Pearl Harbour 79 (Mlps) Review

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(More customer reviews)This Japanese mini-lp replica version of Clash's best album is simply a work of art! Very beautifully designed with all the lyrics included and with a sound quality remastered to perfection.
This is by far the best version of this album that is out there; great sound quality, great packaging, great songs! A must have in any CD collector's library.


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Digitally remastered reissue of their Japanese original artwork edition originally released in 1979. Contains the album 'The Clash'(original UK track listing) and a bonus CD single containing 'Gates of the West' and 'Groovy Times' which was included as a bonus 7-inch on the original Japanese LP pressing!Comes housed in a cardbaord sleeve. CBS. 2004.

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Sticky Fingers Review

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(More customer reviews)Along with Beggars Banquet, Let It Bleed and Exile On Main Street, this is arguably the greatest album ever by the world's greatest rock 'n roll band. This is the post-60's peace and love, nasty early 70's hard core drug inspired kick ass Stones at their pinnacle. Played out classics include "Brown Sugar," "Bitch" and "Wild Horses," but this album's deeper cuts are the true gems.
I dare you to keep the hair on your head from standing on end as you hear the opening chords to the epic "Can't You Hear Me Knocking" at full volume. Forget heavy metal - it just doesn't get any raunchier than this, or any better, as Keith and Mick Taylor go at it with a vengeance. Billy Preston guest stars with his classic afro organ sound on the bittersweet "I Got the Blues." Then hold on to your hats, turn down the lights and contemplate the mysteries of the Holy Trinity of "Sister Morphine," "Dead Flowers" and "Moonlight Mile," an incredible sequence of Mick, Keith, Mick Talyor and Ry Cooder genius that will leave you crying for more. Memorable and twisted lyrics, haunting guitars, classic Mick vocals and just pure greatness. These drug drenched masterpieces, not for the faint-hearted, could easily have provided an Abbey Road-like crescendo to the Stones' career. Fortunately for us, Keith somehow survived and the Stones went on to record "Exile," their last truly great album.
Warning: in a lame crowd, this is an instant party killer.
As a final note, the original vinyl album cover, designed by Andy Warhol, has a real zipper and is a collector's item.

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Rock & Roll Animal Review

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(More customer reviews)The intricate, extensive and sublimely rocking introduction to "Sweet Jane" which opens ROCK & ROLL ANIMAL must have made many of this album's earliest buyers think they'd fallen victim to a record company foul-up. Surely the soaring guitars, thundering bass and tight, swirling drums with which they were confronted couldn't have had anything to do with Lou Reed, legendarily laconic purveyor of atonal drones and decadent, rambling anecdotes. But sure enough, after three and a half minutes all that virtuosic showboating somehow morphed into the beloved Velvet Underground classic, with Reed tossing off his lines in a voice by turns sardonic, indifferent and haunted. The result was, and still is, an album both the hardcore Reed fan and the Reed-hating hard rocker can dig, an eminently successful experiment in classic seventies metal from a man whose prior recordings had firmly established him at the opposite pole of the sonic spectrum.
In truth, however, ANIMAL is less a Lou Reed album than an album of Lou Reed songs as (stunningly) interpreted by what was then Alice Cooper's touring band. The leader's presence here, while significant in establishing the requisite dark, dissipated and druggy ambience, is ultimately more counterpoint than fulcrum. Instead, it's the beautiful picking of guitarists Steve Hunter and Dick Wagner, Ray Colcord's nightmarish organ runs and the stop-on-a-dime interplay of bassist Prakash John and drummer Pentti Glan that are the real story, offering up post-Allman Brothers reinventions of Velvets nuggets like "Heroin," "White Light, White Heat" and "Rock & Roll" as well as several tracks from Reed's outrageously underrated BERLIN LP. What starts out looking like the most awkward of musical marriages ends up being one of rock's all-time greatest live albums, its dynamism literally unflagging from one end to the other. Recommended for...well, you.

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Italian digitally remastered gold CD reissue of 1974 album, packaged in a digipak. 2001.--This text refers to an out of print or unavailable edition of this title.

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Europe 72 Review

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(More customer reviews)Apparently '72 was a mighty good year for the Dead. Not only did they follow the success of 1971's excellent Live album with this compilation of their European tour but they also produced the recent English tour collection. Although there have been accusations of too much cleaning up and editing, these are live recordings and personally I'm not sure what value there is in feedback and misdirection. These musicians usually planned such experiments. Be that as it may, this is among the best of the early Dead. Garcia and company are at the top of their game--a spectacular game it is. There's a lot of music here--blues, breakdowns, ballads. The disc begins with a fabulous rendition of "Cumberland Blues"--a real mountain breakdown with tight interplay between Garcia, Weir, and Lesh. Garcia's solo work is concise and accurate and it shows what he could do when he was focused and functional. "He's Gone" is a stately elegy, with good lyrics and a nice Garcia solo. "One More Saturday Night" the band recalls apprentice gigs at places like the National Guard Armory in Redwood City, California, where they played when they weren't supporting Kesey's Acid Tests. (With cardboard tombstones hand-painted with powdered tempura paints attached to their amplifiers, they played for folks to dance.) Listen to Hunter's lyrics on this song. He learned the narrative lyrical compression from Chuck Berry, and Jerry learned the chording and rock licks from the same place. This is a great song. "Jack Straw," a rambling, gambling, railroad traveling song could be the band's anthem: "We used to play for silver/Now we play for life." Nice Garcia leads driven by Kreutzmann's drums. Hank William's "You Win Again" showcases essential country roots, where Garcia exhibits his mastery of native guitar forms. The "China Cat Sunflower" on this album is among my favorites with fluid improvisational lines and coherent solos that showcase Garcia at his most articulate. "China Cat" segues into "I Know You Rider," a take on "Easy Rider" that extends Garcia's solo into a virtuoso performance of improvisational counterpoint. "Brown Eyed Women" continues Hunter's to the tradition of unfortunate rake songs--"Brown-eyed women and red grenadine/The bottle was dusty, but the liquor was clean." Again, the lead guitar provides lyrical interludes for the narrative of personal and social deterioration. "Hurts Me Too" shows that the Dead could play a real blues. "Ramble on Rose" is a slow shuffle with nice picking and enigmatic lyrics in which Hunter offers infinite possibilities for defining Rose. "Sugar Magnolia/Sunshine Daydream" is more descriptive of a relationship between musician and muse--a Southern belle incarnating southern music. Again Garcia's solos are logical and coherent and the band weaves its magic web of counterpoint. Pigpen follows with his "Mr. Charlie," based on Chicago blues. The theme for the balance of the album is rambling. The disc follows a great version of "Tennessee Jed" with an extended "Truckin'" (the real band anthem). In "Tennessee Jed" Keith Godchaux' piano and Lesh's bass underpin Garcia's lengthy solo to good effect. And this may be the definitive "Truckin'." At thirteen minutes, there's ample time to explore the possibilities of the song. Everything's playing as the long ensemble riffs evolve into a Dead improvisational jam. I suggest that this may be the definitive "Truckin'" because it is coherent, lucid, and harmonically inventive--the Garcia, Lesh, Godchaux, Kreutzmann quartet in particular. There are musical epiphanies here that extend into the track called "Epilogue." The "Prelude" experiments with sonic textures, harmonies, and intervals. The program concludes with a gentle "Morning Dew" a soulful vocal performance incorporating sensitive guitar and bass lines. Garcia's final solo is a fitting conclusion to an outstanding collection of music.

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Rainbow Concert Review

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(More customer reviews)Eric Clapton's Rainbow Concert was a concert organized by his good friend Pete Townshend back in 1973 as Mr. Clapton's first public appearance after a lengthy struggle with a heroin addiction. The band was full of English rock luminaries including his old Blind Faith pals, Steve Winwood & Rick Grech, Winwood's Traffic mate Jim Capaldi, Ron Wood and Mr. Townshend himself. The cd reissue is one of the better around as the original album was a truncated version of the show containing only six songs. The reissue adds eight songs from the show including the first live version of "Layla" ever released in its original form. The band is a little ragged in spots, probably due to lack of rehearsal time, but they are all pros and the overall sound is superb. Mr. Clapton plays an invigorated guitar and his voice is suitably course and bluesy. Versions of "Blues Power", "Bell Bottom Blues", "Let it Rain" and "Badge" stand out as well as an inspired "Presence Of The Lord". This cd is notable for the assemblage of musicians, but the music stands up after all these years.

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Let It Bleed Review

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(More customer reviews)There was only one version of Let It Bleed. This is it. It was released simultaneously in the UK and US on Dec 5, 1969. The Stones had the guts to leave off their July megahit Honky Tonk Woman and instead (much to the chagrin of record company execs) put a countrified satire of their own hit on the album. The Let It Bleed sessions also produced 3 of their finest works that are not on the album (Honky Tonk Woman, Sweet Virginia, and Sister Morphine).
The album contains a huge chunk of the work that made the band famous for this era....Gimme Shelter, Love in Vain, Let It Bleed, Midnight Rambler, and You Can't Always Get What You Want have all pretty much defined not only the Stones but this era of English-speaking history to the world. The album is a staple in every serious rock collection.....it's that simple.
The album has several notable facts:
.....Brian Jones died the same day the last tracks were recorded in London
.....M.C. Escher and photographer Man Ray were both invited to design the cover (they declined)
.....it includes the 1st song not sung by Mick - You Got The Silver, sung by Keith (Mick's version was left in the can)
.....Gimme Shelter was written by Keith while he waited in his car for girlfriend Anita Pallenberg who was starring with Mick (and actually making love instead of only acting) on the set of Performance
.....the Stones have long been accused of stealing many of the song bits from Ry Cooder who was involved in the early sessions and laid down basic tracks that developed into many of the songs
The tracks were recorded between Feb 9 and Jul 2, 1969 at Olympic Sound, London, with final mixing done at Sunset Sound and Elektra Studios in L.A. between Oct 18 and Nov 3. You Can't Always Get What You Want dates slightly earlier, first recorded on Nov 17, 1968 at Olympic with Al Kooper on French horn, producer Jimmy Miller on drums instead of Charlie, and the 35 member London Bach Choir. In addition to the 9 tracks that made the album, the Let It Bleed sessions also produced:
.....the entire jam session on April 23, 1969 that became the album Jammin' With Edward
.....Honky Tonk Woman (released as a single - Mick Taylor's 1st session with the band)
.....All Down The Line (released on Exile On Main Street)
.....Stop Breaking Down (released on Exile On Main Street)
.....Sweet Virginia (released on Exile On Main Street)
.....Shine A Light (released on Exile On Main Street)
.....Loving Cup (released on Exile On Main Street)
.....Sister Morphine (released on Sticky Fingers)
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.

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Goats Head Soup Review

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(More customer reviews)Goat's Head Soup was originally released Aug 31, 1973 and went to #1 in both the US and the UK. I have found it quite rewarding that over the years this one has gained respect and continues to appear in many rankings of greatest rock albums. Personally, I've always like this one a lot. It's got the usual megahits; Doo Doo Doo Doo Doo (Heartbreaker), Angie, and Star#$!@% (a hit as a single in Europe and Japan), an incredible jam in Can You Hear The Music, great intro in 100 Years Ago, part 2 of the voodoo chronicles in Dancing With Mr. D., solid rocker Silver Train, and oh yeah, Winter and Hide Your Love too. Most people know the music, so in my reviews I try to give you data on the sessions and interesting facts connected with the songs and the album. Here we go:
There were 23 songs recorded during the Goat's Head Soup sessions between Nov 25-30 and Dec 6-21, 1972 at Dynamic Sound Studios in Kingston, Jamaica. Only 8 of them made it onto Goat's Head Soup. Keith had made strong connections with the Jamaican reggae musicians and had recently bought a house in Jamaica, so he was the driving force behind the sessions. The band included Mick Taylor, Nicky Hopkins (piano), Billy Preston (organ), Bobby Keys (sax), Chuck Finley (trumpet), Jim Horn (horn), and of course Ian Stewart on piano. Sonny Rollins played sax on Waiting On A Friend. Final mixes were done at Island Recording in London May 28 - Jun 20, 1973. Hide Your Love was recorded in separate sessions on May 23 & 26 at Olympic Studios in London. Silver Train was recorded during the mixing at Island in London.
Interesting notes include:
.....The UK version of the album had one verse censored and deleted from Star#$!@% (which appears as Star Star in text on the album) while the US version had the line "I bet you keep your pussy clean" deleted. Both record distributors (US and UK) refused to allow the line "giving head to Steve McQueen" until the Stones got McQueen to sign a release (he said he appreciated the publicity). (The entire song with all the censored lyrics are on this release, or at least they are on my copy.)
.....Short And Curlies was not released until 1974 on the album It's Only Rock `n' Roll.
.....Tops and Waiting On A Friend were not released until 1981 on the album Tattoo You, after which Waiting On A Friend was also released as a single.
.....there are still 12 tracks from these sessions that have not been released (although some have been bootlegged) They are Criss Cross (Save Me), Separately, You Should Have Seen Her Ass, Four And In, Give Us A Break, First Thing, Miami, Man-Eating Woman, Brown Leaves, After Muddy & Charlie, Jamaica I, and Zabadoo.

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Some Girls Review

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(More customer reviews)Some Girls was originally released June 9, 1978, it went to #1 in the US and #2 in the UK. This is their best selling album ever (>8,000,000 copies to date). Although the Stones seemed to be on somewhat of a female bashing kick (and certainly aroused intense ire among feminist groups) with their billboards for Black and Blue and the album cover for some Girls (which produced lawsuits and a revised cover), the sessions for Some Girls were the most productive the Band would ever have and saved the Stones from oblivion. The album included not only the superhit Miss You (their first #1 hit in 7 years), but Beast Of Burden (Keith's tender last love song to Anita Pallenberg), When The Whip Comes Down, Shattered, Before They Make Me Run, Respectable, and Just My Imagination. 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 most famous story about Some Girls concerns the cut-out cover which originally had images of Lucille Ball, Raquel Welch, Farrah Fawcett, and Sophia Loren, all of whom threatened legal action, causing a revised cover to be released (both the original and revised covers from the original vinyl album are easily available on e-bay and in vinyl shops)
.....the original album cover was issued in 3 different color variations
.....Keith argued (and won) to have Start It Up removed from the album because he was afraid he had copied the main riff from the radio (it turned out it was his own licks he had heard)
.....when asked by a reporter why the name Some Girls had been chosen, Keith replied, "Because we can't remember their (freak)ing names!"
.....the first Stones disco mix was made by Bob Clearmountain from a tape of Miss You
The sessions for Some Girls were the most productive the Stones would ever have. They started in Paris Oct 10, 1977 and ended Mar 2, 1978 with final mixing at Atlantic Studios in New York Mar 15-31, 1978. The sessions were:
Oct 10 - Dec 21, 1977 at Pathe Marconi/EMI Studios in Paris
.....Miss You (Mick on guitar)
.....When The Whip Comes Down (Mick on guitar)
.....Just My Imagination (Mick on guitar)
.....Some Girls (Sugar Blue on harmonica, Keith on bass & acoustic, Ron on acoustic, Mick on guitar, Bill Wyman on synthesizer)
.....Lies (Mick on guitar)
.....Far Away Eyes (Mick & Keith on piano, Ron on pedal steel)
.....Respectable (Mick on guitar)
.....Beast Of Burden
.....Shattered (Ron on bass, pedal steel, and lead guitar)
Jan 5 - Mar 2, 1978 at Pathe Marconi/EMI Studios in Paris
.....Before They Make Me Run
Everything Is Turning To Gold was also recorded (it was released as a B side and special collections track).
Tracks from these sessions that were never released included the famous Claudine (which was never released because it was sure to cause litigation from Claudine Longet after she was reprieved from killing her boyfriend), plus Everlasting Is My Love, Covered In Bruises, Indian Girl, Misty Roads, Jah Is Not Dead, We Had It All, Fiji Gin, I Can't Help It, Do You Think I Care, The Way She Held Me Tight, I Need You, Let's Go Steady, Petrol, No Spare Parts, You Win Again, It's A Lie, It's All Wrong, Never Let Her Go, Never Make You Cry, Not The Way To Go, Biscuit Blues, Disco Music, When You're Gone, Angeline.
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.

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Ragged Glory Review

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(More customer reviews)With Neil Young's 1989 solo effort Freedom, I like many others was warming up to his music again, after the numerous and sometimes alienating stylistic changes he was making in the 1980's. On Freedom, I tended to favor the harder cuts on the album such as "Don't Cry" "Rocking In The Free World" his driving cover of "On Broadway". At the same time I was heavily listening to some of his work with Crazy Horse; Live Rust and Rust Never Sleeps. All though this I was thinking, "Why doesn't he just make another kick-a**, all electric album from beginning to end?" "And at the same time why not just get back together With Crazy Horse?"
Well less than a year later in 1990, both prayers were answered. Neil Young finally reunited With Crazy horse for Ragged Glory. And the music matched my expectations and anticipation. I was totally blown away with their resulting effort. Raw, honest, intense and most importantly, excellent songs. Truckloads of guitars and solos. Short, terse rockers are mixed with their trademark eight to ten minute jams and loads of feedback in the right places. Most importantly this album matches all of his 70's work, with and without Crazy Horse.
Ragged Glory is also the essential album to listen to on a long country drive, disturbing the cattle and the small towns on the way! The leadoff track on the CD "Country Home" is obviously well-suited for the aforementioned type of drive. "White Line" has an excellent driving riff and is a very concise song, almost ending prematurely, kind of like Stone Temple Pilots "Interstate Love Song" four years later.

"F*!#in' UP" is my favorite track on Ragged Glory. It is the most aggressive song on the album lyrically and musically. It's an understatement, but this song kicks serious a**. The title itself prevented it from major airplay, but changing or editing that would be a grave injustice. "Over And Over" has a killer melody, a great chorus and the guitars keep on rocking.
"Love to Burn" is a ten-minute long opus that seriously rocks. It will hold your attention the entire duration and at the same time may cause to you look deep inside yourself on what you want and need out of love and out of life.
The bouncy "Farmer John" snaps you out of that, I think of a comely, natural, well built county girl almost every time I listen to it. "Mansion on the Hill" is the track that garnered the most radio airplay at the time. The second ten-minute opus is "Love And Only Love".
The only downer is "Mother Earth" I respect the message Neil is trying to make with this track, but it is completely subpar and totally out of place on the CD, unfortunately, it practically rescues the CD from near perfection. It is a totally expendible track.
This album may have prepared me somewhat for 1991-92 grunge explosion. I was beginning to gravitate towards rawer, grungier rock at the time, not to replace the more polished hard rock or progressive rock that I was listening to but to compliment it. While Neil Young's "Godfather Of Grunge" title is obvious and a little overused now, Ragged Glory helped me welcome the sounds of Nirvana, Soundgarden & Pearl Jam with open arms.


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No Description Available.Genre: Popular MusicMedia Format: Compact DiskRating: Release Date: 11-SEP-1990

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Rastaman Vibration Review

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(More customer reviews)This cd was released in 1976, and was the first studio cd I heard by Bob Marley and the Wailers. Strangely enough, none of the tracks here appear on the greatest hits cd, Legend, although many are worthy. This cd has never left my 5 disc cd changer since I've owned it. This album also marks the first time Bob Marley and the Wailers made the charts in America. The band features 2 new guitarists (Donald Kinsey from Peter Tosh's Band, and Earl "Chinna" Smith a legendary Jamaican guitarist) and the guitar work is fantastic. This cd explores some new ground for reggae, and it is very good. From the opening notes of Positive Vibration, to the Speech by H.I.M transcribed to music in the song War, I was hooked as a Wailers addict for life. If you Want More Rastaman Vibrations, check out Live at the Roxy. Live the band gives off a huge vibe that is unmatched by anyone today and many of the songs on Live at the Roxy are Rastaman Vibration tracks. This cd is essential in any music collection.

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The Bootleg Series, Vol. 4: Bob Dylan Live, 1966: The "Royal Albert Hall Concert" Review

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(More customer reviews)1966, Royal Albert Hall Manchester, England. Bob Dylan straps on an electric guitar to the chagrin of all his fans. Yes, it's the infamous Judas concert. This also is the best-recorded Dylan concert you could hope to find. The quality, both technical and musical, is superb. This may be billed as a "bootleg" but the sound is nearly that of a studio album.
The first CD of course is Dylan's acoustic set. For seven songs, it is just Dylan, an acoustic, and a harmonica and it is nothing short of amazing. Dylan does not make one false step in the entire set, perhaps wanting to give the old folk days a good send off before ripping into R 'n R. He seems to be playing with a new sense of vigor, although it may be just excitement at not knowing how the crowd will respond to the coming electricity (he had had bad experiences when first plugging in at the Newport Festival - he had to come back and do some acoustic numbers to calm the crowd down). Even the song Mr. Tambourine Man, which I never liked that much, has new life breathed into it
The second CD is Dylan's electric set, backed by a full band. When I first listened to this, I expected to hear loud booing right away but I was surprised that the audience not only claps loudly for Dylan, but actually laughs when he jokes at the beginning of I Don't Believe You ("This is `I Don't Believe You', it used to be like that (referring to acoustic) now it goes like this") before ripping into the song. I was expecting an immediate outcry and I admit I was slightly disappointed that the much-hyped Judas concert was turning out to be nothing like I thought. Then at the end of Tom Thumb's Blues the crowd really starts to lay into Dylan, interrupting him when he talks by clapping loudly as well as heckling him (I could barely make out someone yelling "Sell out!!"). It really gets bad before Like a Rolling Stone though. After the clapping for the previous song dies down there is a moment of nearly complete silence and someone yells clearly "Judas!" and is met with rousing applause from the rest of the crowd. When that dies down you can hear someone once again yelling about how Dylan has "sold out". "I don't believe you" Dylan replies, then right before the song he says "You're a liar!" The crowd is so loud at this point that Dylan turns to the band and yells "Play f**king loud!" And they certainly do! The version of Like a Rolling Stone that follows is something to behold. Dylan's singing is fueled by the crowd's boos and insults and is without a doubt his best performance of the song to date.
Ignoring the historic significance of the concert, the music itself on the electric half is Dylan's best. Every song is infused with new energy, and puts the original versions to shame. Perhaps it is because of the crowds boos, the novelty of performing with electrics for the first time, but whatever it is you can't deny it is something special. If I had to pick favorites, I would pick everything from Leopard-Skin Pill-box Hat through Rolling Stone. The whole thing is great, but the band seems to get more energized and louder as the evening goes on (again, probably propelled by the reaction from the crowd). This is nothing short of essential listening for any fan of good music.
Whether you buy it to hear the rock and roll history, the great music, or just because you are a Dylan completist, the reason does not matter. What matters is that you buy this. It is an experience that you won't soon forget.

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Achtung Baby Review

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(More customer reviews)In a word: staggering. I don't know if I've ever heard an album which can even come close to capturing the kaleidoscope of sheer emotion that floods from these twelve songs. Just as Alice in Chains dragged us to the pitch black depths of heroin-addiction with "Dirt", U2 does the same, only with lost love and heartbreak as the backdrop.
Amidst the gloomy themes of the album, rays of hope still shine through in the form of The Edge's signature effect-soaked licks and some serious head-bobbing rhythm from Clayton and Mullen. The great thing about this album is its accessibility: it literally has it all. Techno/hip-hop/rockers like "Mysterious Ways" and "Even Better Than the Real Thing", and the arena-friendly chorus of "Who's Gonna Ride Your Wild Horses" will bring a smile to the face of mainstream (and hardcore) U2 fans, while deeper, more experimental fare such as the industrial-tinged "Zoo Station" and the indescribable guitar orgasm of "The Fly" will challenge the listener on their inaugural spins but eventually yield rich rewards. The heart and soul of the album, however, lies in three songs..."One", "Acrobat", and "Love is Blindness". Listening to these in this order under the right circumstances could change a life, rekindle a forgotten passion, or simply reduce the listener to a sobbing heap. They are THAT powerful.
The range of feeling captured in Bono's wailing vocals on "One" is absolutely incredible, especially in the surreal crys that end the song. "Acrobat" dabbles in electronic influences and uses thick sonic brushstrokes to paint a cavernous musical environment that is completely encompassing (and this is before Bono even utters a syllable). The album ends with one of the most bittersweetly-beautiful pieces of music I've ever heard in "Love is Blindness". From the almost gothically-eerie organ intro to the penetrating echoes of Adam Clayton's bassline, the song literally stabs at your soul. And the lyrics are poetic - for example: "Love is clockworks, and cold steel, fingers too numb too feel...squeeze the handle, blow out the candle, love is blindness." Words simply can't describe how perfectly this song captures the agony of loss. You have to hear it for yourself...and that goes for this entire album. Easily U2's best, if not the best of the entire 1990's.

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Same as USA Version.--This text refers to an out of print or unavailable edition of this title.

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Last Concert Tour Review

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(More customer reviews)How could a record company release anything like this from one of the greatest singers of all time is beyond me .. Marvin must be turning over in his grave after this one .. The sound quality is horrible sound like some one took a portable tape recorder to these concerts and taped it .. For better live albums from him pick up Live at the London Palladium or Marvin Gaye Live ..

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Berlin (Tour Edition-Digipack) Review

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(More customer reviews)These songs are harrowing but beautiful and ultimately rewarding if you can survive its labyrinthine descent into heartbreak and despair. The most melodic songs include Caroline Says I and II, the wistful Oh Jim, the painful The Kids, the bleak The Bed and the soulful Sad Song.
Over these beautiful melodies Reed lays his vocals that are so genuine, so apt and so gripping that listening to them is like being privy to the private details of a doomed relationship. Of course, these all fit the complete picture to create one of the most cohesive and searng concept albums in rock, from the jazzy intro of Berlin with its lounge piano through the spoken poem of Lady Day, right to the melancholy last refrains of Sad Song.
The grand production and sympathetic arrangements add gravitas to the somber mood to create a dark masterpiece of epic proportions. Somewhat inaccessible to some fans, Berlin has nevertheless improved with time and remains one of Lou Reed's greatest albums.

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Limited edition 2007 digipak reissue of Lou's third solo album, originally released in 1973. Produced by Bob Ezrin, Berlin features Lou backed by Jack Bruce, Steve Winwood, Aynsley Dunbar, Tony Levin and others.10 tracks including 'Caroline Says', 'Lady Day' and 'Man Of Good Fortune'. Sony/BMG.

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