Axis: Bold As Love
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Audio CD (22 April, 1997)
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Editorial Review

Jimi Hendrix's second album doesn't resonate through rock history the way its gatecrashing predecessor, Are You Experienced?, does. In places, it almost seems as if Hendrix is cruising, albeit sublimely. Yet it's a vital album, containing some of rock's molten milestones. There's the fluid psychedelia of "Castles Made of Sand," the viciously funky "Little Miss Lover," and the so-beautiful-it-hurts "Little Wing." Hendrix really hits altitude with "If 6 Was 9," where he waves his "freak flag high" over a tidal wave of guitar and a cacophonous army of Moroccan flutes, and he ends with "Bold As Love," based around Hendrix's typically far-fetched hankering for the axis of the planet to be tilted, thereby transforming life on earth. It works up into a head-melting frenzy of distorted guitar, a precursor to the staggeringly expansive leap forward he would take with 1968's Electric Ladyland. Hendrix dreamed the impossible and achieved it on his guitar. --David Stubbs ... Read more

Reviews (128)

Great Hendrix Music
This has to be my favorite Hendrix album.The material is all fresh, all original, and is really all Jimi.Unlike the material on "Are You Experienced" and "Electric Ladyland," every song was written by Jimi Hendrix.The stuff is also very short, and I think that that makes it much more enjoyable.I don't care how much you praise "Voodoo Chile" for its awesome bluesy-whatever, it's still far too long for my tastes (although I do enjoy the riff at the very end).

Although this album was apparently rushed, it really doesn't leave the impression of having been composed or recorded in such a manner.Many of the tunes seem to be very laid-back, and there really aren't any really rockin' tunes like a "Purple Haze" or an "All Along the Watchtower" and that's what makes it one of those albums that you can really play anytime (if you like the Experience's music that much).I also think that that's why most people forget about "Axis" when they think of Jimi and the Experience -- there aren't any popular tunes on it, so it must have been really bad.It's actually a very good album that has a lot to say about Hendrix and his music if you give it a chance.

If you consider yourself to be any kind of Hendrix fan, there's really no excuse for not owning this.And if you've listened to a lot of Hendrix music before but really aren't sure you'll enjoy this one, buy it anyway.I was extremely unsure myself about this one and didn't think I'd enjoy it, but it quickly became my favorite.Take my word for it and purchase this album.

Beautiful, brilliant
Jimi Hendrix's sophomore album was very different from Are You Experienced? his debut. Axis:Bold as Love offers more depth in the songwriting and some calmer rifts than the acid fueled andscreechy, yet mind-blowing enjoyable solos on the Experience's debut. There are some beautiful songs on this album like Little Wing and Castles made of Sand. This is not suggested ofr a starter album for a beginner, and even less so is Electric Ladyland. But if you have at least A.Y.E., I suggest you get this album.

Pure Mastery
Jimi Hendrix shines like the diamond he is on this album. As compared to his first release (Are You Experienced?), this album is more eratic. But I like that. That is a sign of growth and a commitment to expanding as an artist. Feature tracks on this album include Little Wing, a beautifully short number that should be listened to by anyone interested in picking up a guitar; Castles Made Of Sand, which should be listened to by anyone in need of therapy; And Bold As Love which should just be listened to by everyone. I take that back, all this whole album should just be listened to by everyone. Pure mastery. ... Read more

Asin: B000002P5W
Subjects:  1. Pop    2. Rock   

Surrealistic Pillow [Mono/Stereo]
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Audio CD (06 November, 2001)
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Reviews (16)

Stereo and Mono versions quite different
As all the reviews agree, this is a classic album and absolutely worth your money. I read a bunch of the reviews of this (double) album and no one mentioned the fact that you, basically, get two albums for the price of one, the stereo version and the mono version.At the time it was not uncommon for record companies to insist on two different mixes of songs, or whole albums. Stereo systems were not standard equipment in homes or cars. AM radio was (and still is) a mono medium and that's where hit records were played. Many people didn't realize there were significant differences in the two officially released versions of this fantastic album.

Let me quote from the liner notes:
"The mono mix can be described as punchier, wheras the steeo mix is fuller, allowing the instruments more breathing room. The stereo mix also adds a few extra dollops of reverb, which alienated some fans and group members but met the approval of others. Grace, for one, liked it. 'This is farily complicated material and on a couple of Marty's ballads a flat, dry sound wouldn't have worked,' she says"

"Dyrden disagrees" It didn't sound like the band did onstage. The two guys that mentinoed that to me were Frank Zappa and paul Simon. They both said,' You sure got a lot of echo on that record.' I said, 'man, that's not our doing. We palyed it, they took it away and did what they did with it.'"

That's verbatim from the liner notes and pretty much covers it. The mono version sounds more like the band would sound live. The stereo is fat, reverby, and sounds "produced". The differences are NOT gigantic, but it is an interesting take on the same material.

I actually prefer the mono version. But, that's just a personal preference. I must agree with Grace, some of the ballads do sound better with athicker sound.

Hope that helps.
Enjoy

Timeless Beauty
A divine presence must have been at hand when this album was recorded. If ever there was an American supergroup this was it. The vocals of Marty Balin and Grace Slick are heartybreakingly beautiful. Jorma Kaukonen's Embryonic Journey is a tremendous piece of acoustic guitar work. Think of this album as a perfect blend of folk and psychedelia.I have never heard a rock group sound as tight and creative. This would be one of my picks for the top five best albums of all time.Perhaps only one filler song. The rest is perfection.

Unique splendor
SURREALISTIC PILLOW (1967) is Jefferson Airplane's second album, and the first with Grace Slick and Spencer Dryden.It is a masterpiece--an ideal blend of the group's prior folksiness and the wild psychedelia that would eventually dominate their live shows.Marty Balin was still a force here, but Grace immediately made her presence known with two stellar songs that became virtual anthems of the late 60s: "Somebody To Love" and "White Rabbit" (as if I needed to mention the titles).

"She Has Funny Cars," "3/5 Of A Mile In 10 Seconds," "D.C.B.A.-25" and "Plastic Fantastic Lover" generate plenty of excitement without being bombastic.There's a certain (excuse the expression) "groovy" factor that permeates the songs.They are lively, mystical, sophisticated and genial--filled with discovery and the group's subtle (and sometimes not-so-subtle) arrogant swagger."Today," "Comin' Back To Me" and "How Do You Feel" are three of the most beautifully atmospheric songs you are likely to hear, practically bordering on impressionism.All three will mesmerize and stick with you long afterward.Intellectualism and childlike innocence, pomposity and humility, exhilaration and sadness, assertive animation and repose--yes, it's all here, actualized to seamless perfection.This album remains my favorite by the group, though BAXTER'S and BARK follow not far behind.

What is progressive?The word "progressive" infers change.Many think of progressive as a certain style of rock music.Groups like King Crimson and Yes were given that label in the early 70s because they were different at the time--they entered new territory.But once they themselves, and other groups, started to copy the sound, that sound became pigeonholed.How can we continue to call a style that is not progressing progressive?To use progressive merely to define a style or sound is really a misuse of the word.The Airplane was progressive in that they had a new thing going on--and that "thing" had depth.What sounded like this prior?During the mid 60s, Jefferson Airplane, The Byrds, The Mamas and Papas, Bob Dylan, Donovan--even Peter, Paul and Mary!--all crossed folk with rock and got pleasingly diverse results. At the time, even the other bands from San Francisco, like The Grateful Dead and Moby Grape (and they had Skip Spence, formerly of the Airplane), did not all sound the same.These musicians were indeed progressive in a real sense, just as Crimson and Yes were in 1969 and the early 70s.

Why do critics often imply that the music from the 60s is immature?It is not.Not immature, but youthful--producing that which is colorful and imaginative.To those of us who love colorful and imaginative music, "dated" is not a quality we associate with the 60s.Albums like SURREALISTIC PILLOW sound as fresh as ever.Music from the 60s had soul.It had life and passion.Truly great chefs (and there seems to be fewer and fewer of them) have an understanding of why something tastes better than a previous attempt at the same thing.They refine a dish to taste as splendid as possible, rather than settle for the notion that "it's good enough" after a meager and highly imitative effort.In the 60s, rock musicians (and many a producer!) had that drive, that passion to produce something of unique splendor--and we hear it throughout this still-glorious, even monumental record.Consider the fact that records from the late 60s like SURREALISTIC PILLOW, DISRAELI GEARS (Cream), MAGICAL MYSTERY TOUR (The Beatles), BALL (Iron Butterfly), THEIR SATANIC MAJESTIES REQUEST (The Rolling Stones), BUFFALO SPRINGFIELD AGAIN (Buffalo Springfield) and A GATHERING OF PROMISES (Bubble Puppy) all fall into the general category called psychedelia--but all of them sound staggeringly different!These musicians were in fact inspired, not immature, not simply imitating what came before, but producing a creative and spirited output--that which has lasting artistic value.There was once a saying: "Variety is the spice of life."

For me, and for people like me who don't want their music all to sound the same, the Airplane offers lasting enjoyment--great riches, actually.Most who know and love this band own this already.SURREALISTIC PILLOW is essential listening for anyone who is even remotely interested in the 60s.This album still gives me thrills and chills--it is a magnificent work, worthy of all the praise fans can muster!

Cheers,
Murray ... Read more

Asin: B00005RDCA
Sales Rank: 70819
Subjects:  1. Folk-Rock    2. Hard Rock    3. Pop    4. Psychedelic    5. Rock   

Boogie With Canned Heat [Bonus Tracks]
Average Customer Review:
Audio CD (24 May, 2005)
list price: $31.99 -- our price: $31.99
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Features

• Import

Reviews (5)

Profanación
Este disco es absolutamente capital en la historia del Blues-Rock; una obra maestra fundamental, pero vigilar con el Remaster: es un saqueo sin paliativos, una profanación injusta. Todo suena mal, saturado, con el maravilloso bajo de Larry Taylor tapándolo todo, con un montón de detalles irremisiblemente perdidos (pianos tapados, sección de viento sin fuerza ni brillantez...) todo gracias a la incompetencia y al mal gusto del individuo que lo remasterizó. Una pena porque el disco, repito una vez más, merece 10 estrellas. Yo sigo echando mano de mi viejo vinilo (bendito seas), y esperando que lo reediten de nuevo con el sonido que se merece, tal y como fue grabado.

My Personal Favorite
This is a great album. Even without te bonus tracks, it stands up well to the test of time. The reviews previous to mine tell alot about this forgotten jewl. But, they fail to mention that guitarist Henry Vestine was one of the all-time best white blues guitar players. Jimmi Hendrix used to go see him play to learn something from his style.More of a boogie and blues style than blues purist Michael Bloomfield, but just as good. Young music fans and guitar players would do themselves well to become more than familiar with Vestine's fine work (Bloomfield is also a must).I have been listening to this album for over 30 years and I am still not tired of it.

COLLECTORS BEWARE OF PROBLEMS WITH SOUND QUALITY!
COLLECTORS BEWARE OF PROBLEMS WITH SOUND QUALITY!

This CD is a gem it is true BUT SEVERAL CUTS HAVE MAJOR PROBLEMS WITH THEM ,THEY ARE,"SONG # 5== "TURPENTINE MOAN",Folks this cut was RE masteredwiththree times the bass of the other cuts on the CD,think of yourself standingnext to the BASS amplifier to get an idea of what i mean. THE Cut # 9="MARIE LAVEAU" WAS TOTALLY DESTROYED WITH HUGE AMOUNTS OF BASSAGAIN .TOTALLY BASS DRENCHED SOUND HERE FOLKS !Lastly is the CUT # 12"BOOGIE MUSIC",WOW THIS WOULD HAVE BEEN SO EASY TO FIX WITH ALITTLE "EQ"(BASS TONE CONTROL).

"A TOTAL CLASSIC TOTALLYRUINED !

I HAVE BEEN WAITING FOR THESE OLD CANNED HEAT ALBUMS TOPBE REISSUED ALSO BUT THIS CD IS A TOTAL DISSAPOINTMENT !

AKARMA shouldREMASTER it and put IT OUT WITH "NEWLY-RESTORED " VERSIONSTICKERED ON THE OUTSIDE OF THE CD.

ON THE POSITIVE SIDE IS AKARMA'SREMASTERING OF THE OTHER CANNED HEAT CLASSIC "LIVING IN THEBLUES", WOW !TALK ABOUT WONDERFULLLLLL ,PRISTINE MASTERING WITH NOOVER "BASSIFICATION"!

I HAVE WAITED FOR 30 YEARS TO HEARTHIS ON A GOOD SYSTEM WITH NO POPS OR CLICKS ,Now AKARMA has brought thiswonderfull music back to life and current for future generations to enjoy.iwish i could say this about the "BOOGIE WITH CANNED HEAT"ALBUMBUT IT SIMPLY IS NOT T R U E !ALL We can hope is that AKARMAWILL GET Their"A=KARMA" GOING IN THE RIGHT PLACE !AND RE=PLACETHE "BOOGIE WITH CANNED HEAT ALBUM,WITH A NEWLY DONE VERSION THAT ISSONICALLY PLEASING AND CORRECT! ... Read more

Asin: B000025960
Sales Rank: 72603
Subjects:  1. Pop    2. Rock    3. Rock/Pop   

A Space in Time
Average Customer Review:
Audio CD (25 October, 1990)
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Reviews (24)

30 years after - it still rocks
Have not listened to this one since 1972. Listened again in 2005.It holds up. It still rocks. In particular: Once There was a Time. Let the Sky Fall. Wow. Even the the great druggy anthem, I'd Love to Change the World, still sounds good (compare to: Stairway to Heaven -- love Led Zep but that overplayed cut is inferior to this underplayed jewel). Over the Hill is amusing, with its Sgt. Pepper strings. Here They Come - so much better than other circa 1970 folky-bluesy cuts (think Moody Blues, Jethro Tull, et al.)... OK I concede to the occasionally corny lyrics. But this CD sounds good.

Mine is better
Yah! My cd has "A space in time" and "Positive vibration" albums on it.2 Albums for the price of one, a total of 20 songs and only four that I dislike.

Which ones I don't like:
Baby won't you let me rock'n'roll you - just boring
Once there was a time - too twang for me
Going back to brimingham - another boring one
You're driving me crazy - drive me crazy

Favorites:
It's getting harder - cheer song
I'd love to change the world - for sure it's a classic
Here they come - the end is so nice
Let the sky fall - let it play
I've been there too - georgous
Uncle jam - feel that jazz
Stone me - cute

Anyway it's good old stuff

Time well spent to make a great record!
I read where Alvin Lee had spent much of the previous two albums writing songs for them in the back of a limo. Albums made in the middle of tours hardly ever make for good albums. And especially for a growing artist eager for the inspiration to expand his musical horizons and show the buying public a different side of himself, getting away for awhile to get alone with the boys and his guitar was perhaps the only option. So the result here is probably Ten Years After's answer to "Led Zeppelin III". But unlike the relatively-unsuccessful "Led Zeppelin III", the time spent alone to write and record not only paid off in showing the most musical variety on a TYA album, but also provided the band with their first big hit, "I'd Love To Change the World". But if you only ever buy this disc for that one song alone, you're missing a lot of what makes this a great album--one unlike any other TYA album before or since.
First of all, consider Alvin Lee's guitar playing here. You're used to hearing strictly lightning-fast, undistorted blues licks out of his trademark Gibson/Marshall set-up. There's still some of that here. But you'll notice on many of the songs, he opens them with an acoustic guitar--and he actually plays a little slower than usual. Now that may seem to some people that he was "regressing" in his style. But like a basketball player that slam dunks the ball every time, he still needs to show people he can perform a basic "lay-up". Likewise, Alvin needed to show people he can play any style of guitar, and play it well. The diversity in guitar playing and songwriting that Alvin Lee displays on this disc certainly puts him right up there with Jimmy Page in my eyes. Certainly,there's the influence of Folk rock in many of the songs here, but also the countrified, Hank Williams-esque, "Once There Was a Time", a belated tribute to the psychedelic era-"Let The Sky Fall", as well as the usual rockabilly, "Baby Won't You Let Me Rock and Roll You", and blues/swamp rock, "One of These Days" that Ten Years After had become known the previous couple of years for. They even revert back to the swing/jazz that the band first cut their teeth on in th final number, "Uncle Jam"--a surprise ending to a great album. Overall, I think one would be hard pressed to find many albums in rock with this much variety. But again, credit that to the "space in time" the band had to work with. It certainly is reflected in the more relaxed, laid-back nature of the songs here. In many of their previous albums, like "Watt" and "Cricklewood Green", the albums did sound a little "rushed" as a probable result of touring schedules, and not just Alvin Lee's quick-style. But the entire band--Leo Lyons, Chick Churchill, and Ric Lee--all put forth their most cohesive work here. Bassist Leo Lyons sounded like he actually attempted to "play" bass and not just "slap" it (if you'd ever seen the "Woodstock" film, Lyons looked to be so stoned out of his mind, his hand looked to be barely touching the strings!) And Chick Churchill was becoming a regular John Paul Jones, expanding his keyboard horizons from the organ and piano, to include an electric piano and a synthesizer--as you'll hear on "Here They Come".
For the average listener, if you like any kind of music at all, you'll find something you like on this disc. The album is almost a tribute to American music, especially the various forms that come from the South--Alvin Lee should almost be made an "honorary southerner", along with Eric Clapton, for his understanding and translation ofmusic so far removed from his British shores. Ten Years After lays down all their influences, picked up over the past several years, not only showing where they had been, but also where they were going musically. And with the "space in time" they had to do it. ... Read more

Asin: B000003JA5
Sales Rank: 2103
Subjects:  1. Blues-Rock    2. British Blues    3. Pop    4. Rock   

Exile on Main Street
Average Customer Review:
Audio CD (26 July, 1994)
list price: $17.98 -- our price: $9.99
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Editorial Review

From the swaggering frustration in the first song ("I only get my rocks off while I'm sleeping," Mick Jagger sings in the hyper "Rocks Off"), the Stones speed through familiar neighborhoods of country, blues, and R&B on Exile. They never even bother to stop when they've crashed into something. They don't leap into new worlds so much as master the old ones, turning Slim Harpo's blues obscurity "Hip Shake" into a harp-and-piano steamroller and setting spines a-cracking in "Ventilator Blues." Both "Tumbling Dice" and Keith Richards's "Happy" have become hits, but the 1972 album is most notable for its overall murky adrenaline. --Steve Knopper ... Read more

Reviews (348)

The Best Album of All Time
1.Exile on Main Street-Stones
2.Blood on the Tracks-Dylan
3.Good Old Boys-Randy Newman
4.Frank's Wild Years-Tom Waits
5.Sticky Fingers-Stones

Believe it, 'cause it's true.

When 5 stars just isn't enough
Without getting too wordy in expounding upon the virtues of The Stones' masterpiece known as Exile On Main Street and why it deserves the credit it has been given by rock critics and fans as hands-down being among one of the all-time greatest albums of the rock & roll era as many Amazon reviewers have already done so ad nauseum/ad infinitum --I couldn't possibly put into words any better than so many others previous to me-- I would just like to say that this album is a shining example of what a motley band of tax fugitives can accomplish when they have time to kill and are at the fullest command of their respective talents.The criteria I employ when rating an album's greatness relies not so much upon individual tracks in and of themselves, but rather I prefer to focus my judgement on the cohesiveness of the album as a whole, evaluating the individual tracks that comprise it on their own merits but also in how they interact with and interrelate to the rest and how the subtle --or not so subtle-- interplay in shifting or echoing moods and tones from song to song shape the overall mood and tone of the album.From start to finish, Exile is a flawless collection of some of the greatest rock & roll songs ever composed without a dud in the bunch to speak of.A great record when it was released more than 30 yrs. ago, Exile --I, incidentally was born while this albim was in midst of being recorded-- like a fine wine only betters with age - a truly great album, indeed.

Classic Albums of 1972:No. 1
If THEIR SATANIC MAJESTIES REQUEST was the Rolling Stones' SGT PEPPER, EXILE ON MAIN STREET is their WHITE ALBUM.Originally released as a 2-LP set, these 18 songs serve up the Stones' version of the blues.

The album kicks of with the one-two punch of "Rocks Off" and "Rip This Joint," before shifting gears with the Slim Harpo song "Shake Your Hips." While some double albums would have improved with some pruning, there isn't a weak track here.Other highlights include the hits "Tumbling Dice" and the Keith Richards vocal "Happy," along with the country blues of "Sweet Virginia," the acoustic "Sweet Black Angel," the hyperspeed "Turd on the Run," and the gospel-tinged "Shine a Light." This is the Stones' masterpiece.ESSENTIAL ... Read more

Asin: B000000W5L
Subjects:  1. Pop    2. Rock   

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

Even darker than their purple-hued debut, the Doors' follow-up, Strange Days, closed 1967 with an ominous flourish. Highlighted mostly by short, radio-friendly tunes such as the bluesy "Love Me Two Times" and the cabaret-style "People Are Strange" and featuring a smattering of edgy recitations ("Horse Latitudes") and smoky rockers ("My Eyes Have Seen You"), the album features a centerpiece that was another ambitious extended track, "When the Music's Over." On it, Morrison railed at everything from organized religion to pollution, and his rallying cry--"We want the world, and we want it now!"--became a call to arms for the counterculture rising up around the band. --Billy Altman ... Read more

Reviews (84)

Darker Psychedelic Darkness
And I thought their first one was on the dark side of the psychedelic spectrum.This one beats it on that. With all the exotic guitar and creepshow organ, you wonder if this is The Doors or some obscure California acid rockers alongside them. It's gotta be their most sinister album, though it never reaches the chills of "The End." It's still a classic, just not as good as the first one.

"Strange Days": Groovy organ opening. Jim's voice has a cool Moog synth effect. You'd have to listen to see what I mean.
"You're Lost Little Girl": Really dark song. Gives me chills. Haunting guitar solo.
"Love Me Two Times": Groovy harpsichord and all over class. A real classic.
"Unhappy Girl": Tack piano gives this a different feel. It s a bit short and minor key. But nice! Jim is said to have sung it hile his woman Pam Coursan gave him oral enjoyment in the lower region. !
"Horse Latitudes": Some poem Jim wrote in high school with soudn effets. Okay...runs right into...
"Moonlight Drive": Positively groovy. Spacey guitar solo and cool lyrics with a knockout wild ending. One of teh few happy songs/
"People Are Strange": Sure are. More tack piano. Considered a classic, but I'm less happy with it, though it is pretty damn good.
"My Eyes Have Seen You": Pumpin' bass, more tack, rockin guitar!
"I Can See Your Face In My Mind": Marimba be Ray. Cool little minor key groove. Oh yeah.
"When The Music's Over": Another long epic (10:56), but unlike "The End" in every way. Wailing guitar. Rockin "We Want to world" part and wild lyrics. Classic organ groove also. I swear Jim yells "f*** your dad" at the beginning of the guitar solo!

Hear the scream of the butterfly... (ahhhhhhh!)
Hailed as the group's darkest album, "Strange Days" revolves around the hippie movement of the '60s and the Vietnam war. Although most songs were made during the same time as their debut, both are completely different sounding albums. One shouldn't make the mistake by labeling this album as an album containing a bunch of leftovers (or just a "continuation") and saying their debut got the best. Try to picture the songs "Strange Days," "Moonlight Drive," "Horse Latitudes," or "People Are Strange" on their debut album. The flow of their debut album would sound weird. In other words, it wouldn't work.

Jim Morrison was a visionary and probably the most prophetic figure of his time. Look beyond his drunkeness, look beyond his good looks, look beyond his lovely voice and just hear what he has to say. This is an album about isolation, loss, and the loneliness that many people endured during the times of the Vietnam war. The title track could be about the drafting, which have "found" many men, "strange days" referring to the times of war, destroying "our casual joys," and people running away from it. Some of the tracks like "You're Lost Little Girl" and "Unhappy Girl" could center around the mind of the women, who are alone, sad, and confused, who were left behind while their men are away fighting. "Love Me Two Times," a song written by Robby Krieger, is a song about a man spending some time with his girl before he goes away to Vietnam. "Moonlight Drive," the song Jim first sung to Ray, could be about what a couple would do once the man comes back from the war. "People Are Strange" is another song about loneliness and feeling unwanted. "My Eyes Have Seen You" is perhaps a woman finding a new love, being liberated, and showing the whole world her beauty. "I Can't See Your Face" could be what's going on in a soldier's mind before he dies. "When the Music's Over," the grandioso rock epic alternative to "The End," a song of people fed up with what's wrong with the world (in this case, the war). An anthem for the hippie movement. An in-your-face statement. Sticking it to the man. As for "Horse Latitudes"? Hmm... I dunno... a bad dream about horses? Hey, I'm just trying to connect the dots here (and I do know that Jim wrote this in high school... all the more reason to explain why he's a prophet).

Jim Morrison's voice is still something that amazes me. Soft and romantic at one point, shifting into his chaotic and rebellious mode the next. Ray Manzarek... what more can be said about this brilliant organist? Damn fine talent. Robby Krieger, one of rock's underrated guitarists, adds more creativeness with his slide-guitar technique, making a unique sound. And John Densmore... the man that keeps the band together with his drumming.

"Strange Days" is probably not a "concept album" by any means whatsoever. It's probably not even like how I just described it. But that's just how I see it. And I'm showing why it's not just an album full of leftovers, but merely how it works as an album on its own.

"Strange Days" is the Doors' darkest album, but often misunderstood. And it comes close to being their best album.

Strange Days
This follow up to the first album really established the Doors as a force to be reckoned with back in the late 60's. Not only are the songs on this album great but i also love the cover on the album. In this album the songs are very psychedelic and groovy. This album also gives some of Jim's poetry some nice airtime with the little ditty Horse Latitudes, no instruments, just a bunch of people screaming in the background and banging on things while Jim does his thing, Cool! One of Jim's favorite songs is on this album, Love me two times (which was written by Robby Krieger). I highly recommend this album! Popular songs on this album include: Love me Two times, Moonlight drive, and People are Strange. ... Read more

Asin: B000002I27
Subjects:  1. Album Rock    2. Pop    3. Proto-Punk    4. Psychedelic    5. Rock    6. Rock & Roll   

A Little Light Music
Average Customer Review:
Audio CD (22 September, 1992)
list price: $15.49 -- our price: $15.49
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• Import
• Live

Reviews (9)

Origin ofTull name
A reviewer cites the name Jethro Tull as being fom a "lesser known member of Robin Hood's Merry Men " I say 'Tommyrot'! In English History we are taught that Jethro Tull invented the first seed drill. The band JethroTull were formed from the John Evans Band(from Blackpool?)and were at firstindeed a blues band .. (a very good one-I saw them live at the Jungfrau in Manchester back in another lifetime ) , after Abrahams left (Blodwyn Pig)They became what they are now . I dig all their stuff, altho ' I don't listen to them ,much these days ,. Last I heard; Anderson was into Salmon Farming .. but that was several years ago , my how time flies . DB . .

A pleasant surprise!
Jethro Tull, a 60s blues band named after a lesser known member of Robin Hood's Merry Men, recorded this disc a few years ago and it's their "unplugged" album when all that stuff (started by Eric "Slowburn" Clapton) was in vogue. It's not really "unplugged" though, because ya can't tell me the version of "Living In The Past" was done without any electricity. The song "Life's a Long Song" contains the classic phrase "crook as a chook" meaning "sick as a chicken." This phrase has become part of our English language and we can thank the boys from Tull for enriching our lives with that saying. I'll use it in good health except, of course, when I'm (heh-heh) crook as a chook (howls of derisive laughter). Not a bad track in the whole bunch and even though these songs are available elsewhere, the good thing about Tull albums is they all sound the same. All in all, this cd is a "must have" for all except the people who don't like Tull. My only disappoinment is they didn't play any Mozart on this cd

A must have
I normally don't care for live albums however this is close to my favorite collection of songs live or not.
First of all the music is a eclectic collection of Tull from over the years. WOnderful pieces such as "One White Duck", "Too Old for Rock and Roll..." and "Life is a Long song"all done while Tull was on an Eastern Eurpoean tour.
I've had this for about 3 years now and has elevayed up to my top ten most played albums.

The first time I heard it I was amazed that it was a live album and thought to myself "the mixer was some kind of genius" it had none of the hollowness of most live albums and the range and tonal balance is just about perfect. Then I looked and my initial observation was confirmed - it was mixed by a genius: Ian Anderson.

Highly recommended even for casual Tull fans. Esstential for the long time Tull lover ( like me) ... Read more

Asin: B00000DQNM
Sales Rank: 51614
Subjects:  1. Album Rock    2. Hard Rock    3. Prog-Rock/Art Rock    4. Rock    5. Rock/Pop   

Led Zeppelin II
Average Customer Review:
Audio CD (21 June, 1994)
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Editorial Review

Riff rock had been what Jimmy Page's former band, the Yardbirds, were all about, and on Led Zeppelin's second album, released, like its predecessor, in 1969, the inventive guitarist demonstrated that he'd indeed learned his lessons well. Witness "Whole Lotta Love," a woozy epic based on one simple, head-banging-friendly guitar riff. Or the mock-dramatic "Heartbreaker," propelled by far more intricate but similarly effective note squashing. Between Page's sonic wizardry, John Bonham beating his drums into submission ("Moby Dick"), and the juice running down Robert Plant's leg ("The Lemon Song"), Led Zeppelin here just about succeeded in raising rock & roll excess to an art form. --Billy Altman ... Read more

Features

• Original recording remastered

Reviews (308)

Stolen material!
Whole lotta love is a direct ripoff of an old Muddy Waters tune. The only difference in the song is Led Zep added the three words whole lotta love. The rest of the song is identical! I was told they had to pay off after the fact!

Sad to say, but after studying the blues for a few years, I have found almost all my favorite tunes from "back in the day" were ripped from old blues guys!

it's almost a greatest hits cd
ok lets be honest here led zeppelin is one of the greatest hard rock bands of all time. the reason for that is because you have an awsome combo, you have jimmy page's amazing guitar work involving very catchy riff's and insaine solo's to top it all off. but this cd is one of their best, i mean if you have the songs "whole lotta love", "heartbreaker", "living loving maid", and the rest of the songs on that cd it's probably a greatest hits, but this one isn't. you should go out and buy it if you don't already have it. you'll love it.

undeniable
No one with an inkling of taste and knowledge can deny this is an essential part of any music lover's collection . This album covers so many basses. Heavy rock. Blues. Acoustic love songs. It is just perfect in every way, and is so far removedfrom all the really dumb heavy metal it evidently inspired. Strip these songs to their basics and they would still blow me away. But as they are, theyadd up to something that is genuinly more than the sum of its parts. The soulful singing of Robert Plant. The thunderous drumming of John Bonham. The deft bass playingcourtesy of John Paul Jones ( as underated a musician as there ever was) and the unbelievable guitar playing of Jimmy Page. Even though a few lyrical and musical motifs are borrowed from old blues records ( but doesn't every writer do that?) the Plant/Page songwriting team really hits its stride here.Rarely will you find a collection of songs like this on one album, something that can truly be called magical. A once in a lifetime thing. If you have yet to take the Zeppelin plunge, this is the place to start. ... Read more

Asin: B000002J03
Subjects:  1. Pop    2. Rock   

Moonflower
Average Customer Review:
Audio CD (25 October, 1990)
list price: $19.98
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Reviews (33)

Great Santana Live/Studio Album
MOONFLOWER is a great half-live/half-studio album by Santana. Sure, Gregg Rolie is gone, but Greg Walker is a perfect substitute, imbuing the earlier songs with a soulful edge rooted in Memphis-Chicago-Texas-St. Louis-New Orleans-Detroit-Philadelphia-Kansas City blues/R&B traditions, and his rendition of the Zombies' "She's Not There" bests the outstanding original, turning what had been a wistful pop song into a thermonuclear blues-R&B-Latin-rock explosion. While you're getting the first three albums, THE ESSENTIAL SANTANA, the two BEST OFs, and GREATEST HITS, get this one.

Best Santana Album Ever!
I purchased this album when it was first released back in the late 1970's, and I still think its Sanata's best. A great mix of new studio tracks and smokin' live versions of old favorites, with one of the best Santana bands, and THE BEST VOCALIST Santana ever had..Greg Walker.

Best Santana Album Ever!
I purchased this album when it was first released back in the late 1970's, and I still think its Sanata's best. A great mix of new studio tracks and smokin' live versions of old favorites, with one of the best Santana bands, and THE BEST VOCALIST Santana ever had..Greg Walker. ... Read more

Asin: B0000025B0
Sales Rank: 105348
Subjects:  1. Album Rock    2. Blues-Rock    3. Hard Rock    4. Jazz-Rock    5. Latin Rock    6. Pop    7. Rock    8. Rock & Roll   

Stand
Average Customer Review:
Audio CD (25 October, 1990)
list price: $9.98 -- our price: $9.98
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Editorial Review

Need proof of how great Sly and The Family Stone were? Just check out the track listing for Stand! The title track, "I Want to Take You Higher"."You Can Make it if You Try", "Everyday People",(before it was a car commercial)--and this isn't even the greatest hits package! Hippies with attitude (and serious soul moves), Stone and crew were one of the most influential and free-wheeling forces in R&B/rock. Stand shows why. Gut bucket bass lines (thank you Larry Graham), joyous take-you-there anthems, and seething racial politics that made you move--and think--while on the dance floor.--Amy Linden ... Read more

Reviews (27)

Masterpiece
Quite Simply, One of the great albums of all time. Stand! is Party Politics at its most inclusive and Exciting. A classic album that should be heard by anyone who appreaciates great music.

Sly's Shining & Enduring Masterwork!!
This album was one of the first life-changing albums
for me in my musical evolution!
It's just chucked with funk classics, and if you want
to know what the pre-cursor to the funk phenomenon of the 1970's was, then this is it!
( with due respect to JB & "The One!!")
"Stand"--- begat Parliament / Funkadelic,
The Ohio Players, Mandrill, WAR, E,W&F, Cameo,
Graham Central Station (literally!),
Bootsy's Rubberband, The '70's incarnation of the
Isley Brothers, Prince, etc., etc.!!
Not to mention that, quite ironically, a lot of these generational touchstone songs are mere T.V. jingles now!

This was Sly, the genius, before the ravages of drugs and dissipation clipped his creative wings!---Sly at 1000%!!
Even though he did some great ditties after this album like
"Thank You (Faletinmebemiceelfagin!)", "Everybody Is A Star",
"Hot Fun In The Summmertime", "Family Affair",
"You Caught Me Smilin'", Runnin' Away",
"If You Want Me To Stay", "In Time", "Que Sera, Sera"
& "Loose Booty" to name a few...all which had their
impact on later decades as well, this album is his
and that ground-breaking multi-gender / multi-racial
band's funk masterpiece!

Too bad Sly Stone is only a footnote today, because he
didn't stay coherent enough to pimp his legacy like
other great pop artists of the past have!
Beacause he definitely deserves a place up there with
Hendrix, Brown, Lennon & McCartney, Dylan,
Clinton, Marley, etc.!!
But as long as there are die-hard music purists like myself
and many of the inquisitive young 'unz coming up today
who have boldlydared to pick up real instruments,
hone their craft and learn their music history,
then Sly & The Family Stone's legacy will survive!

Sly at His Best
I would have to agree with Brady's review that the novice should start with Greatest Hits, but Stand is probably the most eclectic, and therefore most representative album Sly ever did.

I was a college student in Columbus Ohio from '69 to '71 and had the privilege of ushering at all the rock acts that came thru the college town.

Only Ike and TinaSoul Review could even come close to Sly live and in concert. Even though he showed up a couple hours late, no one remembered that after he got done with us. The snippet of Sly in the Woodstock movie is a very small sip of Sly live.

As for "Sex Machine", I once sat in the backyard of my boyhood farm with my girlfriend and watched a Midwestern, summertime thunderstorm roll in across the prairie horizon. The noises, the anticipation, the buildup, were all perfectly captured in Sex Machine. I never tire of it.

Yeah, Sly's lyrics may sometimes be repetitive, but this was 1969 and Sly and his group broke so much new ground in music, texture, topical lyrics, politics, that the depth of the lyrics can be forgiven. The total package was a great ride for the short time they lasted.

... Read more

Asin: B0000024VT
Subjects:  1. Pop    2. Rock   

Works, Vol. 1
Average Customer Review:
Audio CD (21 May, 1996)
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Editorial Review

Of all the popular progressive rock groups of the '70s, Emerson, Lake and Palmer were the most bombastic and technically orientated. By 1977, they had become so wrapped up in themselves (individually) that they put out a double album with each member getting a side to his own. They shared the remaining side. Keith Emerson plays a Steinway grand piano along with the London Symphony Orchestra. Greg Lake sings some rather sappy ballads (nothing as fun as "Lucky Man," unfortunately). And Carl Palmer contributes a selection of drum-heavy fusion pieces. When the trio reconvene, they tear into Aaron Copland's "Fanfare for the Common Man" (you know, that music from the Olympics) and deliver a long, meandering song called "Pirates" that shows off what they did best--play classically inspired rock with wild synthesizer sweeps and Lake's sweet voice. This isn't the album for an ELP neophyte. Try Brain Salad Surgery or The Best of... for a proper introduction. --Larry Crane ... Read more

Reviews (28)

It has its moments
After making two great records back to back was the world expecting to much of Works Volume I? Sadly, it didn't live up to those expectations. But if you judge it independent of records like Trilogy and Brain Salad Surgery it isn't that bad, its just not that good. Nonetheless, it has its moments.

Side one of record one starts off with Keith Emerson's piano concerto. All in all it is a beautiful piece but it is not what you would expect to find on a record by a rock back. If it would have been longer and appeared as a solo piece (after all, there is no Lake or Palmer on it) it may have been appreciated better.

We can blame it on Greg Lake for being the one who really weighs this cd down. Often Greg Lake was the one to look to that would write a good pop song to sell the rest of the record. That is not the case here. These are some of his worst compositions and the lyrics are downright atrotious (if you doubt me go ahead and read the lyrics for either "Hollowed be thy name" or "Nobody Loves You Like I Do"). "Ces't La Vie" is the only decent song. It really brings to mind walking through the streets of Paris on a summer night. "Closer to Believing" is o.k. but the rest of it is pure trash.

Side three of the first record is the one that catches you really off guard. You may wonder how Carl Palmer would choose to fill up his side and he definitely gives the listener some suprises. His pieces range from classical re-workings to jazz fusion. Of course his drum playing is incredible but it is a bit bombastic. By the end you want to just scream "I know you can play so can we move on". However, the songs in which he is not pounding away are a bit boring (i.e. "New Orleans). Nonetheless, it is not as painful as Greg Lake's side.

The record rounds out with the three musicians returning together. If they would have just stuck with that formula the record would have probably been better. "Fanfare For the Common Man" is a decent reworking of the original but not as good as their other classical covers like "Tocatta" or "Hoedown". "Pirates" is an amazing piece. The band meets with sweeping orchestration to bring the listener one of their most picturesque songs of all time replete with beaches, bars, and bones.

Overall it is not a bad work (if you just ignore most of Greg Lakes songs). The problem is that the songs that are good on this record pale in comparison to their past achievements. Definitely not a record for the novice but for those of you who appreciate Emerson Lake & Palmer it deserves a fair hearing.

Odd...
The album where it partially all fell apart. The comparasions to the white album aren't COMPLETELY unfounded: a once great collective band, falling into ego driven trips of fancy, thinking they're able to go solo. haha, very funny guys.

Any ways, without help from each other, the glaring weaknesses of each member comes to the front. Keith Emerson's inability to write truly memorable melodies comes to the fore in his side. Greg Lake's horrendous lyrics and inability to arrange past a simple accoustic guitar. And Carl Palmer's weakness for drum solo's comes to the fore in his side.

However, each member's talents shine remarkably forth on each side. Keith Emerson's ability to arrange, and write beautifully elegant piano and orchestra parts is illustrated on his side, as uneventful and unmemorable as it is. Greg Lakes beautiful singing voice, and great vocal and guitar melodies come through on his side, and he is a great accoustic player. And Carl Palmer's insane music view shines through: his side is easily the weirdest of them all, and his drumming helps make this side honestly the best side out of all three.

However, this album does show the decline of the band's powers. Fanfare For The Common Man helps remind listeners that one of the band's best strenghts was in adapting classical pieces for a rock format. This piece is great... for the first five minutes, then it drags slightly.

Pirate is probably the worst of the "classic" ELP epics. I haven't listened to it in a long time, so I really can't say: it's very unmemorable and the lyrics are even stupider than usual.

So negatives first: the lyrics have become even worse than they once were, and the band's weaknesses stand out starkly when not masked with the other's strengths. Also, the collaborations aren't so hot.

The positives? most of this music is very beautiful. There are segments in Pirates, I admit, that are strikingly beautiful. And Carl Palmer's side is completely bizarre, and unexpectedly great. And easily over half the album is instrumental: no horrible greg lake or pete sinfield lyrics!

So in conclusion, this album is flawed, yet there maintains enough balance between the beauty in the bombast that ELP is capable of. Works 2 followed shortly after, and is the most fun ELP album ever: filled with rag time pieces, and covers, and goofy short songs. Some hate it: i think it's better than Works 1, and a great way for the band to end their career, as I refuse to acknowledge anything after this.

Buy it for Pirates
I used to listen to "Pirates" every morning before I went to school up until the time I was about 8 years old.This is what pirate music should sound like.When I heard the music for "that disney movie", I was like, "This doesn't sound like Pirates at all!"...the ELP song has forever burnt in my head what a soundscape to a swashbuckling adventure should be like, and it shall do the same for you.Buy it for Pirates. ... Read more

Asin: B0000033P4
Subjects:  1. Album Rock    2. Pop    3. Prog-Rock/Art Rock    4. Rock   

Live in Concert
Average Customer Review:
Audio CD (25 November, 2003)
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Features

• Import
• Live

Reviews (11)

FINALLY - A SUPERIOR REMASTER!

For those of you who are just about to shell out huge bucks on eBay for the 15-year old Mobile Fidelity Sound Lab version of this album... DON'T BOTHER.

This CD is sonically superior to the MFSL disc and has extra tracks to boot!

If you own the MFSL version, as I did, get a sucker on eBay to buy it and with the extra money, buy this one and the new "Broken Barricades" remaster (also available from Repertoire) and laugh all the way to the bank, just as I did!

Wish I'd been there
Lead by Procul Harum's painist Gary Brooker, this album shows how rock might have evolved into a multi-generational music form alongside jazz.The songwriting must be the key-- it is strong enough to expand with all the strings and voices, rather than slump under the classical-ish trappings. The tracks range from quasi-religious to humorous to flat-out rock, and it all holds together beautifully.

Finally got the CD
I have always thought of this recording as one of the gems of a generation; I had the vinyl LP, but was not in the best condition. I had to buy a CD version from a supplier in Russia..
I am at peace again....the live version of "I held T'was I" has to rank as one of the top 5 songs ever recorded....the finale always has the hair on my arms raised. Do yourself a favor; don't buy that 12 pack of Bud Light and get this CD.... ... Read more

Asin: B00006ALRP
Sales Rank: 19424
Subjects:  1. Miscellaneous    2. Pop    3. Rock    4. Rock/Pop   

Live at Ludlow Garage: 1970
Average Customer Review:
Audio CD (20 April, 1990)
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Editorial Review

This two-CD set won't cause you to throw out your copy of Fillmore East, but it is at very least a worthy companion to that 1971 classic. Recorded the previous year at the famed Cincinnati venue (but not released until 1991), Ludlow catches the band in the moments just before their peak. Some of the material will be familiar to fans, but this collection adds gems such as John Lee Hooker's "Dimples" and the blues classic "I'm Gonna Move to the Outskirts of Town" to their recorded repertoire. And if you thought the 33-minute "Mountain Jam" on Eat a Peach was extensive, you need to hear Ludlow's 44-minute version, which comprises the entire second CD. --Marc Greilsamer ... Read more

Features

• Live

Reviews (25)

One of my favorite Allman cd's
I love this cd especially the 44.00 min version of Mountain Jam that takes up all of disc 2.I play it at home on a constant loop.The cd is worth it for that alone.Disc 1 has a great 10 min 15 sec Dreams.Those are the two highlights of this cd for me.I'd match this cd up with the Fillmore concerts, except Ludlow Garage doesn't have Whipping Post and Elizabeth Reed and the Fillmore has both of those songs.Of course, ludlow has Dreams and Fillmore doesn't.I'd give Ludlow Garage and the Fillmore Concert cd's each 5 stars.

Another nice addition to the Allman Brothers catalogue
The liner notes go on for quite a while about these recordings being "primitive by today's standarts", and apologizes for the "sonic flaws" which exist in spite of the remastering.
Having read that, and a handful of reviews as well, I was prepared for some really mediocre sound, but this is not bad at all, actually.
Sure, "Live At Ludlow Garage 1970" doesn't reach the sonic heights of the Atlanta Pop album, or the superb deluxe edition of the Fillmore tapes, but the sound is actually quite good. Surprisingly good, considering that this concert was recorded direct to two-track at a running speed of a mere 7½ inches per second...the absolute minimun for professional recordings.
Okay, so the rhythm section may sound a little bit distant and/or muddled at times, but only hardcore audiophiles should find anything seriously amiss with this fine album.

Opening with a good-but-not-great "Dreams", the first disc also contains an unusually long (but very good) rendition of "Statesboro Blues", a song which the Allmans usually played as a tight, four-or-five minute blues-rock number. But this one is stretched to a full eight minutes, featuring some fiery slide solos and an unusually subdued interlude.
A great, tough "Trouble No More" is next, "an old song written by McKinley Morganfield", says Gregg Allman in his introduction (the song was barely fifteen years old at the time). And then comes a delightful rarity, a fine take on John Lee Hooker's all-time classic, "Dimples", followed by one of the best and roughest versions of "Every Hungry Woman" I have heard, and a s-l-o-w, nine-minute "I'm Gonna Move To The Outskirts Of Town" which features a great lead vocal by Gregg Allman and a cornucopia of passionate and (usually) excellent slide guitar playing.

The disc ends with a rough-and-tumble rendition of "Hoochie Coochie Man", sung (incoherently at times) in a gruff, guttural voice by bassist Berry Oakly...Dickey Betts had yet to emerge as a singer and a songwriter for the band.

The second disc is entirely devoted to the longest (and possibly most disjointed) version of "Mountain Jam" you're ever likely to hear...lots of searing guitar playing, although I must admit to playing disc 1 somewhat more often than disc 2.
Okay, a lot more often.

This is not the place to start, perhaps, but it is definitely worth picking up for Allman fans, whether hardcore or somewhat more casual like myself.

Great 2 CDs, but time for remastering!
I've had this CD for ages, mainly because like a lot of folks I love the 44-minute Mountain jam (which, from what I hear, was EDITED and actually ran closer to an hour...). Anyway, with the first generation of CDs slowly being replaced by better-quality CDs, this two-CD first generation CD collection, which essentially is nothing but the LP on CD, could use some expanding, time-wise, and some cleaning up, sonic wise. It's great to have this and a few other Duane performances, and like a lot of other reviewers have said, it's no Fillmore East. This was a few months before. For another great Mountain, check out the nice one released by Grateful Dead Productions when Bear recorded an opening set by the ABB from February 1970 (which also has a couple of "non-traditional" ABB tunes. So, Ludlow Garage is good stuff, but it's time for the ol' upgrade in audio and, with luck, some creative additions to what was cut from the show when the LP was originally put together. Performances, 4 stars. Audio and amount of audio: 2 stars. Let's average it and call it a 3, knowing that when expanded to 2 full CDs and given the 24-bit mastering treatment it'll easily be a 5-star... ... Read more

Asin: B000001FWM
Subjects:  1. Album Rock    2. Blues-Rock    3. Boogie Rock    4. Hard Rock    5. Pop    6. Rock    7. Slide Guitar Blues    8. Southern Rock   

The Grateful Dead (Skull & Roses)
Average Customer Review:
Audio CD (25 October, 1990)
list price: $11.98
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Features

• Live

Reviews (24)

Hasn't held up with time as well as other albums
I remember listening to this the first time and being blown away by the entire side of an album beging taken up by The Other One. Some of the other tunes also caught my ear, and it must have caught others' ears as well, as this was the Dead's first "Gold" album. Over the years, though, the emergence of the Dick's Picks series, and the fine, fine job done on the remastering of Live/Dead and Europe '72 just tend to overshadow this CD and reveal its weaknesses. It's not a BAD two-LPs on one CD set, and the remastered version sounds good, it's just that just doesn't hold up to other material released around the same time. Dead completists are, of course, going to want this. But IMHO there are better quality live Dead releases out there, and I'd recommend this only after the other CDs have been purchased. It's funny, but that 18-minute or so The Other One that was so great 30-odd years ago now seems so incomplete, because I know it went from The Other One into something else, instead of just fading off at the end. This CD would have been fun if it had been expanded to 2 CDs and The Other One jam and the songs leading into and out of it had been included. This, along with Bear's Choice, was a hodgepodge thrown together by the band (see Steal Your Face for more on that!) to fulfill their Warner Bros. contract and go their own way. Not a horrible CD, but compared to what else is available, skip it for now...

American Rock and Roll's ultimate live album
This album is well reviewed by various listeners.I appreciate Alan Sandler's review pointing out Bob Weir's work on the bridge between Not Fade Away and Goin'Down the Road. Another excellent example of Bobby's ability to lead the transition between songs in medleys can be found in Europe 72's China Cat/I Know You Rider combo.In both of these recordings, Weir lays out the plot with Jerry providing punctuation, then when the mood is set, Garcia is able to elaborate on the story with soaring lines that truly define the Dead during this era.Listen closely to the stereo separation on these recordings and it becomes easier the distinguish these two very different guitar styles that blended so seamlessly together.

Another facet of the Skull and Roses recordings that is underappreciated in my mind is the drumming of Bill Kreutzman throughout this album.Kreutzman once said that drumming should feel like dancing, and if you want to hear a drummer dancing to the sound of a band in its prime, just listen to the drum tracks here.I love Mickey Hart and his contributions not only to the Dead, but to percussion in general, but to my ears,the single drum set on this recording lends a simplicity and purity that is seldom evident on Dead outings with the full double drum set-up.

One more item that stands out and separates this live recording from others that came before and after, was the engineering of the sound.The Dead were surrounded by technical people who loved the music and found a way to give it life on vinyl (and digital media).The sound here is remarkable, especially in light of the fact that the technological leaps that were just around the corner, were not at the disposal of the bands at that time.It wasn't long before the Dead jumped into the world of digital effects and processing, pioneering new sounds and techniques, but the pure energy of the band always sounds best to me right in the grooves of Skull and Roses.

I claim this as the best live American Band recording, fully appreciating some other fantastic live albums (The Allman Brothers, the Band's Rock of Ages, and many others).I admit to a slight bias having followed the Dead since 1968, but I have never been a fan with blinders, unaware of the band's shortcomings, or of the great efforts from all over the American Rock and Roll map.Still, this album can give me the same sense of euphoria that I felt listening all those years ago.

A Real Live One--Buy this one!
Released in 1971, this is the Dead's second live release for Warner Brothers and for me it's more satisfying than the earlier "Live Dead." That is in part because of its return to roots. I guess that this album has been cited as being more country than what came to be expected from Captain Trips and company. But the pre-Dead Garcia was known as a folk musician in the Bay Area--mostly as a bluegrass banjo player. And this album is a refreshing revelation of roots. Not that that hadn't been the whole focus of the band from the beginning. "Working Man's Dead" and "American Beauty" always seemed to me to be direct responses to the Rolling Stones' 1966 collection "High Tide & Green Grass." "Working Man's Dead" and "American Beauty" have songs that talk about American music within its tradition. And those albums are true to what the Brits were gleefully reclaiming (or stealing) from our version of the tradition.So in "Grateful Dead" we have prototypes. Garcia plays guitar that Chet Atkins country fans would recognize in "Bertha," and "Mama Tried" (a Merl Haggard song). "Me and My Uncle" is another outlaw ballad, and then there are blues covers "Big Railroad Blues" and "Big Boss Man." This version of "Playing in the Band" is among the best, and Jerry, who said early on that he took a long time to figure out tunings for early rock 'n roll guitar, demonstrates that he's solved the mystery of Chuck Berry in this rendering of "Johnny B. Goode." The band still sounds like the Dead with crisp contrapuntal Bachian interplay and lots of repetitious riffs. But they are playing the music that satisfied their souls--a mixture of country and blues and folk music--whence they came. To be sure, we also have the stuff of the jam band in "The Other One" with a drum circle solo and some long noodles and great improvisation featuring said interplay. This is good Dead, and the absence of feedback and excessive road crud doesn't detract from the authenticity of the sound at all. ... Read more

Asin: B000002KBN
Sales Rank: 103098
Subjects:  1. Album Rock    2. Country-Rock    3. Jam Bands    4. Pop    5. Rock   

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

Including both his band work (with the Yardbirds, John Mayall's Blues Breakers, Cream, Blind Faith, Delaney and Bonnie, and Derek and the Dominos) and his long, varied solo career, this four-CD set does a spectacular job in gathering several decades' worth of Clapton's best. There are the requisite classics--"Layla," "Blues Power," "After Midnight," "Further On Up the Road," "Crossroads," and "I Shot the Sheriff," among many others--some of them in previously unreleased live or alternate studio recordings. Released in 1988, when only superstars were granted the box set, Crossroads became the blueprint for what such a retrospective should be. For its scope, this box skims the cream of Clapton's large output. --Daniel Durchholz ... Read more

Features

• Box set

Reviews (33)

GREAT MATERIAL
I happen to be someone who loves boxed sets, and I have a number of them: (Led Zeppelin (BOTH), George Strait, The Who. ELO, Hank Williams, Patsy Cline, George Jones, Billy Joel, Selena, Johnny Cash, and Merle Haggard to name a few). I decided to purchase this set, because I like some of Clapton's material, and to be honest, I am not familiar with a lot of his music (Maybe 15-20 songs), and would like to hear some more (And you always find new songs you will like). I always hear complaints that you should buy the original CDs, but to be honest, people cannot afford to be completists of every singer and (Or) group they like (I am a Strait and Zeppelin completist, and even that is expensive). This is a great box, because you can hear the hits (Layla, White Room, Let It Rain etc), and become introduced to more material, and appreciate Clapton even more. Simply put, this is great material.

The Ultimate Clapton Collection
Eric Clapton has risen to the prominance of one of the greatest rock artists of all time with his musical roots in Blues and even dabbling with reggae, pop-rock, and soft rock since his golden age in the mid 1970's.Crossroads is the ultimate introduction to Eric Clapton and his entire career from his years with the Yardbirds to the latter days of his solo career in the late 80's as well as a crucial addition to any collection.Crossroads is quite simply the best of his entire career from his beginnings in 1963 up to the boxset's release in 1988.

The first disc contains a staggering 23 songs ranging from his start with the Yardbirds and spans into the mid-sixties through his glory days with Cream.The disc has several hits like the universal tunes "Boom Boom" from 1963 and "Sunshine of Your Love" with Cream in the mid-to-late 60's.Also present are the crucial years in between with John Mayall's Bluesbreakers and duets with only Clapton and John Mayall.

Disc two has perhaps the most hits on a single disc, from his closing days with Cream and through his legendary period with Derek & the Dominoes up through the early 70's.It starts with the delightful, almost mystical "Anyone For Tennis," with Creamand contains classic dongs like "White Room," a live rendition of "Crossroads," "Badge," "Blues Power," and "Layla" make this disc an unquestionable favorite.The second disc also boasts "After Midnight" from his stint with Delaney & Bonnie and a duet with the late Duane Allman as well as a few hits from his time with Blind Faith.

The third disc is truly a gem and my personal favorite, kicking off with five previously unreleased tracks by Derek & the Dominoes as well as a few from his solo career which the disc touches the glory days of.Among these are songs like "Snake Lake Blues," with Derek & the Dominoes and "(When Things Go Wrong) It Hurts Me Too".The third disc also has a previously unreleased live version of Bob Marley & the Wailers' "I Shot the Sheriff" from 1974 and a duet with reggae legend Peter Tosh from the following year that was also previously unreleased.For a fantastic finale, the disc closes with Clapton's legendary and beautiful cover of Bob Dylan's "Knockin' On Heaven's Door" and "Someone Like You".

Finally, disc 4 covers his career from the 1976 "No Reason to Cry" album up through 1987, after his drift from a more Blues style to a soft and pop-rock style.The disc has several hits, three of which are indesputable: "Lay Down Sally," "Cocaine," and "Wonderful Tonight" and the first two tracks "Hello Old Friend," and "Sign Language," are amazing; the second of which pairs Clapton with fellow rock legend Bob Dylan.While the disc does show his more modern pop-rock era, only the best of this period is available here, and no fan will be disappointed.His later years are seen as having less popularity, but you wouldn't think so from this collection, in fact, you may think he's only gotten better.The fourth disc closes with a remake of "After Midnight" from 1987, leaving the listener stunned by the rock legend.

Crossroads is a testament to Eric Clapton's legacy, skill, passion, and brilliance.Any casual fan would find this to be the ultimate introduction while the hardcore listener would undeniably say that this boxset is a piece of music history, crucial to any rock & roll collection, or even, any well-rounded music collection.I can guarantee you will not be disappointed by Eric Clapton's legendary masterpiece.

Great boxset but with cd rot problems after 16 years
Recently, for no reason in particular, I was checking the cds of this boxset and suddenly I was able to locate dozens of small "holes" in all cds. If you look at them casually you won't notice anything,not a single scratch, but when you look the cds against a light source the "holes" will be there. So far those "holes are not affecting the listening of the cds I wonder if the number of "holes" will increase and turn the cds unlistenable. Pitty that this is happening with this great boxset after 16 years of use, but not abuse, probably I'll have to order a new one. I wonder if these "holes" actually can be called cd rot, but definitelly the cds are damaged...BTW, some of my 1987 Beatles cds also have those "holes".... ... Read more

Asin: B000001FOP
Subjects:  1. Adult Contemporary    2. Album Rock    3. Blues-Rock    4. Box Sets (Audio Only)    5. British Blues    6. British Psychedelia    7. Guitar    8. Hard Rock    9. Pop    10. Pop/Rock    11. Psychedelic    12. Rock    13. Rock & Roll    14. Soft Rock    15. Vocals   

Crosby, Stills & Nash
Average Customer Review:
Audio CD (16 August, 1994)
list price: $18.98 -- our price: $13.99
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Editorial Review

As much as any record, CSN's 1969 debut ushered in the early '70s singer-songwriter boom. Yes, this was a group, but it was one made up of three coequal composer/vocalists, each with a heady resume--Crosby an ex- Byrd, Stills in Buffalo Springfield, and Nash a former member of the Hollies. Each supplied distinctive material and contributed to CSN's trademark harmonies. The addition of Neil Young made the supergroup an edgier outfit. There's a purity to the original trio recording, however, that would never be recaptured. --Steven Stolder ... Read more

Features

• Original recording remastered

Reviews (57)

Great Debut From Three Great Singer/Songwriter/Human Beings
CROSBY STILLS & NASH is a great debut from three great singer/songwriter/guitarists. The songs are all great, and this album is even better because these guys advocate snctions against Indonesia following the trumped-up drug-smuggling conviction of a young Australian tourist there. If you want great folk-rock and agree with David Crosby's, Stephen Stills', Graham Nash's, and Neil Young's principled stances on the issue I described, get all of the original CSN/CSNY albums (even 4 WAY STREET, but not LIVE IT UP), because the greatest hits sets don't do these righteous rockers justice.

melodic country rock that is awesome
this should be bought in conjunction with Deja Vu; it is just as strong an album and goes well in any cd collection.it is very reminiscent of the 60's country rock movement, similar to Buffalo Springfield (one of these guys was in that band previously) and the Byrds (same thing).In a way, CSN and CSNY was kind of a supergroup, which I tend to hate, but in this case they made some incredibly good music and had an honest message and approach to performance.The myriad music legends that spawned from the crossing collaborations of these guys and Neil Young made some of the best rock music ever.Check this out for some mellow rock magic.

Hmmm...maybe I'm wrong.
Maybe you CAN get folk-rockier than "Buffalo Springfield Again", because THIS album is a true milestone in the annals of post-war pop culture. Crosby, Stills and Nash came from three excellent groups of the era of the late 60s/early seventies: The Byrds, Buffalo Springfield and The Hollies, and created a group that was actually better than any of the three feeds! David Crosby was the smirking, mink hat-wearing lead singer of the Byrds, Stephen Stills was the elder-statesman/master songwriter for the Buffalo Springfield, (a group literally named after an earthmoving equipment company,) and Graham Nash was one of the elfin harmonizing voices of the Hollies, a British group whose music bore no resemblance to the country-flavored folk-rock of Stills' and Crosby's groups.

When I first heard "Marrakesh Express", I could have sworn it was Simon & Garfunkel releasing a new single, post "Bridge Over Troubled Waters". Imagine my shock when I heard that David Crosby and the Springfield's Stephen Stills had hooked up with the George Harrison-esque Nash to form the very first "supergroup", (others would follow, like Led Zeppelin, Emerson, Lake & Palmer, Renaissance and Fleetwod Mac,) of the 70s.

The harmonies on this album were what made CSN legendary....although there is a HUGE Buffalo Springfield influence as far as that's concerned...(they sounded NOTHING like the Byrds or the Hollies!) but it is the soungwriting, (again, most of the best work is by Stills,) that really makes it stand out.

Stills' "Suite: Judy Blue Eyes" is a song praising and cajoling the great Judy Collins, a lover of his at the time. It is THE anthem of the album, and the one most DJs slap in the old console when they want a hit of ol' CS&N. His "Helplessly Hoping" is an easygoing declension of what two lovers are to each other. "You Don't Have To Cry" and "49 Bye-Byes" are the sod-kickers on the album, immediately catchy and full of Stills' trademarks, (intricate guitar-picking and aw-shucks vocals.) Crosby is a VERY close second with his songwriting, collaborating with Stills on "Wooden Ships", having also written "Guinivere" and "Long Time Gone". He easily knocks right on Stills' door with his talent as a tunesmith. Nash, on the other had, produces one of the most sickening rock tunes I've ever heard, with "Lady of the Island", an extremely gooey number that makes him sound incredibly conceited and corny. However, he must have been listening to Crosby's and Stills' jam sessions very closely, because "Pre-Road Downs", (even the TITLE sounds like something Crosby or Stills would have come up with,) pays an obvious homage to his bandmates. He almost redeems himself with this and "Marrakesh Express", probably the OTHER trademark CS&N tune besides "Suite". Yes, "Marrakesh" is the song I thought was a Simon & Garfunkel tune initially.

I wonder just what possessed Stills and Crosby to recruit Nash....the Hollies were British...VEDDY British....fond of baroque guitar work, musical sampling from former British holdings like Jamaica and other, purely European influences in their music, while S & C were EXTREMELY American in their sound, both in their former groups and their songwriting on this and the "Deja Vu" albums. Was Roger McGuinn busy? Dewey Martin? Jimmy Page? Why Nash?

Anyway....this album, probably more than any other, symbolized the whole "Love" generation, encapsulating the folk-country flavor favored by the lion's share of music-lovers back then...not to mention a sanitized "hippie" image that made them palatable to parents and "weekenders" who had one toe in the establishment world and another in the counterculture. No matter what walk of life you come from, you'll find yourself tapping your foot to the rockers on this album and singing along to the harmonies...

And your harlequin will most definitely hover nearby.... ... Read more

Asin: B000002J0P
Subjects:  1. Folk-Rock    2. Folk/Country Rock    3. Pop    4. Pop/Rock    5. Rock    6. Singer/Songwriter    7. Soft Rock    8. United States of America   

The Best Of Eric Burdon & The Animals, 1966-1968
Average Customer Review:
Audio CD (11 June, 1991)
list price: $11.98 -- our price: $10.99
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Reviews (25)

Eric Burdon&The Animals-'The Best Of.......1966-68'(Polydor)
Maybe not the best Animals compilation,but a good one at that.Total of fifteen tracks,with the better ones being "Don't Bring Me Down"(sure beats any cover version that's been done since then),"Hey Gyp","When I Was Young"(my personal Animals favorite),"San Franciscan Nights","Monterey" and "Sky Pilot".Great British Invasion rock 'n roll to be fully experienced here.Line-up for many of these tunes are Eric Burdon-vocals,John Weider-guitar,Chas Chandler(R.I.P)-bass,Vic Briggs-keyboard and Barry Jenkins-drums.A nice find.

Nice enough
I don't really listen to this all that often but it's fun once and a while. I never really bought Burdon's attempts at psychadelia but none the less, the songs here are decent enough and certainly more progressive than his "Boom Boom" cover or whatever else came before it.

Bummer
I listened to this once and then shelved it.Not what I expected- I think the other "Best of" is better (will letcha know!) ... Read more

Asin: B000001G1N
Sales Rank: 8825
Subjects:  1. Blues-Rock    2. British Blues    3. British Invasion    4. England    5. Pop    6. Psychedelic    7. Rock    8. Rock & Roll   

The Velvet Underground & Nico
Average Customer Review:
Audio CD (07 May, 1996)
list price: $9.98 -- our price: $7.99
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Editorial Review

When the Velvets recorded this debut, they were best known as the protégés of Andy Warhol (who designed the sleeve), and as a grating, combustive live band. Fueled by drummer Moe Tucker's no-nonsense wham and John Cale's howling viola, some of the straight-up rock & roll and arty noise extravaganzas here bear that out. But before Lou Reed was singing about sadomasochism and drug deals and writing lyrics inspired by his favorite poets, he was a pop songwriter, and this album has some of his prettiest tunes, mostly sung by Nico, the German dark angel who left the band after this disc. Even the sordid rockers are underscored by graceful pop tricks, like the two-chord flutter at the center of the classic "Heroin." --Douglas Wolk ... Read more

Features

• Original recording remastered

Reviews (204)

beginning.
i own a thousand albums of all different kinds of music.this one is a centerpiece of my collection - the start of so much, but more than just an influence for what came after it.there's almost more variety than should be possible - from the flowing "i'll be your mirror" to the biting "black angel's death song".at the center of the album is perhaps the greatest song of rock and roll, or even modern music - "heroin" - which by itself could have been an album.no matter what your music taste leans toward, this album belongs in your collection and in your head.

"Its all the streets you crossed, not so long ago..."
Dominated by Lou Reed's ultra-hip chant vocals and John Cale's wailing viola, The Velvet Underground made some of the greatest music ever to come out of the Sixties.
The sound captured on this, their debut, can be called pop music from Mars; Its a set of deceptively simple, impossibly catchy tunes that happen to sound completely different from anything you've ever heard. Art-pop, if you will.
This is exemplified by songs like the medieval death-march "Venus in Furs," a filthy little number driven by a particularly slimy viola riff and drummer Maureen Tucker's slow but relentless skin-smashing, a simple beat which just may stop your heart. All the while, Lou Reed is romanticizing sadomesochism with a sneer that could freeze mercury. Then there's "Heroin," a seven minute shiver that buries a two-chord guitar riff in some of John Cale's most atmospheric and subdued playing, as well as some downright unsettling percussion from Moe Tucker. The album's more far-out moments, particularly the closing one-two punch of "The Black Angel's Death Song" and "European Son" have alaienated quite a few listeners, whih truly is a shame when you consider how great these two songs are. In "Death Song," Cale's viola caries almost all of the melody, making for a piece of music that sounds as slippery as ice. Reed skates across it effortlessy though, all the while spitting out a bizarre but catch lyric. "European Son" starts out as an equally weird tune, one that's propelled by a few simple but devestating chords and a beat that keeps shifting ever so slightly. From there, things get realy strange, as the song becomes an all-out white-noise jam that one would have to hear to concieve of liking.
But for all of the weirdness, the Velvet Underground and Nico still posesses some great and relatively straight-forward rock tunes. The most obvious of these is the rhythmic churn of "I'm Waiting For The Man," with its grease-soaked guitar licks and sublimely primative drum line. The amphetamine rush of "Run Run Run" is a propulsive rocker that's fueled by a totally out-of-control John Cale and some truly inspired lyrics from Reed. "Sunday Morning" is a delicate and haunting song that opens the album with sublime beauty and draws the listener in. The wide-eyed chorus is one of the best things that the Velvets have ever done. "Here She Goes Again" is the closest thing to simple R&B tinged rock to be found on the album. Its a bouncy, catchy, and downright fun tune with some great vocal harmonies and some impassioned lead vocals from Lou Reed. The opening bars are a nod and a half to Marvin Gaye's "Hitch Hike," which signals just what kind of tune it'll turn out to be.
Andthen there's Nico, the mysterious German chanteuse whose presence gave the album its title. Although she only preforms on three songs, its clear that she has one of the most distinctive voices to be found; its an icy, tender, and intricate thing, simultaniously romantic and haunting. Its effect on the songs is unmistakable: "Femme Fatale" is transformed from a gentle pop ballad into an etheral and sultry accusation. The subtle but passionate chorus is a thing of beauty.
Bottom line, the Velvet Underground and Nico is one of rock's greatest achievements, and it belongs in every CD case or (better yet) vinyl collection.

"The most Prophetic Album ever made"
Rollingstone Magazine Simply called this album "..The most prophetic rock album of all time.." and with a Good reason. It's a record of fearless breadth and lyrical depth. ... Read more

Asin: B000002G7C
Subjects:  1. Experimental Rock    2. Pop    3. Proto-Punk    4. Rock    5. Rock & Roll    6. United States of America