Red Headed Stranger
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Audio CD (04 July, 2000)
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Editorial Review

Though this 1975 album cost Willie only $20,000 to record, it handed him the success he'd craved after years as a hit songwriter and modestly successful singer. By blending originals and vintage material, he created a timeless Western saga, one that originally left Columbia Records, who'd guaranteed him artistic control, skeptical. The label's doubts, amplified by the fact that Nelson had recorded the album in Texas with only his seven-piece touring band, evaporated after the album and two singles, "Blue Eyes Crying in the Rain" and "Remember Me," became huge hits and launched Willie into the stratosphere. This enhanced version preserves the original sequence, adding four bonus tracks. One, a brief snippet of Bach's "Minuet in G" from the 1986 Red Headed Stranger film, is inconsequential. Three more, from the 1975 sessions, are enjoyable covers of Hank Williams's "I Can't Help It If I'm Still in Love with You," Bob Wills's "A Maiden's Prayer," and Pee Wee King's "Bonaparte's Retreat," footnotes to the original but welcome nonetheless. --Rich Kienzle ... Read more

Features

• Original recording remastered

Reviews (49)

****1/2. A strange classic
This is one of the strangest albums ever to become a hit. And not just a minor hit; the somber "Red Headed Stranger" was a megahit, selling millions and millions of copies.
A concept album like the somewhat more accessible "Phases And Stages", it is utterly bare-boned and sometimes uncommercial, telling the deeply melancholy story of a lay preacher who kills his wife and her lover.

Still, the "Red Headed Stranger" has that certain something. Everything is done with utter seriousness, and while the minimal arrangements sometimes come off a bit bare, the story that these little poem-like songs tell is thoroughly compelling.
It's not just Willie and his guitar; other instruments pop up on occation, but you won't find any light-hearted, band-backed pop songs here.
The most immediately recognizable song on "Red Headed Stranger" is probably Fred Rose's beautiful western ballad "Blue Eyes Crying In The Rain", a #1 country & western single, but the title song is no throwaway either, and I bet you'd sit up and take notice if they played "Remember Me" or the slow "Can I Sleep In Your Arms" on the radio as well.

This expanded 2000 edition adds four bonus tracks, all of which were previously unreleased at the time. "Can't Help It" is the best of them, a tender but unsentimental ballad with a lovely piano part.
"Red Headed Stranger" is quiet and understated, but memorable. Not for everybody, sure, but give it a try if your musical tastes reach beyond Donny & Marie or Metallica.

A very scary kind of "mellow"!
My admiration for this collection is unbounded.It surely stunned the 1970s "country" music world of sentimental, overproduced string arrangements.But I find it bizarre that the Amazon reviewer calls the album mellow and childlike.The melodies are indeed gentle and lyrical, but the arrangement of songs tells of wild despair ("He cried like a baby, / He screamed like a panther in the middle of the night") and psychosis--a preacher, rejected by his lover, becomes a serial killer (one woman dies for daring to touch the horse once ridden by his murdered beloved).This is NOT mellow stuff, and much of its power comes from rediscovering the scary, dark energy of old country murder ballads. Does the sequence end with new love and redemption?Hard to say.But for all the prettiness, Willie's great album is closer to the world of the Harry Smith anthology and Dock Boggs, the kind of stuff Greil Marcus had in mind when he coined the phrase "old, weird America."

My Favorite
Of all the music in my collection (vinyl, 8track, cassette, CD, MP3, etc) this is the very best!RHS transcends country, rock, jazz, or gospel in my humble opinion.In the past few years, Willie has sped through his classic songs (I guess that I would be tired of them as well...), but this is a wonderful example of his unique talent for singing as well as his masterful ways around his "hole in the wall" Martin when they were burning a hole in his soul.Not to knock him live on the stage with family and friends.Willie is da man... ... Read more

Asin: B00004U2G7
Subjects:  1. Country    2. Outlaw Country    3. Pop    4. Progressive Country    5. Traditional Country    6. United States of America   

Luxury Liner
Average Customer Review:
Audio CD (25 October, 1990)
list price: $11.98
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Editorial Review

By 1977, Emmylou Harris's Hot Band had truly hit its stride, adding electric-guitar wizard Albert Lee to an already powerful core of Ricky Skaggs, Glen D. Hardin, Rodney Crowell, and Hank DeVito. Harris's mix of material remained eclectic, but surefire, with room for everybody from the Carter Family and the Louvin Brothers to Chuck Berry and Townes Van Zandt, who contributes his masterful "Pancho & Lefty." In addition to the requisite Gram Parsons tunes, Harris also gently tackles the country standard "Making Believe." --Marc Greilsamer ... Read more

Reviews (21)

Early classic with a wealth of beautiful songs


Whatever she does, it is impossible for Emmylou Harris to disappoint. Nothing beats her beautiful voice or her exquisite taste in songs. This album, first released in 1976, has been enhanced by the addition of Me And Willie and Night Flyer.

She does a stunning cover of the Towns van Zandt song Pancho And Lefty plus stirring versions of the old country classics Making Believe and When I Stop Dreaming. The title track and She are Gram Parsons compositions, lovingly interpreted by Harris.

My other favorites include the moving country ballad I'll Be Your San Antone Rose, her cover of Chuck Berry's (You Never Can Tell) C'est La Vie, Hello Stranger, the duet with Nicolette Larson, and the lilting Tulsa Queen, a song about a train which equals Arlo Guthrie's City Of New Orleans any day.

Both the previously unissued tracks are great. Me And Willie is a melancholy song about life in a travelling country band, whilst Night Flyer with Delia Bell is a powerful ballad with breathtaking harmony vocals, and moody mandolin.

The CD booklet contains 2 full colour and 5 black & white pics of the graceful songbird, plus extensive liner notes on her career and background on all the songs up to Tulsa Queen. All the lyrics are included, including the two new songs.

Although I like Pieces Of the Sky, Roses In The Snow, Cowgirl's Prayer, Wrecking Ball and Red Dirt Girl a little bit more, this album still deserves five stars! Emmylou's music enriches the mind and emotions in many ways and is always spiritually uplifting.

"Ooh, but she sure could sing, Yeah, she sure could sing..."
...So go the apt lyrics of a song ("She") on this gorgeous collection of artistic fabulousness. For anyone who hasn't heard the phenomenon that is Emmylou Harris' clear-blue bell-like young voice, this disc will tilt you back like a mountain breeze on a June day. Such wonderfulness! My exultation falls far short of the clarity, purity and sheer musical beauty of the brilliant music recorded here, that you can purchase, amazingly, for a few dollars. What a wonderful world! I have, I think, all of Emmylou's albums, and I will say that this one stands near the top. That's saying a lot for an all-time world-class musician of Emmylou's stature. Whether or not you agree about the superlatives, you can't help but enjoy the soaring lyrical tracks on this disc. It's impossible to dislike this music, and very possibly it will become one of the most-played favorites in your collection, as it is in mine. Enjoy.

My favorite Emmylou Harris album
This is easily my favorite Emmylou Harris album, and one of hers too judging by the liner notes. She sounds great with The Hot Band on this 1977 album. The album had a few hit singles, including "Making Believe" and her cover of Chuck Berry's "C'est La Vie (You Never Can Tell)". I like the songs on here, they sound great, it's hard to explain but there's a certain sound to them. Also, a lot of the songs are nice narrative songs that are moving. She covers two Gram Parsons songs, including the title track, and the moving ballad "She" which is one of my favorites. "Tulsa Queen" has become one of my favorite tracks by Emmylou, there's something about it. Other highlights include "Pancho and Lefty", "You're Supposed To Be Feeling Good", "When I Stop Dreaming", and more. There isn't one bad song in the album. ... Read more

Asin: B000002KI1
Subjects:  1. Country    2. Country-Rock    3. Folk-Rock    4. Pop    5. Progressive Country    6. Singer/Songwriter    7. Traditional Country   

Just Lookin' for a Hit
Average Customer Review:
Audio CD (20 September, 1989)
list price: $11.98
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Reviews (10)

Dwight: The early years.
This is a short, but excellent collection of his 80's material, and goes great with his later "Last Chance For A Thousand Years" collection. Included here are great tracks like "Long White Cadillac", "Little Ways", "Streets Of Bakerfield", and "Guitars, Cadillacs". Plus two excellent covers, "Little Sister" (Elvis), and "Sin City" (Gram Parsons)". Overall it's the best of modern country. However, I would get the new "Very Best Of Dwight Yoakam", which includes most of these hits, plus his 90's stuff, all on one disc. It's essential "Dwight".

First Collection of an Enduring Artist
Dwight Yoakam emerged on country radio in 1986 with a cover of Johnny Horton's "Honky Tonk Man," creating a sizable alt-country niche that continues in spite of increasingly reduced radio play over the years. This disc chronicles Yoakam's hits from his first three albums: Guitars, Cadillacs, Etc., Etc. (1986), Hillbilly Deluxe (1987), and Buenos Nochas From A Lonely Room (1988). With Pete Anderson on board from the start as producer and guitarist extraordinaire, Yoakam's lonesome tenor connects nicely - and charts highly - with everything he touches during this period, be it the honkytonkin' "Honky Tonk Man," the tearjerker "I Sang Dixie," or the rockabilly Elvis fave "Little Sister." Through his chartopping, toetapping duet with Buck Owens on "Streets Of Bakersfield," Yoakam was also able to introduce some of his musical influences to young listeners.

The only omission of note from this early phase is his faithful remake of Lefty Frizzell's "Always Late With Your Kisses," with awesome, retro background vocals.On the plus side, we get the
stark, soulful "Sin City" duet with k.d. lang.This is the only place to get this awesome duet (the version on the Reprise Please Baby box set features Yoakam solo).

Just lookin' for a HIT, YOU Sure do find Em here*
This Album is one to certainly make sure that is included in Your collection. Whether that collection consists of Varied Artists or Dwight Only, this ONE definitely has many songs that stand out as favourites to play over and over.

Songs that He frequently does in His live Performances are heard and reminiscent to the fact that His lyrics and Stage Persona is still alive and thriving as it was years and years ago.

Highly recommend* ... Read more

Asin: B000002LIT
Sales Rank: 28058
Subjects:  1. Alternative Country    2. Bakersfield Sound    3. Contemporary Country    4. Country    5. Country-Pop    6. Country-Rock    7. Neo-Traditionalist Country    8. New Traditionalist    9. Pop    10. United States of America   

Hometown Girl
Average Customer Review:
Audio CD (12 September, 1989)
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Reviews (13)

THE BEST SINGER-SONGWRITER!!!
I own all of Mary's albums and can't wait to receive her new one "Between here and now" when it is released next week. I had not listened to "Hometown Girl", her debut, for some time and after having played it last night was taken aback again at how brilliant and touching Mary's lyrics and melodies are. Mary is an incredible artist and this is clearly evidenced in this, her debut. My particular favourite track is "Just Because"...It is just so moving. I have been fortunate to see Mary in concert in the UK and can't wait to see her again.

For thoughtful folk-oriented listeners
I own a few hundred CDs and get tired of most after listening repeatedly.I've never gotten tired of this one and I've listened to it more than any other.It's more thoughtful than her other CDs, slower, and simply beautiful.In my (folk fan) view, this is her very best.

The Roots of Mary-Chapin Carpenter
"Hometown Girl" is an album which wasn't released by Columbia Records as much as it just escaped.Mary-Chapin was a virtual unknown outside of the Washington, D.C. beltway in 1987, and "Hometown Girl" received next to no publicity at the time of its first appearance.It remains as one of my favorite recordings by her, and "Just Because" is a simply beautiful song.The supporting musicians on this album are amazing -- especially Mark O'Connor and Tony Rice.If you enjoy the simplicity and beauty of Mary-Chapin Carpenter's music and lyrics, you will not be disappointed by this recording. ... Read more

Asin: B0000026AZ
Sales Rank: 36895
Subjects:  1. Contemporary Country    2. Country    3. Country-Folk    4. Pop    5. Singer/Songwriter   

Elvis Country (I'm 10,000 Years Old) [US Bonus Tracks]
Average Customer Review:
Audio CD (16 May, 2000)
list price: $20.99
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Features

• Extra tracks
• Import
• Original recording remastered

Reviews (10)

1970 - Elvis' Greatest Year?
ELVIS COUNTRY is, as the liner notes for the reissue suggest, a rather misleading title for this album, most of which was recorded at the exact same early June 1970 sessions which yielded the studio tracks for THAT'S THE WAY IT IS. Country songs had been a sizeable component of the King's output since the Sun era, of course, and Nashville accents had colored much of his repertoire in other genres as well. More to the point, ELVIS COUNTRY is anything but the collection of dung-kicking Dixie ditties such a moniker might suggest. The same huge arrangements, sensitive performances and of course the unfailing taste which served Elvis so well on TTWII are all here too, and while the song selection may lean a bit more overtly toward country material there's plenty of variety. Take "Whole Lotta Shakin' Goin' On," which only Elvis could make his own in the wake of Jerry Lee Lewis' seminal rendition; or "Tomorrow Never Comes," here stripped of much of its countriness and transformed into an operatic tour de force with a jaw-dropping finale. The snippets of "I Was Born About 10,000 Years Ago" between all the other songs don't bother me, though it's nice to have the full performance here as well. Of the other bonus tracks, "Got My Mojo Workin'" is a stinging reminder of what a fine blues singer Elvis really was, while "Where Did They Go, Lord?" ranks as one of his stronger non-album singles of the period.
Comparisons between ELVIS COUNTRY and TTWII are inevitable - the albums were recorded simultaneously and released only weeks apart. In this context, ELVIS COUNTRY perhaps suffers a bit beside its better-known and essentially flawless counterpart; but the body of material from which both LPs are drawn is big and flexible enough - in these gifted hands, at least - torender any qualitative distinctions superficial. The King was on a volcanic roll in 1970, and anything he recorded at that time is well worth hearing.

Be Aware
Great performances by Elvis and excellent sound quality on the 2000 remaster. However depending on how you listen to music, you may find it hard to live with the fade-in/fade-out segments of "I Was Born About Ten Thousand Years Ago" which actually cut into the mix at the tail-end of each of the original 12 songs, and even overlap the start of a couple of tracks. The song itself is a fine song, and it's there in it's entirety as a bonus track. For me, that is where it should have stayed. This was an "adventurous" decision by Elvis and producer Felton Jarvis, according to the sleeve notes. I would describe it as "disasterous". Irritating, infuriating, astonishing. All of the above. You have been warned.

Ain't nothin' in this world that I don't know
This is Elvis' best album of the 1970s, in my opinion.Elvis gives one great vocal performance after another on these (mostly) country songs.A special mention has to also go out to Elvis' band, who really cook on these tracks.The most unusal thing about this album is that a few seconds of Elvis' recording of the old folk song "I Was Born About Ten Thousand Years Ago" play after every song.I don't know who came up with this idea, but I really get a kick out of it.Other people may disagree, however.The remastered CD version of this album adds six bonus tracks from the same recording sessions, including the full length version of "I Was Born About Ten Thousand Years Ago".Highly recommended. ... Read more

Asin: B00004ST4Z
Sales Rank: 23671
Subjects:  1. Oldies    2. Pop    3. Pop/Rock    4. Rock    5. Rock & Roll    6. United States of America   

Highwayman
Average Customer Review:
Audio CD (25 October, 1990)
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Editorial Review

The myth of the American West--lawless lands, resolute heroes--takes on a grave, elegiac quality on this first, and best, collaboration from Waylon Jennings, Willie Nelson, Johnny Cash, and Kris Kristofferson. There's little bravado here, just a sense of ticking time, of frontiers lost, cowboys singing their last songs. In the end, Highwayman works because it fuses mythic, serious material with the artists' own legendary personas and well-aged voices. Lesser lights would be lucky to muddle through Jimmy Webb's epic title track; these four cagey desperados make every fantastic image believable. If Chips Moman surrounds them with less than subtle layers of guitars, keyboards, and drums, he does update vintage progressive country in a suitably cosmic but rugged fashion. Romantic legends and production values notwithstanding, it's the tough, wise singing here that's the real draw. --Roy Kasten ... Read more

Reviews (16)

Old-school country at its best.....
I have always liked the Highwaymen.I remember buying the 45 single of the title track when I was 10!What a great song...and it's the best one on this CD.All of the tracks make you think of the Wild West, and the first track is especially adept at doing that.Waylon, Willie, Kris, and Johnny have four unique and distinctive voices that shine well when put together as a supergroup.The Highwaymen were a great creation, and it is good to see that their albums are continuing to transcend the test of time.This is old-school country at its wildest and its best!

First of three great albums
Waylon Jennings had already recorded one duet album with Johnny Cash and two with Willie Nelson, quite apart from various duets on other albums, so the teaming up of all three for this album was not a surprise, nor was the addition of Kris Kristofferson, since the other three had each recorded several of his songs. On this album (and the other two they later did), they mostly take turns at singing. If you're looking for harmony singing, you won't find much here.

As the title might suggest, the songs generally reflect on independent, free spirited people. They are mostly covers, drawn from a diverse selection of songwriters including Bob Seger (Against the wind), Woody Guthrie (Deportee), Steve Goodman and John Prine (The twentieth century is almost over), Paul Kennerley (Welfare line), Guy Clark (Desperadoes waiting for a train), Jimmy Webb (Highwaymen), Ed Bruce (Last cowboy song) and Cindy Walker (Jim I wore a tie today). There are also a couple of Johnny Cash oldies - Big river and Committed to Parkview.

Fans of any of the four singers need no prompting from me to buy this brilliant album, although UK buyers should note that it has been re-issued in Britain as part of a twofer with Highwaymen 2 titled Highwaymen collection, using the cover design of the American compilation, Super hits.

Great Combo of Country Artists
this is great i really like this cd here's my review

1 HIGHWAYMAN their first song very good and powerful
2 LAST COWBOY SONG good style cowboy song
3 JIM I WORE A TIE TODAY powerful song about a man who died and they all wore ties in tribute to him
4 BIG RIVER johnny cash song that they all sing great dynamics
5 COMITTED TO PARKVIEW good song there isn't much else to say
6 DESPERADOS WAITING FOR A TRAIN slow but very powerful you'll need to listen to this to make your own opinion
7 DEPORTEE good song featuring johnny rodriguez
8 WELFARE LINE a stand out track best on cd different from others
9 AGAINST THE WIND good song but not as good as others
10 TWENTIETH CENTURY IS ALMOST OVER if you mainly buy this cd to listen to waylon or kris you won't like this one it's just johnny and willie singing about the 20th century and what has happened ... Read more

Asin: B00000264I
Subjects:  1. Country    2. Pop    3. Traditional Country   

Hot Burritos! The Flying Burrito Bros. Anthology 1969-1972
Average Customer Review:
Audio CD (18 April, 2000)
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Editorial Review

This overview of the heyday of the flagship band of 1970s country-rock illustrates why the genre became such a force in its time--and why it flagged as the decade progressed. Its ascent can be attributed to the vision and charisma of band cofounder Gram Parsons. Parsons's legend has grown to such a point that one must question its validity. Was he that crucial in shaping the genre? The answer is provided through the course of the first disc and a solid portion of the second in this smartly assembled double set. Parsons and partner Chris Hillman brought together influences ranging from Stax soul to the Everly Brothers to Hank Williams to create a sound that is inventive, inviting, clever, and a little weird. Parsons's two Burrito albums--1969's landmark The Gilded Palace of Sin and its patchwork follow-up, Burrito Deluxe--are here in their entirety, as are some Gram-era oddities. The handful of post-Parsons tracks that weigh down disc 2 augur country-rock's demise. Hillman and new recruit Rick Roberts create pleasant enough music that simply lacks the flair Parsons brought to nearly everything he recorded in his 26 years.--Steven Stolder ... Read more

Reviews (26)

Breaking Up With The Flying Burrito Brothers
The Flying Burrito Brothers represented some of Gram Parsons' finest music.Five of the tracks here are absolutely sublime, and four of them kick off this 2-CD set.The first four tunes on Disc 1 alone are nearly worth the cost of this album.They're literally about as good as the Gram Parsons experience gets.The Everly-drenched harmonies shine especially on "Christine's Tune" and "Sin City", the pedal steel guitar gives the music a psychedelic boost, and Gram's sensitivity to songs of torment and loss really come out.

Long ago, I was embroiled in a difficult relationship that causes the occasional wound even today.In the midst of that emotional tempest, Gram Parsons was the guy I kept turning to, and not always for the healthiest reasons.His voice was so lonely and laced with sadness, as if it were my own.I listened to his music not to heal, but to wallow.I knew my pain would get no better, yet I was going to keep going back to her for more abuse -- so I knew I was a pretty sad sack.Yet there was something so beautiful about the relationship that I didn't want it to end.

That relationship is the main reason I couldn't listen to "Hot Burrito #1" for years.It bore a pit right in my stomach and ceased any kind of meaningful activity as I just listened to the song.Listen to the lyrics and you'll know what I mean.Parsons cuts right to the heart of the painful beauty with his voice and his interpretation, and to have such emotional depth of feeling at such a young age is pretty astonishing.

However, it was a momentum he had trouble sustaining with this band.The last half of Disc 1 is decidedly below the sky-high bar raised with the first half, with the exception of "Wild Horses".By the end of Disc 2, which covers the output of the Burritos with Rick Roberts, they sounded like an bad Eagles knockoff instead of a top Eagles influencer.In their early days, the Burritos were just like the Eagles, only good.

However, I knew I was coming out the other side of my bad relationship and would be OK when I didn't need to listen to this (and other CDs) nearly every day, just so I could further torture myself with thoughts of her.It seemed disloyal to say goodbye to the Burritos, so I did it slowly, but gradually it came out of my stereo and back on the shelf.Occasionally I'll pull it out and give it a listen for old-times' sake, but it doesn't bring back the old feelings the way it used to.In a weird sense, it almost diminishes the quality of the album a bit.

Bottom line, this CD set will kill you softly if you're going through a tough breakup.Unlike "Blood On The Tracks", which achieves the same effect through Dylan's lyrics,Hot Burritos is purely visceral, with painful, sorrow-filled emotion.But there aren't enough of these tunes to sustain this entire album.

Great music:where country and rock first merged!
What distinguishes this from the earlier Farther Along collection is the inclusion of their third album - in its entirety - and Hillman's music really seems to have matured on that one. I like the earlier stuff too, but having never heard the third album prior to purchasing this one, I was really impressed by it. "Can't You Hear Me Calling," and "Tried So Hard" are two of the best they ever recorded, and their version of "White Line Fever" is better than Merle's. The first two albums are also here, plus more. Great musicianship and music indeed! If psychedelic cowboy music is your thing, you won't find better than this.

Well Done, Fried Burritos!
Take me back, to some old West Coast Tavern, a glass of draft, a nickle in the jukebox, Bakersfield country blaring out of the Wurlitzer, Sawdust on the floor and not a few couples shuffling along to the strains on a damp, cold winter's eve up on some fog laden coastal hill up 101 somewhere north of Ukiah.A cup of coffee to warm the bones and....Those were times!This release brings it all sweetly back. West Coast Junkie Country.Great compilation, thoughtfully put together. ... Read more

Asin: B00004ST4S
Subjects:  1. Country-Rock    2. Pop    3. Rock    4. United States of America   

John Hiatt - Greatest Hits: The A&M Years '87-'94
Average Customer Review:
Audio CD (17 November, 1998)
list price: $18.98 -- our price: $14.99
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Editorial Review

Unlike Capitol's 1998 release, The Best of John Hiatt, which contained several inferior re-recordings of older tunes, this Hiatt best-of contains the original versions of most of his best-known tunes. The 18-track collection contains healthy dollops of 1987's Bring the Family (with Nick Lowe, Ry Cooder, and Jim Keltner) and 1988's Slow Turning, including "Memphis in the Meantime," "Thing Called Love," "Drive South," and "Tennessee Plates." It's filled out with material from the more recent Stolen Moments ("Real Fine Love") and Perfectly Good Guitar (the title track and "Buffalo River Home"). Mercifully, only one track ("Angel Eyes") is culled from his goofy live album, Hiatt Comes Alive at Budokan?. Hiatt's hound-dog voice and his ability to attract superior players adds luster, but it's the gems from his knockout songwriting run from the late '80s and early '90s that make this an essential disc, particularly for those who don't own the individual albums. --Robert Baird ... Read more

Reviews (13)

FINALLY!!
I love this album and I especially -love- "Have a Little Faith in Me". I had been searching for it for forever after seeing Benny and Joon and when I saw this cd, I knew I had to have it. Wait'a'go, John Hiatt, for some of the most romantic music around! ^^

All meat and no filler - John Hiatt at his best
When John Hiatt released "Bring The Family" in 1987, it was the culmination of decades of laboring in relative obscurity. He'd already been on and off three other record company rosters and had some great work disappear into the "Critical Darling" dustbin. But with Bonnie Raitt picking "Thing Called Love" and the near Joe Cocker emotional force of "Have A Little Faith In Me," Hiatt was suddenly in a commercially viable mode that also included some fabulous work.

"The A&M Years '87 - '94" is a fat free 18 song compilation from Hiatt's most consistent period and covers four studio albums and a live contract buster. He'd overcome personal problems that may have been clouding his focus, and that gave him the chance to experience life ("Real Fine Love" and the classic "Buffalo River Home"), love ("Lipstick Sunset" and "Child Of The Wild Blue Yonder") and the sheer joy of rocking out ("Tennessee Plates" and "Perfectly Good Guitar"). It's also likely that you'll recognize a few of the songs from their hit covers by The Nitty Grtty Dirt Band, Suzy Boguss, Aaron Neville and Raitt.

While I find it hard to recommend this set over any of the original albums -- especially "Bring The Family" -- there's no reason that you shouldn't have a little John Hiatt in your collection. Since this was the period when Hiatt was in his strongest and most consistent mode, "The A&M Years" is a perfect place to start. For the more adventurous, I'd recommend the Hip-o label's "Anthology," which covers all of John's material up to "Crossing Muddy Waters" and has a better set of liner notes.

A very good introduction
This compilation, which draws from some of Hiatt's best albums, is filled with excellent songs, and it works very well as an introduction to one of America's best songwriters. But it is a shame that A&M didn't had access to Hiatt's earlier material, especially from one of his strongest albums, 1983's "Riding With The King".

But the rights to that one belong to Geffen Records, and so do two of Hiatt's other pre-1987 albums (his earliest output is split between MCA, Epic and Universal). So this isn't a definitive Hiatt compilation (the double-disc "Anthology" comes much closer), but the songs that are here are superb: "Buffalo River Home", "Slow Turning", "Perfectly Good Guitar", "Thank You Girl", "Lipstick Sunset", "Child Of The Wild, Blue Yonder"...tough, groovy rock n' roll, folkish shuffles, and exquisite ballads coupled with mature, insightful lyrics. ... Read more

Asin: B000009D10
Subjects:  1. Americana    2. College Rock    3. Country-Rock    4. Heartland Rock    5. Singer/Songwriter   

Anthology
Average Customer Review:
Audio CD (25 October, 1990)
list price: $19.98 -- our price: $14.99
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Editorial Review

While his recording career only lasted a little more than six years ('66-'71), Duane Allman's playing was heard not only with the Allman Brothers Band, but on a variety of important records by other artists as well. Hence this posthumous 1972 double-album collection, which--besides five Allman Brothers tracks--includes many memorable solos by the distinctive slide guitarist from sessions at the fabled Fame and Muscle Shoals studios. Highlights include soul versions of "Hey Jude" (Wilson Pickett), "The Weight" (Aretha Franklin), and "Games People Play" (King Curtis), as well as the time-stopping "Somebody Loan Me a Dime" (Boz Scaggs) and Derek and the Dominoes' classic, "Layla." --Billy Altman ... Read more

Reviews (17)

Fire from his fingers
The Hourglass were a blues crew waiting for distribution:a young band work up B.B. King, John Lee Hooker, and Mel London with such passion.That grieving, woeful organ player is Paul Hornsby; Gregg melts the microphone with anguished howls and heart-wrenching pleas.B.B. taught Duane how fingertips cut diamonds.Note the Albert King-like influence (on "Loan Me a Dime") formation of his style, including the repetitive phrases that follow one-two in milli-second quickness, lay down a note, ring it again in a bell-like manner, or pull it off on the second try.

Wilson Pickett's scalding cover of "Hey Jude" would praise the Beatles, the Muscle Shoals players, or Pickett himself, but Duane's great white shark bite solo made the hair stand up on the back of your neck.On "The Road of Love," Clarence Carter proudly said, "I like what I'm listening to!" as he admired the fuzzy distortions of Allman's slide.Contemplate, however, when Duane reunited with Hourglass friends Hornsby and Sandlin, and added newcomer Berry Oakley for a string-bending prophetic eulogy on Champion Jack Dupree's "Goin' Down Slow."Duane's vocals could handle slow crooning without being annoying, and his guitar wept where his voice wouldn't go.Other good people lent Duane their voice or let him be their spokesman:just imagine him nodding his head in agreement, his slide dancing to Aretha's statements when she belted out "The Weight," or the slinky, sinewy electric sitar that pulsated alongside buddy King Curtis, a man with talent to blow--a Meerschaum pipe if possible?--and make notes this beautiful on "Games People Play."A ventriloquist throwing his voice, Duane added a `talking slide' dimension to his bottleneck on John Hammond's version of Willie Dixon's "Shake for Me," mimicking human frustrations and gestures that hoot and wag wildly beside the unbridled, frenzied vocals.

Perhaps "Loan Me a Dime" is the tune that describes Duane's closeness in letting his instrument speak the words that the soul cannot say.Boz Scaggs carries the heavy hurtin' blues, but Duane's introductory solo also cried to the heavens like his heart had been pulled from his living, beating chest.Boz faces his last day on Earth with no love or hope, and Duane plays as though he's losing his, too.The follow-up solo, criticized for engineering coordination (Duane's mix get buried midway), is apparent that he did not stop playing this tune--ever. The recording session ended, the sun went down, the band went home, but Duane played this way every time:nothing came between him and the feelings he needed to release.Sensitive regional touches and dobro/slide playing find themselves nestled in the comfort of the Delta's warmth as he, Johnny Jenkins, and Berry settle back at the old farmhouse, finding shelter from that summer heat in Muddy Waters's "Rollin' Stone."Visualize baking-hot red earth beneath your bare feet back as the three men pick and pluck those strings.

Delaney & Bonnie & Friends were Duane's second family unit; his slide has the wildest time with pals "Out on the Open Road," continuing when Johnny Jenkins comes back again in "Down Along The Cove." Gentle times return when Scott Boyer and Cowboy hitch their wagon and give the reins a tug in "Please Be With Me," and Duane shimmers on dobro.Eric Clapton gives/gets a lesson in acoustic slide with Duane on Layla's "Mean Old World."The final songs embrace the group scene, and his five-alarm siren call at the opening of "Layla" make it the epic monolith of unreturned love affairs.Happily, the other five cuts are as fundamental as the laws of gravity: "Statesboro Blues"; "Don't Keep Me Wondering" (the studio version); "Stand Back," and "Dreams": the very best that modern recording could portray in bottleneck phrasing, tone, composition, and originality. By the divine right of kings, Duane had sole ownership of the inner secrets of electric slide."Little Martha" wraps up (but not the Dreams box set with Berry's bass foundation).

Mortal perfection
Duane Allman's mastery of the guitar is beyond mortal.This album is an enjoyable listen only because of the beautiful guitarmanship peppered throughout each studio session.The most impressive of all of these is from Wisconsin alumni Boz Skaggs, and his song "Somebody loan me a dime."Allman's outro solo is akin to the sound of God.An album like this dissuades guitar players (I know), because it is so impressive, and makes one feel that they'll never reach that level of wide open virtuosity.

A dust covered Gem
The musicologist in me loves this compilation.But as I grow older I'm loosing interest in this genre.I absolutely loved it when it first came out (on vinyl), we hung on every note Duane played back when he was alive and well.After his death, we hung on every note he had played, hence this release filled a void of material that was rarely heard or languishing in some bargain record bin at the K-mart.Remember those? Three quarters of my record collection came from there.But I digress.Duane Allman was a musical force in the up and coming days of late 60's and 70's rock.He was a guitarist's guitarist and for quite a while only guitarists appreciated his prowess on the instrument.IF you're a devotee of the Duane Allman guitar society then by all means -- this one's for you.If not -- go with the more mainstream selections, which featured Duane in a more prominent setting. ... Read more

Asin: B000001FLK
Subjects:  1. Blues-Rock    2. Pop    3. Rock    4. Slide Guitar Blues    5. Southern Rock   

The Band - Greatest Hits
Average Customer Review:
Audio CD (26 September, 2000)
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Editorial Review

It seems odd that the Band emerged in 1968, defying the counterculture's extravagant rejections of U.S. culture with literary, often Southern-tinged musical and lyrical vehicles. Hearing this 18-song anthology, with its heavy weighting toward the quintet's first three albums--Music from Big Pink (four tunes), The Band (five tunes), and Stage Fright (three tunes)--what still stands out is the Band's command of yearning vocal harmonies, their sense of plainly laid melodies that reveal acoustic depth, and a nostalgia for an imagined American culture. With all their quirkiness and the advance of Robbie Robertson as their centerpiece, the Band lost their celebrated place in the rock pantheon within a decade. This set, which opens so magnificently with "The Weight," "Tears of Rage" (cowritten with Dylan), and the big organ-vamping "Chest Fever," declines rather steeply on the final tracks, "Acadian Driftwood" and "The Saga of Pepote Rouge." Up till then, however, this set is fantastic. --Andrew Bartlett ... Read more

Features

• Original recording remastered

Reviews (18)

A unique musical selection
From their beginning as Ronnie Hawkins' backing band to their days touring with Dylan and on their own, the four Canadians and one American who made up "The Band" forged a connection between country and rock that was unique in its purity and complexity. The Band didn't go for the obvious "rock band trying to be country" approach of Gram Parsons' projects. Instead, they fused their love of roots with the emerging sound of first rockabilly and then pop. And when they were done in 1976, they had become a force to be reckoned with.

This collection culls some of (but not all) the best from the Band's discography, with the qustionable selection of the last two tunes coloring an otherwise excellent collection. The hits are spaced out with other selections that might not be so familar (for example, the beautiful "Tears of Rage", "Time to Kill", "King Harvest", etc). The overall effect reads like a great tribute to the music that these innovative men created over their career.

The sound is fantastic as well. You really feel like the music has been lovingly treated so the listener can get the best out of it. If anyone wants to know what all the fuss is about, you could probably play about five or so tracks off this collection and win a new convert to the Band.

So pick this up if you want to get some of the best American music ever recorded. Nothing beats the organ intro to "Chest Fever", the horns on "Ophelia", or the musicianship on "The Night They Drove Old Dixie Down". And "It Makes No Difference" is quite possibly the most beautiful torch song ever penned. Just ignore the last two tracks (which are okay but not spectacular enough to merit inclusion), and you'll enjoy every minute of this splendid album.

Tough to pack it into one disk
The Band is one of pop music's most glorious accidents.This was a group of road musicians that lived from nightclub to nightclub, and had little likelihood of rising much above that scene, until Bob Dylan rather whimsically decided to make them his onstage backup band to perform his newfangled "rock" songs in the mid-60s.Then, because they were neighbors in upstate NY, they played on the demos that became "The Basement Tapes."Anyone who spent that much time with Bob Dylan might well decide, "hey, I should be a songwriter," and that's what some members, chiefly Robbie Robertson, did.When it came time to record their first album, what blossomed was their road-hardened musicianship, combined with the Dylan-bred desire to make of each recording a new thing unlike anything else that has existed before.Thus, amazing tracks like "Tears of Rage" and "The Weight" came into being.Along with covers of yet-unreleased Dylan songs like "This Wheel's On Fire" and "I Shall Be Released," the "Music from Big Pink" album essentially changed the course of American pop for a few years. If Jimi Hendrix was the most influential US musician in 1967, by 1969 it was the Band, and that's a radical shift.

It turned out they didn't have a bottomless well of great songs in them, but the quality at the beginning is astonishing.Robertson (with some help from Richard Manuel) was able to fill the Band's first two albums and most of the third with nonstop classic songs.They stumbled badly with their fourth album, made a great album of covers and a great live album, both taking advantage of their superb musical skills, had a partial creative comeback with their seventh album, and then ran aground for good--Robertson essentially admitting he was out of ideas by planning the grandiose "Last Waltz."

If the question is, "are these the Band's 18 best songs," the answer is not quite."Time to Kill" doesn't belong here, nor does "The Saga of Pepote Rouge"--the weirdest choice of the bunch.I might argue with the inclusion of "Rag Mama Rag" over "Whispering Pines," "Unfaithful Servant" or "Across the Great Divide" from the second album; and you could argue for "In a Station" or "Lonesome Suzie" instead of "Chest Fever" from the first album."Stage Fright" seems underrepresented--where's "W.S. Walcott's Medicine Show," or "Sleeping"? I could lose "Ophelia" to make room for those. Also, why no selections from the live "Rock of Ages" album?Not only do you miss "Baby Don't Do It," but the live version of "The Night They Drove Old Dixie Down" is a tour de force, and belonged on this instead of the studio version.

All this really means is, you should get this (as I write, it's $7.99. They're practically giving it away!), but then go out and buy the first three albums, plus Rock of Ages, Moondog Matinee and Northern Lights, Southern Cross, and appreciate the unlikely little miracle that was The Band.

Well, it is THE BAND...
Look, the Band were the best ever, but again I cannot over-stress the importance of listening to the original albums. There is so much more to go. Anyway, you can't really compile the Band like this, and believe me because I've tried several times on my own. All of the songs are great, but it is probably a travesty that "The Rumor", "Whispering Pines", and "Hobo Jungle" were not included. Yeah, I realize that they were crucial to the albums that they are from and that they are probably best heard there, but these tracks offer the best of Richard's voice and of Robbie's songwriting. Then again, the same could be said of "Jupiter Hollow". Anyway, you'll want all the albums after buying this, and it is a beautiful sounding way to start, but don't think that it has all you'll need: no one can go from "Ain't Got No Home" to "It Makes No Difference" and feel completely satisfied. In any case, it's essential. ... Read more

Asin: B00004YL5D
Subjects:  1. Indie Pop    2. Pop    3. Pop Underground    4. Rock   

Speed of Sound
Average Customer Review:
Audio CD (08 May, 2001)
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Editorial Review

During the course of her underappreciated career, Rosie Flores has worn the hat of sweet singer-songwriter, hard-country traditionalist, and rockabilly torchbearer. On her seventh solo album, she manages to marry all of her strengths, and take a few risks to boot. With her tart, twangy voice and smart guitar playing--she's nearly as good a lead picker as a singer--she moves nimbly from a Davis Sisters jaunt to a swinging Billie Holiday homage, and then to the obscure, early Buck Owens rockabilly bop "Hot Dog." Even better are the Bo Diddley-style original "Don't Take It Away" and the peppy Robbie Fulks tune "I Push Right Over." Producer Rick Vito trades takeoff guitar licks with Flores and finds tasteful settings for these sometimes sinewy, sometimes rocking, and always soulfully sung performances. --Roy Kasten ... Read more

Reviews (2)

Like A Fine Wine, Rosie Flores Just Gets Better With Age!
I have long been a fan of Rosie Flores, her individualistic guitar playing and unique brand of music. It was all that, and more, that also made me a fan of Rick Vito's over the years. Needless to say, I was thrilled to find out that they would be working together on Flores' sixth (seventh, if you count 1996's "Honky Tonk Reprise", a combination reissue of her 1987 debut "Rosie Flores" on Warner/Reprise, and tracks intended for a second album for the label that never saw the light of day)CD.The result, "SPEED OF SOUND", may very well be Flores' best release to date.Mind you, the CD starts on a pretty standard note. "Rock-A-Bye Boogie" would have fit perfectly on any of Flores' previous albums, with it's dueling guitars, swinging vocals and be-bopping groove, but it's really nothing new or anything she hasn't done before. That honor is saved for "Don't Know If I'm Comin' Or Goin'", the CD's second track and one of the stand-out cuts. With it's tinkling keyboards laid over a strumming jazz groove, the listener is instantly transported back to the 1940's. Flores could just as easily be singing in a smokey nightclub with a small jazz combo as a large dance hall with a full orchestra. You can just picture her, hair in a classic 40's 'do, in a long, flowing evening gown, gently caressing one of those large, oversized mikes. Extra cheers also to Vito's exceptionally tasty guitar licks!Next we have "Hot Dog", the old Buck Owens gem. While this track might also have fit perfectly on previous releases by Flores, this time around she takes her signature rockabilly sound and freshens it up a bit. The result......"Hot Dog" comes across fresher, guttsier and a lot more fun than just about anything out there! "Devil Love", a Vito-penned chunk of smoldering swamp boogie, finds Flores delivering her sexiest, most sensual vocal ever. When she speaks the words "wicked things", well, you know she knows what she's talking about! "Don't Take It Away" has a throbbing sense of urgency, while "Speed Of Sound" is a hushed, heart-felt ode to lost love....and our need to escape it at times. "Somebody's Someone", a Flores original, is a sweet back porch toe-tapper that finds Rosie alternating between sweet, coy and sexy. A real joy, with some great guitar work from Vito!Next up is "Somewhere Down The Line", the perfect type of recording.....it shows how a great (if underappreciated!) songwriter (Marshall Crenshaw) can hook up with a great (if underappreciated!) singer (Flores) and come up with a brilliant piece of pop. Crenshaw's literate, everyman lyrics just roll off Flores' (and duet partner Terry McBride's) tongue.....sheer perfection! Ms. Flores would be wise to mine Mr. Crenshaw's extensive catalog again in the future.Rounding out the CD are two of it's best tracks. "I Push Right Over" is perfect Rosie Flores, with elements of pop, rockabilly and classic rock, all wrapped up in an angora sweater-like vocal. Mark my word, this track will be great live!Ditto "Country Boy", the CD's closer. It's rare that someone can take a Johnny Cash song and make it their own, but Flores does just that. This may be a bare-bones, stripped down track, but if it doesn't have you twirling your poodle skirt, popping your fingers and tapping your toes by the last refrain, well, nothing will!Finally, it's nice to see Rosie Flores pushing herself. Too many artists today are stuck in a certain groove. "SPEED OF SOUND" proves Flores isn't one of them.

Breaking the Sound Barrier
Rosie Flores continues to delight with her best work yet! You'll love this delicious mix of rockabilly tunes combined with the sultry sweet side of Rosie. "Rock-A-Bye Boogie", "Hot Dog" , and "Country Boy" will have you swinging, while Rosie shines in her soft and sensual way with "Don't Know If I'm Coming Or Goin'" and "Somebody's Someone", plus the title song "Speed of Sound". "Devil Love" is a haunting and passionate song written by Rick Vito who does much of the guitar work and some vocals as well as co-producing this CD. It's devilishly hot! Terry McBride and Rosie team up vocally in an electrifying version of Marshall Crenshaw's "Somewhere Down The Line". "Don't Take It Away" and "I Push Right Over" are rocking numbers that will stick with you all day long! This may be one of the best CD's all year, the quality of the musicians, the songwriting, and the continuing strong writing and performance by Rosie Flores make this one a real winner! Gotta go, I have to listen to it one more time! ... Read more

Asin: B00005IAFO
Subjects:  1. Alternative Country    2. Alternative Country-Rock    3. Americana    4. Country    5. Neo-Traditionalist Country    6. Pop    7. Rockabilly Revival    8. Roots Rock   

16 Biggest Hits
Average Customer Review:
Audio CD (14 July, 1998)
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Editorial Review

Hag went into the studio in October 1994 to rerecord his Capitol classics of the 1960s and early 1970s. Thirteen of these 16 cuts come from that session--perfectly fine versions, but not the original versions--while three early-1980s Epic recordings round out the collection. Still, fans who want to hear the Capitol chestnuts in their original form should strongly consider the outstanding two-CD Lonesome Fugitive: The Merle Haggard Anthology. --Marc Greilsamer ... Read more

Reviews (6)

Merle sings the hits of yesteryear
A mature Merle Haggard looks back to his early hits in this CD that was mostly recorded in the mid-to-late '90s, nearly three decades after these songs were chart-toppers. His voice has a bit more whiskey and gravel in it, but is still that unique sound, often a sound of pain, that is purely Merle. These are tales of hardship and loneliness, and Merle has at one time or another in his life lived them. The song I always find to be a heartbreaker is "Hungry Eyes", where Merle's writing genius captures a story of need so vividly we can almost see it in our mind's eye. "Working Man Blues" is a great toe-tapper, as is "The Fightin' Side of Me", a song that expresses how many of us feel in the present time.

Most of the tracks have simple but excellent backing, but there is no recording info given as to who is in the band in the minimal liner notes.
There are three tracks that were previously released: Two from the "Big City" CD from 1981 (tracks # 13 and # 14) and one from the "Going Where the Lonely Go" from 1982 (track # 15).
This is a terrific CD, as long as one isn't expecting the original recordings; I appreciate the legendary Haggard at every stage of his long career...and this look back at his early work is wonderful...music that tells stories from a time long gone, but still so relevant today.
The sound for the most part is good and total playing time is 50'58.

Still great after all these years...
I withhold one star from this because these tracks were all recorded in October, 1994, although the original singles were released in the '60's, 70's and 80's. That said, it is still a fine one-disc collection of SOME of Merle's best. His voice was still great in '94, and the man knows how to write a song and put one over. "Lonesome Fugitive" and "Branded Man"and "Sing Me Back Home" and "Fightin' Side of Me" and "Big City" are all great. "Mama Tried" is universal. There is a two-CD collection just released earlier this year (2004) which probably represents the artist more completely, but if you find this one at a good price, it should please all his fans. Merle sings "Working Man Blues" on this disc, and I have tickets to see him perform on July 3rd. Check out his website and you'll see he works a heck of a lot for an old geezer born in 1937 (seven years older than I am!) He is one of country's greatest singers, along with Jones and Cash and Nelson, and still has something to say to music fans young enough to be his grandchildren.

I shoulda consulted with Amazon!!
I picked up this CD in a store and when I got it home, realized that instead of the original versions of his hits, we have re-hashed re-recordings from 1994!What a let down!I was expecting the old classics recorded with the Strangers!Shame on Sony Music for not labeling this collection on it's outer package for what it is.Thank you Amazon for honestly describing the contents on your website!

Anyone want a slightly-used Merle Haggard CD?? ... Read more

Asin: B000009CZT
Subjects:  1. Bakersfield Sound    2. Country    3. Honky Tonk    4. Pop    5. Songwriter    6. Traditional Country    7. Western Swing Revival   

Live 1973
Average Customer Review:
Audio CD (04 March, 1997)
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Editorial Review

Because he was gone by age 27, any opportunity to hear Gram Parsons in action is worthwhile. This record was recorded in front of a studio audience and broadcast live on WLIR in New York in March of 1973, a mere six months before Parsons's untimely death. Most of the material comes from his two solo albums (now collected on one CD) and his groundbreaking work with the Byrds and Burritos. Still, there are a few noteworthy additions to the canon, namely an urgent reading of Merle Haggard's "California Cottonfields," a roughshod '50s-rock medley, and the relatively obscure sacred tune "Country Baptizing," which was written by North Carolina fiddler Jim Shumate, a onetime member of both Bill Monroe's Blue Grass Boys and then Flatt & Scruggs's Foggy Mountain Boys. Parsons's touring band, the Fallen Angels, play with fire and looseness, especially Neil Flanz on pedal steel, and, of course, the wonderful Emmylou Harris harmonizes ever so passionately with the lead Fallen Angel. --Marc Greilsamer ... Read more

Features

• Live

Reviews (13)

Politically Correct remaster
It's ironic a previous reviewer complained about the talking between takes.On the original vinyl version, the song "Drug Store Truck Drivin Man" was dedicated to the then governor of California, Ronald Ray Gun.Listening to this remix is like listening to a reformed 60s stoner explain why kids should vote Republican and shouldn't smoke grass.
It's too bad that the survivors don't have the courage of their, 1973, convictions.
Find the record somewhere in a cutout bin instead.
Too bad the ratings only go down to 1 star.I'd give it less.Waste of time and money.

Wonderful Gram
Gram's voice sounds even more lucious live. The live takes, for the most part, outshine their studio counterparts as the band sounds more committed and rawer. One thing- Gram totally misses the beat with "Drug Store Truck Driving Man." The song's supposed to be a cynical take on Nashville DJ Ralph Emery, not a love song!! Though it's well done, it pales when compared to the sneer of Roger McGuinn's vocal and Clarence White's guitar on the Byrds' "Live at the Willmore West."

Charming and intimate, but poorly edited.
This CD proclaims itself as an "Original Unedited Broadcast".That is both a blessing and a curse.On one hand, the sound quality is great, sounding as good as anything you might hear on the radio, and you get the amusing interactions of Parsons, The Fallen Angels and the host.

On the other, the production of this CD actually *needed* some editing.Not necessarily to take things out, but to organize the material better.Inexplicably, they left the verbal introductions to each song at the end of the previous track -- which means if you're strictly in the mood for the music, you'll have to wade through a lot of talking after each song is done.The worst case, however, is that the verbal intro ("Sometimes all you can do is sing gospel music...") and opening chords of "Drug Store Truck Drivin' Man" ended up as the ending of the track "Country Baptizing", effectively divorcing the two parts of the song.I don't mind including the radio chatter as part of the atmosphere of this thing, but they should have done what Roger McGuinn's Live from Mars did -- separate the banter into separate tracks whenever the banter lasts too long and doesn' t relate to the song at hand.In the case of "Drug Store Truck", I had to edit the tracks back together myself just to preserve the original song.

This technical criticism aside, I love the music.Parsons' music is heartfelt, easygoing and melodic, and his vocal interplay with Emmylou Harris (while obviously more polished on their studio recordings) makes for my favourite harmony team of all time.And Parsons and the Angels prove they can rock out on the "encore medley", which includes two Chuck Berry compositions, while the musical beauty of "Streets of Baltimore", "Country Baptizing" and "The New Soft Shoe" is pristine.

A flawed release that needed some more judicious technical polish, but whose content warrants praise. ... Read more

Asin: B0000033ZC
Subjects:  1. Country    2. Country-Rock    3. Pop    4. Rock   

Get Closer
Average Customer Review:
Audio CD (25 October, 1990)
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Reviews (13)

Winning formula works again
I love this album. It came out at a time when new wave was becoming popular and Linda Ronstadt was a great artist of the 70's . She's at her usual versatile best here. One of my favorites is the powerful remake of "I knew you when", which proved that Linda could still belt out a tune with the best of them. One of the greatest performances I've ever heard on an album is the unbelievable "the moon's a harsh mistress". It's simply breath taking. The song is timeless. Easy for you to say is also a great song of heartbreak which linda does as good as anyone. Mr. Radio is haunting and beautiful. The rest of the album is good stuff as well of varying styles of music from country, new wave and rock and roll. Something for everyone.

What's new? Not much...
After getting a taste of Broadway via the hammy operetta "Pirates of Penzance", Ronstadt returned to pop-rock with this woefully uneven and strident collection of quickie tracks. There's actually real, genuine emotion only in a handful of cuts: "Mendocino", "The Moon is a Harsh Mistress", the thoughtful and sad "Sometimes You Just Can't win", and the spritely James Taylor duet "Think It's Gonna Work Out Fine". The rest is harry-karry, running rampant from '50's Detroit-rock to soul-sister nonsense.

Some excellent tracks, but the whole is a disappointment
As much as I love certain tracks on this 1982 Linda Ronstadt offering, it just doesn't work as a unified whole.

The formula that worked so well for her in the 70s with HEART LIKE A WHEEL, PRISONER IN DISGUISE, HASTEN DOWN THE WIND and SIMPLE DREAMS has finally broken down, and the new decade did not sit well for her album work.

She still produces some excellent individual tracks though, especially the stunningly beautiful "The Moon's A Harsh Mistress", the rollicking "Get Closer", the amazing "I Knew You When" and the clever segue from the belting of "Lies" right into the girl-group energy of "Tell Him."

Unfortunately, the rest of the album is missing a certain urgency. Part of it is the tepid production, part of it is Ronstadt's emotional detachment. Her duet with James Taylor on the Ike and Tina Turner "I Think It's Gonna Work Out Fine", has absolutely no emotion or soul. "Easy For You To Say" is vocally beautiful, but emotionally hollow and even the Dolly Parton cover, "My Blue Tears", seems to be sung by rote.

It's tempting to want to give this album 5 stars, mostly because the good parts are so so good, but unfortunately, it disappoints as a whole. ... Read more

Asin: B000002H1B
Sales Rank: 46782
Subjects:  1. Adult Contemporary    2. Pop    3. Pop Vocals    4. Pop/Rock    5. Soft Rock   

The Essential Steve Earle
Average Customer Review:
Audio CD (02 March, 1993)
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Features

• Import

Reviews (12)

A real country outlaw
Steve Earle is the real deal. His songs are hard edged tales of love, lust, alcohol, and guns. While some of the tunes here may be a bit too country for fans of "Copperhead Road" (My own intro to Earle's music)give it a try. This man can tell a story and he'll convince you he knows what he's talking about.Listen to the restless soul on "Someday" and you know this guy is the goods. As mentioned in another review, this one's just a sampling ofEarle's early work. Try it and see if it will lead you to Earle's later work where the edgejust increases as the talent matures.

A Good Introduction
Having grown-up preferring rock to country, I'm often drawn to those artists who fall in that "not really rock/not pure country" category.For me, Steve Earle is one of those artists.His personal life has seen him delve dangerously into the excesses which befall many artists (country and rock) - going way out on many ledges and managing to pull himself back in from the brink of disaster or even death.While his lifestyle may seem extreme and be painful for fans to watch, there's no doubt that it's yeilded some excellent songs.His ability to tell a story and make you care about the characters in these songs is comparable to Bruce Springsteen or the late Johnny Cash.

This collection is culled from Earle's first three albums ("Guitar Town", "Exit 0", and "Copperhead Road") plus a couple of tracks he contributed to the "Planes, Tranes, and Automibiles" soundtrack.All of the important tracks from those first three albums are here, including "Copperhead Road", Earle's first real crossover to rock radio.I would recommend this to anyone wanting to become aquainted with Earle's work without buying all of his albums.This particular collection is now out of print, but the recently released "20th Century Masters: The Millennium Collection" is nearly identical to this one.While he may be too country for some rock fans and too rock and roll for those who only like country, if you appreciate finely crafted songwritting, you'll enjoy this album.

Why bother?
If your not familiar with Steve Earle introduce yourself with a copy of "Guitar Town".The best thing about this CD is "Copperhead Road" and the cuts from "G.T.". ... Read more

Asin: B000002ON0
Sales Rank: 30703
Subjects:  1. Alternative Country    2. Americana    3. Country-Rock    4. Heartland Rock    5. Pop    6. Rock    7. Rock/Pop    8. Roots Rock    9. Singer/Songwriter   

The Last Waltz
by Robbie Robertson Muddy Waters Neil Young Bob Dylan Van Morrison Eric Clapton Neil Diamond Joni Mitchell
Director: Martin Scorsese
Average Customer Review:
DVD (07 May, 2002)
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Editorial Review

Martin Scorsese's 1978 capsule history of the Band is mixed with footage of the group's allegedly last performance (certainly their last performance as a quintet) in this particularly stylish concert film. Scorsese shoots the players and their sundry guests with the same flair and enthusiasm one can see in the later The Color of Money or Goodfellas. He also proves a good interviewer with Band members, particularly Robbie Robertson, whose sleepy-sexy good looks make a star-caliber impression in close-up. But the film's real hook is the stage show, which features a rotation of rock legends (Van Morrison, Joni Mitchell, Paul Butterfield, Bob Dylan, and so on) playing with the Band before a wildly appreciative audience. --Tom Keogh ... Read more

Features

• Color
• Widescreen
• Dolby

Reviews (164)

Not What I Was Expecting Exactly.
This music collage is definitely misnamed.After Martin Scorsese produced this 1976 San Francisco filming of the concert, he added interviews with the young members of the Band who accompanied the varied '70s "stars."It was good to see the young men's hair styles back then, as I had two teenage sons thirty years ago.

The best I can say about this production is that it was weird.Something similar takes place in this backward town at an old church building converted to Laurel Theater (on Laurel Ave.).Nowadays, they call it bluegrass and traditional, but I have never liked country and it may be rock'n'roll, but not in the sense of Buddy Holley and that gang from the Fifties.

The only waltz was at the opening credits, thereby giving the film its name.The music is as far from a waltz as classical is from hillbilly.The young performers talked of getting drunk on corn liquor, laid by 'ladies of the night,' and stoned.The whole music scene back then as lived out in front of the camera was smoking, drinking, pill popping and sex.You'd think it was Woodstock all over again; I'm glad I missed it.

Neil Diamond has moved up the ladder since then and the only 'real' star in this whole show. He was absolutely marvelous in THE JAZZ SINGER and sang his own music throughout the beautiful JONATHAN LIVINGSTON SEAGULL.Scorsese started with sordidness, two hours of noise.Now I understand why his rather lengthy masterpiece, THE AVIATOR, dealt mostly with the sleazy part of Howard Hughes' life.He should have left the demented man's spirit in peace, wherever he went.

Where's The Bass?!
Watched this using the 5.1 audio tracks last night and was quite perturbed not to hear the majority of Rick Danko's frantic bass playing (and yes,my subwoofer was on!). What happened in the mix?Everything else is stellar (nice separations, a not-too-intrusive audience, etc.) but it was strange to watch RD work the neck so expertly but not be able to hear it.Anyone know what gives?

Greatest Concert Flim Ever
I love this have seen it over 20 times, Van Morrison, Neil Young, all the guests look and sound great. I think you can love this without havinga clue of the Band songs. The performances are that good!

The only other conert flim I think is close would be the "Song Remanins the Same"

... Read more

Asin: B00003CXB1
Subjects:  1. Performing Arts - Concerts   

What I Deserve
Average Customer Review:
Audio CD (23 February, 1999)
list price: $11.98 -- our price: $11.98
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Editorial Review

Kelly Willis's first full-length offering since 1993 is one of the better country records you will hear, alternative or otherwise. She covers tunes by the likes of Paul Westerberg, Nick Drake, and Paul Kelly, and cowrites with the Jayhawks' Gary Louris and John Leventhal. If none of the songs quite rises to the heights of the Steve Earle, Jim Lauderdale, and Joe Ely material on her 1991 masterpiece Bang Bang, it is still solid stuff nonetheless. Any new song by Dan Penn ("Got a Feelin' for Ya", cowritten with Chuck Prophet) is already worth the price of admission, but Willis herself penned what may be the best tune here, "Talk Like That," an ode to the comfort of a familiar accent far from home. What I Deserve was recorded on a tight budget without a record deal, which may be why the backing, though well played (especially by guitarist Prophet), verges on sounding unfinished--or, it may be the alternative-country sound she was intentionally seeking. Either way, Willis's sublime voice and delivery reside on a more sophisticated plane. If listening to her throaty warbling of Nick Drake's "Time Has Told Me" or her sultry rendering of the Penn tune doesn't give you "chicken skin," it is time to check your pulse. --Michael Ross ... Read more

Reviews (71)

Quality country by a class act
Kelly Willis is sometimes classified as alt-country but that may simply be because she does her own thing. This album doesn't quite fit Nashville's idea of contemporary country, nor can it be described as traditional country, but it is certainly country music (albeit with other influences) of the highest quality. Kelly has a wonderful voice that she puts to superb use on a well-chosen set of songs, most of which she wrote or co-wrote.

The tempo of the album is varies between slow and mid-tempo - if you're looking for up-tempo, rocking songs, you won't find them here - but this album has plenty of variety in other ways. The regular instruments are acoustic guitar, electric guitar, bass and drums but there are additional instruments on some tracks. Some tracks feature a Hammond B-3, electric lap steel guitar or percussion. Talk like that features a fiddle. Not forgotten you features a mandolin. Gotta feeling for you features a farfisa and bells a-ringing. Time has told me features a pedal steel guitar, fiddle and piano. So each track is played a little differently from the others.

Many of the songs are melancholy, showing that Kelly has plenty of experience of life's problems - however, listening to this album, one is left with the feeling that if anybody can overcome the problems, Kelly can - it's not all doom and gloom. After all, Kelly recorded this album without a recording contract, then looked for a record label willing to release it. That takes courage and a certain amount of self-confidence.

What Kelly deserves, on the evidence of this and other albums, is to be a major star. For whatever reason, that has not happened, but this album will provide plenty of pleasure for fans who are more interested in quality music than what's fashionable.

This is a great album
First of all, for a "country" artist to cover both Nick Drake and The Replacements deserves kudos alone. What I Deserve is one of my all time favorite albums, one I would be happy to be stranded with on a desert island. Standouts include "Talk Like That", "They're Blind", "Not Forgotten You" & "Time Has Told Me".

Buy this album, artists like Kelly Willis, unpretentious and not bound commercially, deserve our support.

One of the greatest female voice ever!
Like everyone else, I don't understand why Kelly doesn't get more radio play. She has such a great voice!In my opinion, this CD does not have a bad song. They're all terrific.Keep writing and singing, Kelly!I'll keep buying! ... Read more

Asin: B00000I5EE
Subjects:  1. Contemporary Country    2. Country    3. New Traditionalist    4. Pop   

Somewhere Down the Road
Average Customer Review:
Audio CD (06 June, 2000)
list price: $18.98 -- our price: $18.98
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Reviews (3)

Somewhere down the Road is great!
We really love this album.Every song is very well done, and thoroughly enjoyable.I haven't heard a lot of other music by this performer, but I like what I've heard.The lyrics are interesting, and they don't all just sound alike.There are a couple of "retro" songs, which he truly does justice to, and some original pieces.Really a pleasure to listen to.

A Talented Singer/Songwriter/Musician Worth Discovering
A while back, Corona Beer had a commercial series that featured new artists.James Intveld and this album was among the music that found its way on to the commercials.

In case you aren't familiar with Jimmy, he has written songs for Rosie Flores and has appeared as a backing musician for Dave Alvin on King of California and also played guitar in one incarnation of the Blasters a few years ago.He also heads a swing band and has a number of acting credits including an appearance on the HBO movie 61*.

This album features his singing and songwriting talent and it is truly special.He has a crooner's voice that can make women swoon and make it hard for men to not sing along.The music can be considered alt-country or as rock.It won't rattle the windows but it also won't make it to most country music stations either.

It should make it into your CD collection because the songs are memorable with great melodies and instrumental backing.You will especially like this CD if you are a fan of the Derailers, BR-549, Dwight Yoakam or even Buck Owens.

A Road Well Traveled
James Intveld's latest offering, "Somewhere Down The Road" is awell-recorded collection of songs sure to make any rockabilly or countymusic fan overjoyed.

I got my first taste of James' music watching theJohnny Depp movie, "Cry Baby," (James sang the hard rockingstuff).

James rocks, pure and simple. From the gospel flavored "AllThe Way From Memphis," to the swinging "Stop The World,"There's enough energy to power a small city.Simple and clean, that thebest way to describe these songs.As good as if you're sitting in a darknightclub watching him play.

The ballads, "Living Without You,"and "Love Calls" are as good as anything on the radio today, orat any time.And it's a mystery to me why James hasn't broken through andbecome the mega star that he should be, but I'm sure that's ok to thepeople who follow him, you know, I'm sure they feel he still belongs tothem.

If you're a fan of the "Bakersfield Sound" and arelooking for a true to the heart singer/songwriter with a country kick, thencheck out this fine CD.You won't be disappointed. ... Read more

Asin: B00004TQS1
Sales Rank: 110302
Subjects:  1. Alternative Country-Rock    2. Americana    3. Country    4. Neo-Traditionalist Country    5. Pop   

No Nukes
Average Customer Review:
Audio CD (21 October, 1997)
list price: $29.98 -- our price: $26.99
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Editorial Review

In addition to raising public consciousness about the dangers of nuclear power, the 1979 series of star-studded anti-nuclear concerts at Madison Square Garden were a significant event both musically and historically. The shows were immortalized in a feature film and on this 2 CD set. Among those featured on the album are such '70s soft-rock icons as Jackson Browne, Bonnie Raitt, James Taylor, Carly Simon, the Doobie Brothers, and Crosby, Stills and Nash, along with Bruce Springsteen, Tom Petty, Ry Cooder, and Gil Scott-Heron for a token dose of grit. Inevitably, Springsteen's "Devil with the Blue Dress Medley" steals the show, but otherwise No Nukes doubles as both a handy '70s-rock sampler and a historical keepsake. --Scott Schinder ... Read more

Features

• Live

Reviews (10)

fighting fission with fusion
I suppose just about anyone could find a reason to give a listen to the 'No Nukes' recordings.For many, some of the earliest and most blistering live tracks from Bruce Springsteen, still on his career ascent, which are offered here are reason enough to own these discs, even if he shares CD space with Chaka Khan.Others may find their appeal in the workmanlike presence of Graham Nash, Jackson Browne, James Taylor, and The Doobie Brothers, who perform solo and are all over the place singing duets and background for other performers willing to ante-up in the fight against fission.Despite my own appreciation for Crosby, Stills and Nash, what really caught my eye here was what amounts to a cameo appearance by Gil Scott-Heron, offering up one of his finest moments (and as a Detroiter one I can readily identify with) on the ominous yet funkified 'We Almost Lost Detroit'.Next to 'Johannasburg' this is my favorite Gil Scott-Heron composition.Unfortunately, it appears on a wonderful, but unreleased CD Scott-Heron produced in 1977 with Brian Jackson, 'Bridges'.It tells a slightly overblown tale about a malfunction at one of the two Fermi nuclear plants near Detroit.While the mishap could have theoretically progressed into a full-blown meltdown, the generator was quickly shut down and catastrophe was readily averted.So while it didn't come close to producing a Chernobyl, it did produce one funky protest song, and Scott-Heron gives it an inspired treatment on 'No Nukes'

1979 was a strange, transitional year in music.Disco was all but dead, yet it's brief success had ushered in a retreat from the expansive progressive rock that had enshrined the late 1960's and early 1970's.Something new had to be on the horizon, even with Bruce Springsteen assuming the role of heir apparent to those who would proclaim (along with Neil Young) that "rock and roll will never die".No one could have predicted, however, that even for Neil Young, the 1980's would plunge rock and roll even deeper into an abyss of ill-employed synthesizers, and open the door for a reborn Michael Jackson and the birth of a Madonna as the dominant forces on vinyl and cassette.

So 'No Nukes' offers one last gasp for the faithful few from the golden age of rock and roll who had somehow weathered the disco storm.Virtually all of the performers are in their prime, and some, such as Nicolete Larson, Raydio, Tom Petty, and even Bonnie Raitt, are able to truck in some pretty recent hit material.The Doobie Brothers, who open and close the set presented here, are in top form as well.The Crosby, Stills and Nash tracks sound a bit dated, even though they are preceded by Springsteen's covers of four songs that pre-date anything CSN offer up.There is more crowd noise on the softer tracks than one would wish (why would anyone even want to unleash a two-fingered whistle in the middle of a song like 'You Don't Have To Cry' anyway?).But the boys do serve up an edgy 'Long Time Gone', whose lyrics settle well with the MUSE (Musicians United for Safe Energy) theme.Some of the tracks, such as CSN's closer, 'Teach Your Children', and Jesse Colin Young's Youngblood's classic 'Get Together' are marred by the dreaded audience sing-a-long... a nice one-time experience for the audience, but torture for the owner of the recording who must listen to a mass of amateurs singing like a tone-deaf choir over and over and over...

While everyone can find something to like on 'No Nukes', it's also likely that it's wide range of artists and genre's will guarantee there is something you won't like.While most of the tracks were either hits (consider James Taylor and Carly Simon belting out a live version of 'Mockingbird') or the main attraction on studio LP's (Jackson Browne's 'Before the Deluge'), some out-of-the-mainstream material also appears, such as John Hall's 'Plutonium Is Forever', which lends a sarcastic twist of the knife into the nuclear power industry's back.Predictably some tracks that look good on paper come across uninspired, such as the James Taylor-Carly Simon-Graham Nash take on Dylan's 'The Times They Are A-Changin' and Ry Cooder's 'Little Sister', which you keep waiting to take off but just keeps circling the tarmac.

The liner notes are extensive, but oriented toward an indoctrination for the 'No Nukes' agenda rather than commentary and anecdotes surrounding these Madison Garden concerts.If this was all the information you had, you would undoubtedly conclude Jimmy Carter was a fool for not installing a line of windmills along the Continental Divide, and a massive array of solar panels covering the southwestern U.S.Oh, well, at least it gave some of these soon-to-be-out-of-work artists one last excuse to fuse their talents before they turned out the lights on the 70's (pun intended).Four stars 'cause Stephen plays some wicked guitar, but I may be straining my credibility.

Worth it for "Power" alone
The other reviewers are right...but, the best tune on this set is "Power" a collaboration of friends making great music. I had the original lp and now am getting the cd... I just love the harmonies here... don't miss this.

Excellent
What an excellent collection of music, and what a performance by many of these artists. I'm overjoyed (but also very sad) to here the late Nicolette Larson perform live on stage. ... Read more

Asin: B000002H48
Subjects: