Warren Zevon
Average Customer Review:
Audio CD (19 May, 1992)
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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 (24)

4.5 stars - An incredible debut album
Warren Zevon (1976.) Warren Zevon's first album.

One of the most underrated classic rock musicians of all time would have to be Warren Zevon. Those who manage to discover his music often deem him a genius - and with good reason. The only really big hit that Zevon scored over the years was 1978's Werewolves Of London, so many people tend to overlook the fact that Zevon had a career before this. His first LP, produced by Jackson Browne (a legend in his own right), was released two years earlier. Read on for my review.

I must admit, when I first started to listen to this album, I didn't know what to expect. I was one of those people who was only familiar with Werewolves Of London, and no other Zevon material. I started listening without any real expectations of any kind, but what I heard pleased me nonetheless. In this day and age, Zevon's stylings were more along the lines of a singer-songwriter than of the material he would do later on. The result is an album that is solid through and through. From the country-flavored rock of Frank And Jesse James to the ironic humor of Poor Poor Pitiful Me, and everywhere in between, this album doesn't really feature any weak tracks. Many of the tracks on here have been covered by plenty of other artists - Linda Ronstadt is a major one. There are also plenty of famous guests on this relatively-unknown album, including Lindsay Buckingham of Fleetwood Mac. In the end you're left with an album that's solid through and through, and likely won't fail to please.

So far (as of October 15, 2004), there is only one version of this album available on CD - and that's the original CD issue. I don't really have any complaints with this issue of the album; the sound quality is fine and the liner notes are decent. However, it seems to be becoming increasingly difficult to find, which gives me the indication that it may be out of print. The record company should seriously consider doing Warren Zevon remasters/reissues - it would be a very good way to pay tribute to him.

There's not really a whole lot else I can say. Warren Zevon's 1976 self-titled debut LP was the beginning of a spectacular musical career that never really got the credit it deserved. If you're new to Zevon, what better place to start your collection than from the beginning? This is a strongly recommended album. If you find it, buy it.

Warren Zevon's First Album Is Great
Warren Zevon's first album is great. There are lots of really funny songs here, such as "Poor Poor Pitiful Me" and "I'll Sleep When I'm Dead", but Zevon is no novelty act. You should get this CD and the next three at the same time.

Blossoming Under the Eaves
When Warren Zevon got the chance to make his first real album, he was more than prepared. He had a couple misfires ("Wanted Dead Or Alive" and the Lyme and Cybelle sessions) that you can easily pass up, but like John Mellencamp, he learned from the experience and came back strong. Although the associations with Jackson Browne and Linda Ronstadt drew in many first (including me), "Warren Zevon" had less to do with the whole Southern California scene and more to do with great western novels and hard-boiled film noir detective stories. "Frank And Jessie James" put that notion to the fore immediately, as the heroes' exploits are chronicled in a very literary manner. (It is also a precursor to the more outlandish "Roland The Headless Thompson Gunner.") There was less of the dreamy romanticism of Jackson or the Eagles and a much tougher edge to a ballad like "Carmalita" and her wretched loser of a heroin addict boyfriend, and a heck of a lot more genuine pain to "Hasten Down The Wind." Even sweeteners like the Beach Boys chiming in at the end of "Desperados Under The Eaves" couldn't take away from the rapier wit of the writing.

Warren's ironic sense of humor surfaces most clearly on "Poor Poor Pitiful Me." Complete with Lindsay Buckingham's exuberant background vocal and a hall of fame lyric that rhymed "gender" with a "Waring blender." Lest we not forget the racy final verse - the one Linda left off the hit version - and Warren's admonishment at the song's end to "never mind!" rather than describe the experience. There were enough endearing moments of such contradictory genius that I remember being floored when I first bought this album in the seventies, and being in high anticipation of his next. ... Read more

Asin: B000002GY5
Subjects:  1. Album Rock    2. Pop    3. Rock    4. Singer/Songwriter   

Shoot Out the Lights
Average Customer Review:
Audio CD (01 July, 1991)
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Editorial Review

Real life intruded on Richard and Linda Thompson and turned Shoot Out the Lights into a harrowing masterpiece. The collection was difficult to create. Tracks from an aborted first attempt to record the album ended up on the Richard Thompson anthology Watching the Dark and the history of Linda Thompson Dreams Fly Away. It also became their final record together, lending extra poignance to such classically grim Richard Thompson titles as "Did She Jump or Was She Pushed" and "Wall of Death." The combination of Richard's inventive guitar work; his ragged vocals; and Linda's fragile, beautiful singing, all suffocatingly emotional, backed for the most part by longtime Thompson associates from Fairport Convention, make Shoot Out the Lights essential.--David Wolf ... Read more

Reviews (42)

hard to explain
this album could not be any better.you've got to hear it for yourself, and i recommend you do so many times.it's too bad richard and linda had problems with their marriage, but i think they channelled that and fireballed it into this perfect record.i only have the regular cd of it, but it sounds just fine.

Just the motion
Absolutely great but, like one of the other reviewers, didn't 'get' this CD for about a year. Music is harder to like than 'I Want to See the Bright Lights' etc but the more you listen to it the better it gets. Amazing that after all the brilliant stuff Richard Thompson had been involved with from Fairport onwards, he and Linda Thompson could still produce this. Not sure which is best - the wonderful music or hard-hitting lyrics.

You Can Take Your Chances (* * * 1/2)
On one hand, Shoot Out the Lights is one in a long tradition of "break-up albums" like Blood On the Tracks, Here My Dear, Rumours, and, more recently, Sea Change.However, it is true that several of the songs on this CD were written a few years before they were recorded.(And anyone familiar with Richard Thompson's catalog knows that songs about love gone wrong need not be a coincidence.)It is also true that these songs were actually recorded as the Thompsons were in the throes of divorce.So while this fact makes the record cut deeper, it cannot be accurately reported that all of its songs were directly inspired by the break up of the artists recording it.The soap opera drama of the music may lose a bit of its immediacy, but it still has plenty of ground to stand on.(One more note on the backstory: from what I know, it was Richard who wanted the divorce so that he could marry a woman he met in America.)

Almost any review of Shoot Out the Lights describes it a heart-wrenching masterpiece.Hence, any first-time listener will expect such a reaction."Don't Renege on Our Love", the opening track, fulfills these expectations beautifully.With a bass line and muted guitar riff that seems to represent the racing pulse of its pleading and impatient singer, this is not the most inviting way to open a record.But it achieves itsintention perfectly: this is what you are in for on this CD, and stop listening now if you can't take it.At the end of the song, one is left wanting to know how the singer's pleas have been answered.(To the extent that it is autobiographical, we sort of already know the answer.) This is not only a great song but an ideal opener for this CD.

Similarly, "Wall of Death" is also not only a great song, but a perfect closer.Despite that title, the song actually provides a light at the end of the tunnel that seemed impossible at the beginning.Granted, it is a dim and flickering light, but the song has a literal and figurative "win or die trying" feel to it, and Richard and Linda seem happily relieved as they sing a whole song together for the only time on the entire disc.The Wall of Death appears to be a carnival ride, but its symbolism is clear enough.Or is it?Might the song also be interpreted as being about a person's decision to commit suicide?Perhaps, as the decision to do so is said to bring with it an overwhelming sense of relief.Moreover, the lyrics repeatedly suggest that any and all other options are simply not worth it, e.g., "Maybe you're strong, but what's the use of ringing a bell?"The song keeps the listener guessing.Whether the Wall of Death is just a carnival ride or a symbol of something deeper, the fact that this is the most singable track on the CD says a lot about the overall mood of the record.

So given what the informed first-time listener expects, Shoot Out the Lights is perfectly book-ended.It opens with palpable uncertainty, and ends with a very fragile sense ofresolution.One enters and exits the record with great songs, and with a sense of what was going on behind closed doors with the Thompsons.Now, to what extent do the in-between tracks live up to these standards?

Well, some do so beautifully, and others falter a bit. Linda's voice is weary and nakedly emotional on"Walking on the Wire," which sounds like the best thing she can give as an answer to Richard's pleas on "Don't Renege on Our Love."Considering that Richard wrote all the lyrics (except for "Did She Jump", which was co-written with Linda), one wonders who is singing whose sentiments, or if their feelings are mutual and that Richard knows it.The one-two punch of these songs allow each of them to make their respective opening remarks."Just the Motion" ' also sung by Linda ' is a song of complacent despondency.It is a bit longer than it needs to be, but is good before it gets repetitive.Richard's best song of the middle bunch is "Shoot Out the Lights," which doesn't really keep with the theme of a dissolving relationship, but fits the tone of the record with its tale of suicidal despondency (there's that word again).This adds up to five really good songs.

Then there's the not-as-good stuff."A Man In Need" has a great title for a record like this one, but it squanders its opportunity by sounding too happy-go-lucky.And the guitar work is a bit too conventional for a master like Thompson.The upbeat tone of the song might serve as an ironic counterpoint, but one cannot help but wonder if it would have worked better had it been presented in more of a Leonard Cohen fashion (which Richard is capable of doing). The song does suit the record well, though, with the singer reminding his lover that the two can neither stay together nor be apart happily. "Back Street Slide" is catchy, but also ineffectively bitter, as Richard seems to be venting his anger toward women by singing about, well, disreputable women (for lack of a particular better word). Finally, "Did She Jump...?" is another lost opportunity.It has a certain creepiness, but that title just can't help but sound quite forced when sang.

Thus, Shoot Out the Lights is a CD with five really good songs on it.Is it a truly great record from beginning to end? Not really, as the quality of the songcraft is uneven.The singing is uniformly strong (even if Richard's voice is an acquired taste), and the guitar playing is great, but this record isn't really intended to be a showcase for Richard's mastery of the instrument.Moreover, SOTL is not a total downer, as it is as often uptempo as it is slow-tempo.The emotional effect is strong while the CD is playing, and while some of the lyrics cut like knives, I cannot honestly say that the effect lingers in between listens.If you are able to hear the album without buying it first, do so.If you like what you hear, buy it,because it is good enough that you will want to return to it, and the good songs on this CD are not conveniently anthologized. So, like the Wall of Death, you can take you chances on Shoot Out the Lights.And also like the Wall of Death, the results may be astonishing or disappointing.

(PS: If this CD is not as good as you expect it to be, don't blame The Thompsons.It is not the responsibility of the artist to preemptively live up to what critics are going to say.And I am going to see Richard in concert on March 26th. Hopefully I will get to find out how a few of these songs sound live.) ... Read more

Asin: B000000612
Subjects:  1. Pop    2. Rock   

Pet Sounds
Average Customer Review:
Audio CD (13 July, 1999)
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Editorial Review

If you need some pointy-headed pundit to sell you on the merits of Pet Sounds, your money might be better spent on an ear specialist. Brian Wilson's gift to 20th-century music elevated this pop album into a beguiling musical and emotional cogency that still operates outside pop culture's fickle space-time continuum--and limited critical lexicon. There's never been another record to compare (Rubber Soul, its inspiration, is close; Sgt. Pepper's, its response, misses the point), and certainly no album has been as dissected, overanalyzed, and predigested for public consumption. In 1997 Capitol Records devoted an entire four-disc box set, The Pet Sounds Sessions, to its thorough deconstruction. The techno-marvel centerpiece of that project--the album's first true stereo mix, painstakingly conjured out of multitape session sources by producer-engineer Mark Linett (under Wilson's supervision)--was at once heresy and revelation. Now the label has gratifyingly seen fit to offer both mixes on a single disc (along with alternate versions of "Hang On to Your Ego," the original title of "I Know There's An Answer"), an idea that should please the orthodox and heretics alike. And while the album has always clearly been The Brian Wilson Show featuring the Beach Boys, David Leaf's concise new notes attempt to be more inclusive of a wider band perspective. The result (three of the five band members claim credit for the album title) sometimes resembles Rashomon. If Pet Sounds forever crystallized the band's various creative (in)differences, it also became Wilson's grand karmic joke on his band mates; its burgeoning reputation (Mojo magazine's panel of pop experts once elected it greatest album of all time) guaranteed they would sing its songs--and praises--until the end. And if putting two different versions of the same album on one disc seems like overkill, look at the bright side: it's a perfect excuse to listen to the glorious Pet Sounds twice. --Jerry McCulley ... Read more

Features

• Extra tracks
• Original recording remastered

Reviews (234)

Wilson's great album
"Pet Sounds" is the Beach Boys masterpiece, some kind of reply to the contemporary folk rock music trend at the time. Beach Boys previous music had been mostly about summer, sun, beach and surf but finally Brian Wilson decided to get serious and write songs about more deep and personal issues. This album is considered among the best of all time and it did influent many others in the future. The sound of this album was very unique when it came out and it's a beauty to the ear aswell. Folkish sound with the classic Beach Boys sound singing in voices.

After the Beatles "Rubber Soul" was released Wilson wanted to reply to that and that's what he did here in his own way ofcourse, the music in the mid 60's had changed alot from the early part. It's difficult to not comapre the two albums though, some people even rate this as the greatest of all albums, agead of Rubber Soul and Abbey Road, I don't. Rubber Soul was the most influentual album for rock music in the 60's but Abbey Road is my favorite album. I don't think we should compare the albums with each others actuall. Beatles is Beatles, and Beach Boys is Beach Boys. The Reason I'll only give 4 stars however is that I feel that there isn't enough variety on this album. Most songs if not all were Wilson pennned and most songs are emotional midtempo or ballads. With Beatles, there were atleast 3 diffrent writers on most albums and the music they made at this time were more contemporary rock infleunted and most songs sounded very diverse aswell and gave them many more hits then "Pet Sounds" did, which only had 2 big hits "Wouldn't it be Good" and "Sloop John B". I'm not trying to take anything away from this album though, it's a very good album on it's own right.

There are many good songs here. "Wouldn't it be Good" one of a few uptempo songs here and a big hit aswell. "That's not me" and "Don't Talk" are both good balalds. "I'm waiting for the Day" is a midtempo folk rock song. "Let's Go Away for a While" is instrumental. "Sloop John B" is a midtempo song and also a major hit. "God only Knows" is a great ballad, and "Here Today" reminds me abit of "Good Vibration" based on the musical backround in the beginning and in the end it actually sound very much like "Eye of the Tiger" from Survivor. "Hang on to Your Ego" is a uptempo song aswell with great instruments.

Overall, a great 60's album worth your time, with quite a few top hits that influented the contemporary music back then.

A Symphonic Pop Masterpiece
You read the title right. This album is better than anything the beatles ever did.

Part 3 of the trilogy of reviews for Dad's Birthday.
Ok, now this is the 3rd of a trilogy of reviews I'm doing as a birthday present for my dad.The first was Sargent Pepper, the second was Blonde on Blonde, and now this Beach Boys record. Click on the part at the top of this review that says "See all MY Reviews" to read the entire trilogy. Once again, I am going to apologize to all the fans of my reviews because I'm only reviewing these old records for my dad.He thinks it will be some kind of bonding for me to listen to stuff he likes.Iv'e made it through 2 so far.This is NOT easy, and I probably won't do this again.He better appreciate this.I could be reviewing things that I like and actually enjoying myself.Ok, let's get this over with.

Ok, I'm looking at the cover...it's green. It says "Beach Boys"....and it's called.....Pet Sounds!?What...what the........the Heck is "Pet Sounds"?Oh god, why me?You would not believe how stupid this looks.The Beach Boys (who are no where NEAR any water by the way) are petting some animals on what appears to be a farm.They look soooooo dumb.One of them has this really stupid beard and everything too.What IS this?Animal sound effects?Like cows and horses and crap?Forget it.I'm not doing this.Dad, I tried, I really did, but I don't want my fans to think I'm getting soft.And what if I got caught listening to it by someone at our house?I would be embarrassed even if Morris saw this and he's a dog. Actually I'm just going to put the record in Morris' mouth and he can do the review.He seems to like it.

Ok dad, I really wasn't trying to hurt your feelings with my trilogy of reviews of your favorite records, but the people that read me expect me to be honest and to the point.It's not worth it to fake a good review of this stuff when my reputation is on the line.In the long run, they will be the ones putting food on the table when I go pro and finally get to move out.Happy Birthday.Oh, and to you guys out there, I apologize yet again.The REAL reviews will resume ASAP.Later. ... Read more

Asin: B00005ASHM
Subjects:  1. Pop    2. Rock   

Rumor and Sigh
Average Customer Review:
Audio CD (21 May, 1991)
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Editorial Review

His odyssey through British and American folk and rock has taken Richard Thompson from Fairport Convention's initial stabs at becoming England's Jefferson Airplane to deserved status as an inimitable guitarist and songwriter; "possessor of the magic touch," as the Fairport anthem "Come All Ye" aptly dubbed him. Also playing Stratocaster, acoustic guitar, or mandolin, he has written an astonishing body of songs that can time-travel from moor and meadow to factory town and cyberspace and keep both tragedy and farce in focus. This superb 1991 solo album is no exception. Spurred by his darting electric jigs and reels, up-to-the-minute and old as the hills, the set juggles traditional forms and modern production to comment on sex education ("Read About Love"), homicide ("I Feel So Good") and, as always, love gone wrong ("I Misunderstood") or tragically interrupted ("1952 Vincent Black Lightning," at once a gentle parody of Beach Boys car songs and a rigorously constructed acoustic ballad).--Sam Sutherland ... Read more

Reviews (29)

Catchy, funny, misanthropic, poignant, amazing...
1991 was probably a great year for Richard Thompson. "I Feel So Good" could be heard on countless radio stations. Listeners kept asking "who is this guy" and some maybe even picked up a few of his earlier releases. In that year, and thanks to that song, many many people heard Richard Thompson's music for the first time. Capitol marketed this album like no other Thompson album hitherto. At that time everything probably seemed ok between Thompson and his first major label. He has since fallen out with Capitol. They unceremoniously dumped him after 1999's "Mock Tudor". An indie label, Cooking Vinyl, released his latest CD (also worth a listen) and "Rumor and Sigh" is one of the few albums from Thompson's Capitol years to remain in print.

The album well deserves a continued and long life. From the first to the last song it keeps its delicious solidity. One of the best darn albums openers ever, "Read About Love", hammers out a story about a man who thinks he knows women because he's "read about love". It contains some of Thompson's most entertaining but disturbing lyrics (it's hard to decide if one should laugh or cringe at the story being told): "So Why / Don't You Moan and Sigh? / So Why / Do you sit there and cry? / I do everything I'm supposed to do / If something's wrong it must be you / I know the ways of a woman / I've read about love". This track deserves a place in Thompson's song Hall of Fame. "I Feel So Good", arguably a "hit", is a catchy sadistic number that happily found its way onto the airwaves. How many intelligent musical portraits of sociopaths can one hear on pop radio? Hmm... there are so many... it's easy to lose track... but here's a hint... NEXT TO NONE!!!!

Most, if not all, of the songs on this album stand out like neon on black velvet. Some, however, stand out even more, including: "Grey Walls" with its accurately morbid picture of mental illness; the solo acoustic "1952 Vincent Black Lightning" about amotocycle enthusiast who meets his end in the fine tradition of tragic folk songs; "Keep Your Distance" continues Thompson's almost obsessive theme about obsessive love - anyone and everyone can likely identify with the message here; "God Loves A Drunk" waxes on the problems of life, choices, and religion. The album ends on a very very bizarre and incongruous note. Is "Psycho Street" a pardody? An attempt at humor? An attempt to shock? Juxtaposed with the rest of "Rumor and Sigh" it almost seems misplaced. Nonetheless, Thompson was probably just having fun, which he greatly deserves after producing such an amazing album.

"Richard Thompson for Beginners" would suffice as a subtitle to "Rumor and Sigh". No better album exists to introduce a curious skeptic to Thompson's music. Though a great place to start, it's not a great place to end. This album represents only one mere phase of Thompson's long and diverse career. Hopefully those taken in will look to his other works after lapping this one up.

Thompson Unleashed
If you like what you've heard about Richard Thompson, but haven't heard anything he's actually done, this may be the record to start with.

My first Thompson forays were into early Fairport Convention.Gorgeous music, some of the rockingest, most melodic folk ever made, and if you've heard a lot of music and have patience, you can hear how much he contributed to that sound.His contributions as songwriter, even back then, were formidable indeed.But I consider his Fairport instrumentation pretty much buried in the mix, with the exception of a few songs ("A Sailor's Life," "Sloth," and "Poor Will and the Jolly Hangman" come most readily to mind).Those of us who didn't hear his extended Fairport soloing live feel cheated.

As I've gotten into Thompson, I've better appreciated his guitar work and especially his writing talent.But "Rumor and Sigh" is the record on which he cuts loose most on guitar, if you ask me.It thunders, wails, rambles and soars."1952 Vincent Black Lightning" belongs on anyone's list of acoustic folk-blues classics.The first song, "Read About Love," not only makes glorious hash of the notion that good sex is simply biological, but features a rock wall of sound like few things Thompson has done."I Feel So Good" is about as feel-good as rock and roll gets, if you, um, ignore the lyrics.Or better yet, accept the tongue-in-cheek violence and anomie that is so much of what makes Thompson's songwriting, um, fun, that's it!A full complement of Thompson's strange takes on love, hate, sex and the weird admixture among the three are sprinkled throughout, with ringing Thompson guitar (witness the thoroughly insane - lyrically and instrumentally - "Mother Knows Best."If you find a better raveup - anywhere - just buy it, whatever you have to scrape up).

Find out what all the fuss people haven't been making (and should) is all about.Get "Rumor and Sigh."

Wow!.
This really is a very good Richard Thompson record.

I know that some folks don't care for the series of Thompson records that Mitchell Froom produced, but really I don't see what the fuss is. Thompson's palette has always been too rich for him to be conveniently pigeon-holded as "folk" or "folk rock" or "traditional". He's beyond such labels. On Rumor and Sigh Thompson superimposes himself on the pop trimmings and AOR production and delivers in resounding style.

Appraisals of Richard Thompson always focus (with very good reason) on his guitar playing and songwriting, but it's his vocal performance that delivers the knockout blow on this record. He's convincing and totally comitted. The backing musicians - all of them top-notch players in their own right - match him at every step and the result is a record that packs a huge musical and emotional punch.

The songs here are superb, laced with Thompson's dark wit and his knack for juxtaposition. A highlight is the unforgettable 1952 Vincent Black Lightning which is one of the best and best loved songs of his extensive and rich ouevre. But it doesn't stop there: God Loves A Drunk is an unerring and wrenching shot across the bows of the pious. Mystery Wind is a spooky country blues that, like the wind in the song, finds it's way into all the nooks and crannies of life that we prefer not to acknowledge. I Feel So Good superbly marries a happy even carefree melody with a violent lyric about a sociopath just out of jail. Why Must I Plead is a stax-style soul ballad that breaks into a beautiful fiddle solo. Backlash Love Affair verges on heavy metal and uses medieval wind instruments to great effect.

Thompson only really cuts loose with the electric guitar on two numbers (Mother Knows Best and the aforementioned Backlash Love Affair) whilst 1952 Vincent Black Lightning is a less obvious display of his virtuosity. But for Thompson guitar heroics have always been a means rather than an end.

The only fly in this superb ointment is that Thompson perhaps does too much. Don't Sit On My Jimmy Shands, the joky tribute to Scottish dance music, and the disturbing Pyscho Street are by no means bad songs but are perhaps cleverness for the sake of it and unwanted details on what is already a rich and powerful offering.

Above all this is a satisfying record - superbly conceived, powerfully executed, by turns disturbing and moving, yet always accessible and hearfelt. ... Read more

Asin: B00000DRC3
Subjects:  1. British Folk    2. British Folk-Rock    3. Folk-Rock    4. Pop    5. Rock    6. Singer/Songwriter   

Naturally
Average Customer Review:
Audio CD (25 October, 1990)
list price: $11.98 -- our price: $10.99
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Reviews (10)

fantastic album
I was lucky enough to live in a town when I was a kid that had a great radio station.No top 40, just great music.Exposed me to a lot of music that nobody else played.I was lucky enough to hear songs off of this album, bought it when it first came out, and then saw him in concert!He was great, and I was amazed that he was playing a cheap banged-up Harmony guitar, just like I had bought at Sears for about $50 (yeah, you could buy guitars at Sears back then).I saw him on a concert tape or tv years later, and he was still playing that old guitar.

Just saw him on the "Crossroads Guitar Festival" DVD.I would get this album and that DVD.

He's our secret
Actually, I am glad that Cale is not better known. I want to say to casual browsers reading the reviews "If you hadnt' heard Cale play before, dont buy it!".Its like having a big secret that only a few share. I dont want more fans and publicity to make him a superstar. I want him to remain as he is - reclusive, releasing an album every few years, very low key.
And its as much the man as his music - I mean, look at the principles he has - no publicity while any second rate self publicity would have jumped at 15 mins because of the quality and calbre of artistes who have covered or been influenced by him
"After Midnight"
? Chet Atkins, Maggie Bell, Eric Clapton, Jerry Garcia, Sergio Mendes, Bob Wilber Quintet.

"Cajun Moon"
? Randy Crawford, Cissy Houston & Herbie Mann, Maria Muldaur, Poco.

"Call Me the Breeze"
? Allman Brothers Band, Bobby Bare, Johnny Cash, David Allen Coe, Lynyrd Skynyrd, Mason Proffit.

"Cocaine"
? Eric Clapton, Nazareth.

"Crazy Mama"
? The Band, Larry Carlton, Redbone, Johnny Rivers.

"I Got the Same Old Blues"
? Captain Beefheart, Bobby "Blue" Bland, Bryan Ferry, Freddie King, Lynyrd Skynyrd.

"Lies"
? Asha Putli.

"Magnolia"
? Deep Purple, Jose Feliciano, Poco, Chris Smither, Pat Travers.

"The Sensitive Kind"
? John Mayall, Santana.

"Travelin' Light"
? Eric Clapton, Widespread Panic

Album wise
Hey- this has Clyde (love that song)
and Call Me the Breeze
and Nowhere to Run
and Crazy Mama
and Magnolia
and every other song

most of the time - listening to cales music makes me think of ripples on a pond, under the moonlight- find it irresistably visual as well as aural

Music History: Clapton's and Knofler's Mentor
If you think "They Call Me The Breeze" sounds exactly like "Lay Down Sally" it's no accident. Clapton openly credits J.J. Cale with much of his "shuffle" influence. Likewise Knofler, though "Really" was probably his favorite album.

This album is straight out of the 70's and very home-made sounding. They actually used a wooden Coke case as an percussion instrument. The engineering is poor, but adequate. Lots of things jump out when they could have been much better handled. We didn't care much in those days, but now it can be jarring.

J.J.'s "Really" album is the other great opus, and most of the songs are better engineered, with real studio musicians (fantastic piano and bass & better drums). J.J. is not better known because he didn't WANT to be better known. At one concert where he was sitting in on guitar he almost fell off his stool when the spotlight landed on him. Important music history here. ... Read more

Asin: B000001FK3
Sales Rank: 8758
Subjects:  1. Blues-Rock    2. Pop    3. Rock    4. Singer/Songwriter   

The Turning Point [Bonus Tracks 2001]
Average Customer Review:
Audio CD (30 October, 2001)
list price: $13.98 -- our price: $13.98
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Features

• Live
• Original recording remastered

Reviews (17)

What? No drummer?!? YEAH!
And it's GREAT. Read the other 5-start reviews, they're all correct, this is unique stuff. Sometimes very laid-back meandering, sometimes very uptempo.
By the way, if you like this one, you might enjoy Steve Winwood's "About Time" even if his other work doesn't thrill you

A Perenial Classic Revisited
This is John Mayall at his creative best. At a time when music was getting louder, Mayall took it down a notch. Believing that each instrument creates it's own rhyhm, he eliminated drums from his music and set out on his sojourn. The result is "Turning Point." This recording not only changed how I looked at the blues, it changed forever how I looked at music altogether!

Amazing is all that need be said!
Blues, Jazz, Rock and Folk all rolled into one.This recording is as innovative today as it was then.Unplugged before unplugged was trendy.The musicianship is masterful.There has never been quite another recording like it.Highlights are "Room to Move" (an FM radio classic in the early 70's) and "Laws Must Change" and having some extra tracks is a welcomed plus.This is a must in every old hippie's music collection. Enjoy! ... Read more

Asin: B00005R8FI
Sales Rank: 3714
Subjects:  1. Blues    2. Blues Revival    3. Blues-Rock    4. British Blues    5. Electric Harmonica Blues    6. England    7. Leader    8. Pop   

Nervous Night
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Audio CD (25 October, 1990)
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Reviews (19)

The Definitive Hooters Album
NERVOUS NIGHT is the definitive Hooters album. On this record, the group's unique blend of new wave, Midwestern rock, California country-rock, Southern boogie rock, and acoustic folk breaks out of the starting gate fully formed, with highly empathetic lyrics and vocals topping it all off. Many of the songs have biblical over- and undertones, with admonitions about troubles in the distance looming throughout. This album is an absolute must for anyone interested in the Hooters.

Powerful Debut- how didn't they become Superstars?
Back in 1985 and 1986, a band called "The Hooters" appeared on the music scene that seemed to have the promise of a great future.They had a debut album, "Nervous Night" that was garnering a lot of attention in the music industry. Although it wasn't a Top 10 album and didn't produce a #1 single, most were in agreement that The Hooters were destined for Superstardom.In fact, many people believed that 20 years later - the name Hooters could be associated as one of the legendary bands in music history.It's sad to say that Hooters is more known for being a restaurant and bar chain as opposed to a music band.Many things would go wrong for the band following "Nervous Night" - they were never able to capture the commercial success or critical acclaim they had back in 85 and 86. Yes the band is beginning to have a bit of a renaissance in Europe,but nothing that would approach what they saw when "Nervous Night" was released.

The Hooters seemed to have arrived at the perfect time.At the time "Nervous Night" had been released, the 80s music landscape was beginning to change. It was during the time of 1985 when the 80s music landscape began to move away from Synth-Pop toward a more guitar laden sound. Artists such as Bruce Springsteen and John Cougar Mellencamp were leading this charge."Nervous Night" - while it did have its share of strong keyboard work by co-founder Rob Hyman was still an album that captured this guitar laden sound. It is kind of ironic that The Hooters were in the middle of this transformation. Co-founders Rob Hyman and Eric Bazilian were involved in one of the most celebrated albums that is seems to be associated with the Synth-Pop sound - Cyndi Lauper's "She's So Unusual" album.On "She's So Unusual", Hyman was a co-writer with Lauper on one of the most critically acclaimed songs "Time After Time". Both Hyman and Bazilian contributed background vocals and instrumentation (Hyman: Keyboards and Hooter;Bazilian: Guitar, Bass, and Saxaphone). With a solid body of work on "She's So Unusual", Hyman and Bazilian took the next step in launching a debut album for their band.

The biggest hit song on the collection was "And We Danced". This is a very catchy song, but I think there is more than just a catchy song when you crack the surface of this track.There is almost a "retro/throwback" like quality to this track - something that was a popular thing to do during this period.This sound was also heard in artists such as John Caffertyand John Eddie.Lyrics such as "She was a be-bop baby on a hard day's night;She was hangin' on Johnny" is a great example of this. The whole song has a reminiscent quality to it - and it is very enjoyable."Day by Day" in a lot of ways is the perfect song to follow "And We Danced".It has a similar type of "feel good dance feel to it"."Day by Day" doesn't have a reminiscent quality to it.This song looks more to the future. There is some terrific mandolin by Bazilian as well as as some strong guitar work.

While those first two tracks are very nice songs, the powerful songwriting that Hyman demonstrated on Lauper's "Time After Time" isn't heard until the third track, "All You Zombies"..When I first heard this track, - this really made me a fan of the band.The song has one of the great instrumental openings I ever heard in any song.The opening is dominated by some terrific guitar work that also contains keyboards. The nearly 1+ minute intro does great to create a setting to sing about the Old Testament's Moses and Noah.There also is another terrific instrumental bridge about 4 minutes into the song that features some more powerful guitar work - as well as some stellar drumming by an unsung hero of the album, David Uosikkien.This song drew some criticism from the Christian sector, but I do think this is one of the most powerful tracks of the collection.

The seventh track, "Where Do the Children Go" did get some airplay and also is an example of some terrific lyrics.This song deals with youth - and how youth is often misunderstood and led down the wrong path. This song features some outstanding guest vocals by Patty Smyth of Scandal.It's Patty's vocals that give this song a very special quality.

Although the other tracks might not have gotten airplay, there is some terrific stuff."Don't Take My Car Out Tonight".This song has much more of a Synth-Pop feel - but it is still a good track.This might not have the strong lyrics of "All You Zombies" or "Where Do the Children Go", but it has some terrific instrumentation.Uosikkien has some nice drum work and Bazilian has some of his best saxaphone work at the end of the song.Also worth noting is the title track "Nervous Night". This track takes a little to grow on you. While not a blues song, this song almost gives you a feel of a song you would hear on a Mississippi River Riverboat. "Blood From a Stone" is the collection's finale.It features more Mandolin work that give this song an "up tempo folksy feel" - even a Bob Dylan feel to some extent.The song describes the expression "You can't get blood from a stone" There are also some lyrics not published in the liner notes that do use some mildly strong language.

Most of the lyrics to the songs are included (as the exception in "Blood From a Stone" is noted).This is a fabolous debut album. This should have been the start of something special for Hyman, Bazilian and company.It's a shame they failed to recapture the magic of this album. I'd highly recommend it.

A little dated, but still a nice album
This is a pretty good album, the sound is kind of dated in places but there are enough strong tracks to elevate it past that. I found a near mint copy of the vinyl in a thrift store for 50 cents and it's a great sounding record. Not sure how well the CD is mastered. Interestingly, the record cover says "Cassette contains one bonus track" but it has the same song lineup as the CD.

I got a laugh from the reviewer who said: "'She Comes in Colors' feels like a knockoff of the Rolling Stones' 'She's A Rainbow'". It's actually a cover of a song by a great 1960s California group called "Love" that came out nearly a year before the Rolling Stones song did. If anything, the Stones ripped off the Love song. ... Read more

Asin: B000002636
Sales Rank: 8622
Subjects:  1. Pop    2. Rock   

Vision Thing
Average Customer Review:
Audio CD (13 November, 1990)
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Reviews (31)

night ride on eldritch boulevard
people who bash this album for not being "floodland II" are not to be taken seriously; they're simply being too narrow minded.
most of the reviewers here have either downloaded a couple of tracks from this album or have been 'reviewing' the album based on somebody else's opinion, and it painfully shows in their writing. this band deserves far more respect.
vision thing prides itself to possess one of the most devastating openers (no matter how many 'sorry trends' it lead to) ever. eldritch is truely a wizard when it comes to bore-free, minimalistic melody making. you get 8 minute long songs which are and will never sound too long, irresistibly persistant melodies carrying vitriolic but most of the times, abstract lyrics. the robotic feeling of the album, served courtesy of eminent drum machine Dr. Avalanche, brings back the best moments of floodland, making of vision thing, a logical projection of its predecessor. ranging from pure hard rocking goodness (title track, when you dont see me, dr jeep...) to otherwordly gothicness (ribbons, arguably their most 'goth' song), this album spans over 40 minutes of incredibly varied music and, sadly enough, finishes while we have just started to love it, not getting enough of the vicious three guitar attacks, the devastating drumbeats, the guy's voice, or maggie reilly's backing vocals. owe it to yourself to ignore the sillies who obviously gave this album no more than a three minute listen (that is, if ever!) before deciding that floodland or FALAA are more 'goth'...
for once, ignore the labeling and discover the music, that shouldnt be fitting a given genre in order to be enjoyed.
enough said...

Less goth, "More" metal.
Though I admit this isn't as good as "First And Last And Always" or "Floodlands", I still really like it. "Vision Thing" has been knocked by some for being too commercial, or too sell-out, but I don't really see that. I just see it as really good goth-metal, not quite like "Type O Negative", but good. In fact, I don't see how someone could like their other albums, and not this one, it's still very similar. "More" seemed to be the only hit from this, but I also really like "Detonation Boulevard" and "Vision Thing" too. Also, "Doctor Jeep" has a great repetitive driving beat, and is great for, well, driving. I also enjoy the two slower tracks "Something Fast", and the great closer "I Was Wrong". Actually let me say that I really love every song besides "When You Don't See Me", which is still ok. Four of these eight tracks made it onto their "Greatest Hits" album, though in different forms. Overall, I call it a strong, yet 3rd place finish to their three proper albums.

Not as good as Floodland, but still worth listening to.
Being a long-time Sisters of Mercy fan, I decided to purchase this recording despite the waves of negative reviews that have flooded the band ever since it's release. Most of them claimed frontman Andrew Eldritch sold out the band's original darkwave sound for more of a glam/power rock approach which is somewhat true because most of the tracks on this album sound awfully similar to something Motley Crue or Poison would put out. Eldritch has now hired a full-time band for the recording of this album (with former Gun Club member Patricia Morrison on backing vocals, she was also on the band's previous release...."Floodland") including two guitarists, a bass player, and a drummer which meant he no longer had need for the band's long time drum machine....Doktor Avalanche (how odd to give a piece of equipment a name, hmmm....). And yes, the Sisters did receive a lot of mainstream attention when it first hit store shelves all over the world 14 years ago, but attention from the media and changing musical styles doesn't necessarily signal selling out. Sure, this album was a drastic change from their previous releases "Floodland" and their debut "First and Last and Always" but it doesn't lack the potential for it to be a good album. In a way, I'm pleased with the change in style, a band can only keep up with their original sound for so long before it becomes boring and repetitious. Besides, it was the 90's when this album was recorded, their 80's retro sound would have been passed off as out of date and uncreative seeing as how grunge and alternative rock were making their comebacks and synthpop was going flying out the window. The Sisters started experimenting with hard rock music and the resulting album was dubbed "Vision Thing"....a tiring yet still enjoyable release with hit singles such as the title track and "Detonation Boulevard" which became instant hits amongst clubs and received quite a bit of radio airplay, especially for a band that wasn't well known prior to this recording. The album gets a bit boring and tiresome after the first five as there is really no change in tempo in most of the songs which really makes it bearable for only a couple of listens. First time listeners of this band will enjoy this album because of it's catchy rhythms and simplistic song structures. But if you're a long-time Sisters fans such as I, you will tire of this album quickly and might want to pop in one of their better albums into your CD player such as their crowning acheivement and in my opinion, the best goth album the 80's has to offer...."Floodland." Overall, this is a good album, but only die-hard Sisters fans will enjoy what this release has to offer and fans of more gloomy, Depeche Mode-style, synth-based goth music would enjoy previous Sisters recordings such as like I previously mentioned "Floodland" or "Fist and Last and Always." ... Read more

Asin: B000002H8P
Sales Rank: 27335
Subjects:  1. Alternative Pop/Rock    2. College Rock    3. Goth Rock    4. Pop    5. Rock   

Smoke 'em If You Got 'em
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Audio CD (01 July, 1991)
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Reviews (10)

A must have
Ripping instrumentals! and a raw, not over produced sound really make this album rock.
Recorded "live" (no audience) direct to 2 track contributes to the vintage sound.
The Rev is incredible, plays lead and rythm at the same time, no overdubbing.

Get Down on Your Knees and Pray
Rockabilly is the purest form of rock and roll music there is.It didn't remain popular past the late'50's and early `60's, but it can hardly be considered a fad.It is the basis for which all forms of rock and roll emerged.
The Reverend Horton Heat is not just simply copying the rockabilly of the past, but he's giving it the freedom wasn't allowed in the 1950's.He puts the energy and rebellion right out in front, something the rockabilly artists of the past were forced to be much more subtle about.
"Smoke`Em If You Got`Em" is sleazy, trashy, fun listen from beginning to end."Bullet" is an instrumental that effectively builds the anticipation to hear the Rev burst in with his potent voice and crazy lyrics."I'm Mad" follows up perfectly as the hardest rocking song on the album.
From there on, it's one catchy song after another."Bad Reputation" swings like no other song and is entirely too much fun."Psychobilly Freakout" is the twisted cousin of "Surfin' Bird" and "Eat Steak" has to one the funniest, yet demented song ever recorded.
If it's untamed rock and roll you're after, this will satisfy.It's nothing to deep or self-important.It is was it is.Pure trashy, simple fun.

First Shot - Best Shot
Those who think this is his best record speak the truth. This is the most consistent of the records and still kicks butt to this day! I'd definitely recommend this as a first purchase - even over the compilation. ... Read more

Asin: B0000035ES
Sales Rank: 6783
Subjects:  1. Alternative Pop/Rock    2. Pop    3. Psychobilly    4. Rock    5. Rockabilly Revival   

Learning to Flinch
Average Customer Review:
Audio CD (13 April, 1993)
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Reviews (29)

Flinching In Public
This is a very frustrating listen, because it is so darn spotty. The voice is frequently undermiked, and the guitar is often harsh. But it is Warren Zevon in his element. I saw him play a show very much like the ones captured here, in Harrisburg PA, during the tour for "The Envoy." He was a captivating performer, full of wicked humor and some amazing chops.

The best moments on "Learning To Flinch" come when Warren sits behind his piano and lets loose. "Excitable Boy," "Hasten Down The Wind," are the CD's highpoints. But you also have to put up with a nearly inaudible version of "Mr Bad Example" and a puzzlingly drawn out synthesized opening to "Roland The Headless Thompson Gunner."

"Learning to Flinch" will likely always stay in my library because of the handful of great renditions here (especially "Boom Boom Mancini"), but only the die hards should feel like they absolutely have to own this. Even more criminal is that the superior "Stand In The Fire" concert album remains out of print.

Great
Anyway, Zevon starts out with one of his great puffs of smoke: "Some days I feel like my shadow's smoking me, Some days the asbestos don't shine." I love that image of a shadow smoking a person -- it evokes a lung cancer, a state of yellowed teeth, death, and yet, the lyrics are carefully crafted: on some days does Zevon, and I'm going to presume that there's plenty of chain-smoking going on on this album, feel that his shadow is smoking him and that the asbestos is not shining. Even in the face of certain frivolous lawsuits, the implication remains that there are days when the asbestos shines -- when Warren still casts his own smoke. Later in the smoke, we're reminded that Warren's "smoking down [his] asbestos-faking life and times," and the lump hits the cancer. Oh, is this a painful puff. And it was so painful, on so many levels (the SMOKE-1 special is essential viewing), for Warren. But like all Nicotine works of music, it somehow raises the spirit -- of both the listener and the singer-songwriter.

Zevon was lifelong smoker and asbestos is cover-up excuse
Anyway, Zevon starts out with one of his great puffs of smoke: "Some days I feel like my shadow's smoking me, Some days the asbestos don't shine." I love that image of a shadow smoking a person -- it evokes a lung cancer, a state of yellowed teeth, death, and yet, the lyrics are carefully crafted: on some days does Zevon, and I'm going to presume that there's plenty of chain-smoking going on on this album, feel that his shadow is smoking him and that the asbestos is not shining. Even in the face of certain frivolous lawsuits, the implication remains that there are days when the asbestos shines -- when Warren still casts his own smoke. Later in the smoke, we're reminded that Warren's "smoking down [his] asbestos-faking life and times," and the lump hits the cancer. Oh, is this a painful puff. And it was so painful, on so many levels (the SMOKE-1 special is essential viewing), for Warren. But like all Nicotine works of music, it somehow raises the spirit -- of both the listener and the singer-songwriter. ... Read more

Asin: B000002L15
Sales Rank: 25525
Subjects:  1. Album Rock    2. Pop    3. Rock    4. Singer/Songwriter   

Levelling the Land
Average Customer Review:
Audio CD (19 May, 1992)
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Editorial Review

Imagine a punk-rock Waterboys doing a better job of balancing their rock and acoustic incarnations, and you'll have a fix on this raggle-taggle, fiddle-driven U.K. quintet --Jeff Bateman ... Read more

Reviews (17)

Probably the best post-punk alternative folk rock
The Levellers are huge in Europe but unfortunately not very known in America. Levelling the Land is an awesome album with great lyrics and a very original music approach. The sound is definitely electric, enriched by folk sounds of the accoustic guitar and the fiddle with an edge on hard rock. Songs like One Way of Life, The Boatman, 15 Years, Liberty Song are proof of it, however I would say this album has no bad track. There is anger, passion, love and hope in their music. I have all albums and most of singles and EPs from The Levellers and all are just great, however if you are new to their sound this is the best CD to start with. This is simply good rock, you won't be dissapointed.

Infectious, in-your-face celtic rock anthems
This is the first LEVELLERS cd I've ever purchased (and I'm a YANK to boot!) and I must say I sure enjoy this group. Here in the states you can usually find their music in cut-out bins, at least 75% off original rate.
They sing about topics very English, but the charm in the music is the way the lyrics extend into all peoples struggles with 'Authority' and 'modernisation'. You could say their heart yearns for a more back-to-nature worldview (in a vague way like Jethro Tull circa Heavy Horses) with a punkish grit.
The music itself varies its rock sound with heavy celtic/irish interplay...makes you wanna sing along, drink your mead, and create a "minor" ruckus. HOOZAH!!!

my fave levs album
i first listened to this album about 4 years ago and i can simply say its my fave album of all time.Having recently watched them in Norwich (6th Dec 03) I am purchasing another ticket to go and watch them this year. The Levellers are great and so is this album, so GET IT BOUGHT!! ... Read more

Asin: B000002HAY
Subjects:  1. Alternative Pop/Rock    2. Pop    3. Rock   

Blue
Average Customer Review:
Audio CD (25 October, 1990)
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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 (188)

It still resonates, impresses and influences
For a pop album to have impact for 30 years is an amazing thing.And this one is amazing.The best thing that Joni Mitchell ever did and one of the best albums ever made in the "golden era" of alternative pop.I can't listen to most of the music I loved when I was a kid.It just doesn't hold up for me.But this album is different.It's been decades and I don't tire of it.

Listen to just about any thoughtful singer/songwriter today and you can hear the influence of this album.It was groundbreaking.And no singer/songwriter today comes close to being brilliantly consistent on one album as Ms. Mitchell did on this one."Blue" is what any songwriter aspires to be able to do.

Nothin' like first impressions..
I just bought this album a couple weeks ago. It was my first Joni Mitchell album, and certainly not my last.

"Blue" is a wonder. It's melancholy, sparse, and quiet..yet, it's totally inviting. The songs range from folky, accoustic guitar songs to piano ballads; and not much in between.

"Carey" and "California" both fall into the former category, and are two of the more upbeat moments to be found. Both contain nice pop hooks; the latter sounds very James Taylor-ish, and I believe he played on this album.

Songs like "The Last Time I Saw Richard", and the title track fall into the latter category; both are haunting and beautiful at the same time. "River" is another sad, gorgeous piano ballad.

"A Case Of You" seems to be an 'essential' Joni Mitchell song; it's another gentle, beautiful folk song with some really excellent lyrics. Equally as essential in my view is "My Old Man".

Other highlights include the brooding "This Flight Tonight", the delicate "Little Green", and the opener "All I Want", which hooked me within the first 20 seconds, and never let up..

Now, to purchase some more Joni Mitchell albums..

Brilliant, Brilliant, Brilliant!
This is an absolutely brilliant work of art right here.Joni Mitchell is just a great artist all around and she brings a level of depth to her work that is rarely seen.Unfortunately, being a profound musical artist is generally something that is not valued or appreciated by most, so many just won't get Joni Mitchell.Joni possesses a truly rare gift as a lyricist, and she is able to paint extremely vivid, rich and effective pictures with her pen.She is also one of the greatest composers ever.She has created some of the most complex and beautiful arrangements and melodies that I've ever been lucky enough to hear.Her arrangements are generally pretty intricate, so if your simply looking for some catchy poppy tunes to bob your head to, then you are really looking in the wrong place.Joni Mitchell is one of the few artist that I've heard that I can honestly describe as a genius and she shows why througout this entire album.This album is a totally engulfing experience from beginning to end.It can be a tough nut to crack at first if you don't already listen to this "type" of music ( I use that word very loosely because I really don't like to categorize music into "types"-the only types that I care about can be measured in degrees of quality :-), but man is it rewarding once you get it.It was a challenge for me at first, but I've learned that the best albums are not the ones that are fully grasped on the first listen, but ultimately are the ones that are just as powerful and rewarding no matter how many times you listen to them, and those albums often take a few listens to grasp.So, I continued to listen, and now I would put this in the top 5 albums that I have ever heard.It is stellarly written, superbly composed and just so moving, powerful, and effective an experience, that it gets better with each listen.The tone of this album is pretty somber all througout, although it does have the occasional radiant burst of sunshine such as 'Carey' and the oh so rockin' 'This Flight Tonight'.Well, I guess that I can't really describe 'This Flight Tonight' as radiant, but it is an energetic break from the melancholiness and somberness of most of the album.Ultimately, the best albums are the ones that are the most rewarding, and I have heard very few albums in my lifetime that are anywhere near as rewarding as this one is. ... Read more

Asin: B000002KBU
Subjects:  1. Canada    2. Folk-Rock    3. Folk/Country Rock    4. Pop    5. Rock    6. Singer/Songwriter   

East Bay Grease
Average Customer Review:
Audio CD (10 November, 1992)
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Reviews (18)

Pure unrefined FUNK!
I had this album on vinyl in the early 70s as a kid, and even then I knew it was something different. "Back on the Streets Again" has some of the tightest horn grooves ever heard. "Sparkling in the Sand" defies categorization -- despite it's slow tempo, it's not so much a ballad as it is a nine minute cruise, with waves of sound washing over you. The diversity of this band was amazing!

You Will Knock Yourself Out!
A word of warning Tower Of Power's cebut album is NOT the
least bit smooth or soft!From "Knock Yourself Out" on 'East Bay Grease' is filled with smelly horns,gutbucket rhythm and very
sandpapery singing.It actually owes more to the mutant horn
rock grooves of Blood,Sweat & Tears,Electric Flag and even Chicago then James Brown or Kool & The Gang.But the rhythm knows
it's buisness and that makes this album a dirving slice of gritty,hard core east coast funk!The plaintive "Sparkling In The
Sane" is the slowest song on the album and it doesn't even come
close to being soft-rather like a longish psychedelic soul groove with fleeting vocals.Any way you take it 'East Bay Grease' is very impressive stuff!

TOP RULES
AWESOME CD! TOP's first CD. One of the best, too. With "Knock Yourself Out" a GREAT song. And with Skip Mesquites fantastic flute playing on "Sparkling in the Sand" and Emilio Castillos awesome lead on "The Skunk, The Goose, and the Fly", this CD is a must have. ... Read more

Asin: B0000032XU
Sales Rank: 24591
Subjects:  1. Funk    2. Jazz    3. Pop    4. R&B    5. Soul   

Frank Black
Average Customer Review:
Audio CD (09 March, 1993)
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Editorial Review

The sound and the fury that was the Pixies is in little evidence on this shockingly easy-going debut by the band's frontman. "Fu Manchu" is a hoot and there's a soaring version of Pet Sounds outtake "Hang onto Your Ego." --Jeff Bateman ... Read more

Reviews (29)

Wow, look at all these 3 and 4 star reviews, amazing..
It really bothers me seeing some of these 3 and 4 star reviews. But then I remind myself, very few people have the musical and intellectual capacity to properly digest brilliance. That is what this CD is. I'm not sure what else I can say.

Natural high
This album ROCKS! I love the song "Los Angeles". I heard it on the radio in Seattle around 1994 and ran out to the record store and bought it immediately. The pixies were great and so is Frank Black. This monkey is going to heaven.

Possibly the Best Goin'-Solo Transition Album of All Time...
...if there's a category for those types of things.That about says it.On my short list of records I'd like to have if I were stranded on a desert island. ... Read more

Asin: B000002HCM
Subjects:  1. Alternative Pop/Rock    2. Indie Rock    3. Pop    4. Rock   

Anthology
Average Customer Review:
Audio CD (23 April, 1991)
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Reviews (10)

Notes From The Underground
The importance of this early Steve Miller Band material cannot be overstated.Far from being a prelude to his mid-Seventies stardom, the early SMB was perfect, and I do mean PERFECT, counterculture music.The presence of Boz Scaggs very early on (he's only on one song here) has added some mystique but Miller was the key.Most of the early albums are now available and I would recommend ALL of them.But for the SMB neophyte, "Anthology" is the best starting point.

Guests abound, notably Paul McCartney, Lee Michaels, Ben Sidran and, most profoundly, Nicky Hopkins on piano in "Baby's House".While the song is overly long, Hopkin's piano work transcends anything he was doing more famously with The Rolling Stones around the same time.

But the greatest stuff is vintage Steve Miller.Excellent in their own right, "Going To The Country", "Going to Mexico", "Seasons" and "Living In The USA" scream for an altered state...and, once there, you are rewarded on a level known to many "back in the day".Essential esoterica from the visionary side of the social revolution.

Best 'Greatest non-Hits Album' of all Time
This is a great collection. The best of Steve Miller - before he got popular (sold out????). BTW gmbofmpva is wrong...this IS an 'Anthology' - all these songs were previously reseased. I implore you to buy this cd - Kow Kow and My Dark Hour alone, are worth twice the price.

Back filling my old collection
I started back filling my old collection of vinyl, cassettes and memories (stuff lost along the way). This one was an old favorite.The title does fool you, it really wasn't an Anthology just the name of a release.Good recording, mellow, vibrant, kind of rockin' but more artistic in quality.Later on Steve Miller broke into the pop scene with the Joker.This one though remains my favorite. ... Read more

Asin: B00000DRBK
Sales Rank: 9610
Subjects:  1. Album Rock    2. Arena Rock    3. Blues-Rock    4. Pop    5. Pop/Rock    6. Psychedelic    7. Rock    8. Songwriter   

Bad Boy [CD]
Average Customer Review:
Audio CD (06 April, 1992)
list price: $14.98 -- our price: $14.98
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Reviews (3)

AVOID THIS CD - music fan from Australia
One of the poorest mastering jobs I have heard and surely one of the worst cover designs ever. Whoever did the mastering obviously had no idea how Larry's great Specialty records sounded. Unfortunately this CD was issued before Billy Vera became involved with the reissue program of Specialty material. The sound is strangely 'muddy' and way too compressed, which gives the tracks a tunnel echo effect which simply isn't on the original tapes. If you want to hear Larry Williams how he should be heard in crystal clear sound, invest your cash in the UK Ace CD "The Bad Boy Of Rock'n'Roll" (CDCHD 709) or better still, chase up the 47 track 2CD set on Ace - "Larry Williams At His Finest" (CDCHD2 1021). They are both streets ahead of this rubbish.

Lloyd Price sound a like but still great !
Larry Williams is one of the many kings of Rock and Roll. And although his sound was completely derived from two other Specialty recording artists (Little Richard and Lloyd Price) doesn't and should not take away from his greatness as a rocker. He sounds just like Lloyd on his classics "Just Because" and "Lawdy Miss Clawdy. Short Fat Fannie hit #1 on the R&B charts in July of 1957 and was his biggest hit. The title of this cd couldn't be more appropriate for Larry Williams and Hank Ballard and Gene Vincent were the three baddest boys(men) of 50's Rock and Roll.

Makes the Beatles look like pale Liverpudlians
Ow ow ow ow ow OW!What a GREAT disc.Just ONE of the fine discs offered in the Legends of Specialty series, and maybe the best one at that.23 smoking tracks from the Specialty vaults showing Larry Williams inexcellent form throughout.All the hits and influential cuts ("BonyMaronie", "Dizzy Miss Lizzy", "Slow Down","Short Fat Fannie", "Bad Boy"), not to mention greatcovers (Lloyd Prices "Just Because", Huey 'Piano' Smith's"Rockin' Pneumonia", Aaron Neville's "Zing Zing") andmany many more.I can't even imagine how they cooled down the originalvinyl 45's that paired "Dizzy Miss Lizzy" and "SlowDown."

Great rock 'n' roll vocals and piano from Williamscomplemented by several different swingin' studio combos.Little Richard'sband appears on one track, and tracks recorded in New Orleans feature thelikes of Lee Allen on sax and Art Neville on piano.Rene Hall providessome stinging guitar here and there, and Ted Brinson (bass) and Earl Palmer(drums) form the rhythm section on most of the tracks.And if that's notenough to get you clicking "Buy This", dig this:TWO tracksco-written by Sony Bono!That's right, you get both "High SchoolDance" AND "You Bug Me Baby" (a Williams/Bonoco-credit!).

The sound quality is great, having been produced mostly (ifnot exclusively) from the original master tapes.The track selection isfirst-rate, with some great B-sides, previously unreleased tracks andalternate takes.The liner notes are quite good, giving an overallperspective of Williams' career, and particular notes about each song.Thetrack-by-track listing gives master numbers and recording dates, and thepersonnel at each session are detailed.

Five stars.Must buy. ... Read more

Asin: B000000QLZ
Sales Rank: 6738
Subjects:  1. Pop    2. Pop-Soul    3. R&B    4. Rock    5. Rock & Roll    6. United States of America   

Playing the Fool: Official Live Gentle Giant
Average Customer Review:
Audio CD (19 March, 1996)
list price: $9.98
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Features

• Live

Reviews (26)

The One to Have IfYou're Only Getting One
I know, it's a tough call, but if I had to choose only one Gentle Giant disc to own, this most definitely would be it!

Onstage, the band really shines in its full raging power,covering the whole dynamic range from a whisper to a full-out roar! And not only that, the frighteningly tight ensemble playing is just as great as ever, plus the fact the band liked to tweak the arrangements every so often is a great bonus. Derek Shulman's voice just roars authoritatively without being overbearing over the top of his bandmate's ever unpredictable musical twists and turns. Keyboardist Kerry Minnear really stands out too with his mind-boggling mix of baroque and modern classical intricacy, ferocious growling organ and sheer Clavinet-driven funkiness that Stevie Wonder would be proud of. Drummer John Weathers drives things along with tons of oomph yet listens to the smallest details, complimented by Ray Shulman's perky bass and violin. Guitarist Gary Green whild being able to dish out the dissonance also has a healthy love of the blues that comes screaming out. And not to mention, those frightening interlocking vocal arrangements, YIKES! Being able to pull that off live really says something.

And the song selection? IMPECCABLE!!! Couldn't ask for any better, a great overview of what made The Giant so unique and revered. This was The Giant at their creative peak (the album was culled from the "Free Hand" tour).

Grab this!!!

Nothing But Superlatives
I read every review before writing this one tonight.So many of them are right on.These guys were incredible.Unbelieveably intricate and involved compositions, performed by virtuoso musicians.Their live shows were spellbinding, funny and lots of fun.I was fortunate to watch one soundcheck in 1976 (my friends opened for them) and to watch them rehearse was awe-inspiring.Even just hashing things out, they were beyond belief.How did God happen to put these five magicians together in one ensemble?The results are heavenly, and this album does a great job of capturing the energy, talent and musicianship that was Gentle Giant live.Go buy it.

An excellent document, though not perfect
Having been a fan since Free Hand was released, I recall hearing this album first on the radio when it was released, and rushed out to buy it (actually I got it for Christmas). At the time I hadn't heard all their albums so much of it I heard for the first time here. Now, I have every album and can put each of these versions in perspective.

First off, every song has been re-arranged for live performance. GG were good at using the studio as a tool, and their albums always had interesting sonic appeal. When they play live, as with many bands, they cannot reproduce their sound exactly, unless you have the $$ of Pink Floyd. Therefore you get more rocking versions of these tunes for the most part. John P Wethers replaced Martin Shulman as the drummer after Octopus. I read an interview where they described Shulman as "too fiddley". Personally I enjoyed his jazzy Bruford-style drumming, especially on Octopus. With In A Glass House and Power and the Glory, Mr Wethers put his strong backbeat into the technically dazzling music and the band really gelled. After Free Hand, this band was established as one of the top prog bands, but had their own style, drawing from classical renaissance and baroque influences, especially in the vocal and keyboard arrangements. I always thought that Gary Green was an excellent guitar player, but his solos were always very bluesy. In the same interview the Shulmans said they liked the contrast.

Back to the live album, and I refer to the vinyl here;
Side one starts off with an excellent rocking version of Just the Same, followed by a very HEAVY version of Proclamation, then On Reflection is rearranged for string quartet, then the vocal part comes in, then a completely new section is added. It's all classic GG.

Side two starts with an AMAZING re-arrangement of the key themes from Octopus, stunning and dazzling in it's invention. Boys In The Band leads into a georgeous acoustic duo based on Knots and Dog's Life, leading into Knots itself, seguing into Knots re-arranged for recorders! A lovely keyboard solo (I mean just the keys) leads into Advent of Panurge. (Themes missing are Cry For Everyone and The River). Excellent, and by far the showpiece of the album. The side closes with a dip into the past, Funny Ways, not really much different than the original. For some reason, when I hear this version, it sound like there are about ten people on stage instead of five.

Side three has some excellent material from Glass House and a truly angular and bizarre version of So Sincere, featuring a long bluesy guitar solo (a bit long) and ending in a big percussion movement by all (which I think originally appeared on Interview, a great album). Incidentally I saw GG during their final Civilian tour and they were still performing many of the same arrangements.

Side four is a bit of an anticlimax. A rather rushed version of Free Hand is followed by "Breakdown In Brussels", a string quartet version of Sweet Georgia Brown, a la Stephan Grappelli, excellent but why bother...Then the album closes with Peel the Paint, a rocker that does nothing to show off the band, really, though I believe there is a decent solo by Minnear.

Overall the album is good from the beginning but loses interest by side 4. The audience is very enthusiastic in each performance (recorded at various locations on their workd tour) and kind of become part of the performance in places.

Final note: I have a complaint about the recording; The entire mix was put through some slapback echo, no doubt to reproduce the sound if you were sitting in a theatre. Well at first it didn't bother me, but now I can't listen to it, it is extremely annoying hearing the snare bounce back EVERY time. Because of this and only for this reason, I recommend you also seek out the King Biscuit Flower Hour performance, from 1975. It is an excellent quality, dry, clean recording, and much more true to the sound of this amazing band live, with many of the same tunes. ... Read more

Asin: B000002R0O
Sales Rank: 128164
Subjects:  1. Pop    2. Rock    3. Rock/Pop   

Full House Live
Average Customer Review:
Audio CD (31 October, 1995)
list price: $9.98 -- our price: $9.98
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Features

• Live

Reviews (22)

Price worth it just for Whammer Jammer
Too bad the release doesn't have more songs on it from the concert.Geils and Wolf at their best, this release rocks with energy from start to finish."Whammer Jammer" alone is worth picking up the cd and I love how the end of the song blends right into "Hard Driving Man".

I love Full House
Full House is a cool show i whach is every day at 4:00-5:00,9:00-10:00,and one some weekends 12:00-1:00 P.M.I wish to get mailed back by:Jesses DG's uncle,i am beging you.Also.i live in Madison.Ohio.I love when micille whante'd to play with Rebeca and Jesses but Jesses and Rebaca whated to play.

A Classic - The Best J Geils CD
This is one of my top 10 CD's of all. This the best J Geils CD. When are they going to make a DVD of this? ... Read more

Asin: B000002J69
Sales Rank: 5655
Subjects:  1. Album Rock    2. Blues-Rock    3. Hard Rock    4. Pop    5. Rock    6. Rock & Roll   

Second Winter
Average Customer Review:
Audio CD (20 March, 1990)
list price: $9.98 -- our price: $9.98
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Reviews (21)

ROCK AND ROLL, SECOND WINTER IS A MUST HAVE
This is a great album from blues and slide master Johnny Winter.
Its definetly a must have in your Winter collection and your rock and blues collection. Johnny does a little more rock and roll than one his first album (also a must have) but it's just as good and he cranks it out just as well. This album also features his brother Edgar Winter who was definetly a positive influence on Johnny and his music. Edgar helps make this album fantastic. My Track Ratings-
1.Memory Pain- 10/10
2. I'm Not Sure 10/10
3. The Good Love 10/10
4. Slippin' and Slidin' 9/10
5. Miss Ann 9/10
6. Johnny B. Goode 9/10 (the best version of this song is on the album Johnny Winter And Live, go out and get that one too)
7. Highway 61 Revisited 10/10
8. I love Everybody 10/10
9. Hustled Down in Texas 10/10
10. I Hate Everybody 10/10
11. Fast Life Rider 9/10

This is a great album, go out and get it!
Also get his first album Johnny Winter, Johnny Winter And and Johnny Winter And Live!

God of Psychedelic Blues Slide Guitar
This album will kick your a$$. Turn it up loud. It kills.

Jet propelled blues!!
Johnny has always been my hero, mainly because, when i was growing up in London- England I'd had so much Clapton/Hendrix/Alvin Lee/Jimmy Page shoved down my throat. Although I still loved these others too, I was refreshed to hear someone who sounded unique. Johnny Winter was that person...he sounded different, he could sing, and he LOOKED different. I remember in one of his 1973 interviews how Johnny Winter spoke of an ardent fan who wanted to spend an evening just looking at him..this person was astounded just by Winter's visual impact alone. As the other reviewer said above, Johnny wasn't scared of taking chances musically.
Percy Mayfields classic blues "Memory Pain" has never sounded so good. It seems like it was written for Johnny personally. His guitar screams in agony with wonderfully phrased licks. I remember this tune took up one whole l.p. side originally.(or at least, nearly a whole side!)
Every other track is astounding and the variety is endless. Alot of delicious psychedelic blues...e.g. "Good Love" Fast Life Rider" I'm Not Sure"...but these are mixed in with some 50s teeny bop classics..e.g. "Slippin' & Slidin'" and "Miss Ann". The musicianship is always at a continual high throughout. My own favorite from this album has always been an unusual choice of song called "I Love Everybody".This one starts with a background giggle and then launches into some of the most blinding , relentless slide guitar ever played. It's a basic Delta blues song but Johnny takes it into electro-psychedelic outer-space...the channels shift as he plays the solo, which adds to the jet propelled tension. This song, by itself, is PURE, UTTER brilliance and a wonderful variation on a basic Delta blues.
The songs counterpart is one called "I Hate Everybody" which is almost arranged like a T. Bone Walker 'jump blues' and Winters solo is very jazz- inflected ...lightnin' fast and precise.
Edgar Winters sax solo on this one is pure bebop influenced.
This album/c.d is SO varied that when I first heard it I was utterly confused (especially for me, back at that time in 1970).
Back then there was either bubble- gum pop,heavy rock or folk in the English charts.
This one was/is unique and i don't think it will ever be equalled. ... Read more

Asin: B0000024V2
Sales Rank: 33977
Subjects:  1. Album Rock    2. Blues-Rock    3. Boogie Rock    4. Electric Blues    5. Electric Texas Blues    6. Hard Rock    7. Modern Electric Blues    8. Modern Electric Texas Blues    9. Pop    10. Rock    11. Slide Guitar Blues