Layla (Original Mix)
Average Customer Review:
Audio CD (20 August, 1996)
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Editorial Review

Layla stands as one of a handful of pillars of classic rock. The short-lived ensemble that was the Dominos provided an outlet for Eric Clapton to vent his then unrequited (and secret) passion for the wife of his best friend, George Harrison. Romantic anguish inspired Clapton to write and collect an embroiling and interconnected song cycle. Meanwhile, latecomer Duane Allman prodded Clapton to tear it up on guitar, so as not to be overwhelmed by his even more talented foil. Of course, Clapton eventually won the hand of his lady love. And then he divorced her. Sometimes real life messes up a good plot line. --Steve Stolder ... Read more

Features

• Original recording remastered

Reviews (103)

Clapton's best
The best. Well, along with "From The Cradle". Oh, and "Unplugged" is really great, too.

Anyway, Eric Clapton wasn't totally comfortable with the rôle of front man early on in his career, and so he hid behind the "pseudonym" of Derek and the Dominoes, wishing to escape the superstar expectation that sank Blind Faith.
He gathered the rhythm section from Delaney and Bonnie Bramlett's band, with whom he had just toured, and retreated to record this album, which still stands as his greatest achievement. It burns with passion, and having spectacular slide guitarist Duane Allman alongside Eric Clapton is every bit as great as you would have guessed.

"Derek And The Dominos" tear through the best, most consistent collection of original material Eric Clapton has ever recorded, and they do it with burning, intense emotion, laying down definitive electric renditions of Jimmy Cox's classic "Nobody Knows You When You're Down And Out" and Big Bill Broonzy's "Key To The Highway", as well as a fine take on Jimi Hendrix's "Little Wing".
And even though more than half of the songs break the five-minute barrier ("Highway" is 9½), the two guitarists rarely if ever come off sounding indulgent; they never play ten notes when three would have done the trick, and the arrangements are never less than superb.

There is barely a weak track on this superb record, which opens with the lovely rock ballad "I Looked Away", and one of Eric Clapton's best original songs, "Bell Bottom Blues", which features burning slide guitar from Duane Allman.
Other highlights include Billy Myles' "Have You Ever Loved A Woman", the wonderful classic blues "It's Too Late" by Chuck Willis, and the soulful two-guitar-blueprints "Keep On Growing" and "Tell The Truth", which were written with organist/pianist Bobby Whitlock who shares the lead vocals on a few tracks.

And then there's the magnificent title track, of course, Eric Clapton's longing ode to "Layla", i.e. George Harrison's wife Patti (Boyd) Harrison, with whom Clapton was desperately in love.
Ironically, considering what a personal album this was for Eric Clapton, the lovely acoustic coda "Thorn Tree In The Garden" is a solo performance by Bobby Whitlock, but it sums up the entire record perfectly.

Filled with excellent songs and superb musicianship, "Layla" is a must-have for any and all lovers of...well, music, actually.
A collection of blues, rock, folk, and soul that Eric Clapton has never since been able to match, and one of the finest records of the seventies.
If Clapton had never made another record, his legacy would be secure based on this one alone.

The best album Eric Clapton has ever appeared on
The best. Well, along with "From The Cradle". Oh, and "Unplugged" is really great, too.

Anyway, Eric Clapton wasn't really comfortable with the rôle of front man early on in his career, and so he hid behind the "pseudonym" of Derek and the Dominoes, wishing to escape the superstar expectation that sank Blind Faith.
He gathered the rhythm section from Delaney & Bonnie Bramlett's band, with whom he had just toured, and retreated to record this album, which still stands as his greatest achievement.

Along the way, spectacular slide guitarist Duane Allman was added, and having him as lead guitarist alongside Eric Clapton is every bit as great as you would have guessed.
Clapton and "the Dominoes" tear through the best, most consisent set of songs Eric Clapton has ever recorded with burning, intense emotion, laying down definitive electric renditions of Jimmy Cox's classic "Nobody Knows You When You're Down And Out" and Big Bill Broonzy's "Key To The Highway", and a great take on Jimi Hendrix's "Little Wing".

And even though more than half of the songs break the five-minute barrier ("Highway" is 9½), the two guitarists rarely if ever come off sounding indulgent; they never play ten notes when three would have done the trick, and the arrangements are never less than superb.

There is barely a weak track on this superb record, which opens with the lovely rock ballad "I Looked Away" and one of Eric Clapton's best original songs, "Bell Bottom Blues", which features burning slide guitar from Duane Allman.

Other highlights include Billy Myles' "Have You Ever Loved A Woman", the superb classic blues "It's Too Late" by Chuck Willis, and the soulful two-guitar-blueprints "Keep On Growing" and "Tell The Truth", which were written with organist/pianist Bobby Whitlock who shares the lead vocals on a few tracks.
And then there's the magnificent title track, of course, Eric Clapton's longing ode to "Layla", i.e. George Harrison's wife Patti (Boyd) Harrison, with whom Clapton was desperately in love.

Ironically, considering what a personal album this was for Eric Clapton, the lovely acoustic coda "Thorn Tree In The Garden" is a solo performance by Bobby Whitlock, but it sums up the entire record perfectly.

Filled with excellent songs and superb musicianship, "Layla" is a must-have for any and all lovers of...well, music, actually.
A collection of blues, rock, folk, and soul that Eric Clapton has never since been able to match, and one of the finest records of the seventies.
If Clapton had never made another record, his legacy would be secure based on this one alone. (Would he really rather be remembered for "Pilgrim"?!)

Clampton and The Blues
This is really a fine album. I originally purchased this album in 1972 before I went off to Thailand while stationed at Homestead Air Force Base as a Sergeant. My roommate and I played this album over and over and really enjoyed it! It is definitely blues with some rock thrown in. I would not say that I enjoyed each song on it but gave it 4 stars as I believe that there is something in it for everyone to enjoy. This album is now truly classic and well worth buying!! I would recommend this album. Layla and Key To The Highway I feel are what holds this ablum together. ... Read more

Asin: B000002G87

Fresh
Average Customer Review:
Audio CD (01 July, 1991)
list price: $9.98 -- our price: $9.98
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Editorial Review

Coming as it did on the heels of the utterly whacked There's a Riot Goin' On, 1973's Fresh surprised a lot of Sly fans by actually living up to its name. The weariness and paranoia of Riot are totally missing in action, replaced by a relaxed optimism that seems to shine from every note of tracks like "If You Want Me to Stay" and "In Time." The band--newly buttressed by the rhythm section of Rusty Allen and Andy Newmark--plays it loose and funky, and Sly's oddball sense of humor resurfaces on a cover of Doris Day's "Que Sera, Sera (Whatever Will Be, Will Be)." Sadly, Sly would never again make a record even half as fresh as Fresh. --Dan Epstein ... Read more

Reviews (22)

Smokin' Funk Baby!
This is the album for all you wannabe funk-meisters out there in and out of "Chocolate City" baby. Sly lays the groove down fresh and nasty. For those paying attention his version of Que Sera Sera appears at the end of the movie "Heathers" and In Time is the funk masterpiece of the century. I've heard two cuts of this particular disk... both appear identical but the mixes are different and the last cut "Baby's Makin' Babys" is totally different from one to the other. The horns and background vocals are a little thinner on one than another. They are both worth having though "Can't get enough of that sugar funk". Sly's the man... period.

Oh Th Ass And Da Funk Sugar
My God. DT Here again from the Ghettos Of Horsforth. What can I say bout this album. How do you follow an album like RIOT? This is how. Loose Larry Graham ( Who Da Man By The Way) and write basically a solo album of the most accessable amazing funk ever. Not even the Metres " Rejuvanation" can match this for pure enjoyment. The album explodes from the start with "In Time" one of the most complex rythmic songs I ever did Hear ( Sept for Beethoven) what a groove. Listen to the drumming and the vocal performance. Woooooo. You got " If Ya Want Me TO Stay" next the groovest Pop funk song ever. Killa Horns. Too me one of the highlights of the album is the next song. The short but amazing " Let Me Have It All". Killa Killa groove and lyrics and vocals that sum up Slys destructive genius. The rest is just perfect and to me Slys best song ever, "Skin Im In" just shows the genius of the guy. Hell I miss the guy. Wheres Da Sly now???????

all-time great
i won't bore you. i've listened to a lot of music from the last 80 years of recording and from all over the world. i know i ain't heard it all, but i've heard a lot. this record is one of my all-time favorites. i'm talkin' about top three recordings EVER. not just sly, not just funk, not just american music... i mean everything that ever got recorded. this is one of the best. echos and aftershocks of this record still vibrate in good music all over the universe. word. ... Read more

Asin: B00000250F

Veedon Fleece
Average Customer Review:
Audio CD (03 June, 1997)
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Editorial Review

On this subtle classic, a comparatively somber, subdued Van Morrison emerged from the rubble of the failed marriage that a few years earlier infused his American studio sessions with a conjugal glow and journeyed home to Ireland to revive his Celtic identity. From the pale, hand-colored images on its cover to the quieter, more skeletal arrangements of the music, 1974's Veedon Fleece originally seemed dispiriting to Morrison fans hoping for the R&B ebullience of its predecessors. Yet songs like "Linden Arden Stole the Highlights," "Streets of Arklow," and "Country Fair" anticipate the pastoral Irish lyricism that would bloom again a half decade later on Into the Music, emerging as a cornerstone of Morrison's work from the '80s forward. --Sam Sutherland ... Read more

Reviews (49)

Van the Man at his inspired best ... spread the word!
I heard "Linden Arden" and bought the LP on its release in '74. I had heard "St Dominic's" and though it OK but "Veedon Fleece" quickly became a Top Ten album and remains so to this day. No one else seemed to react the same way to the marvellous irish folk influences and acoustic rhythms of "Country Fair", "Streets of Arklow", "Comfort You" and it became the "lost" album for many years - some fans have still never heard of it! Give it a chance - "Fair Play" is about my favourite track of all time, "Linden Arden" is incredible, "You Don't Pull No Punches" simply brilliant - it's like the whole album was recorded in a single take. Van's falsetto singing is great, there's so much feeling in his voice you have to respond to him (even when you don't understand the damn lyrics). Easily as good as "Moondance", "Astral Weeks". Don't say you haven't been told.

Van Morrison stole the highlights
Veedon Fleece is THE album in my collection that I keep coming back to over and again. I listen to it almost on a daily basis, and have been doing so ever since I bought it just about a year ago. This is the closest anyone has ever come to making a flawless album. The vocals are truly astounding, it's almost like if Van reaches a state of higher consciousness while singing. No one can sound like this but Van.

From the opening laidback masterpiece Fair Play to the beautifully soothing closer that is Country Fair, Veendon Fleece takes you for a ride that interacts with just about every emotion you have in your body. Linden Arden stole the highlights presents a totally jawdropping melodic transition between verse and chorus, Bulbs is just irresistibly joyous and catchy (albeit embedded in sarcasm), and Cul de Sac evokes the image of a protagonist singing with his heart hanging from a big black hole in his cheast.

Veedon Fleece is easily the best (and most underrated) album I have stumbled upon so far in my life, and I sincerely recommend it to everyone. Buy it, and it will soon become the one thing you take with you to a deserted island. Trust me. :o)

Unappreciated Landmark Album
If you like Astral Weeks, get this album. ... Read more

Asin: B000002GNO

Tapestry
Average Customer Review:
Audio CD (25 May, 1999)
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Editorial Review

Carole King was famous as a writer of girl-group hits in the '60s. In 1971, shebecame more famous. That's the year Tapestry became one of the biggest-sellingLPs of all time. It's easy to hear why--the music is loose, earthy, L.A. session-pop. Kingis casual, intimate, and tough; she covers all the emotional ground of the post-liberatedwoman with ease. She brings adult nuance to "Will You Still Love Me Tomorrow?" andcomes up with hits ("It's Too Late," "I Feel the Earth Move") whose white-soul realismand maturity put pop hits to shame. --Steve Tignor --This text refers to an out of printor unavailable edition of this title. ... Read more

Features

• Original recording remastered
• Extra tracks

Reviews (115)

A classic landmark album of the 70s
I'm nearly 30 years late in discovering this classic landmark 70s album, but contrary to Carole's advice, better late than never. The songs are of such consistently high quality it's not hard to understand why "Tapestry" was judged the perfect singer-songwriter album of the era. Rather than build to a climax, Carole knocks you out early with three of the album's most potent compositions ("I Feel The Earth Move", "So Far Away", and "It's Too Late"). These are tough songs to follow, but she manages nicely enough, with the (then) new cuts succeeding better than the familiar - you keep hearing the Shirelles' and Aretha Franklin's original hit versions in your head and comparing. Nevertheless, Carole does score the best version yet of "You've Got A Friend", which boasts a lovely piano played by the lady herself. Dusty Springfield offers a splendidly soulful interpretation of "Friend" on her "Dusty In Memphis - Deluxe" set, but for my money, Carole's is still the definitive version. Forget about James Taylor's or Barbra Streisand's attempts. They don't come near. Only on "Home Alone" does her awkward and technically flawed singing voice grate (listen to her sing "snow is cold and rain is wet....") but you quickly recover and don't allow this mild irritation to spoil your enjoyment of this great album. You even get a session outtake as one of two bonus tracks and it's no disgrace. For those who've heard of the legendary "Tapestry" album but haven't checked it out, wait no more. Go get it !

As superb as the day it was recorded: a masterwork
Why has Carol King's 1971 recording Tapestry stood the test of time?
Two words: sincerity and emotion.

The CD I bought from Amazon came with a sticker announcing: "4X Grammy Winner! Over 11 Million Sold! Every song's a classic!" But that really doesn't explain why, whether you're an "old timer" who got the original on vinyl or a young person experiencing King for the first time, Tapestry is so fresh, vital and appealing from start to finish.

It's not just King's superb white-soul sing-along melodies, or her music's wonderful rhythms, or the incredible variety of songs on this beautifully remastered CD. King wrote for a LOT of other artists who recorded her music and became very famous doing so doing the songs on this CD.

Indeed, when she recorded this in 1971 she was not as well-known to the general public as her music -- but that quickly changed when this became one of the great-selling
LPs of all time.

The secret is in her unpretentious, 100-per-cent post-liberated woman singing. She means EVERY word, every phrase and it comes across. Each jaunty song is a tasteful, at times playful, mini-drama. People often say that "so and so" (fill in the blank here) is the female equivalent of Frank Sinatra, considered the King of singing lyrics with supreme sincerity. But the REAL queen is definitely King. Her lyrics (happy and sad) don't just come alive, they're bursting with life-force as much as her music is bursting with worldclass melodies and rhythms.

Example: James Taylor grew increasingly famous (and rich) with his smash recording of You've Got a Friend. But his does not contain one-millionth the sincerity of King's rendition. Anyone who's ever "down" should listen to her sing the song -- and you'll feel like you do have a friend. And gift this to a beloved friend or relative and tell them THAT SONG is for them and when they listen they will completely get the message, a message King delivers right from the heart.

When the concert-challenged (she did not like to perform in public) King sings her songs the more famous versions of her music performed by more famous artists seem like
elevator music in comparison. Her "Will You Still Love Me Tomorrow" is laced with vulnerability unmatched by any other singer. 'It's Too Late" takes on a near-defiant tone due to her phrasing.

She also does unparalleled work with the more upbeat songs such as "Where You Lead' and (my favorite) 'I Feel the Earth Move" (our unofficial theme song here in California).

If you've heard King, get, listen to and savor this remastered CD. If you love someone, gift it. If you're a young musician or singer listen to and EMULATE a master writer and
performer. King's lyrics, music, rhythms and sincerity haunted and moved me in 1971 and they do today since this CD is every milligram good as it was when it was first recorded.

According to the liner notes, Tapestry was #1 for 15 weeks, on the charts for more than six years, and earned four Grammies including Record of the Year (for It's Too Late) and
Song of the Year (You've Got a Friend." This CD also contains two wonderful previously unreleased bonus tracks.

Home, warmth, love and sincerity
Four words spring to mind whenever I hear this classic 1971 album from Carole King - home, warmth, love and sincerity. Even the half-lit album cover of a barefoot Carole with her cat sitting by a window somewhat evokes this. There's just something very reassuring and familiar about this album, perfect for listening to if you're feeling sentimental on a rainy day, or optimistic on a spring morning. "Tapestry" arrived at something of a strange time for music. The idealism and politically-inspired music of the 60's had come to an end, and as if to let everyone know the 60's had well and truly finished, Jimi Hendrix, Jim Morrison and Janis Joplin had all passed on while the Beatles, the Supremes and Simon & Garfunkel had all gone their separate ways. Music seemed unsure where to go until glam rock and progressive rock developed, along with disco later. It was during this "void" in 1970/71 that songwriters of the 50's and 60's seem to emerge as the hitmakers of the day with songs that often told stories; people such as Neil Sedaka, Joni Mitchell, Paul Simon, James Taylor and Carole King. "It's Too Late" was one of those songs I'd always hear on the radio and I bought "Tapestry" on the strength of liking that song alone. I recognized the titles "Will You Still Love Me Tomorrow" and "You Make Me Feel Like A Natural Woman" from the versions made hits by The Shirelles and Aretha Franklin respectively, and when I listened to the album I discovered "I Feel The Earth Move" was the same song as that made a hit by Martika in the UK in 1989. There isn't one song on this album I don't like, but "So Far Away" is probably my favorite on the album. "You've Got A Friend" is another track that particularly stands out for me. I read an interview with Alanis Morissette in 1996 in which she said the middle 8 in that song just killed her every time she heard it, and I know what she means. You look forward to hearing it as much, if not more so, than the song itself. The simplicity of the recordings on this album by using just drums, piano and bass is very effective and what give the album it's weight in gold as much as Carole King's brilliant songwriting. In this case, less is definitely more. Terrific album. ... Read more

Asin: B00000J2PH

Together Again [Rhino]
Average Customer Review:
Audio CD (02 November, 1999)
list price: $11.98
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Editorial Review

"We just went in there at 2:30 in the morning and went to work," Tony Bennett explains of his two album-length collaborations with pianist Bill Evans. Where their first, originally released in 1975, has long been a favorite CD reissue, the 1977 sequel, Together Again, remained much less recognized. One spin should remedy that. If anything, Together Again is even more resonant than its better known brother. Bennett, so apparently buoyant in most settings, responds to Evans with dignified but undeniably deep soul and voice: even the likes of "Make Someone Happy" and "You're Nearer" seem to entice doubt to the surface. At the same time, "Lucky to Be Me" convincingly tucks ruefulness away. Finally, though, the almost-suite of songs that make up the original LP's side 2 (tracks 6 through 10 on this disc) are as satisfyingly aching as anything, at least, in Bennett's catalog. Without reservation, this masterful work must be counted among both men's essential recordings. --Rickey Wright ... Read more

Reviews (16)

THIS IS MY FAVORITE ALBUM....
...and that's saying something, considering that I'm a jazz percussionist, and not a pianist or a vocalist. I bought this album after years of loving the first Tony Bennett/Bill Evans Album. It's got all of the subtlety, sensitivity, and intensity of the first one-- and Bill and Tony recreate that symbiotic relationship they had in '75 perfectly. I say this one's my favorite, but there's very little difference for me between the two albums besides repertoire. The songs here are choice, and many are quite obscure. The first track with vocals, "Lucky to Be Me," has a happy, optimistic, (but not sappy,) vibe that is matched on the last track, "Dream Dancing." In-between there are tracks that feel like pure love, ("You're Nearer," "Make Someone Happy," and "A Child is Born,") and others that remind you what it feels like to lose love. ("Who Can I Turn To," "You Don't Know What Love Is," and "Two Lonely People,") The other tracks speak of loss, but also of hope. (Like "Lonely Girl," "Maybe September," and an incredibly haunting version of Michel Legrand's "You Must Believe in Spring.")

The only one I left out was the vocal-less theme from "The Bad and the Beautiful." Very hip, starting out a piano-vocal duet album with solo piano, especially if your pianist is possibly the greatest solo player ever. But Bill is not the only huge talent shown off here. Tony Bennett is often thought of as a lounge singer, a pop singer, or an 'Italian crooner.' He can be all of these things, but the power he displays on the endings of "A Child is Born" and "You Don't Know What Love Is," and the advanced concept of harmony that he must posess simply to sing the melody of "The Two Lonely People" show that he is much more than a Rat Pack alternate.

Having almost the entire album over in alternate takes may seem like overkill, but each extra track gives us insight into the way the duo worked together, and the second version of "You're Nearer" brings us the song's simple but sweet verse.

This album and its predecessor are great examples of two master musicians communicating on the highest of levels. This one is beautiful in that it offers plenty of musical moments that will knock the most advanced musicians' socks off, and yet the beautifully sung and played messages in the wealth of great lyrics can touch everyone.

"A keeper!"
I loved the first Bill Evans and Tony Bennett album, and the bonus tracks and alternate takes on the second one allows you stretch out and get lost in the sound. To my mind, it takes a lot guts to get up there and belt out these songs with only a piano and a voice, much like classical piano and a violin, there's just no where to hide. Evans and Bennett are definitely pro's, and they don't disappoint. Enjoy!

Together Again
The first Bennett and Evans duo album, recorded in 1975, was a highly successful collaboration, and 'Together Again' is a worthy successor with the same impressive qualities. It's another imaginatively chosen programme, sung with such commitment and sincerity that even those lyrics which are relatively uninspired are invested with meaning and feeling. A good example is "Make Someone Happy": on paper the sentiments would look trite ("Make someone happy... then you will be happy too", etc.), but Bennett sings them as if they are profound truths.

As with the first album, listeners will discover their own favourites. For me the standout numbers are the classic blues-tinged ballad, "You Don't Know What Love Is", "Make Someone Happy", "Lucky to Be Me" and "You Must Believe in Spring". The latter is a particularly affecting performance; it's one of the better, more poetic lyrics and the melody is a typical piece of tuneful Gallic romanticism by Michel Legrand. Bennett sings it quietly, with great tenderness and wistful feeling. As a kind of prelude to the 'recital' of songs, Evans begins with a lyrical piano solo - a movie theme "The Bad and the Beautiful" (by the composer of "Laura") - demonstrating the beauty of his touch and tone and setting up the warmly romantic atmosphere of the album.By the way, this version on the Rhino label is the one to buy if you want value for money, as it has alternate takes of the original tracks as well as two bonus tracks.

* On the subject of "You Must Believe in Spring": there's a wonderful Bill Evans Trio album of that title - it's one of the most beautiful jazz piano albums ever, and ought to appeal to anyone who likes the Bennett-Evans collaborations. Again, the version on the Rhino label has bonus tracks: three further pieces (not alternate takes) recorded at the sessions but previously unreleased and well worth having. ... Read more

Asin: B00002MZ3D

Pour Down Like Silver
Average Customer Review:
Audio CD (01 July, 1991)
list price: $16.98
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Editorial Review

Pour Down Like Silver offers a fascinating glimpse of one ofEngland's most seminal musicians steeped in a consuming passion. Singer,songwriter, and guitarist Richard Thompson and his wife Linda had converted tothe mystical Islamic discipline of Sufism when they recorded this stark,riveting folk-rock album, which retains its powers as a uniquely spiritualdocument long after the couple's subsequent divorce and Richard Thompson'smigration beyond its shaping doctrines.Modern listeners are left with abracing essay noteworthy for such classics as "Streets Of Paradise,"the brooding valentine of "For Shame Of Doing Wrong," the classicfolk-rock love song, "Jet Plane In A Rocking Chair," and the powerfuldirge of "Night Comes In," which transforms the image of dervishesdancing toward enlightenment into a deliberate yet hard-rocking climax worthy ofNeil Young--with accordion, no less. --Sam Sutherland ... Read more

Reviews (5)

MELANCHOLY BEAUTY
This great album opens with Streets Of Paradise, a fairly typical fast rock ballad sung by Richard. This is followed by the poignant and tender For Shame Of Doing Wrong with Linda on lead vocal. Linda also sings the next sad ballad, The Poor Boy Is Taken Away. Jet Plane In A Rocking Chair is a lovely melodic duet by the two, its underlying sadness not quite obscured by the bouncy tune. It's Richard's turn to sing on Night Comes In, a mournful slow ballad from where the album title derives. Beat The Retreat with its lovely guitar work is a brooding lament with Richard on lead vocal. Linda again takes lead vocal on the most overtly folky song here, the bitter Hard Luck Stories with its prominent fiddle and hummable tune. The gem of the album is the magnificent Dimming Of The Day/Dargai. The first part is an achingly melancholic piece where their two voices blend together beautifully. Dargai flows out of this, and it's a showcase of Richard's most breathtaking guitar playing, creating an unbelievable mood of sadness. Richard and Linda Thompon made beautiful music together and separately - here they give Leonard Cohen a run for his melancholy money. And although the music is very sad, it's never oppressively so and the variety of styles showcases the Thompson's remarkable versatility.

a cornerstone for your "folk rock" collection
I bought three copies (for posterity) of this remarkable album on vinyl when it came out. Must admit I haven't heard the CD version. The art itself...You'll go back and listen to this music again & again. Heart-rending harmonies, economical playing, provocative songs. A masterpiece.

Just buy it
OK, you've heard "Shoot Out the Lights," the greatest album R&L made when they didn't like each other. Now hear the best one they made while they were still in love.

"Pour Down Like Silver" is an incredibly warm, intimate album, and is strangely underrated. It was recorded at a strange time in the Thompsons' musical career--it reflects the Sufi Muslim spirituality that Richard and (less so) Linda embraced at the time, but it still retains the earthier aspects of their earlier work. The songs of regret over love departed ("For Shame of Doing Wrong" and "Beat the Retreat") are haunting--the pain is all too real. As is the devotion of a song like "Dimming of the Day." There's also humor ("Jet Plane in a Rocking Chair"), disgust ("Hard Luck Stories"), and moral outrage ("Streets of Paradise"), but the album avoids crossing the line into preachy self-righteousness, unlike the following pair of R&T albums.

And the music! So stark, yet shimmering. The instrumentation is far more spare than on the first two Thompson albums, every part on the record means something. Richard's guitar playing is more prominent than on "I Want To See the Bright Lights" or "Hokey Pokey"--this is more of a rock album, yet it's hardly typical. The singing is sublime, as good as any they've ever done.

"Pour Down Like Silver" tends to get lost in the (justified) hype of "Shoot Out the Lights," but it's arguably a better, more lasting album. Virtually every song is a classic and many have stayed in Richard's setlist for years. Treat yourself to one of the truly great albums and get this disc! ... Read more

Asin: B00000063R

Let's Get It On
Average Customer Review:
Audio CD (25 October, 1990)
list price: $9.98
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Features

• Original recording remastered

Reviews (30)

Marvin Gaye takes the concept album to another plateau.
Don't fret about the 4 star rating I'm giving this album. In comparisson to his other concept albums, Lets get it on is slightly below his masterpeice concept albums what's gong on and the later I want you. I still love this album but it simply isn't as pleasing as the other two. Marvin's studio version of distant lover simply doesn't capture the magic of the live version on his greatest hits album. Still, Lets get it on is a marvelous album. Which uses the concept of concentual sex to push himself musically where most artist dream of going. The songs Let's get it on and Keep gettin it on are examples of pure Marvin Gaye at his best. If i should die tonight, Come get to this and you're sure to ball are arrogant sexual sleepers that only marvin fans will love. But without a doubt the finest song on this album is the sweet ballad Just to keep you satisfied. A song that was co-written by his ex- wife Anna Gordy. The words are so honest it feels as though he was going through a break up while he is singing this song. Listen to the tracks final words. "We tried, God knows we tried. Now it's too late." A must for any music lover.

Marvin Gaye takes the concept album to another plateau.
Don't fret about the 4 star rating I'm giving this album. Incomparisson to his other concept albums, Lets get it on is slightlybelow his masterpeice concept albums what's gong on and the later I want you. I still love this album but it simply isn't as pleasing as the other two. Marvin's studio version of distant lover simply doesn't capture the magic of the live version on his greatest hits album. Still, Lets get it on is a marvelous album. Which uses the concept of concentual sex to push himself musically where most artist dream of going. The songs Let's get it on and Keep gettin it on are examples of pure Marvin Gaye at his best. If i should die tonight, Come get to this and you're sure to ball are arrogant sexual sleepers that only marvin fans will love. But without a doubt the finest song on this album is the sweet ballad Just to keep you satisfied. A song that was co-written by his ex- wife Anna Gordy. The words are so honest it feels as though he was going through a break up while he is singing this song. Listen to the tracks final words. "We tried, God knows we tried. Now it's too late." A must for any music lover.

I have NEVER felt soooo GOOD before...
If you don't own this CD, you have NO game. In fact, you prob'ly don' e'en know the meaning'a the term. I know thas' harsh, but is' the truth. Marvin epitomized some love an' romance on this album. Every slinky groove on here an' every soulful an' passionate cry he sends out is the stuff for the ages. This ALONE became the blueprint for every R&B loveman out there, but I can guarantee y'all that couldn't NONE'a 'dem amass the real, an' I mean REAL emotions that pour outta your speakers when you got this album in there. Is' a brief set'a bedroom songs, only eight tracks, but EVERY ONE'a dem is a classic in their own right. From the eternally-played-out title song to 'Please Stay (Don't Go Away)' to the absolutely beautiful 'If I Should Die Tonight' an' on to the bouncy, freaknik of 'Come Get to This'. But the true pinnacles to me come toward the end. On the hypnotic an' dreamlike 'Distant Lover' Marvin is jus' NAKED with vunerability an' emotion; I mean jus' listen to them passionate screams, is' like no other, fa'real. An' then there's the closing song 'Just to Keep You Satisfied', a monumental ballad of love, lust, pain, heartache, struggle an' movin' on. When he cries out "I'll never loooovvve NOBODY, like I LOOOOVVVED you!" it almost brings a tear to my eye. Ending the album on this note was almost a precursor to 'Here, My Dear', his album-long chronicle of his divorce from his first wife, which is, in my opinion, his greatest artistic achievement. But, lemme not get into that, 'cause we ain't there yet. Right now, we got the most CLASSIC album'a love, sex an' romance on the face'a this planet. An' we got Marvin Gaye; laid-back, reassured, calculated, crazed, an' ready to get it on with all the classy, beautiful ladies who're down.

Marvin may be gone from this world, but I'll forever be grateful for the time he was afforded an' for what of his life he gave to the masses. An' for this young 22-year-old man, he did EV'RYTHING right. This album is one'a the few that merits the overused term ESSENTIAL. If you're like me an' live for some soul music, an' you don' own this by now, well, I don't know, you're jus' slippin' bad an' you better hurry up an' get it for you completely fall off. ... Read more

Asin: B000001ADO
Sales Rank: 190341

#1 Record/Radio City
Average Customer Review:
Audio CD (10 June, 1992)
list price: $15.98 -- our price: $13.99
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Editorial Review

A two-for-one combo of the first two Big Star albums (they only recorded three). Heard side by side, #1 Record and Radio City only add further testament to Big Star's seminal greatness. On the first album, Chris Bell and Alex Chilton share songwriting credit, though each brings a remarkably different sensibility to the band: Bell creates pure pop nuggets ("Feel") while Chilton swaggers with reckless melancholy ("Ballad of El Goodo," "Thirteen."). After Bell's departure, Chilton took control of the helm for Radio City, and what a ride it is. While not abandoning Bell's penchant for pop, Radio City careens wildly through some of the most exhilarating music ever created, from the rave-up opener, "O My Soul," to the pure pop masterpiece "September Girls" to the whimsical ditty "I'm in Love with a Girl." It's too bad that Big Star didn't create more albums, but thank God they made the ones they did. --Tod Nelson ... Read more

Reviews (82)

The Greatest Unheard Music Ever
#1 Record should have been a #1 Record, and the members of Big Star should have been big stars, instead of obscure cult heroes with a band named after a supermarket chain. It was never "Radio City" for these guys, and that's a shame. (Hmm..have I packed enough word puns into this review?)

Anyway, get this album, and hear the band that influenced R.E.M., the Bangles, Teenage Fanclub and all of the other cool bands that I love.

I must admit that I like #1 Record better than Radio City. Two reasons: (1) The great harmonies of #1 Record is almost totally absent on Radio City, and (2) Chris Bell is gone, and he was the best thing about the band. YEAH, I KNOW, ALEX CHILTON IS GOD! :) Alex is always the one that gets all the credit for Big Star, and sure, he's great, but I prefer Bell's songs. And Chilton's ragged vocal style makes me sometimes wish for Bell's voice. #1 Record was tight, masterful pop. Radio City swerves all over the place and sounds like a band on the verge of disintegrating (which was true). Both are great for different reasons, but I find myself listening to songs 1-12 in this collection a lot more often than the rest.

Buy this NOW...
This cd is alot like the Gram Parsons twofer "GP/Grevious Angel". For the price of one cd it gives you two of the best albums released during the 1970's AND pays tribute to one of that era's most criminally underlooked bands. Big Star were a great band and exhibit a is this coupling of #1 Record and Radio City.

Pure pop beauty and grace fill both albums but #1 Record also features (roughly) half of the music Chris Bell recorded during his lifetime. As a document of his importance in music alone it is worth the price but you get 12 songs on #1 that brim with tasty treats that went unrecognized for far too long. Feast my friends!

After Bell's exit from the group prior to Radio City, Alex Chilton would become Big Star. He would guide them through the exhilarating (and darker) Radio City and the apocalyptic Third/Sister Lovers before throwning in the towel in the mid-70's. "September Gurls" alone should secure Chilton's place in rock history (and my heart). Radio City rests comfortably along side #1. A great (if unheard) one-two punch before it all fell apart.

There are too many high points to count and a great deal of soul and supurb songwriting spread out over the 2 albums contained on this disc. Your knowledge of 70's rock (and music in general) is incomplete untill you hear these great albums. Buy them and marvel at the skill...then ponder how music this vital fell between the cracks.

They'll Show You Somehow
Anyone familiar with the mid-sixties pre-psychedlic Beatles is no doubt going to get a kick out of this stuff, especially given that one of its main singer-songwriters, Alex Chilton sings so much differently than he had in the Box Tops. Never the conformist, Chilton actually walked off the stage of a Box Tops gig saying he didn't want to be controlled as the sixties came to a close with so many creative artists making an impact. Later in the seventies, when questioned by a Long Island Radio jock about making "anachronistic music" and what his career had become, Alex summed it up with a curt "pretty scummy". Before this revelation, Big Star blessed the few with #1 Record, a culmination of the very best both he and a spaced out Memphis Anglophile named Chris Bell could muster in the way of perfectly crafted songs. While progressive rock became snottier, more lugubrious and about all that would play on FM radio, Big Star made a record of melodic sheen (In the Street, India Song, Ballad of El Goodo), gloriously juxtaposing sentiment in the lovliest of adolescent ballads, Thirteen, followed by the nuclear holocaustic Dont Lie to Me. It is there where #1 Record is fully realized. They perfected the experiments by earlier similar bands like the Nazz, Raspberries and Badfinger by making the acoustic guitars sound that much more earnest and crisp and making their rockers snarl that much louder. They even address their apparently deep spirituality in El Goodo, My Life Is Right, Try Again and Watch the Sunrise without the clockwork zealot righteousness found in most clergical music. They capture genuine and desperate human conflict of not being holier than thou. With Bell's tortured spirituality coming unglued as the second side of the record came to an end, chronicled on Try again and ST 100/6, Big Star ends their one perfect Pop rock masterpiece on a forboding note.
To make matters more interesting, they actually make there next record Radio City better by making it more haphazard and slightly deranged. Given that their next and last record Third/Sister lovers is basically down to Chilton falling to pieces, we have the 2nd record, in subsequent listens, sound like the last gasp for sanity with loads of sinister slop creeping its way in to their pop. While the Beatles melted into psychedlia, Big Star chose a more downward spiral in Radio City attributed in large part to booze and narcotics rather than hallucinogens. Chris Bell had minimal imput and was out of the group to cope with drugs, depression and suicide, while Alex continued to chronicle their personal mess. One gets an inebriated feel from the rollicking stop-start number O' My Soul and the crunchy She's a Mover, then descend into an almost completely bottomed out feel of the Third Album with Daisy Glaze, only to watch it explode as if the song was Stairway to Heaven with a Mandrax prescription. The best cuts on Radio City are the closest to #1 Record. Both Back of A Car and September Gurls have a candid sexual tension in the lyrics and some of the most perfect melodies and hooks committed to rock n'roll. The very moment when Chilton sings "OOOh when she makes love to me!", on September Gurls and launches into an orgasmic jangling guitar run is pop perfection. These two records combined for an affordable must buy for anyone with a rudimentary understanding of popular music. With virtually no distribution by their original label Ardent, many who own this treasure may have otherwise never heard it. Now it's your chance to do the right thing when you go to the record store to buy Hoobastank, the Calling or Ashlee Simpson; get this record instead and while you're at it, buy those other acts a copy. Chances are the ones responsible for grooming these acts may have been trying to replicate Big Star's craft ever since. Oh that's right, Big Star didn't have a stylist. But they had a need to paint their hearts on anyone's ear who heard them instead of their nails by someone making 6 figures to do it. They didn't really need it, they were Big Star! ... Read more

Asin: B000000XHA

Warren Zevon
Average Customer Review:
Audio CD (19 May, 1992)
list price: $11.98 -- our price: $10.99
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Editorial Review

Two years before "Werewolves of London" became his sole big hit and something of an albatross, Warren Zevon stood at the artier end of L.A. singer-songwriter rock. Fueled by a love for the Stones and Ross MacDonald, Zevon turned his Asylum Records debut (produced by buddy Jackson Browne) into one of the ultimate statements of Southern California pop. The songs range from commanding, funny takes on American West mythos ("Frank and Jesse James") to pained, funny views of sexual politics ("Poor Poor Pitiful Me") and existential drama (most of the other songs). Anyone who cherishes Hotel California needs this album, too. --Rickey Wright ... Read more

Reviews (22)

A must-have mini trip to the heart of a city out of control
Warren Zevon is most connected to Los Angeles, where his career started and has remained. Sure, nobody's heard of him, but nobody had ever heard of Janet Jackson before 1986, either. So, putting thoughts of one hit wonder aside, this is the real beginning.

The themes of urban madness that feature so prominently on his hit album "Excitable Boy" are just as strong and well defined on such songs as "I'll Sleep When I'm Dead" and the slightly mellower "Join Me in LA". A debt to his friends the Everly Brothers is on the countrified rollicker "Frank and Jesse James", while a more personal note is set aside for "Mama Counldn't Be Persuaded".

But the power of this album is in the ballads. "Desperadoes Under the Eaves" and "Hasten Down the Wind" are second to none sentiments of despair and love, alternately. His rusty voice and unusual brand of humor make this album a worthwhile listening experience.

Warren Zevon's Genteel Side
Warren Zevon writes and performs music about society's rough edges. He is considered a cult figure by some and is *extremely underrated* due to his brash and clever style. But Warren also writes and performs in a more genteel style. That genteel side is featured in his self-titled recording "Warren Zevon".

Five of this recording's eleven selections are superior. 'Frank And Jesse James' is a happy cowboy ballad; 'Backs Turned (Looking Down The Path)' features great guitar solos and an excellent lyric concerning life's goals and priorities; 'Mohammed's Radio' features an *exceptionally cryptic* lyric about smoking hashish; 'Carmelita' (a Southwestern ballad concerning "the end of the road") features great guitar solos; and 'Desperados Under The Eaves' is both a complicated musical composition and a ballad about a "life after divorce" tragedy. Another three selections are notable: 'Hasten Down The Wind' (a tender ballad concerning a dissolving marriage); 'The French Inhaler' (a tender ballad concerning unsuccessful dating); and 'Join Me In L.A.' with its excellent saxophone solos and vocals.

Warren's resonant voice and piano artistry are featured throughout this studio recording. Many of his stellar friends also appear: Phil Everly (The Everly Brothers); Jackson Browne; Lindsey Buckingham; Stevie Nicks; Glenn Frey; Don Henley; and Carl Wilson (The Beach Boys). The selections on "Warren Zevon" tend towards ballads and genteel interpretations. This recording shows Warren's genteel side, a side I recommend both to his fans and to those unacquainted with his music.

LOOKING BACK DOWN THE PATH.
In the 1960's, the relaxed, sun-drenched mood of star-studded Southern California was celebrated in song by harmonizing choral groups like The Beach Boys, The Fifth Dimension and The Mamas & The Papas. But by the mid 70's, a new type of singer had arrived to illuminate in music the dark underbelly of Lost Angeles; showing us those aspects of "The City Of Angels" not ordinarily exposed by the flash bulb of the tourist's camera. -------- Until I began contemplating writing this review, it had never dawned on me that what I consider to be the three greatest song lyrics ever penned all originated with this (at that time) new breed of singer/songwriter. Those three songs are (in this order): SAN DIEGO SERENADE by Tom Waits; DESPERADO by Don Henley & Glenn Frey (of The Eagles); and...well...we'll get to the third one in just a moment. -------- Unlike the burlesque flamboyance of Waits or the commercialized polish of The Eagles, WARREN ZEVON recorded straight-forward, unsanded classic rock. (You know you've gotten old when they're calling the music that you grew up with "classic".) ZEVON came from that "subset" of singer/songwriters who wrote considerably better than they sang (think Dylan, Young, Springsteen, etc.) and I don't listen to this album for his deep, just-this-side-of-monotone vocals. Nor for his mostly basic musical arrangements. I listen to Zevon for his ironic, slightly-warped and often amusing observations on the shadowy side of L.A. street life - a dynamic I have seen and experienced to a lesser degree. "I MET A GIRL AT THE RAINBOW BAR; SHE ASKED ME IF I'D BEAT HER. SHE TOOK ME BACK TO THE HYATT HOUSE - I DON'T WANNA TALK ABOUT IT," he sings in POOR, POOR PITIFUL ME. Maybe once or twice a year I revisit my ancient past via the WAYBACK MACHINE - this, Zevon's eponymous debut recording from 1976. By the time that vinyl records had evolved into compact discs, my musical preferences had evolved to Jazz. Very little of my previously "bitchin'", "groovy" and "far-out" record collection got re-purchased on cd. This one WARREN ZEVON album did, however, and that should tell ya something. -------- In many of these pretty catchy songs, Warren prowls the back alleys and 90 proof Juice Joints of Tinsel Town like a hungry, footloose animal searching for scraps, trouble and temporary salvation. One must have a modicum of taste for black comedy in order to appreciate Zevon's funny and/or disturbing musical playground. But if YOU do, then you are sure to appreciate much of his unique perspective. Be forewarned, however, that some of his material is hardly what one would describe as "uplifting." -------- Because DESPERADOS UNDER THE EAVES is clearly the masterpiece of this set, and because it is the "third song" that I alluded to above, I will post it here in full: "I WAS SITTING IN THE HOLLYWOOD HAWAIIN HOTEL. I WAS STARING IN MY EMPTY COFFEE CUP. I WAS THINKING THAT THE GYPSY WASN'T LYING - ALL THE SALTY MARGARITAS IN LOS ANGELES, I'M GONNA DRINK 'EM UP. AND IF CALIFORNIA SLIDES INTO THE OCEAN LIKE THE MYSTICS AND STATISTICS SAY IT WILL, I PREDICT THIS HOTEL WILL BE STANDING UNTIL I PAY MY BILL. DON'T THE SUN LOOK ANGRY THROUGH THE TREES? DON'T THE TREES LOOK LIKE CRUCIFIED THIEVES? DON'T YOU FEEL LIKE DESPERADOS UNDER THE EAVES? HEAVEN HELP THE ONE WHO LEAVES. STILL WAKIN' UP IN THE MORNINGS WITH SHAKING HANDS; AND I'M TRYING TO FIND THE GIRL WHO UNDERSTANDS ME, BUT EXCEPT IN DREAMS, YOU'RE NEVER REALLY FREE. DON'T THE SUN LOOK ANGRY AT ME! I WAS SITTING IN THE HOLLYWOOD HAWAIIN HOTEL. I WAS LISTENING TO THE AIR CONDITIONER HUM. IT WENT HMMMM HMMMM HMMM-HMMM-HMMM-HMMM-HMMM...LOOK AWAY DOWN GOWER AVENUE! LOOK AWAY!........" -------- Trivia: Has the desperate paranoia of the underdog ever been so concisely captured before or since? And with such wit? And notice how the previously celebrated Southern California sun of The Beach Boys songs has become the singer's nemesis. The Hotel (now an apartment complex) was located at the intersection of Yucca & Grace, minutes from The Hollywood Bowl, and seven blocks west of Gower (officially named "street", not "avenue".) Zevon sings the final lines repeatedly and with such zest that one suspects that the storyteller expects to find some form of salvation, or at least solace, down Gower. So, what IS down Gower? The street descends into the bowels of scuzzy Hollyweird. A mile or so south is the Hollywood Cemetery abutting Paramount Studios, and then just more seediness. And so, this great song ends as an entriguing enigma. -------- A little more trivia: Amongst the numerous L.A. "landmarks" mentioned in this album is the infamous "Pioneer Chicken Stand." Now long gone, it was located adjacent to Echo Park on the east side of Alvarado Street between Reservoir and Scott Avenue. When I was a kid in the early 70's, my Grandfather used to take me to Dodger games. He would drive north on Alvarado, turn right on Scott and take it up the hill to the stadium. I often wondered why all those scroungy characters were always gathered around the Pioneer Chicken Stand every time we passed by. Some years later I bought this record and got my answer. "The Rainbow Bar" in West Hollywood is right next door to the famous Roxy on fabled Sunset Strip and it has long been a rock star roost. "The Hyatt" Hotel is just a few blocks east. The "Tropicana" Hotel, razed in 1988, was a notorious hangout for the bohemian rock crowd and has been called "home" by the likes of Jim Morrison, Tom Waits, Bruce Springsteen, Iggy Pop, Jackie Wilson, The Ramones, The Clash, The Sex Pistols, Blondie, The Byrds, and many others. -------- Now then, having told you all of this, let me tell ya about the lady I myself once met in West Hollywood....no, on second-thought....West Hollywood is a lot like Las Vegas - what happens there, stays there. "I DON'T WANNA TALK ABOUT IT" either. "NEVER MIND!" ... Read more

Asin: B000002GY5

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

How does one follow a commercial smash on the scale of Bridge over Troubled Water, one of the blockbuster pop titles of the '60s? For Paul Simon, the strategy was simple--as in "Keep it simple." His 1972 solo debut is the bantam bookend to the expansive Bridge. Where the final Simon & Garfunkel LP was grand, Paul Simon is modest. Where Bridge served up lavish emotions, on his own Simon explored a kind of hooded, pensive melancholy. "Mother & Child Reunion," the first reggae arrangements many Americans ever heard, opens the album and casts a blue hue over the collection. An eclectic crew of players (including jazzmen Stephane Grappelli, Jerry Hahn, and Ron Carter) turn up in tunes that fit together as snugly as a winter wardrobe. By the time Larry Knechtel's electric piano fades away at the end of "Congratulations," Paul Simon, solo artist, has put that Bridge behind him and set off on his solo career. --Steven Stolder ... Read more

Reviews (24)

Simply Simon
After the mega success of Simon & Garfunkel's swan song, Bridge Over Troubled Water, Paul Simon decided it was time for him to pursue a solo career. His self-titled debut is splendid showcase for his sharp songwriting skills as well as his ability to explore relatively unknown sounds. While "Mother & Child Reunion" isn't pure reggae, the rhythmic influences permeate the song. Today everybody knows reggae music, but back in 1972 it wasn't well known in the US. "Papa Hobo" is a great story-song with vivid lyrics that is followed by a jazzy jam of a coda in "Hobo Blues". "Duncan" is a strong coming of age tale while "Armistice Day" is a punchy number. "Congratulations" closes the album out on a strong note. The album is a great start to a solo career and a fine continuation of his work with S & G.

Fine CD, just not top of the line, but among the 70's best!
Probably a 5-star if it was anyone else,but I put Paul on the same level as the three (not 4) ex-Beatles,and Brian Wilson solo.I've always enjoyed this album,even if it does seem overly cute and childish at times. MOTHER AND CHILD REUNION I skip when possible, but DUNCAN,with it's sly mellow humor still rings true,as does RUN THAT BODY DOWN, and CONGRATULATIONS. My favorite here has always been PEACE LIKE A RIVER, a truly original piece nicely backed up with some nice solo guitar too. The rest, for me, are decent enough, but not tip top,like the aforementioned. This is also my favorite Paul Simon solo CD,even though there is nothing here as good as AMERICAN TUNE from Rhymin Simon...A solid job in any case!

awesome
great cd. any paul simon fan should have this one. creative and well written and consistent. run that body down and papa hobo are my favorites. ... Read more

Asin: B000002LBV

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

Odd man out in California's early '70s panoply of singer-songwriters, Randy Newman didn't play guitar, refused to confess specific personal dreams and sins, and sidestepped the counter-cultural trinity of sex, rebellion, and self. Newman dared to be a neo-classical pop survivor, narrative guerilla, and prankster, and no album summarizes these gifts better than this 1973 classic, which found the singer, songwriter, pianist, and arranger spreading his wings to fuse the economy of his songwriting with his lush gifts as a composer. The classic title song mingles its elegiac orchestral bloom with the devastating, deadpanned sales pitch of its slave trader protagonist, while elsewhere Newman wraps his whiskey drawl and laconic piano around acerbic meditations on God ("He Gives Us All His Love," "God's Song"), celebrity ("Lonely at the Top"), nuclear Armageddon ("Political Science"), and sex ("You Can Leave Your Hat On"). Funny, tragic, moving American pop at its zenith. --Sam Sutherland ... Read more

Reviews (18)

Newman Gold
Randy Newman's 'Sail Away' is definitive Newman: ironic, subtle and concise. Musically he demonstrates his mastery of orchestration and the piano, and lyrically he is spot on the mark with cynical and satirical songs about racism ('Sail Away'), religion ('God's Song', 'He Gives us all his Love') and sex ('You can Leave Your Hat On'). Ringing in at approximately half an hour in length, 'Sail Away' is a brief but beautiful album full of humanity, truth and great music. It defines why Newman is considered one of America's greatest songwriters.

This Album Will Make An Intellectual Out of You
Randy Newman is a master of irony. He created symphonic sweep compositions reminiscent of the film soundtracks composed by Alfred and Lionel Newman (runs in the family), then slowly dismantled it like a Jenga game with clever, cutting lyrics. This served him well in the many film soundtracks he scored, and especially well in "Sail Away," his best album and one of my "Desert Island Discs."

You've heard many of the songs here before. The lazy "Dayton, Ohio, 1903" was in a lemonade ad. The solemn "He Gives Us All His Love" ran over the final ironic scene of the 1970 film satire "Cold Turkey." "God's Song" received a bluesy treatment from Etta James, and the stomping "You Can Leave Your Hat On" has been covered by vocal studs Tom Jones and Joe Cocker (Jones'in "The Full Monty"). None of them beat Newman's versions here (although you wonder how Sinatra would've done with "Lonely At The Top," which was written for him).

No less than Brian Wilson wrote the whole of an extra 45, "Mount Vernon and Fairway" on the Beach Boys' "Holland" LP after hearing these songs. Check "Sail Away" for yourself and see how smart you feel afterward. This album is a keeper.

And NOW...
...for something completely different. Randy Newman is a musician that I have always had a fondess for(predating my "Metal" days by a couple of years). I really like his soundtrack work(and still do). However, Randy Newman's masterpiece is truly Sail Away(which I bought at a Borders Books and Music for 10 bucks).

What Randy Newman lacks in voice(honestly, he is not the most vocally talented musician), he makes up for in lyrical creativity and song composition. His piano playing is amazing, but his arrangements with his backing instruments are what really help make this record so great. Sometimes entering the realm of classical, the majority has lounge jazz feel to it. What makes for the real twist is the lyrical potency. Filled to the brim with satire(see; Political Science) and sincerity, his lyrics are what defines him and makes who he is: a great musician. I highly recommend this to any music fans, especially those who want a peak into the mind of a great American songwriter. ... Read more

Asin: B000002KBX

Hard Again
Average Customer Review:
Audio CD (25 October, 1990)
list price: $9.98
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Editorial Review

It's seems strange now to think of Muddy Waters's having to make a "comeback," but that's what the 1977 Hard Again came down to. The great bluesman's first post-Chess recording after 30 years with that company, it marked Waters's major-label debut and eventually went gold. The over-60 Waters lived up to all the attention with one of his most energetic, sustained performances, bettering his original version of "Mannish Boy," pushing "Bus Driver" to a raging peak, and generally sounding like the wisest man on record. Harp player James Cotton and producer-guitarist Johnny Winter are among the support; they both stay out of Waters's way and give as good as they get. --Rickey Wright ... Read more

Reviews (28)

Timeless blues
Muddy Waters was 62 when this album was recorded, and his career had been in decline for several years following a string of mediocre albums. But this tremendous blues record provided him with a startling comeback.

The three Chess classics which were re-recorded for this release ("Mannish Boy", "I Want To Be Loved" and "I Can't Be Satisfied") are the highlights of the album, but the rest is more than worth listening to as well, and the surprisingly "traditional" reworking of "I Can't Be Satisfied" is worth the price of the CD alone. Johnny Winter's incredibly catchy acoustic slide guitar riff sounds like the very best of the 40s, only with all the benefit of the technical equipment of the 70s.
And the opening rendition of "Mannish Boy" is probably the definitive reading of this one-chord classic, with some supremely confident vocals from Muddy Waters, and a rock-solid beat laid down by Willie "Big Eyes" Smith.

The eight-minute slow blues "Bus Driver" may be fundamentally generic, but it benefits greatly from som sublime lead guitar playing by Johnny Winter, and James Cotton's smouldering harp winding its way through the song, and these grade-A arrangements are a big part of what makes this album so good. Cotton plays some really magnificent harp all through this album, alternating between fluid single-note soloing and Rice Miller-like blasts and fills. Johnny Winter's and Waters' guitar playing is gritty and powerful. Joe "Pinetop" Perkins is rolling the ivories. And Willie Big Eyes Smith holds everything together with his subtle, yet powerful drumming.

Mmmm....blues!

4½ stars. A magnificent comeback
Muddy Waters may have recorded better songs than most of the ones on this album, but the super-competent backing band and sympathetic production still makes this a really fine blues record.

The three Muddy Waters classics which were re-recorded for this release ("Mannish Boy", "I Want To Be Loved" and "I Can't Be Satisfied") are certainly the highlights of the album, but the rest is more than worth a listen as well, and the "traditional" acoustic rendition of "I Can't Be Satisfied" is worth the price of the CD alone. Johnny Winter's incredibly catchy acoustic slide guitar riff sounds like the very best of the 40s, only with all the benefit of the technical equipment of the 70s.

Also, the opening rendition of "Mannish Boy" is probably the definitive reading of this one-chord classic, with some supremely confident vocals from Muddy Waters, and a rock-solid beat laid down by drummer Willie 'Big Eyes' Smith.

The eight-minute slow blues "Bus Driver" may be fundamentally generic, but it benefits greatly from som sublime lead guitar playing by Johnny Winter, and James Cotton's smouldering harp winding its way through the song, and these grade-A arrangements are a big part of what makes this album so good.
Cotton plays some really magnificent harp all through this album, alternating between solos and Rice Miller-like blasts and fills. Johnny Winter's and Waters' guitar playing is flawless. And Willie Smith holds everything together with some subtle, yet powerful drumming.

Mmmm....blues!

Bus driver...
Muddy Waters sounds looser here than I've ever heard him. This sounds like some friends getting together for a jam session at someone's home, with dialogue around some of the tracks, spontaneous-sounding vocal contributions from some of the musicians, and just a general laid-back feel. It's loud and raw, great jamming all around, and shows us that not only the young make great music. Waters IS the blues, and this is THE blues record. See if you can find it on vinyl if you're of that persuasion (I liek some thinsg better that way), otherwise it's damn cheap on CD. My local indie record shop was selling it for $8, and amazon's price is great too. Any price would be good for this one. Roll on, Muddy, wherever you are. ... Read more

Asin: B00000258J

Born to Run
Average Customer Review:
Audio CD (25 October, 1990)
list price: $13.98 -- our price: $13.98
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Editorial Review

Few albums are as fueled by hope, possibility, and the lure of the open road as Born to Run, a virtual concept album about small-town Jerseyites in search of a better life via hot-rodding out on the turnpike, scoring some small-time hustle, or blowing out of town altogether, either across the river to New York City or west for parts unknown. Songs like "Jungleland," "Thunder Road," "Backstreets," and the title track are epic productions, both sonically and lyrically, borrowing from Phil Spector, Bob Dylan, Elvis Presley, and West Side Story. When Born to Run was released in 1975, it earned then-unknown Springsteen the rare honor of simultaneous covers on both Time and Newsweek. The attention was warranted then, and it still is now. --Daniel Durchholz ... Read more

Reviews (176)

CLASSIC
A few simple piano notes open up Backstreets. Then a thunderous crack of the drums and the song explodes. Springsteen starts to sing, an old story about a lover lost, and he says things you've felt before. "At night sometimes it seemed you could hear this whole city crying...Blame it all on me, it don't matter to me now."

To open the record, a harmonica comes in and Springsteen, a 23 year old at the time, sings a song about reaching for dreams and running away with someone, "who ain't a beauty, but hey, [she's] alright."

The title track is a blast off heroic rock song. There it was laid down, every ounce of teen angst expressed in one 5-minute song. Listen to it, Born To Run.

The rest of the album plays out street-filled adrenaline music with lyrically intensive canvass filling stories. Springsteen, as a 23 year old, became the future of rock and roll as he made that album. It only takes a couple listens to see why it's still called a classic today.

I love Bruce more than I love my dad
Born to Run is not his greatest album (that description should be reserved for "The Wild, the Innocent, and the E Street Shuffle"), but it's definitely where we see Bruce's poetry at its peak. Starting with the amazing "Thunder Road", the album charts his departure from the small towns in New Jerset to seek a larger audience in New York City.

The album is amazing. Thunder Road is an absolute classic. That song might be his best-written work. "Tenth Avenue Freeze Out" takes him into the city where he puts together his band. "Night" is amazing - every working man's anthem. I must say I'm not a fan of "Backstreets", but "Born to Run" was almost literally an anthem. Then, to close, "Meeting Across The River" serves as a metaphoric gathering of resources to prove his hometown detractors wrong. And finally, "Jungleland" takes the daunting task of taking over the NYC music scene by the short hairs and cements Bruce's standing as the king of music.

Can you tell I like Bruce Springsteen? I grew up with this music, but didn't buy my first Springsteen album until December 2003 at age 32. The music and poetry is staggeringly heart-felt, and this particular album makes the best use of Springsteen's empathetic narrative skills and shows his fans who's Boss.

Heady 70'sRock
This album is fantastic because it brings back to life those wonderful heady, heavenly, tranquil sunny 1970's days.
It is a real masterpiece released in 1975, but still popular today, with sound that is both timeless and rooted in those wonderful 1970's days.
My personal favorites are the rock n roll' exploration of frustrated loneliness and desire for excitement and life - Thunder Road, the bluesy reminiscence of a summer romance that went wrong in Backstreets, the pumping American biker title track Born to Run and the heady Jungleland.

A fantastic tribute to great music and a time of real meaning. ... Read more

Asin: B00000255F

Blue
Average Customer Review:
Audio CD (25 October, 1990)
list price: $11.98 -- our price: $7.99
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Editorial Review

Joni Mitchell would go on from this '71 recording to make more popular, more ambitious, and more challenging albums, but she's never made a better one. Working with minimal accompaniment (Stephen Stills and James Taylor are two of the four sidemen), the Canadian thrush summoned an involving song cycle of romance found and lost. Though Blue is an uncommonly intimate representation, it's also astonishingly open and gracious. Songs such as "All I Want," "Carey," "California," and "A Case of You" work equally well as poetry and pop music. --Steve Stolder ... Read more

Reviews (166)

Stunningly Good
If anyone ever doubts the sheer quality and depth of the singer songwriters of the late 1960s early 70s, play them this album. Joni Mitchell was part of a great wave of clever, sophisticated musicians with plenty to say and the talent and technique to express themselves perfectly. At the time she was one of many, over time its clear that she was one of the best. And among a handful of good albums recorded in the early 1970s this one is her absolute best. Which means its utterly brilliant.

A lyrical and musical masterpiece, subtle yet sophisticated, easy listening, yet profound and sometimes disturbing, Blue seems to get rediscovered by every generation of thoughtful music fans; I first heard it in 1986, 16 years after its release and took great pleasure in introducing it to some college kids recently.

Unlike many works by more famous artists of the era, what really keeps Blue fresh is its wonderful minimalism - less really is more in this case. Most of these songs feature simple accustic guitars leading to a sparse yet beautifully played sound. The musicians (including Taylor and Stills) have impeccable timing, and you won't hear better phrasing, ever. Its this wonderfully minimalist approach that has saved it from dating so badly, unlike other albums of the era and even some of Mitchell's later work such as Court and Spark.

The clean, melodic style and Joni's razor sharp voice make the cold clarity of CD the perfect medium to carry the message. And what a message, or messages there are; how many albums do you know that have no filler at all? The strength of the material is awesome, there really isn't a weak track on Blue, which might just make it unique.

RAW, UNMITIGATED EMOTION SET TO MUSIC
THIS IS IT: MOSTLY, WHEN YOU MENTION JONI MITCHELL, THIS, WITHOUT QUESTION, IS MOST LIKELY THE FIRST ALBUM THAT'LL POP INTO PEOPLE'S HEADS (ALONG WITH THE EQUALLY CLASSIC COURT AND SPARK ALBUM). THESE SONGS ARE WITHOUT DOUBT, NOTHING SHORT OF RAW EMOTION AND BEAUTY (AS CORNY AS THAT MAY SOUND TO SOME). THIS EMOTION IS AMPLY DISPLAYED ON SONGS LIKE "ALL I WANT", "LITTLE GREEN, THE TITLE SONG, "RIVER", AND "THE LAST TIME I SAW RICHARD". SOME SONGS CAN BE SAD AND JOYFUL AT THE SAME TIME ("CAREY")OR JUST DOWNRIGHT SAD ("BLUE", "LITTLE GREEN", WHICH IS ABOUT THE DAUGHTER SHE GAVE UP FOR ADOPTION WHEN SHE WAS 19, AND "RIVER") THESE SONGS TOUCH A SPOT IN THE DEEPEST RECESSES OF THE SOUL, MOVING YOU IN SUCH A WAY AS TO RENDER THEM UNEXPLAINABLE. THE PEOPLE THAT BASHED THIS ALBUM ON LATER REVIEWS SIMPLY DO NOT KNOW GOOD, POWERFUL MUSIC WHEN THEY HEAR IT. IT MAY TAKE A GOOD COUPLE LISTENS TO GROW ACCUSTOMED TO THIS ALBUM, BUT ONCE YOU DO YOU'LL FIND IT WAS WELL WORTH THE PURCHASE PRICE: AND THEN SOME.

the most addicting album ever
"Just before our love got lost you said, I am as constant as a northern star, and I said, constant in the darkness,
where is that at? If you want me I'll be in the bar..." -Case of You, Blue

It takes alot for me to listen to an album over and over and over and over... and still not get sick of it.
i've had "Blue" for about 3 years and Joni still makes it into my cd player more than once every few days.
There are at least 2 songs that most passerbyers would recognize: "California" and "River", but many more to be appreciated.
This album has a beautiful balance of alternating very rich, almost sorrowful songs and whimsical upbeat songs...

"My Old Man" exhibits such simplisticly passionate poetry-
'...but when he's gone me and them lonesome blues collide; the bed's too big the frying pan's too wide...'
"All I Want" gives us an all-around bold, declarative statement that shows her desire to be a part of the grand 'adventure'/excitement that life offers through loving.
'..alive alive! I wanna get up and jive, i wanna wreck my stockings in some jukebox dive. do you want, do you want, do you want to dance with me baby? do you wanna take a chance in maybe finding some sweet romance with me...?'

With the occasional accompaniment from James Taylor and Stephen Stills, this album is worth much more than it's priced.
And as always, the mixture of Joni's voice, her beautiful piano playing, and her amazing lyrics are pure proof
that she is a true uninhibited musician... and she's still going strong. ... Read more

Asin: B000002KBU

Bruised Orange
Average Customer Review:
Audio CD (08 August, 1989)
list price: $12.98 -- our price: $12.98
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Editorial Review

It took John Prine seven years to make his peace with the "New Dylan" expectations that accompanied his critically hailed 1971 debut. Which isn't to say that the Illinois-born singer/songwriter didn't make some fine music in the years that passed between his initial recording and this, a comfortable-as-an-old-shoe collection that signals the start of Prine's settling-in period. Folk-circuit fellow traveler Steve Goodman's sympathetic production suits Prine just fine. The songs, meanwhile, are sprinkled with wise and witty wordplay. "Sabu Visits the Twin Cities Alone" chronicles a misbegotten movie promotion. "If You Don't Want My Love" is an oddly unrepentant exercise in self-pity copenned with reclusive pop producer Phil Spector, while "Aw Heck" is its polar opposite--a sing-it-from-the-rafters celebration of passion ("I could get the electric chair for a phony rap / Long as she's sittin' in my lap"). It's not faint praise to note that Bruised Orange is thoroughly likable. --Steven Stolder ... Read more

Reviews (16)

JOHN PRINE'S GENTLE WIT & WISDOM
This album is filled with examples of the wonderful songwriting, easy delivery and comfortable performing style that define the greatness of John Prine, one of America's finest singer-songwriters. The production, by long-time Prine pal Steve Goodman, is excellent -- clear, uncluttered and unpretentious. Every song on this collection is a gem, and the mood varies like a soft breeze from track to track -- the journey is over far too soon.

There are great examples of Prine's strengths here. His famous humor nudges us in 'Fish and whistle', 'That's the way that the world goes round', 'There she goes', 'Iron ore Betty', 'Aw heck' and 'Crooked piece of time' -- and his incredible poignancy graces 'Sabu visits the Twin Cities alone', 'Bruised orange' and the lovely, haunting set-closer 'Hobo song'.

I once saw Prine appear on the wonderful PBS program 'Austin City Limits' -- and I noticed he was chewing gum on stage during his set. He was probably the kid who chewed it in class as well -- appearing to spit it out when the teacher caught him, then commencing to work on it again when authority's back was turned. Everybody loves a clown -- and this one has a sensitive side as well. This album -- along with Goodman's JESSIE'S JIG (from the same era) is a great example of the genre. Don't miss it.

John Prine "Bruised Orange"
"Fish And Whistle" 5/5
"There She Goes" 3/5
"If You Don't Want My Love" 1/5
"That's The Way The World Goes 'Round" 4/5
"Bruised Orange (Chain Of Sorrow)" 3/5
"Sabu Visits The Twin Cities Alone" 5/5
"Aw Heck" 4/5
"Crooked Piece Of Time" 3/5
"Iron Ore Betty" 3/5
"The Hobo Song" 3/5

"Bruised Orange," is John Prine's fifth studio album. Highlights include "Fish And Whistle" and "Sabu Visits The Twin Cities Alone."

Overall rating: Three and a half stars.

I Beg to Differ
While this album is just as wonderful as the reviewers below have said, and a classic of the singer-songwriter genre, I want to cast a vote in favor of the cut "If You Don't Want My Love" which is much-maligned below. While it has none of the whimsy and humor which characterize most of Prine's work, it is in fact a perfect encapsulation of a bitter cast-off lover's state of mind -- and stays on and on in the memory. It is in fact my favorite cut on the album! ... Read more

Asin: B0000005XV

His Band and the Street Choir
Average Customer Review:
Audio CD (25 October, 1990)
list price: $11.98 -- our price: $10.99
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Editorial Review

His Band and the Street Choir appeared at a time--1970--when Van Morrison was building on the great critical successes of Astral Weeks and Moondance. His third Warner Bros. album contains a number of radio-friendly tracks clearly aimed at the singles market and few clues of the serious, brooding melancholy of Astral Weeks. Kicking off with the jaunty "Domino," the album is generally dominated by uptempo swingers such as "Call Me Up in Dreamland," "Give Me a Kiss," and "Blue Money." The cover photography and liner notes by then wife Janet Planet reveal a smiling Morrison and hint at a newfound personal contentment. This mood did not last long after Van left the artists' community of Woodstock. But even here, in "I'll Be Your Lover Too" and "Crazy Face," there are moments that are essential listening for fans of his sullen splendor and mysticism. --Rob Stewart ... Read more

Reviews (15)

DELIGHTFUL R&B EXCURSIONS
Domino is the catchy slice of soulful pop that opens this great album. Crazy Face has gorgeous organ and I love the rockabilly rhythm and catchy melody of Give Me A Kiss. I've Been Working is an impressive funk workout that actually reminds me of the sound of James Brown; it's awash in exquisite sax and organ. The rousing Call Me Up In Dreamland sounds more like country-soul to me and here again the sax is the hero. Van goes into torch song mode for the brooding I'll Be Your Lover Too. One of the highlights of the album is the brilliant Blue Money with its catchy tune, hypnotic chorus and bubbling beat. (The obscure singer Cristina did a marvellous cover of Blue Money on her now out-of-print album Sleep It Off that appeared on Ze Records in the 1980s). Overall, His Band And The Street Choir is a wonderful showcase of Morrison's delightful take on various R&B styles. Measured against masterpieces like Moondance, Tupelo Honey and Hymns To The Silence, it's not amongst his absolute best, but by any other standard it's a great work that will amply reward the listener.

Hippie Soul
Van Morrison has made so many albums, many vastly different from the one preceding, that it would be hard for a new fan to know where to start. I have a recommendation: get Moondance then get His Band and Street Choir. Together these albums provide the listener with the essential expression of Van Morrison's love of American rhythm and blues.
Most of us have heard Domino and Blue Money. Good as they are for top 40 tunes they are hardly the best songs on the CD. The insouciant swing of Give Me A Kiss and Call Me Up In Dreamland are in stark contrast to the morose introspection that imbues some of his later masterpieces. The hard-driving sax on I've Been Working makes it impossible not to want to dance. If I Ever Needed Someone gives voice to Morrison's deep spirituality and Street Choir seems a scolding antidote to the anti-Americanism that was rife at the time of recording.
Put this CD on, and it will lift you right up no matter how down you are feeling. Out of all his albums, I rate this in the top 5. It is upbeat, it is rock, it is jazz, it is blues, and it is hippie soul at its best.

Vintage Van Morrison
"His Band And The Street Choir" has been called a rhythm & blues-album, but it really isn't. It's a Van Morrison-album, which means that it can't be classified as one or the other.

Filled with saxophones, tasty piano playing, organ flourishes, and acoustic and electric guitars, "His Band And The Street Choir" is vintage Van Morrison - an amalgam of rock, blues, folk, jazz and country.
It is not as innovative and certainly not as idiosyncratic as "Moondance" or "Astral Weeks", leaning more heavily towards classic R&B, but it is a very solid and appealing record.

The muscular rockers "Blue Money" and "Domino", and the joyous, swinging "Give Me A Kiss", are among the highlights, as are the bouncy "Call Me Up In Dreamland", the gospel-tinted ballad "If I Ever Needed Someone", and the upbeat, piano-driven blues "Sweet Jannie", which also features some great lead guitar playing from John Platania.
But everything is worth a listen, really, although not every song is equally great.

To me, "Tupelo Honey" remains Van Morrison's strongest album, but "His Band And The Street Choir" is no throwaway either.
Recommended. ... Read more

Asin: B000002KBD

Belle Album
Average Customer Review:
Audio CD (23 November, 1999)
list price: $21.49 -- our price: $21.49
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Features

• Original recording remastered
• Import

Reviews (2)

a damn good album
dis is a good album and has some really good tracks. the title track is one of my favorite songs of all time. It may be about God and Jesus but it sounds like a romantic song to me and all my friends love it. the other tracks are not as strong but are definetly worth the cost. This is a romantic album even if it is all about Jesus....

Al Green In Transition
In this album we follow Al or rather. he takes us with him as he struggles with a stronger religious based message in his music. Everything that we have come to love in and from Al Green is included on this album. His sexy music and vocal style is still in tact. However, his message is moving toward the gospel arena that we know reached its height in the 1980's with his gospel materials, but he has not quite made it there yet in this album. This is a good album to have in any Al Green collection, and especially if you want to be a devout Al Green disciple. ... Read more

Asin: B00002R0MI
Sales Rank: 18617