined elements of blues, soul and rock that would put Big Brother and the Holding Company to shame. In fact, their cover on this album of "Piece of My Heart" is as bluesy and whiskey-soaked as Janis Joplin's own legendary version. They also wrote and performed the now-classic "Groupie (Superstar)," which was eventually covered by The Carpenters. Thankfully, that memorable cut is also included on this CD.
Delaney and Bonnie's singalong anthems including "Get Outselves Together," "When the Battle is Over" and "Soul Shake" are extraordinary testaments of a time and place in American music when top-40 culture first embraced the best elements of roots rock. Listen closely, and the riffs of Grateful Dead, The Band and, of course, Eric Clapton (who discovered this duo) are instantly recognizable.
Bonnie Lynn O'Farrell's voice is a stunning combination of Janis and Tina Turner, and her shrill gusto is worth the price of this CD alone. But combine the bluesy screech of Delaney Brammet with a who's who band list of members who played with everyone from Joe Cocker to Elvis Presley, and you have an extraordinary CD that brings back a time and a place when such rock and roll fushion was in its infancy.
Delaney and Bonnie's divorce eventually ended this brief union of music, but "The Best of Delaney and Bonnie" recaptures their energetic and raw magic (many of these cuts are live tunes). A nostalgic trip? Yes. But like The Doors, Jimi Hendrix and Janis Joplin, you can proudly blast this CD at maximum volume with the comfortable realization that spirited, soul-searching rock never truly dies.

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The first ever comprehensive compilation from this blue-eyed soul duo!

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