Time Review

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(More customer reviews)I'm sorry but if Stevie Nicks, and Lindsey Buckingham ARE Fleetwood Mac to you, then you are not a fan of Fleetwood Mac, but a fan of Stevie Nicks and/or Lindsey Buckingham, and the work they have done with the Mac. Fleetwood Mac is my favorite band, and I have at least enjoyed (if not loved) everything they have done since 1967. Time is certainly not my favorite Mac album, but it is an enjoyable album nevertheless. It has some extremely cheery and upbeat songs on it, and is perfect for driving on a sunny day.
Christine McVie is my all time favorite Mac member, and all five of her songs are very likeable. Her voice is as strong as ever, and is the saving grace in songs that suffer from somewhat generic songwriting. I definetly prefer Dave Mason's work with Traffic to his Mac efforts, and his song Blow By Blow is probably the worst (or at least the most boring) on the album. He does have a nice singing voice though, and plays some great lead guitar. Bekka Bramlett is in my opinion underrated on this album. Sure the songwriting in her tunes isn't the most inspired work you'll ever hear, but you can't ignore her voice. People who see her as a Stevie Nicks knock off are probably just sore over the absence of Ms. Nicks. Although Bramlett does have a somewhat raspy voice, and I'm sure that this was no coincidence on the part of the band, you can really hear her struggling to find her own little niche here. At times soulful, and others sweet and vulnerable she is a very strong vocalist, and her Dreamin' the Dream is one of my favorite Mac songs (if only for her singing on it). I love Billy Burnette's work with the Mac (more so on the 'Behind the Mask' album than here) but his singing and guitar playing go very well with Bramlett's voice throughout the album. And then of course you have drummer Mick Fleetwood and bassist John Mcvie. It just wouldn't be Fleetwood Mac without them. Not just because they are where the band gets it's name from, but because they provide the music with it's driving rhythm. Their performances are very strong on Time (as they are on any album), and I won't be the first to say that they are one of music's greatest rhythm sections.
I wish that we had heard more form this lineup of Fleetwood Mac because I think that they could have only improved. 'Time' is a good if not great album, and should please real Fleetwood Mac fans who have loved the band through all of the changes that they have undergone.
Favorite songs: I Do, Winds of Change, Sooner or Later
Dreamin' the Dream
Least favorite songs: Blow By Blow, These Strange Times

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Jefferson Airplane Review

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(More customer reviews)It's funny when you lived something and can go back later on in time to reevaluate things. I remember how incredibly excited I was at the news of the Airplane's reuniting in '88. I bought this CD when it was originally released. A fan of both the Airplane (in a more mythic fashion) and Hot Tuna (in a more real fashion), I was prepared for an incredible musical explosion like the World had never seen before. I was dissappointed in 1989 when this CD came out. 13 years later, I think I know why. It wasn't a bunch of old bandmates at the top of their games when this came about. The end of the 80s was a musical wasteland that hadn't been too good to any of these players for awhile. This CD was something to do, hoping to recapture something they knew they could still get away with due to the nostalgia. Essentially they picked up where they left off with Long John Silver. An album of music by two bands playing together, but not as one. Jefferson Starship meets Hot Tuna. It's only too bad they didn't get Papa John Creach in for the reunion. He still had a few good years. The rest seemed to disappear after this album, perhaps for good- with the exception of Kaukonen and Casady who continue to thrive as Hot Tuna- even recapturing an earlier sound during their electric performances I thought was lost. Maybe they can all take another stab at this someday. I was lucky enough to enjoy a live performance during the tour for this album which absolutely made up for any shortcomings in the studio. Old and new, altogether on stage. "Crown of Creation" live in 1990 was every bit as good as it may have been 20 years earlier. For now, it is nice to be able to look back after so long and place this CD alongside the others to take its place in their collective history. It's not bad, but could have been so great.

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Double Compilation from Jefferson Airplane. 16 Songs Including White Rabbit, Today, Plastc Fantastic Lover and Others.--This text refers to an out of print or unavailable edition of this title.

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Antenna Review

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(More customer reviews)It seems ZZ Top was done messing with sequencers and programmed "synthesized" drums by the time '94 rolled around. That's not to say this album is a total return to the sound that made up their earliest albums. No, because the production and song-writing on Antenna just won't allow for that. But having said that, it is the blusiest release by the boys since at least Deguello or perhaps even Tejas. Gibbons guitar tone is low-down and dirty, making one forget all about those glittering (Slide It In-era) Whitesnake-style riffs and solos that so generously filled Afterburner and occassionally still reared their commericial head on Recycler. Even the likes of "My Head's In Mississippi" from Recycler can't compete with the rejuvenated passion in the blues Gibbons had displayed throughout Antenna. "Breakaway" is the first real clue here that the boys mean business, and the spirit is maintained well thru "World of Swirl" and "Fuzzbox Voodoo." "PCH" begins with a devastatingly down and dirty Gibbons lick, and just forces the tried and true Top fan to crack a smile and leaves them ready for more. The upbeat tempos of the previous three outings are mostly maintained here, but at least it appears to the naked ear that Beard is actually rappin' on the skins once again.
Top seems destined to roll along with relative ease, changing their sound a bit here and there, while rolling up and taking back down bits of the future as well as the past in the process. At this point, they seem incapable of putting out an unenjoyable release. Just having some fun while poppin' the "Top" down and soakin' up the sun...

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Wild Heart Review

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(More customer reviews)I would really give this album 4 1/2 stars...
The Wild Heart was Stevie Nicks' follow up to her platinum selling debut, Bella Donna, and proved that this woman did not need Fleetwood Mac to be successful. Many have said that Bella Donna was Stevie's greatest work, but after listening to this album, I'm not so sure. While Bella Donna was moody and dramatic, The Wild Heart has more rockin' songs and also some of Stevie's best vocals ever. Another point that many have brought up is that Wild Heart is a Bella Donna part 2. I have to disagree with these people. When you listen to the two albums back to back, they are evidently different. On Wild Heart, Stevie began to experiment with synthesizers, which were not in Bella Donna at all. She moved away from the country-ish sound she had on her debut album, to a more pop and rock orientated album.
1. Wild Heart: Stevie's title tracks are known for being epic rockers, and this song is no exception. Stevie even wails a bit at the end, one of my favorite parts of this song. 4/5
2. If Anyone Falls: One of the singles of the album, it made #16 on the pop-charts. It has a nice danceable beat to it, and the harmonies on the chorus are beautiful. 4/5
3. Gate and Garden: This is one of Stevie's songs that has taken a lot of flak over the years because of it's vague lyrics. However, the music and the vocals on this track make it work. 4/5
4. Enchanted: One of my favorite Stevie solo songs. A very nice country/rock feel and the piano is just great. You also get a taste of how powerful Stevie's voice was at this time. 5/5
5. Nightbird: A song written about Stevie's friend Robyn Anderson who had died soon after Stevie had released Bella Donna. This track has some great, dark music to it and I love the line, "I wear boots all summer long." 5/5
6. Standback: The big hit of the album, reaching the #6 spot on the charts. This is definitely one of the highlights of the disc. It surges along on a synthesizer hook and Stevie really rocks this one. 5/5
7. I Will Run To You: The duet with Tom Petty on the album. This is actually a very good song and I prefer it to Stop Draggin' My Heart Around (from Bella Donna). 4/5
8. Nothing Ever Changes: The real rocker on this album. It just has so much energy and Stevie's voice is killer. She sounds so angry and powerful. Also, it has some nice sax and piano work. 5/5
9. Sable on Blonde: This song is just amazing. "To be brave save the stranger...Sable on Blonde." Wow I just love this song, the production is great and the vocals are sublime. 5/5
10. Beauty and the Beast: One of the most moving and beautiful songs Stevie has ever written. Stevie recorded this live with an orchestra, and the result is a haunting, dark ballad. Stevie's voice really shines on this one. And it just might be my favorite on the album. 5/5
There you have it. All in all, I still can't decide which is better, Wild Heart or Bella Donna. Check them out and see for yourself.

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Level Five Review

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(More customer reviews)...Is it worth it though? I would say yes. I loved Heavy ConstrucKtion, but the version of ConstrucKtion of Light on Level Five is superior for a few reasons, the most important of which is that Pat Mastelotto's drum kit sounds like more of an acoustic drum kit. Like I said, Heavy ConstrucKtion was great, but at times I tired slightly of what sounded like a purely electronic kit. This is a welcome change, and makes King Crimson sound infinitely heavier (more appropriate for the tour with Tool from which the tracks on this album are taken).
Dangerous Curves and Virtuous Circle (tracks 1 and 3) sound like improv to me, and King Crimson never disappoints with their improv. They seem to be creating a more ambient, melodic mood with these 2 tracks than other live improvs. Level Five (track 2) is the new structured composition, and is the most worthwhile track on the disc. Dark and brooding, heavy and lurching, it shows why King Crimson is Tool's daddy, and why father and son decided to tour together (I heard that Danny Carey even sat in on Red and Frame by Frame some time on tour, it would have been amazing to hear that on this disc). That being said, the track Level Five sounds (to some small extent) like a synthesis of some of the ideas explored in Larks' Tongues pt. IV and FracKtured. Still sounds good and surprisingly fresh though.
A great version of The Deception of the Thrush appears here as well (my favorite is on Disc 3 of Heavy ConstrucKtion though), which benefits endlessly once again from Pat's new drum kit. A nice bonus improv at the end as a pleasant surprise.
Ultimately, I would say that the best reasons to buy this album would be to hear Pat's better sounding kit, and Trey Gunn's Warr Guitar (which is FINALLY balanced nicely in the mix to the point where you don't have to strain a little bit to focus on it). Robert Fripp and Adrian Belew are in top form as well. The band seems to have moved to the Level (Five) of synthesis between songwriting and instrumental chops appropriate for King Crimson's fifth major incarnation.

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Japanese 2002 release featuring 5 tracks, 'DangerousCurves' (new song), 'Virtuous Circle' (new song), LevelFive (new song), 'The Deception Of Thrush' & 'TheConstruKction Of Light'.--This text refers to an out of print or unavailable edition of this title.

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Door to Door Review

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(More customer reviews)After all the reviews I've read about this album, I was expecting it to be a total downer. Suprisingly, it isn't, at least to me. There isn't one song on Door To Door that I dislike, and a few of them I really find to be among the band's best. Overall though, it's still the Cars' weakest album. Most of the magic that had surrounded Heartbeat City and their great 1985 single 'Tonight She Comes' (my favorite Cars song) had worn away by 1987. Most of the band members seemed more interested in their solo albums working on Door To Door. It's no wonder they split up after this album. At least it starts out great, with 'Leave or Stay', packed with more of that familiar Ric Ocasek humor and a nice, melodic chorus. After that comes the sole 'hit' on Door To Door, 'You Are The Girl'. A charming song with some of the band's best harmonies, and pretty, trademark keyboard-driven melody. There's still magic here at least. This was the first Door To Door song I'd ever heard, as it was also on The Cars Complete Greatest Hits collection. 'Double Trouble' is good, but not great, though it has a good chorus and driving guitars. 'Fine Line' is one of my favorite Cars songs. Moody, atmospheric, and filled with great lyrics, this has, like 'You Are The Girl', a classic Cars feel. One reviewer dubbed 'Fine Line' as a limp 'Drive' remake, though it's always reminded me more of 'A Dream Away' from the Shake It Up album or 'You Wear Those Eyes' from Panorama. Possible the best song on Door To Door. Then there's 'Everything You Say' which is one of a few of the songs on this album that has a different feel than your average Cars song. It's almost country or rockabilly-ish. I still like it though. Another great chorus. 'Ta Ta Wayo Wayo' is weird and different, but still quite good. Reminds me of Sandinista!-era Clash, sort of. Check out that boogie-woogie piano riff; very weird for a Cars song. 'Strap Me In' is a failed single, which is too bad, since it's a great, classic-feeling Cars rocker. Killer chorus; should've stormed the charts. Killer intro too, very stately and classical. The next song, 'Coming Up You', I really love. It's bordering on soft rock, but I don't care. Can't get enough of that melody and Ben Orr's honey voice. Miss 'im. This was yet another failed single, but I can't get enough listens to it. 'Wound Up On You' is a wonderful ballad, a la 'Why Can't I Have You'. Pretty chorus, filled with soft, subtle hooks. Shoulda been a single. 'Go Away' is more friendly than the title implies, with the narrator imploring his significant other, "why don't we go away?". This one also has a great hook in the chorus, and no matter what people say about this album, the Cars' gift for songcraft and melody still remains intact. The last song on the album, and the last Cars song ever, is the near-punk attack of the title track. This one is a bit of a mess, production-wise, but I guess we all got used to the slickness of Heartbeat City. It's not bad, but coulda been better, just like most of this album. Though I like Door To Door for the most part, I just wish they'd more and better albums after this one. Ah well. Any car can run out of gas.

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Outrider Review

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(More customer reviews)For those dogs that like their Led Zeppelin without any frills, this is the bone for you. Years after the tragic end to Led Zeppelin, Jimmy Page released Outrider to very little fanfare, but if guitar rock is your thing, then this is definetly one for you, not a single keyboard used, and don't let that fool you into thinking the sound isn't full, think again this is Mr. Jimmy Page we're talking about here. Jason Bonham occupies the drum stool for seven of the nine tracks, and a more than adequate job he does of it to, you can never compare two musicians fairly, but let us just say that his father would have been more than proud. To these floppy ears it's the instrumentals on the album that really take the biscuit, showing the likes of Eric Johnson & Kenny Wayne Shepherd how to play with flash but keep it interesting. Although all the songs sound as if they have been recorded by a band who've known each other for years, actually Jimmy uses 2 drummers, 3 bassists & spread over the 6 vocal tracks 3 vocalists, the very underrated John Miles (he of "music" fame) handles the first brace with his usual aplomb. Chris Farlowe ("Tears Go By", Atomic Rooster & Colosseum) takes the final curtain calls, when he engagingly stutters his opening delivery of "I've be a b-b-b-b-b-bad b-boy and I've been a bad boy all night long" you can actually hear him smirk & wink over Page's bleeding electric guitar, of course after this the lyrics descend even further into bloke rock, and the guys seem to be having the time of their lives. The final vocalist used is of course Jimmy Page's old sparring partner, Percy himself Mr. Robert Plant, and it's a credit to the other two that this song is not the stand out track of the album, I think that has to go to the 12-bar of "Prison Blues", if Mott could get his paws round a guitar neck, this is the way he'd play guitar, with legs astride, head thrown back, in front of 250,000 screaming women. As in the last quote this album may be a little self indulgent, but they sure don't make albums like this anymore, and to make sure it was just right Jimmy Page even produced the whole thing himself. If you still not convinced, try lending an ear to Jimmy Page's latest release with the Black Crowes where he revamps his old Led Zeppelin Catalogue as well as bashing through some old chestnuts. Listen & Believe. Mott the Dog.

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

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Talk Review

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(More customer reviews)As a fan of Yes for over ten years now, I'm more partial to Yes' output in the 70s than I am to their output in the 80s. However, _Talk_ (their last album with guitarist Trevor Rabin holding the reigns), was a fitting way to end this phase of Yes' career.
Probably a deliberate attempt to be a little more progressive than their previous studio albums (_90125_, _Big Generator_, and the Rabin tracks on _Union_), Yes harkens back to the long/short mix of songs found on _The Yes Album_ and _Fragile_. While nothing on _Talk_ matches the progressive punch of songs like "Starship Trooper" or "South Side of the Sky", "Endless Dream" comes pretty damn close. A sprawling epic, it combines the guitar rock of 80s Yes with the emotions of Yes' best work in the 70s. Elsewhere, "The Calling" features some excellent Hammond licks by Tony Kaye, a vibrant guitar sound, and great harmonies. "I Am Waiting" features a guitar lead that could probably pass for a Steve Howe-written piece. "State of Play" is also a good example of Yes when they merge their natural sense of harmony with heavy guitars and quasi-dance beats. Even the lesser tracks such as "Walls" (kinda generic) and "Real Love" (goes on a tad too long) are salvaged by excellent performances and production.
_Talk_ is a great album. It was the first time that Jon Anderson and Trevor Rabin sat down and wrote together and you can truly hear the energy and love the two have for this material. Notably, _Talk_ contains some of Anderson's best vocals. It also is simply a fun album. It sounds like the members of Yes are having fun - and it's contagious. It's great that it has been re-released because sadly it has been out of print for the last few years. Don't pass this one up - you'll probably be pleasantly surprised.

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From Spitfire Records, the 10th lineup of Yes features JonAnderson, Trevor Rabin, Tony Kaye, Chris Squire, and AlanWhite. Talk makes some effort to get away from the group'sindulgent art rock pretensions, at least to the extent ofusing a spare, spacious production full of closely mikeddrums and sharp guitars. This Collector's Edition includesthe bonus track 'The Calling' (special version) and newin-depth sleevenotes. 2002.--This text refers to an out of print or unavailable edition of this title.

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Twenty Review

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(More customer reviews)Robert Cray hails from the BB King school of guitar playing.. and I have every single release from RC .. and they are restrained glory in every sense of the word. Then, suddenly in a song, he busts out with some very good guitar playing that catches you off guard.
This particular recording is very complete, and very gospel sounding, in a lot of places.. but yet RC's voice is very gospel sounding in itself.. so I really think that is where a lot of the gospel comparisons come into the mix... and lets face it... a lot of guitar players play guitar and will sing as well.. but in RC's case.. his singing is as every bit of (dare I say even better) than his fantastic guitar ability. This can make for a very pleasureable experience.
This cd does cut fray into the political arena, but robert sings like someone who means what he has to say and is not really trying to paint an overtly political statements... very heartfelt song.
The guitar playing on this CD... there is as much guitar playing on this CD as one would like to hear. RC uses the guitar so much in phrases, and catches so much melody.. and when he does break out in solos, they mean something.
I must admit, this RC cd is a lot better than his past couple... and they were good too, but this one is better.
Enjoy, Have fun.

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Robert Cray and band raise their profile recently with standout appearances in Eric Clapton’s Crossroads Guitar Festival film and DVD as well as Robert’s stunning performances in two in Eric Clapton’s Crossroads Guitar Festival film and DVD as well as Robert’s stunning performances in two segments of Martin Scorsese’s film and just released DVD, Lightning In A Bottle. The band started the year with their 1,000th performance as a unit and now the five-time Grammy winner (11 nominations) delivers Twenty, a set whose title track is a poignant commentary about the US war in Iraq.The Robert Cray Band’s album Twenty was released on a week bookended by the May 24 birthday of one of this generation’s most eloquent protest songwriters, Bob Dylan, and by Memorial Day, May 30. The dates are significant when one considers the subject matter which defines the album’s title track, "Twenty."While Cray has generally focused his writing on personal relationships, his song "Survivor" as well as co-producer and bandmate Jim Pugh's "Distant Shore," both on Cray's 2003 CD Time Will Tell, were also inspired by concerns about what was, at the time of their writing, an impending war in Iraq.Robert Cray is a five time Grammy winner who grew up on military bases in the U.S. and abroad. His father served in Vietnam so Robert has personal knowledge of the effect on a family when one of it’s members is serving abroad. On May 24 – the album’s street date -- TrueMajority.org, a non partisan, non-profit, grassroots education and advocacy project founded by Ben Cohen (Ben & Jerry's), offered the song a streaming audio to its entire online community of 575,000 Americans who are committed to getting government to reflect our values of justice, compassion and sustainability. The release of Twenty, Cray’s fourteenth album, will be backed by an extensive worldwide tour by The Robert Cray Band (beginning on the week of release with a May 26 San Francisco benefit for Music In Schools Today.) The tour will continue across the U.S. and Europe throughout the summer.

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John Mellencamp Review

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(More customer reviews)For me, one of the pure joys of being a John Mellancamp fan has been watching this incredible singer/songwriter grow and mature as his career moved inexorably forward.
This album is a fresh start for Mr. Mellancamp. It's his first release on Columbia and is simply titled "John Mellancamp." Ironically, it's one of the finest albums he's ever released.
The key to any artist, I think, is growth. Many fans are content to be mired in the cloying repetition of the popular music world, but the best players change and evolve. Mr. Mellancamp has changed from the petulant pop star who told everyone he "needs a lover that won't drive him crazy" and that love "Hurts So Good" to a more introspective, gentle poet who, on this CD, begs the question, "Will you teach your children to tell the truth?"
The sound on this album maintains the rough folk/rock feel he first uncovered in the late `80s on albums like "Lonesome Jubilee" and "Big Daddy," but also incorporates some of the experimental tacts Mr. Mellancamp began taking on "Mr. Happy Go Lucky." All of it works rather nicely. The songs are catchy, foot-tappable and sing-alongable, yet, at the same time challenge the listener with a homogenous blend of styles, rhythms and themes.
The song "Your Life Is Now," could not have been written when Mr. Mellancamp was in his 20s. Its theme is more altruistic and portrays a man doing some serious soul searching; not poontang searching! Musically, it could have easily appeared on "Lonesome Jubilee" or just about any Mellancamp album since then. Nonetheless, the haunting melody and probing lyrics help send a lump directly to the throat.
"Eden Is Burning" is another highlight. Described by Mr. Mellancamp himself on VH-1's "Storytellers" as a "sequel to `Jack & Diane,' the song is a great rave-up about the loss of innocence.
The calypso/reggae beat of "I'm Not Running Anymore," is a perfect example of some of the new sounds Mr. Mellancamp has been embracing of late. The result is an infectious hip-shaker that also serves as the singer's personal declaration of independence from his inner demons.
The song "Break Me Off Some," much maligned here because of its attempts at fusing hip-hop elements to Mr. Mellancamp's heartland folk rockers, is actually one of the highlights of the album. I loathe rap music simply because I find most of its rhythms to be plodding, derivative and frankly, ripped-off. Not to mention, the lyrics are either a) incomprehensible or b) unrelatable. Here, Mr. Mellancamp tightens the groove and adds so much of his own feel to it that the genre seems more natural in this setting than on an Eminem tune.
Not every song on this album works. "Miss Missy" and "Positively Crazy," are unremarkable. However, "It All Comes True," is one of the most haunting songs that Mr. Mellancamp has ever composed; a warning to the today's youth to make the best of their time.
For me, it's difficult to judge Mr. Mellancamp's work by saying one album is better than another. To me, one couldn't exist without the other. (i.e. There would be no "Lonesome Jubilee" without "Scarecrow;" there would be no "John Mellancamp" without "Mr. Happy Go Lucky" and so on.) My favorite JM record changes each time I put one in the player.
For me, every album he releases just adds more texture and depth to what has already become an incredible body of work.
The "professional" reviewer above said that Mr. Mellancamp has had to live in the shadow of Bruce Springsteen most of his career and that Mr. Mellancamp would never produce his own "Ghost of Tom Joad."
To that I say, "Thank God." With all due respect to the Boss, John would never get that self-indulgent. That hoary cliché of a comparison is unfair to both artists and obtusely inaccurate as well.
"John Mellancamp" has slowly become one of my favorite JM recordings. Every time I put it on, the people in the room stop and smile and begin to weave and bop a bit without realizing their doing it. Now, that's a good record.
Of course, Mr. Mellancamp has a new release, "Cutting Heads," due any day now and it's likely that CD will soon become my favorite John Mellancamp album.
But you won't go wrong if you add this one to your collection as well.

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Special edition of Mellencamp's label debut for Columbia with a two track bonus CD featuring live versions of 'Your Life Is Now' & 'Eden Is Burning'. A combined total of 14 tracks. Double slimline jewel case. 1998 release. --This text refers to an out of print or unavailable edition of this title.

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Behind the Mask Review

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(More customer reviews)Unless Lindsey Buckingham's music is your only reason for listening to Fleetwood Mac, this item is a must-have. Christine and Stevie showcase some of their best work here, including Affairs of the Heart, Freedom, and The Second Time by Stevie, and Skies the Limit and Save Me, excellent efforts by Christine.
One thing that did take me by surprise is how much I really did like the music of the "new" guys, Billy Burnette and Rick Vito. Their music fits very well with what we have come to know as Fleetwood Mac - highlights include Hard Feelings and Stand on the Rock.
In summary, listen to the clips at the bottom of this page; you will not be disappointed.

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Ecstasy Review

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(More customer reviews)Now, allow me first to note that I am the sort of Lou Reed fan that dismisses "Transformer" as mildly fun but little more than ear candy and considers "Berlin" to be his greatest work ever. Having said that, I also would like to note that Reed's latest release, "Ecstasy," which was released today (4/4/00) is without a doubt his best since the highly underrated "New York," and very possibly since "Berlin." Some critics are likening it to "Magic and Loss," which I can understand, but this is a much more mature and well structured record than "Magic and Loss" - it stays with you longer, it speaks more clearly and much louder in it's message(s), it's the sort of record that revives an existing Lou Reed fan's love for the man or begins a brand new love affair between Reed and the listener who has yet to know the glory that is Lou Reed. I'm listening to the title track for the seventeenth time today as I type this, and for good reason - this record is fabulous.

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Australian exclusive limited edition pressing combines his latest record 'Ecstasy' with his most recent live cd 'PerfectNight: Live In London'. Packaged in a double slimline jewel case. 29 tracks in all. 2000 release. --This text refers to an out of print or unavailable edition of this title.

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John Mellencamp: Lonesome Jubilee Review

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(More customer reviews)Mellencamp took his romantic fascination with the heartland to the max with "The Lonesome Jubilee". Lyrically, he doesn't really break any new ground here: The album is dominated by social commentary and vivid narritives of the life of the regular American. However, the quality of the songs is remarkable and John brings in a variety of instruments that you rarely hear on a "rock n roll" record. From the opening accordion and dobro guitar riffs of *Paper In Fire*, "Jubilee" is mostly upbeat. Songs like *Down And Out*, *The Real Life*, *Hard Times For An Honest Man* roll along passionatly. Mellencamp brings in a strident working class anthem in *We Are The People* and also a few deep, melancholy stories with *Empty Hands* and *Hotdogs and Hamburgers*. You can almost feel the despair of the characters in the songs when John uses words like "Oh lord, what did I do to deserve these empty hands" or "My daddy's always drunk, my mom's a babysitter, and I don't like the Russians cause I hear they hate me". On the other hand, the carefree *Rooty Toot Toot* breathes a little Mellencampesque comedy into the record. Finally, there's two songs on here that are worth the admission price alone. Listen for the beautifull fiddle work on the nostalgic *Cherry Bomb*. With its catchy accordion hook, building melody, and crafty lyrics, *Check It Out* is probably Mellencamp's finest song! All in all, "The Lonesome Jubilee" is a fantastic recording, where John Mellencamp, Middle American ambassador that he is, is at the top of his game. The eclectic instrumentation, the themes, and the emotions in these songs will blow you away!
Thanks!

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Live: Pack Up the Plantation Review

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(More customer reviews)I find it a bit curious so many of the reviews here dislike the live covers on this album; as a fan I really enjoy the boys' takes on the Byrds "So You Want to Be a Rock and Roll Star," or "Needles and Pins," or even "Don't Bring Me Down." I don't look for a "greatest hits live" package from a performer I respect -- I want that artist to dig deep, find some chestnuts from the catalogue, or do some covers that mean something to them -- and that's what Pack Up the Plantation is.
Is it representative? I'd say, after two and half years of effort to create Petty's statement on the South of his raising -- Southern Accents, the live album from the tour of Southern Accents finds Petty in his most meaningful, heartfelt period. My personal view is he feared revealing his most innermost thoughts about the South and himself on Southern Accents, so he felt he needed to gloss up those concepts with Dave Stewart's production tricks and copious horns. Don't forget -- this was 1985. But strip all that away and you have pure Petty, from the heart. The songs skew toward that album, with strong performances of "Rebel" and "It Ain't Nothing to Me," but he throws in some fan favorites as well. It's rounded out with some fun covers, though I agree "Shout" probably didn't need to be included.
I do find this particular cd release to be lacking, however, in that two songs are cut short and the order rearranged from the original release. There's no reason to truncate or reorder the original, and I hope subsequent pressings fix this glitch.
In sum, this is vintage mid-period Petty, rocking out on songs from his heart, even getting Stevie Nicks to join in a few tunes. Is it a comprehensive overview of his career, live? Clearly not. But taken for what it is, Pack Up the Plantation is a very enjoyable live Petty experience and an example of why this artist has been so enduring for so many years.

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Charmed Life Review

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(More customer reviews)"Charmed Life" was recorded during a bad motorcycle accident that Billy had, hence as I recall, the title.
By 1990, Billy Idol had matured into a rock artist and this album is miles away from the youth appeal of "Rebel Yell." It shows the former Gen-X punk wanting to grow his music and it works.
From a kickass version of "The Right Way" and "Prodigal Blues" (the originals) to "LA Woman" to "Endless Sleep" (the covers) - this album is well produced, well-written and will grow on you. There really isn't a bad track on this.
Steve Stevens had left the fold to pursue a solo career at this stage and Mark Younger Smith shows his guitar chops. The change of style is refreshing.
As a songwriter, Billy peaked with this one. I didn't much get into "Heroin" - his next album. This and "Rebel Yell" remain indispensable parts of Billy's collection so get it if you can.

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Reissue of this 1990 album by former Generation X vocalist and bonafide Rock Star!Features the hits 'Cradle Of Love' and 'L.A. Woman'. 11 tracks total. EMI. 2006.--This text refers to an out of print or unavailable edition of this title.

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Under Wraps Review

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(More customer reviews)Many Tull fans unjustly shun this work as an aberration in the Tull catalog, a divergent work not really worthy of "Tulldom". I have a different view. First, I will tell you that this is the last album the band made before Ian's voice literally collapsed in the mid 80's, leaving his fans in serious doubt for many years to come as to the veracity of it's ever returning. So, when I think back on that concert tour, I recall with fond memories the final time I saw Ian sing with that wonderful full vocal range so prevalent in the highs of SONGS FROM THE WOODS and the sonorous lows of BAKER STREET MUSE. It was also really the end of an era of 'big shows' where staging and drama came as part of the Jethro Tull package. Ballooning budgetary concerns mandated a less ostentatious approach to putting on a show. Gone forever were arena venues featuring string quartets and the elaborate Viking ship stage sets.

Be it known, however, that this is really quite an amazing album that harkens back to a concept album format. Apparently at the time, Ian had read a lot of John Le Carre and Martin Cruz novels; the album absolutely drips with cold war rhetoric, international espionage and intrigue. The progression of the songs reads like chapters in book GORKY PARK. All the characters are there, from the saboteur, the sexy seductress, the double agent, and the turncoat general selling out his country to the other side. We, the listener play the role of the guileless common man helplessly swept along with the story.
The music is rich and complex. Electronic in places - yes, largely due to the keyboard influences of Peter Vettese, but also full of the signature sounds distinctive to Jethro Tull. Present are Martin Barre's soaring guitar solos, Ian's flute work, and the bass lines distinctive to our old friend, Dave Pegg. The album also serves as our introduction to the man who has played percussion for the band longer than any other, the amazing Doane Perry.
My favorite songs include EUROPEAN LEGACY, LATER THAT SAME EVENING, and UNDER WRAPS #2. The CD contains four songs not originally included on the vinyl, and they break up the flow a bit. Unfortunatly, they dropped AUTOMOTIVE ENGINEERING and GENERAL CROSSING at the end of the disc, rather than before the song APOGEE which worked perfectly as a closing chapter to the novel on the record. I was hoping that with this new remaster, the order of songs would be rectified, but alas...no. This new release really offers nothing new musically, though the sound may be slightly cleaner if you are fortunate to own a really amazing stereo system, but for most of us, the difference is negligable. The LAP OF LUXURY video is a nice inclusion, but probably not worth the $$ if you already own this CD.
Martin Barre has referred to this as the Tull album he listens to when he wants to listen to a Tull album. He absolutely smokes on HEAT, a song which I think could sit comfortably on any 'Best of Jethro Tull' disc. While not a perfect album, in my opinion it is still a great album.


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Show of Hands Review

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(More customer reviews)Rush's tradition of releasing a live album after every fourth studio release continues with "A Show of Hands". Unlike the wretched "Exit Stage Left" which was plauged by terrible recording problems, this albums avoids the problems which make "Exit" nearly unlistenable. Unlike "Exit" and the masterful "All the World's A Stage" which present one live show, "A Show of Hands" presents cuts from different concerts and tours.
As an attempt to show case different tours, it lacks the cohesion and sustained energy that make a "Rush in Rio" and "R30" such triumphs. As an anthology of different shows, the shifts between the different concerts is often jarring.
It's absurd to label this as the "worst" Rush live album--since its clearly far superior to "Exit, Stage Left." (And "Exit's" problems are not performance-related, but as I note above, technical.)
As a matter of personal preference, I like a live album to be of one show, a snapshot, so to speak, of a band's work and spirit at a single moment in time.
For the new Rush fan I would not recommend it. "Different Stages" would be a much better intro to their live work. It showcases their more recent work as well as the pre-"Hemispheres" albums on that fantastic third concert disc.
All of that having been said, "A Show of Hands" should be in every serious Rush fan's collection. It is really completely inaccurate to describe Rush's 80's oeuvre as "the synth period" since the use of synths began with 1976's "2112". The shift is gradual and doesn't support the label the period is too often given.
As a sampling of their live shows in the 80s, it does a good job. To repeat, I would have preferred one show but the anthology approach does provide a more global perspective on one of the most successful concert acts of the last thirty years.
Rush also has has more consecutive gold and platinum albums than any other band--excepting only the Beatles and Rolling Stones (in the that order).

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