title: totally fun summer orchestral pop

text:
I was a little late in hearing The Unicorns, and about one week after I'd finally gotten their Who Will Cut Our Hair When We're Gone? album, they broke up. They briefly reformed as Th' Corn Gangg, a side-project with MCs Busdriver and Subtitle, then once again split, with two-thirds of the band forging on as Islands.

  Having heard the goofy, somewhat sloppy pop of The Unicorns, I was caught off guard a bit by how polished Return From The Sea sounds. There are still some buzzing analogue synths and occasionally silly vocals, but there are also plenty of horns, woodwinds, some strings, and an absolutely huge step in terms of songwriting and instrumentation. It doesn't take any longer than the first track for that to become apparent, as "Swans (Life After Death)" plays out for nearly ten minutes, opening with some strummy guitar and theremin-sounding keyboards before locking into a building verse and chorus that moves through several smooth progressions before dropping into a classic-rock inspired end section.

  After the waltzing "Humans," the album hits what is easily the best section starting with "Don't Call Me Whitney, Bobby." Clocking in at only two and a half minutes, the song is easily one of the most catchy on the entire album, mixing slightly morbid lyrics with infectious instrumentation. "Rough Gem" does its best to top the former track, blasting gloriously giddy synth-pop punctuated by strings and reeds that hit in all the right places.

  From there, the group unleashes the great "Where There's A Will, There's A Whalebone," a hip-hop influenced piece that starts out with swirling, almost proggy rock before locking into a great middle section that finds some Anticon-esque stream of consciousness vocals flowing before the track drops right back to where it started. Unafraid to mix styles even further, "Volcanoes" is a fun, country-inspired track that again finds the group rocking out for a nice ending. The album comes close to dragging a smidgen during the two slower tracks that close things out, but it's at least partially due to their following on the heels of the rollicking rest of the disc. Regardless, this album is a great deal of fun, and is among my favorites of the year so far.

(from almost cool music reviews)


title: totally bangin'

text:
Contrary to the opinion of some, putting out a hard techno release isn't a piece of cake. Over the course of the past couple years, I've heard loads of releases that are content to just bang away with heavy beats and not offer much up in terms of variety and by putting it under the label "hard techno" or even as a mix, they think they're supposed to get away with being boring. Collabs 3000 is actually the work of DJ and producer Chris Liebing and Speedy J, a talented artist who has been releasing great electronic music for well over a decade now.

  Jochem Papp (aka Speedy J) has dabbled in lots of different areas on his releases, but his past couple efforts have found him getting increasingly louder and more aggressive. Loudboxer was his last release and the banging release was about as far away as one could get from his melodic early classics Ginger and G Spot. As one might guess from the title, Metalism is much closer to his last release in terms of overall edge, and it might even push things faster and harder than that release, as it seems like he and Liebing keep trying to leapfrog one another in terms of how far they can push things.

  Of course, the above is just speculation, as there's no specific credit given to any of the tracks, but listening to Metalism one can almost imagine them smiling and laughing and saying "oh yeah?" as they come back with even more relentless pieces. The short "Lego" opens the disc with some ambient spaces and a hint of what's to come, as "Modish Ride" uncorks things with a cracking beat and some wobbly bass lowend before "Triflon" punches things in a more tech direction with some almost two-step bass growls and all kinds of skittering glitches. From there, things get downright ruthless as hilt clangs away with harsh, almost industrial beats and "Tunox" piles on the gritty thump for almost seven minutes. The latter track is one of the best on the album, with just enough breathing room to keep it interesting.

  To be fair, the album isn't one big slam bang boom, but this definitely isn't the sort of thing to be listening to it you don't like it hard and minimal. Other than the opening track, about the only place they take it down a notch is on the deep ambient wash of "Eventide," but even that track has a bit of harshness to keep you on edge. This is one of the better things I've heard like this since Richie Hawtin's Decks, EFX and a 909. Judging from the crowd frenzy captured on the last track (a live recording of "Trikco"), it's some of the better stuff they've heard as well.

(from almost cool music reviews)


title: Three Stars

text: thought it would be better


title: Love this

text: My husband I love this tape this will be our third one since we wore out the first two. It has a collection of some of the best rock songs out there.


title: Great Album

text: This was one of the first Rock Christian Albums I every purchased, over 20 years ago. Was told only the devil owns rock music. Not the first lie I was told by the church but one of the most guilt causing ones. Still have this music album and now many many more. Great songs that never gets old. God Uses Rock or whatever is given to him for his purpose.


title: South American Sound

text: Heard these guys one time and thought I would pick this up.  Nice sounding music.  If your in to such it is good listening.


1999 CD "All songs written, composed, produced and jammed live by Burgess Tomlinson (except contributions on TIMEXA ...)
1. Make New B Thru
2. Underwhale (sic)
3. War on Skating
4. Howfeels
5. Thruough Life (sic)
6. Timexa
7. Bliss Kiss

An interesting mixture of electronic music, tape loops and beats.  Worth a listen (I found my copy at Amoeba S.F).


title: Buy the digitally re-mastered CD using 20-bit Digital HDC Recording.

text:
"The Goldberg Variations" by Nodar Gabunia, has been digitally re-mastered using 20-bit Digital HDC Recording. This CD's sound quality is incredible, you can really hear the difference. Gabunia'a Bach playing is very good.

At the time of this writing, one used CD for $20 is listed on Amazon (and another new for an unreasonably high price). If you can, I would buy the 20-Digital recording (even though more expensive) just for the incredible difference in the sound quality for Bach's Goldberg Variations.


title: Great Last Effort

text: The Big O at his best, and his last studio album....great music, one to cherish and own for sure


title: Snap, crackle, pop.

text: Well, it's a 45 year old record, and it sounds like a 45 year old record. I guess one person's "very good" isn't necessarily another person's "very good". You get what you pay for.


title: The sheer bravery of the White Rose's young leaders

text:
It's rare when a movie delivers such a powerful lesson in history as this one.  I'd not been aware of the White Rose non-violent resistance to the Nazi regime until seeing this film.  Indeed, the full story of White Rose hadn't been known until original source material surfaced after the fall of East Germany in late 1989.

What struck me was the sheer bravery of the movement's young leaders, the brilliantly staged rendition of the Nazi show trial that followed their arrests and the finality of the quick, shocking punishment that is meted out.  In particular, the show trial scene is movie-making of the highest order with a knockout Downfall-esque performance by André Hennicke as Richter Dr. Roland Freisler.  The production design, too, is worthy of special note - the courtroom in the trial scene is spectacularly staged.

The film also serves as evidence that not all Germans marched in enthusiastic lockstep to the Nazi war machine.  Reviews accompanying the film's 2005 release relate that German audiences reacted very positively to the film, perhaps because it demonstrated the courage and dissent alive in the populace at that time.  Stars Julia Jentsch and Fabian Hinrichs (as Sophie's brother Hans) beautifully convey the passion, innocence and bravery of the Scholls.

It was only six days between arrest and conclusion.  The movie does a great job at conveying a rush to judgment that mocks the idea of jurisprudence.


title: I recommend Marc Cashman's superb, enthusiastic reading Zuckerman's fine work

text:
Though I'm a big Michael Lewis fan, I'm here to tell you that you don't need to read Lewis' [[ASIN:0393072231 The Big Short: Inside the Doomsday Machine]].  That same story is told here in even more riveting fashion by Wall Street Journal reporter, Gregory Zuckerman.  It's a fantastic book.  Zuckerman excels at explaining obtuse, complex subjects in clear, crisp terms and drafting a riveting narrative around it.  Who would have thought Credit Default Swaps were so enthralling?  Zuckerman does it by introducing you to the characters who recognize the value behind these then-obscure vehicles and ride them to jawdropping gains.

Don't let the subtitle fool you: Zuckerman's book - though dominated by the presence of John Paulson - features many other investors who contemporaneously deduced and arranged the same short as Paulson.  Those characters include Michael Burry of Scion Capital, Andrew Lahde of Lahde Capital (Zuckerman includes an almost-complete rendition of Lahde's famous farewell letter), Greg Lippmann of Deutsche Bank and, most compellingly, Jeff Greene.  Greene's tale is fascinating for two reasons: first, he did the trade as an individual investor, which took a lot of smarts, drive and ingenuity; second, the idea came directly from a Paulson pitch...a fact Paulson was none too happy with.  One broken friendship and $800m later, Greene landed on the 2008 Forbes 400 list.

Still, the question of whether one enjoys this book rests solely on how you feel about John Paulson.  In Zuckerman's hands, Paulson comes across as very likable - reserved, hard-working, quiet, grounded, unflappable, unperturbed by criticism.  By the end of the book, you end up celebrating Paulson's triumph...even if - as Paulson, Greene and others note consistently - their gains were based on the tanking of major sectors of the American - indeed, the world - economy.  Some of the book's character's do not take this conflict lightly.  Then, there was Lahde, who says in his famous goodbye letter:

"I was in this game for the money. The low hanging fruit, i.e. idiots whose parents paid for prep school, Yale, and then the Harvard MBA, was there for the taking. These people who were (often) truly not worthy of the education they received (or supposedly received) rose to the top of companies such as AIG, Bear Stearns and Lehman Brothers and all levels of our government. All of this behavior supporting the Aristocracy only ended up making it easier for me to find people stupid enough to take the other side of my trades. God bless America."

I strongly recommend you get the unabridged audio version of Zuckerman's book featuring a superb, enthusiastic reading by Marc Cashman.  After 11-and-half hours, I'm a bit saddened not to have Mr. Cashman as part of my daily commute.  I was inventing reasons to stay in the car...probably the best testament a professional voice talent can get.


title: Pros and cons of going for the import over the US release

text:
'Balle Balle! Amristar to LA' is the title of the Indian release of Gurinder Chadha's 'Bride and Prejudice,' her follow-up to the worldwide smash 'Bend It Like Beckham.'  There are are pros and cons of going for the import version of the soundtrack over the domestic release.  On the 'pro' side, you get each of these songs they way they were intended to be sung and heard, i.e., in Hindi.  For fans of the 'Beckham' soundtrack, you know what an enjoyable listening experience that can be.

On the 'con' side, the import is quite a bit shorter.  Ashanti's tune is gone (not a great loss...what the heck was she doing in this movie anyway?), but there are also a couple of numbers, quite captivating in the film, which didn't find their way onto the import.  Notably they are: 'Marriage Has Come to Town' (the street scene with Aishwarya Rai and two friends surrounded by teeming groups of spectators divided into color groups - one of the film's indelible scenes); and 'Marriage End' the short piece the ends the film (featuring a great "will she or won't she" moment as Ms. Rai sidles close to co-star Martin Henderson and looks for a moment like she might bestow a kiss on him...but the Rai legend remains unbroken).


title: Worth it

text: Presents an excellent framework for brainstroming and categorizing business ideas.  Worth having in your reference library.  You may not use the framework directly, but it does help you think about the *entire* value chain and where your idea fits in.


title: So Well Done!

text:
Excellent quality, accurate, and holds my kids’  attention— and mine.
I’m thankful to have some accurate history for my children. Worth every penny.
P. S. I miss Rush. 🤍🥺


title: Love Drinkin' Problem

text: This is their first cd and, therefore, it is expensive.  For me, it is better to support the "struggling artist" than go to the casino, etc.  I am sure that as they grow in popularity the price will be adjusted.  I do soooo love the Drinkin' Problem.  The other songs are passable but sure hope this band produces more of the first song.


title: Fantastic CD!

text: I absolutely love this CD!  Wonderful, older hymns performed the way I remember them from "younger" days...no noisy instrumentation added.  Thank you, Michael W. Smith, for this beautiful rendition of the old hymns!


title: Love this amazing CD! :)

text:
I fell in love with Kanon before I even got her first cd. The difference between this one and her first one is that this is a bit more cheerful than the first. The first one had a few more "darker" or "gothic" songs with it. While I did enjoy that, it's nice to hear the lighter, fresher songs as well.

Each song has its own unique blend and give the cd a different feeling to it. Even to having a song or two that was more childlike.

What is also nice about this cd is that even if you don't know or are learning Japanese, you will still enjoy this cd. Even though I'm the one who has been studing Japanese and found Kanon that way, my sister enjoyed the songs on this cd. While she wasn't crazy about some of the ones in the first cd, she had no problem listening to this cd at all. She was shocked to know that both of those cds are Kanons.

Overall, I love this cd and recommend it to anyone. If you like pop music, Japanese music, a classical feel to things, or (as my sister calls it) classical pop, you'll love this cd.


title: ELO/Badfinger and 10cc sounds of HORNAL.

text: Iain HORNAL plays with both Jeff Lynne's ELO and Graham Gouldman's 10cc. This guy is one fine muso and singer. There is not one bad track on this CD. My favorite being "Say the Word". He co-wrote and sings with Graham Gouldman and Kevin Godley. It is very much like a modern day Beatle song. I bought this CD for that song and was delighted by the rest of the recordings. WOW!


title: Billy Kinsley , sings his heart out! Pete Best plays well.

text: The only thing missing is to have Pete Best sing "The Peppermint Twist " and "Some Other Guy". Billy Kinsley belts out "Mr. Moonlight" and for me, it's worth buying this CD for that track alone. I love this CD and so glad that Pete Best finally got his just due and $$$ from the BEATLES for Anthology. Go buy this CD it's very good and rockin'.


title: All hail Dennis Wilson, the rebel boy of the Beach Boys.

text: I'm surprised that I'm the first to review this CD on Amazon. Dennis Wilson was the rugged and handsome surfer of The BEACH BOYS. He was the one to inspire the Beach Boys to become THAT band. Parts of this album could've been on a Pink Floyd album. His vocals and the songs are very rich. I remember hearing selections on 2 Double J FM radio in Sydney Australia, back in 1976. If this is the double CD that includes the BAMBU recordings. A long thought lost second album by Dennis Wilson with many bonus tracks from the "Legacy label". Then buy this CD. Pacific Ocean Blue is just a wonderful recording. It shows just how talented the Beach Boys were. I sure wish that Brian & Carl Wilson were still alive and recording today. They are much missed. However we still have the other members still in fine voice. Here's a suggestion. I'd love to see ELO's Jeff Lynne work with the Boys to create some cosmic rock. Ah, wouldn't that be nice?


title: UPCHURCH cgp.

text: It's Phil playing his cool jazzy guitar. Say no more!


title: We miss you Tom Fogerty.

text: It's almost a CCR record. I loved it back in 1974 and I dig it today. The entire cd has a good rockin' tonight vibe.


title: It's JOE, ya know?

text: It's just another wonderful recording by master muso Joe Camellire  . JUST BUY IT!  It is a rocking good time record with some sweet slow bits.  A tasty meal of music.


title: Five Stars

text: Richard Clapton gives a great performance. His backing band is steller in this live concert


title: Tony Barber/Billy Thorpe

text:
Now Tony Barber was a vocalist and guitar player in Billy Thorpe & the AZTECS in the early 1960's
He was a mighty talented singer and song writer. He sounded a lot like Billy Thorpe and unlike Billy at the time was a writer of BEAT Pop music. He was also a mad comic book collector and a later creator of the PUGGLES children's books.
. He came to Australia to explore the country and stayed. I for one have always enjoyed this LP and now CD. I only wish that Tony had recorded more music. He really was that good." Someday" and "Is it Raining?" are my favorite tracks. You can hear a few tracks by Tony Barber on YouTube.


title: So good!

text: Steve needs to be heard by those who enjoy a cool blend of Country and Rock "N" Roll.<br />He is that good!


title: 10CC "Meanwhile"

text:
Just an update. This CD has been re-released by UK's 7T's Cherry Red label
With 5 bonus tracks "Woman in Love" Don't with lead vocal by Graham Gouldman, Lost in Love, Welcome to Paradise (7" Edit), Woman in Love (DJ edit). I got mine from Cd Imports in Irvine Ca. They sell on this site. So go get it.
As a side note let's hope that Graham Gouldman's touring band of 10CC will do an American tour soon.


title: The BADFINGER touch

text:
John Wilson was in a band called "The DODGERS" That featured ex-Badfinger
Tom Evans. John Wilson on this CD touches on many styles of Rock, Pop & blues. He's a great singer & I guess these days he's more of a song writer for others like Cliff Richard in the U.K.
  There is ''24 reasons" a song that was written by the late Tom Evans & was added to by Wilson. So if you like Badfinger then buy this CD & enjoy the voice & guitar of John Wilson.


title: Good Music BUT

text: The case was cracked and it did not stay closed .. disappointed


title: Top Flight Wings.

text: Nice to have this.  "Back To The Egg", is one of Wings' rockiest efforts.  The Japan import is just the original album with no bonus tracks.  Excellent sound, better than the original cd.  Hope Paul remasters this one in the near future, would love to see the bonus tracks on the new edition.  This is highly recommended.


title: A Masterpiece Everybody Should Hear.

text:
Love's 3rd album "Forever Changes", (1967), is an album everyone who loves rock, pop and jazz should hear.  Released in late '67, this would be Arthur Lee's masterstroke of genius.  Their first two albums were both 5 stars, but this upped the anti to 6 stars!  This album has many flavors,  folk, pop, psychedelia, jazz and a little country.  This album was produced by Arthur and Bruce Botnick (who later produced The Doors).  They were going to use session musicians, but the band finally got into it, after listening to some of the tracks Arthur laid down.  The string and horn arrangements were done by David Angel.
The leadoff track may go down as one the best songs of the 60's, Bryan MaClean's tune "Alone Again Or", this is a drop dead classic!  Sweet acoustic guitar with Mexican trumpets and beautiful strings.  Bryan couldn't reach the notes in this song, so, Arthur sang it.  The 60's vibe lyrics written by Lee, "A House Is Not A Motel", with some stinging guitar by Johnny Echols, Michael Stuart brings the beat in this one also.  Arthur gives us the string laden ballad "Andmoreagain", "And i'm wrapped in my armor".  "The Dailey Planet", is a great pop song, with flooding acoustic guitars, with nice signature swings, on this track session musicians appeared.  MaClean gave us another winner in "Old Man", Ken Forssi's bass is so smooth here, Bryan's vocals are so delicate, some nice horns.  Arthur Lee's "The Red Telephone", was about the bomb, is another fine example of 60's writing, this song has that psychedelic feel with some great swirling strings, "There locking 'em up today, I wonder who it will be tomorrow, you or me".  "Maybe The People Would Be The Times Or Between Clark And Hilldale", (what a title), this jazzy number with those horns and acoustic guitars, splendid indeed.  They let it fly at the end of "Live And Let Live", Love at their very best!  "The Good Humor Man He Sees Everything Like This", (wow, Arthur had a thing for long titles), the sweet horns and strings make this a keeper of a tune.  The strut of "Bummer In The Summer", some nice picki' here.  And the album closes with the pure L.A. feel song, "You Set The Scene", nice strings and horns and the band just sounded great, "You look so lovely, with that same old smile".
Bonus material include the demo "Hummingbirds", early version of "The Good Humor Man",  produced by Jac Holzman , recorded in 1966.  The sunny bright pop-psych of "Wonder People (I Do Wonder)",  but you know this tune has to be a little dark.  The alternate mix's of "Alone Again Or" and "You Set The Scene".  A very interesting track is the recording of "Your Mind And We Belong Together", with run throughs, "Relax a little guys, take 36", good stuff, Arthur taking control.  Then we get the final version of "Your Mind", the time signature's with Echols guitar and Forssi's bass are amazing!  "Laughing Stock", is a nice little romp.  This line-up would break up after this release, Arthur would bring in a new band for Love's 4th release "Out Here".  Like  i said everybody that loves rock, pop and jazz should listen to Love's "Forever Changes".


title: Strong.  Let's get this on CD!

text: "Fortune 410", (1983), the 4th release in 4 years.  This is a stronger album than their last one "The High And  The Mighty",  "Fortune 410", was just as strong as their debut, with more new wave touches, this album is a keeper.  Strong cuts in "Human Evolution", "Stagedoor  Johnny", the classic "She's So European", "I'm A User" and the great "Do You Compute?".  Last album on MCA.  MCA should of been ashamed for not giving this album more push!


title: Not a well known piece.

text: Got this in 1985, very good comedy by these guys.  Love the Jackie Stewart (race car driver in the 60's and 70's), here known as Jackie Stupid. Also love the Bob Dylan sings oprea spot. 32 minutes of good humor.  This should also be released on CD, I hope.


title: Another lost little platter.

text:
I remember back in 1989 Chrismas was releasing their 2nd album, "Ultraprophets of Thee Psykick Revolution", it didn't chart, but it had some good stuff on it.  Led by vocalists Michael Cudahy and Elizabeth Ann Margret Cox and Lead guitarist Nicholas Cadahy.  A very interesting pop-psych band from Boston.

They had a catchy first single "Stupid Kids" #26 modern rock, the jangle-pop of "This Is Not A Test", "Richard Nixon", a fine spoken word song, "Richard Nixon see's you".  "Punch And Judy", the punchy "Human Chain", the psycho "Royal Klutch Tattoo" and the pretty "Hymn".  It's too bad they never reached a larger audience.  They released "Vortex" in 1993, and folded shop.


title: Sending out an S.O.S. to Melvin James.

text: Melvin James Minneapolis, Minnesota born guitarist, songwriter, put out this classic "The Passenger" #146 in 1987.  This is a great rock album for the time period.  "Why Won't You Stay (come in, come out of the rain)" #17 mainstream rock.  Other great songswere, "We Hear The Thunder", the hyper active "Telephone", the twisting of "Twisted", the jaunting title track, the U2ish "She's So Sorry", the poppy "Loving You Is Strange", "Sugar Candy" and the wild guitar rock of "Devil With A Halo".  Produced by Joe Walsh, The Eagles, Jay Ferguson  and many more, producer Bill Szymczyk.  This is just one of the mystery's of rock and roll music, only one album and nothing else heard of him again.  I did here he was touring last month around the midwest.  Get this album, it is that good!


title: Barney's debut.

text: Canadian Barney Bentall and the Legendary Hearts debut came out in 1988.  Their first single was the Springsteenish "Something To Live For" (should of been a hit, it is really catchy), saw the video plenty on much-music back in '88, a very uplifting song.  Other songs that I liked were, "House Of Love(Is Haunted)",the haunting "Black Clouds", another Springsteen type song "Come Back To Me" and the rockin', "Somewhere There's An Angel".  Very 80's sounding, but not as bad as some major releases at the time.  If you like Bruce Springsteen give this guy a listen.  Barney's still out there performing.


title: Great  rock n' roll release

text:
L.A. band's "Straight Line Through Time", came out in 1988, a fine mix of rock and roots rock music.

The rockin' title track leads of the album, "single Drop Of You" keeps things chugging along, the great "Seeds I've Sown", with violin by Sid Page "What the hell you looking at?".  The hard rockin' funk of "Superstar", the Springsteenish "All You Want Is Everything", 20 years early.  The great Ian McLagan on organ on the peppy tune "Promises".  The moody "Howling", with a string section led by David Campbell, a great song.  The harmonica driven "All Is Forgiven" with special guest Keith Carradine.  "Every Single Day", is just a pretty pop song (could of been a hit!, and the roots rock of "Finding Out".  Just a great showing by this band that didn't get any respect.

You have to remember these guys had to compete with the hair metal crowd in the late 80's, with the likes of Motley Crue and Guns and Roses.  Life isn't fair and Broken Homes found that out with this superb release.

They would release their last album in 1990 "A Wing And A Prayer".

The Band: Michael Graves-Drums
Kreg Ross - Guitar
Jimmy Ashhurst -Bass
Jim Swahl -Keyboards,Guitar
and the great Mike Doman -Vocals


title: Five Stars

text: Thank You!


title: Guitar heaven - almost...

text:
The bar was high before I even listened to track 1 on this CD, knowing all that JP has done with DT and LTE.  Quite frankly, this CD - like a lot of DT in the 2000's - is like sex.  Even bad sex is good, so why complain?  Well, JP I think has some AWESOME moments on Suspended Animation, however there are times when it feels formulaic and uninspired.  There are tracks that easily measure up with the best guitar tracks ever from Satriani, Beck, Vai or Schenker - and this makes the CD well worth the price of admission. Glasgow Kiss and Damage Control blow me away every time.

But why do I knock it a bit and not scream 5 stars?  The bar...the bloody bar.  I've been having the same issue with lots of the prog rock that has been released in the past 10 years, and we have our hits and misses.  I think this CD is more of a hit than miss, but I hold JP high in regard of guitar gods...so I was expecting just a bit more.

The bottom line...don't expect this CD to show you anything JP hasn't done before, but you can count on one of the best blowing you away with some awesome guitar gymnastics and melodic-heavy tunes that deliver.


title: truly vintage Tull

text:
This was the first album I ever heard from this band back when I was still in middle school (thanks to a rather cool art teacher), and this one still holds the magic.  Yep, more folk remember Tull with Aqualung and later releases, but this one is where they were really cutting their teeth on all sorts of music, and you could hear the amazing songwriting abilities and musical talent that led to their later, more popular, super albums.
From 'A new day yesterday' - rocking, lots of flute and feeling, to 'Bouree' - classical jamming, more or less - to some of the more intimate pieces - 'Back to the family' and 'We used to know' - where Ian shows his prowess to compose a really great folky rock song with wit - one can easily say that this early Tull is timeless - and my vote is in.
This Tull fan, who started with 'Stand Up', has faithfully stayed with this band for many years.  Their music is truly magical - Ian is and always has been a god in my eyes, and this early taste of his genius is worth a listen for any Tull fan, new or old.  Despite the departure of the Tull from this kind of 'sound' in today's musical landscape, one only has to listen to this Tull gem to hear the roots where Ian still pulls from today.  Lets go living in the past - once in awhile - it is a trip worth taking.


title: Another Masterwork : A Superb EP from Japan

text:
Listening to Hirai Ken's music makes me realize how vastly superior Japanese R&B is compared to its' American counterpart. A few years ago, if someone would have mentioned to me that such a thing as Japanese R&B existed, I would have laughed them out the room. But when a lovely woman introduced me to the music of Ken Hirai, there's just been no looking back. What an artist! Few people know him outside of Japan, and that suits me just fine.

This latest release, "Canvas", from April 2008, best exemplifies everything that is right with Hirai's music. There is a reason his genius transcends the language barrier - as he harkens back to a time when minimal instrumentation and a great voice were all you needed to sell a great Blues record. In 2007, he released "Elegy" (which I still consider the greatest ballad written - in any language), and the year before that he had the pop classic "Pop Star". He is an artist who still embraces the concept of a physical CD Single, and similar to Tori Amos, he gives us a horde of B-Sides that are of superior quality rather than just being filler.

"Canvas", the lead single, is a stripped down ballad. Try finding his live performance of this on Music Station, the Japanese chart show - its really quite something. But its on Track 2, "Kimi Wa Suteki", that he really soars. This is an instantly catchy pop tune, with Hirai's voice exploring both the soprano and falsetto - with some truly magnificent results. For the record, I haven't heard such a strange sounding musical arrangement in a while, but it works.

"Cry and Smile" is popular in Japan and actually spiked renewed interest in the artist. Think of it as a happier Japanese equivalent of Feists' "1234". The remaining three tracks on the CD are stripped-of-vocal instrumentals of the first three tracks, which is a great thing if you plan on learning Japanese and sing along (hence, it made sense to me).

Heres the thing - the fact is that despite his megamillion success as both a supermodel and a singer in his native Japan, Hirai is virtually unknown in the rest of the world. As a public figure, he has been rather honest about his lack of knowledge of English and his inability to sing comprehensibly in it (his few experiments in English have been interesting, but not exactly stellar), so its unlikely that we're going to see him storm the Billboard charts anytime soon. Yet, he is able to garner fans and listeners who do not speak a word of English, and for that, you have to give the man credit.

Five Stars


title: Britney Spears : Fifth Time a Charm

text:
Listening to the new Britney Spears record is an experience indeed - despite the obvious hooks, the singalong choruses, and the perfectly times beats, there also lies a certain depth and soul that was sorely missing on all her previous albums. Yes, the songs are good (just ask any critic), but what makes this album special is its tremendous replay value (I suggest you buy a physical copy of the CD), and the intricate attention to the production. Unlike other reviewers, I have to give credit for Britney's vocal ability as well - she is not the best singer, but one listen to her on tracks such as "Heaven on Earth", and you realize why it is that she is still so endearing.

Whats even more astonishing is Spears' ability to remain culturally and sociologically relevant in an era that has virtually wiped out all of her classmates from the late 1990s. Though I do respect Christina Aguilera and her recent "Back to Basics" album, I have already played "Blackout" more than I have that other album. That's a testament to what Britney is - it may be disposable, it may be too commercial, but through it all it remains relevant and addictive. You can't deny that, and if you're new to the circus, I would recommend that you pick this album up as soon as possible.

"Blackout"'s strengths (and there are many) - is that every song on this 12-track album could be a successful radio single. I cannot think of another album in the last ten years that I could say this about. Even if you're not a fan of the generic pop genre, you will find something here to love. Primary single "Gimme More" (which rates alongside "Toxic" as Britney's best single ever) is just the beginning of the brilliance. To give you an idea of the multiple genres that Britney has employed on this record, let me compare some of the songs to the artists they most closely resemble. You can base your opinions on this, if you like:

"Piece of Me" : Many call this the standout track of the album. I think its pretty great, but not a Britney classic. The production her is very `Neptunes', and the track itself is very reminiscent of something that came out of the UK Underground club scene. Great repeat value, and the rooster instrumental effects, coupled with the very singable chorus will guarantee that this is a track you will be playing a lot in the days to come.

"Heaven on Earth" - Easily the best track on the record. This is 1980s electro-pop goodness. I would go so far as saying that this one track is better than anything on the new Hilary Duff record ("Dignity" - where Hilary tried to channel the `80s as well). Why is this song special. Well, for starters, it mixes electronic pop with ambient trance, and layers it with a synthesized Eurythmics sensibility. Think an Annie Lennox song done by Kylie Minogue, with DJ Tiesto as the producer. This is that track. I love the vocals on this - frail, tender, vulnerable. The song is undeniably sexy, and one that I will hail as the one of the best of Spears' career. And the line "Waking up, with you next to me" sound eerily like Imogen Heap!

"Toy Soldier" - What production! The opening beats alone deserve to be played loud on your car stereo system. This is the jam she was born to make. The highly digitized vocals only enhance the overall effect of the track. Yet another song that you will have on repeat. The companion track to this is "Freakshow", which to me is not as memorable as this one, but still as good.

"Break The Ice" - Remember how Janet Jackson always brought the best track on her album as the album opener? Well, I only wish they had chosen this song to open the album - it so deserved to be Track 1. Its tailor made for radio - listening to it now, it seems to marry the best of the R&B and Hip-Hop genre, and infuses it with a very pop sound overall. A universally acclaimed track, this is the perfect foil for "Gimme More".

"Why Should I be Sad" - Justin Timberlake could only wish he made such a Timbalandesque jam on his last album. This is the slowest track on the record, but with a very poignant vocal from Britney. Production is stellar, and it's a superb closer to an already superb album. I highly recommend listening to this on headphones to truly appreciate it. It speaks of her marriage, divorce, and relationship issues, but she doesn't position herself as a victim - just as an observer, and I found this very classy.

Standout tracks include "Radar", and of course the much-maligned "Hot As Ice". Many people call the last track the worst on the CD. Granted, its not that great, but if you take it with a sense of humor, you will actually start to like it. The background vocals and singers sound like they're channeling the Oompa Loompas from "Willie Wonka and the Chocolate Factory" - listen to it to see what I mean!

The only downside to this album, is that its too short. Some of the best tracks that Britney recorded from the era (And available on the net in various avatars) are missing from this. My absolute favorite from this Era is the unreleased track "Sugarfall", which easily is one of the best songs Spears has ever recorded. Two ballads remain missing - "Baby Boy" and "Let Go" (the latter shows off Spears' vocal training to full effect). Another winner, "Get Back" is possibly the song that should be immediately released as a single (what a chorus!) for for inexplicable reasons was left off the CD entirely. Heres the thing - there are at least 30 songs floating around that Britney made for "Blackout", but only 12 made it here. My guess is that some of these will surface at some point on some foreign editions of the CD. Please do look out for them - they are totally worth it.

So what would I compare this album to. Well, in terms of the groundbreaking genre and production, there are quite a few peers. If you liked this album, you would love "Neon Nights" by Dannii Minogue, "Come and Get it" by Rachel Stevens, "Ray of Light" by Madonna - but the truth is, there hasn't been an album quite like this before. It breaks new ground with every track, and there is literally something for everybody. Just when you think the songs getting repetitive, theres an electronica solo much like Imogen Heap that blows your mind, and traces of Eurythmics, Duran Duran, Modern Talking, A Ha, and even Debbie Gibson are found throughout this album. Is this a good thing? Yes it is! If anything, you cannot possibly be bored by this album.

Britney Spears making a classic album was considered an impossibility a few months or years ago. But with a great team behind her, she has finally achieved what she set out to. I'm no defender of her personal life, nor a huge Britney fan, but I do know likable and essential pop music when I listen to it. This review is for her new album, not her personal life. And that said, this is easily the best pop release of the year, and the finest of Spears' career. I would say - forget the person and concentrate on the music. Even if you remove Spears' persona completely from this record, its still a masterpiece of the pop-electronica genre, and you can't deny that.

Five Stars. Pop Album of the Year, and an instant classic.


title: A Male Take on a Very Girly Song

text:
Gotta hand it to French supermodel & Reality Contest Winner Julien Dore. He's taken pop singer Alizee's breakout single "Moi... Lolita" and sung it with exactly the same lyrics, meaning he refers to himself as a woman in the song. However, given Julien's star status and rock-god looks, this actually works as a brooding rock ballad of the most mind-twisting order.

I recently saw him perform this in a concert clip, and I must say - this is pretty stellar stuff. In France, people queued up to buy this singer purely out of curiosity value, and even as an import I would recommend it.

Don't be put off by all the Press Julien Dore has been receiving (he was just voted on Elle France's 10 Most Beautiful People in the World List). Despite all the news, reviews and hype, this is really a great, solid artist with quite a nice voice. Highly recommended.


title: Red hot marmalade

text:
Well, this CD single is worth purchasing for two reasons - one, because it features the cover of the Red Hot Chili Peppers' 'Under the Bridge', and two, because it also features the cover of that old disco classic 'Lady Marmalade', played all too often in gay bars and drag houses.
'Under The Bridge' is NOT a good cover, despite the girls' flawless harmonizing. Their voices are strong, but one wonders if this is a kind of song that needs to be covered by a girl band. Not at all, I think. Poor Flea and Kiedis. The second song is alright, but the girls mess it up with heavy instrumentation, which has been put to good use in discos, I might add. Its very danceable, and the 'Voulez-vous cuchez avec moi?' parts are infectious, as well. I heard a ten year old singing it the other day. Wonder if she knew if it meant 'Would you like to sleep with me tonight?' ? Oh well.
All in all, this is a must-have if you're a serious Saints lover. A far cry from 'Pure Shores' and 'Black Coffee', but all in all, this is good fun, and worth listening to.


title: Funky

text: Funk


title: Buenaaaaaaás

text: Excellenté


title: Five Stars

text: Buenaas


title: yes

text: one two three four, uno dos tres, quatro. todas bueno y fantastico!! Es Dr. Charles Stanley es muy intlligente y grandioso!!


title: Great Price

text: I was looking to increase my classical music collection & this fit the bill. As usual, Amazon has the best prices!


title: Love it!

text: Can't play it enough


title: Boring aftera while.

text: Just gets boring after hearing it more than once.


title: A slice of history

text: This double cd set, the 1st of the 3 Anthologies, is a real treasure trove for true Beatles fans, as everything on here has never been released before. Packed with alternate takes, demos, rehearsals as well as snippets of interviews, this is something that is a must have. As well, it contains the first new Beatles recording since 1970, "Free as a bird". The 48 page book is wonderful as well. Packed with photos and track-by-track information. Highly reccommended.


title: Fantasticabulous!

text: I have always loved the music of Strauss. There's something magical about it that appeals to just about every age. Who can resist the pull of the waltz? And Andre Rieu has made a terrific album. It never fails to lift the spirits no matter what. This album though is not strictly dedicated to the waltz. There are a few other pieces by Strauss that are just as wonderful. Some I hadn't heard before, but they soon became etched in my soul with the ones I was familiar with. Andre makes classical music very accessible to all people with his television specials and charismatic style. Oh, and did I forget to mention that he is also cute? And on top of all that he's one hell of a violinist..WOW!


title: REBEL YELL!

text:
K-TEL PRESENTS SOUTHERN FRIED ROCK-VARIOUS ARTISTS:

Discounting the notable omissions of LYNYRD SKYNYRD and ZZ TOP, K-TEL's good ol' boy collection SOUTHERN FRIED ROCK is Stetson and shoulders above most of the company's output, cramming a mere 15 classics into its grooves, instead of the usual 22. That means you get the full (well, AM single length) versions of WET WILLIE's fine 'n funky KEEP ON SMILIN', OZARK MOUNTAIN DAREDEVILS' boogie biggie IF YOU WANNA GET TO HEAVEN, and CHARLIE DANIELS' hell-bent hoedown THE DEVIL WENT DOWN TO GEORGIA, plus boot stompers from 38 SPECIAL, THE OUTLAWS and THE ALLMAN BROTHERS. On the mellow end of things, ELVIN BISHOP, PURE PRARIE LEAGUE and THE BELLAMY BROTHERS (really a country duo) get in their plowboy-meets-cowgirl licks. BLACK OAK ARKANSAS never sounded nastier than on their sleazoid cover of RNB staple JIM DANDY, while MOLLY HATCHET pulls out all the hard rockin' stops on their six string rampage FLIRTIN' WITH DISASTER. Pull up a keg and fire up the grill. Your Mason-Dixon boogie bash starts right here.

RATING: FIVE TINS OF SKOAL


title: JAMMED TOGETHER

text:
RARE EARTH-IN CONCERT:

An awesome concert capsule of MOTOWN's only white rock act, RARE EARTH had such an authentic lock on down 'n dirty RNB, most fans assumed they were as black as the Temptations or the Four Tops. A natural misconception, given macho bluesy belter/drummer PETER RIVERA's gritty vocal chops and the band's well-honed psychedelic soul instrumentation. Their song cover choices were spot-on too, from a fierce 20 minute recasting of the Tempts' GET READY (which gave each member a chance to stretch out and solo) to tantalizing' throwdowns of WHAT'D I SAY and I KNOW I'M LOSING YOU. All the expected chestnuts, from loud, proud anthem I JUST WANNA CELEBRATE to the jazz-stoked BORN TO WANDER get the patented Rare Earth treatment, making IN CONCERT a worthy souvenir of this jam band's immense raw power in a live setting.

RATING: FIVE BIG BROTHERS


title: THEY GOT THE BEAT

text:
K-TEL'S THE BEAT-SOUND WAVE OF THE 80'S: You know K-Tel wanted to be taken more seriously when they placed only fourteen tracks on The Beat. That meant the listener was much more likely to get the full single version than in the old "20 Hits by 20 Stars" days. About half of these selections didn't even make the Top 40, but that doesn't mean they're duds. Far from it in fact, considering Sparks' humorously ominous I Predict, The Waitresses' snarky as heck I Know What Boys Like, and I Want Candy, Bow Wow Wow's thumping redo of a Strangeloves oldie. Bigger names including Billy Idol (Hot in the City), The Go-Go's (We Got the Beat), and Duran Duran (the MTV fave Girls On Film) also turn up, along with Depeche Mode and Orchestral Manouevres in the Dark, a pair of faceless electronic British bands. File everything here under "New Wave Dance Music", the eighties equivalent of K-Tel's unending stream of Disco collections.

RATING: FOUR SYNTHESIZERS


title: 21 AND OVER

text:
SUPER HITS OF THE 70S, VOL. 21: Did you know Black Betty, that riff rockin' one shot by Ram Jam, was a cover of an ancient blues song by Leadbelly? Or that Walter Egan wrote Magnet & Steel as a love letter to Stevie Nicks (who sang background on it)? How about Exile becoming a hot country band after topping the pop charts with the disco-laced Kiss You All Over? Those are some of the stories behind some of the Jimmy Carter era singles served up on the twenty-first volume of Rhino's Have a Nice Day (which may or may not be in the liner notes). Ex-Bread front man David Gates gives us his sweet solo smash Goodbye Girl, while former Spirit member Jay Fergeson's enticing Thunder Island is one of the unquestioned high points of 1978. With Meco, Bonnie Tyler, and Warren Zevon also on board, Have a Nice Day # 21 is a tough CD to hate.

RATING: FOUR PAIRS OF TOE SOCKS


title: EVEN DOZEN

text:
SUPER HITS OF THE 70S, VOL.12: As these twelve tasty tidbits prove, 1974 was a banner year for in your ear pop-rock nirvana. Terry Jack' maudlin anthem Seasons in the Sun and the bubblegum swamp of Jim Stafford's Spiders & Snakes rub shoulders with Blue Swede's "Ooga-Chaka" punctuated cover of B.J. Thomas' Hooked On a Feeling. Other "out there" offerings include a rockin' take on The Lord's Prayer, country cut up Ray Stevens' fad themed The Streak, and the beautiful foreign language hit Eres Tu (Touch the Wind). That still leaves plenty of room for the six string sizzle of Rick Derringer (Rock & Roll Hoochie Koo), Redbone's soul shaker Come and Get Your Love, and Black Oak Arkansas' hot 'n nasty cover of RNB oldie Jim Dandy. This ranks as one of the better entries in Rhino Records' popular catalogue of seventies smashes.

RATING: FOUR BEADED NECKLACES


title: READY, PETTY GO!

text:
TOM PETTY & THE HEARTBREAKERS-GREATEST HITS:

It's pretty tough to argue with the level of success that twang-rocker Tom Petty & his Heartbreakers have enjoyed over the past few decades. Unlike many less diverse artists, this anti-pretty boy actually deserves the accolades. Each snippet on this freewheelin' anthology, from the jangle-juice of AMERICAN GIRL (a Roger McGuinn tribute equaling any Byrds hit you can name) and snarling breakthrough REFUGEE on through stoner singalong LAST DANCE WITH MARY JANE is a pop-perfect kick in the eardrums. Petty and his long time foil, non-flashy, underrated axe man MIKE CAMPBELL head up the early neo wave of I NEED TO KNOW, psychedelic buzz-fest DON'T COME AROUND HERE NO MORE and the soaring Jeff Lynne production FREE FALLIN'. Rarely has a "greatest hits" been so ultimately listenable and so refreshingly devoid of filler. Short of delving into the band's large catalogue of high quality albums, here's a blast from your past that still sounds vital in the present landscape of rock & roll.

RATING: FIVE HEARTS


title: SUPER, MAN

text:
RONCO PRESENTS SUPERSTARS: Ronco Records did a pretty decent job jumping on K-Tel's bandwagon and in some ways even bettered the competition. Superstars employs a mere sixteen cuts to get their Pop music message across, as opposed to the twenty or more that K-Tel regularly offered. That means these are probably the full-length single versions, or very close to it. This platter also ponies up fourteen actual HITS, with only one suspiciously low charting dud (Randy Edelman's Can't It All Be Love) and Jennifer Warne's Top Fifty single I'm Dreaming to break the spell. The only real rocker is Kiss' smarmy Calling Dr. Love, but there's plenty of likable middle of the road stuff (Barry Manilow, ABBA, Eric Carmen) and a healthy dose of dance tunes from Brick, The Sylvers, and Donna Summer. There's even an ad for Ronco's Record Vacuum on Superstars' back cover, so the memories aren't merely earworms.

RATING: THREE STARS


title: WHAT'S SHAKIN'?

text:
RONCO PRESENTS GOOD VIBRATIONS: This is one of Ronco Records' earliest and best collections, from its kitschy "psychedelic" cover art to a smorgasbord of Rock, Soul, and even Country gems. Deep tracks from folkie Loudon Wainwright III (Dead Skunk), Poco (Richie Furay's effervescent Good Feeling to Know), and The Association's cover of John Sebastion's Darling Be Home Soon are just the beginning. Huge hits included here...It Never Rains in Southern California, Long Cool Woman in a Black Dress, I Can See Clearly Now, and Brandy...are some of the finest Pop music slabs AM radio had to offer. Sprinkled in between the cracks are hard to find cult Soul classics Slow Motion and Slippin' Into Darkness by Johnny Williams and Ramsey Lewis, not to mention 929 Arguments, hard hitting social commentary from The O'Jays. Any platter with Mac Davis, Sly Stone, AND Mott the Hoople is bound to be a musically diverse treat. Good Vibrations may not have the Beach Boys, but it's got everyone else who reigned supreme in the early seventies.

RATING: FOUR VIBES


title: OUTTA SIGHT!

text:
K-TEL'S OUT OF SIGHT: Named after one of the seventies' most popular expressions, Out of Sight collects the usual amount of big hits and near misses for twenty tracks of non-stop AM radio nostalgia. Fanny's seductive groover Touch Me, Brownsville Station's rabble rousin' Kings of the Party, and The Hudson Brothers' Beatle-esque So You Are a Star represent the latter category. All got SOME airplay but certainly nowhere near the amount that Kung Fu Fighting, I've Got the Music in Me, or Life is a Rock (But the Radio Rolled Me) did. Canadian folk trio Prelude contributes their Top Twenty cover of Neil Young's After the Goldrush, while fellow countrymen Bachman-Turner Overdrive fires up the stutter injected rocker You Ain't Seen Nothin' Yet. The Stylistics and Gladys Knight cover the Soul side of things, and Elton John (perhaps the seventies' biggest superstar) is included as usual, making Out of Sight a well-rounded project worthy of repeated spins when you're in a "me decade" kinda mood.

RATING: THREE SIGHTS FOR SORE EARS


title: TRIUMPHANT

text:
TRIUMPH-CLASSICS: Like Canada's other hard edged power trio Rush, Triumph scored few Top 40 hits in the states, but FM radio played a good deal of their prog-meets-arena-rock output. Raw throated drummer Gil Moore handled the rougher stuff, from party starters Rock 'n Roll Machine and I Live For the Weekend to the hook infested stomper I Can Survive. Guitar hero Rik Emmet, Triumph's other secret weapon, deftly blended classical six string flourishes with crunching chord work and helium vocals for the nine minute epic Blinding Light Show and the more mainstream singles Hold On and Magic Power. It's fairly faceless material compared to the "thinking man" diversity of Rush's Fly By Night or Tom Sawyer. For rock fans just looking for a good time and a few memorable hooks, this round up hits the mark. The title "Classics" is a bit of a misnomer though...I Can Survive and Blinding Light Show didn't even make the final cut.

RATING: THREE GUYS


title: ON WITH THE SHOW

text:
EDGAR WINTER & RICK DERRINGER-LIVE IN JAPAN: Let's get something straight right off the bat. This 1990 concert platter by half of the Edgar Winter Group is a LONG way from that band's trio of glam-slam seventies releases or White Trash's white hot live landmark Roadwork (which prominently featured Winter and Derringer). A baker's dozen tracks includes the expected hits...Winter's instrumental blitzkrieg Frankenstein, Free Ride (originally belted by EWG member Dan Hartman), and White Trash's Keep Playin' That Rock & Roll, plus Derringer's rowdy Rock & Roll Hoochie Koo and even his bubble-rock McCoys chart topper Hang On Sloopy. You'll also experience White Trash's vocalist vs. guitarist showstopper Tobacco Road and lesser known bits like Undercover Man and Teenage Love Affair. Nothing wrong with any of those song choices, but the execution sounds a bit ragged. These guys weren't kids anymore even in 1990, so perhaps Rick's hoarseness (he was never a top notch singer) can be excused. His epic axe work and Edgar's sax and synth salvos are up to par at least, and their music can always invoke a party groove. For the curious, Live in Japan might be worth a listen. For the rest of us, Roadwork and Derringer Live from decades past are the platters that truly matter.

RATING: THREE SOLOS


title: BURNIN' RUBBER

text:
K-Tel presents 24 GREAT TRUCK DRIVIN’ SONGS-VARIOUS ARTISTS:

Kitschy compilation kings K-Tel’s 24 Great Truck Drivin’ Songs rounds up two dozen odes to the road, the perfect big rig soundtrack for concrete cowboys everywhere. C.W. McCall’s deadpan C.B. craze cash-in Convoy and Dave Dudley’s deep voiced anthem Six Days On the Road should be familiar to anyone who’s ever owned a radio.  Johnny Horton’s rowdy Honky Tonk Man and Roger Miller’s pop crossover anthem King of the Road aren’t 18 wheeler tunes per se, but fit in well enough here. Meanwhile, Hank Snow’s lickety split lyrical trip I’ve Been Everywhere and Red Sovine’s somber saga Phantom 309 are true genre classics. This collection might have rolled even more smoothly with chestnuts like Merle Haggard’s Ramblin’ Fever and Dick Curliss’ Tombstone Every Mile on board. Instead, Johnny Dollar, Jim Nesbitt and other lesser knowns are featured, but K-Tel always mixed big names with musical footnotes. With fun titles like Truck Drivin’ Cat With Nine Lives and Give Me 40 Acres (to Turn This Rig Around) in the mix, the only way this could sound more authentic is if it were issued on 8 track (which it no doubt was, back in the day).

RATING: FOUR OVERLOADED DIESELS


title: PARTY TIME

text:
JIMMY BUFFETT-SONGS YOU KNOW BY HEART/GREATEST HITS: Moving gradually from a one hit wonder in the seventies to ka-billionaire King of the Parrotheads in the nineties and beyond, Jimmy Buffett's 1985 "Best of" represents 75% percent of the material he performs to beach bum wannabes 'round the planet. There's nary a party animal among us who has not bellied up to a sand bar and boogied to FINS (that ornery ode to land sharks everywhere), let alone the glutton's national anthem CHEESEBURGER IN PARADISE, or WHY DON'T WE GET DRUNK, which needs no introduction to the moral majority. For variety, there are several reflective sea-faring ballads, A PIRATE LOOKS AT 40 being the most memorable, and PENCIL THIN MUSTACHE, a dose of nostalgia on par with anything the Statler Brothers ever recorded. A glaring omission is the harp-drenched dance inducer LIVINGSTON SATURDAY NIGHT, but I'm grabbing at boat drink straws here. There's no point in even mentioning that dandy drinkin' ditty that started it all for Jimmy...you already know it by heart.

RATING: FIVE SHAKERS OF SALT


title: FLIP YOUR WIG!

text:
THE B-52's-TIME CAPSULE/SONGS FOR A FUTURE GENERATION: Athens' quirky, smirky, herky-jerky B-52's mind-melded shards of funky DICK DALE guitar, B movie sound bites and surreal subject matter (to say nuthin' of Day-Glo attire and those incredible bouffant wigs) for a sci-fi-riffic party-mix no listener could mistake for regular radio fodder. Kooky kitsch klassix including ROCK LOBSTER, PRIVATE IDAHO and LOVE SHACK are every bit as ear-resistible as their titles suggest, awash in FRED SCHNEIDER's deadpan delivery and the giddy girl group harmonies of CINDY WILSON and KATE PIERSON. TIME CAPSULE is a thorough single disc collage of their long career, even if a few eternal faves missed the final cut...GOOD STUFF and IS THAT YOU MODEAN? may be catchy newer tracks, but hardly as essential or demented as DANCE THIS MESS AROUND, DEVIL IN MY CAR and 6060-842. No one in their right mind would wanna miss out on these pop culture-splattered pit stops from their first two groundbreaking albums...not that any BEE-FIVE-TWO fan would ever admit to being in their "right mind".

RATING: FOUR BEEHIVES


title: SHOW TIME!

text:
ROD STEWART ABSOLUTELY LIVE: The former Faces frontman released his first live platter in 1982 (unadorned by any artificial sweetening, according to liner notes), a rowdy reminder that Rod Stewart earned much of his rep on the concert stage. Alternating between lascivious bedroom rockers (Hot Legs, Tonight I'm Yours, and of course Maggie May) and signature ballads like Tonight's the Night and Sailing, he also trots out the bluesy Rock My Plimsoul from his Jeff Beck Group days and that infamous Disco stab Da Ya Think I'm Sexy. Stewart's in fine voice throughout the proceedings...or at least as fine as his famously hoarse pipes CAN sound...sprinkling in slyly humorous remarks between the hits. The sweaty party wraps up with his signature Faces smash Stay With Me, featuring raspy soundalike Kim Carnes and Miss Hot Legs herself, Tina Turner, as special guests. For unlucky fans who have never experienced an in person Stewart extravaganza, Absolutely Live makes an exciting, salty souvenir.

RATING: FOUR VISORS


title: COMMAND PERFORMANCE

text:
COMMANDER CODY & HIS LOST PLANET AIRMEN-TOO MUCH FUN/BEST OF: Sure, this Cosmic Cowboy eight piece only registers as a One Hit Wonder in most circles. However, fans of roots rock...that wonderful amalgamation of jump blues, Western swing, and RNB...know they made their rowdy rep on via albums and the roadhouse stage. Tackling everything from Beat Me Daddy, Eight to the Bar and Smoke! Smoke! Smoke! That Cigarette, the piano poundin' Commander, hot shot six stringer Bill Kirchnen, and harpist Billy C. Farlow made every cool cover choice their very own. A wicked, wry sense of humor infiltrates Mama Hated Diesels and Down to Seeds and Stems Again, and what other band had a pedal steel player known as The West Virginia Creeper? Cody's deadpan speed demon vocals and Kirchen's hairpin rockabilly licks on Hot Rod Lincoln make it the coolest ever version of that country chestnut, but Diggy Diggy Lo, Everybody's Doin' It, and Truck Driving Man are just as much boot stompin' fun. Don't stop at this solid comp to enjoy the best of the Commander...all of his classic period long players are a hoot and a holler.

RATING: FIVE TWANGS


title: THE ROOTS OF POP

text:
GRASS ROOTS-14 GREATEST HITS: Normally l'm no fan of legacy artists re-recording their old hits, but in the Grass Roots' case, this collection ain't half bad (other than the cheesy cover art). Bass player/lead vocalist Rob Grill and some hired guns run through Sooner of Later, Temptation Eyes, and Midnight Confessions, but the new versions are more than passable, despite lacking the originals' ultra slick production values. Most of the band's dozen or so Top 40 singles get the nod, from the sweet vibe of Where Were You When l Needed You to their final earworm entry Two Divided by Love. 14 Greatest Hits is certainly no substitute for The Grass Roots' classic compilation 16 Greatest Hits...but it's not the sketchy embarrassment the majority of these re-do efforts are.

RATING: THREE COPIES


title: TAKE ME BACK TO CHICAGO

text:
CHICAGO'S GREATEST HITS: In the mid seventies, when vinyl LPs had forty minute time limits, Chicago proved one of the most reliable hitmakers out there. Chicago's Greatest Hits covers eleven of those sparkling, horn driven memories, from Robert Lamm's conversational Does Anybody Really Know What Time It Is? to guitarist/belter Terry Kath's soul drenched Make Me Smile (heard here in its AM radio version). Peter Cetera even gets a chance to rock out (something he rarely did during the group's later ballad focused phase) via 25 or 6 to 4 and Feeling Stronger Every Day, two indelible, action packed winners. The eight minute Lamm penned jam Beginnings wraps things up in true style, making this a must own collection of one of the era's most likable, listenable acts.

RATING: FIVE SPIT VALVES


title: BROWN GOLD

text:
JUNIOR BROWN-GREATEST HITS: Retro country rocker Junior Brown has two secret weapons...his homemade "guit-steel", a unique Telecaster/lap guitar hybrid he attacks with wild abandon, and his funky Ernest Tubb inspired vocals. The song titles on Greatest Hits give an ample idea of his rural sense of humor...My Wife Thinks Your Dead, Semi-Crazy (a duet with truck driving King Red Simpson), Joe the Singing janitor, Venom Wearing Denim. Whether working out on a lightning speed instrumental like Sugarfoot Rag or bellowing about Too Many Nights in a Roadhouse, Brown's heady mix of rockabilly, RNB, and western swing is never less than a gripping experience. Junior Brown is a true rarity in the singles oriented world of country music...an electrifying, bona fide "album artist".

RATING: FIVE STRINGS


title: KISS AND SELL

text:
GREATEST KISS

KISS-GREATEST KISS: You've heard one KISS anthology, you've heard 'em all, right? Not exactly. The simply titled Greatest KISS goes out of its way to lob a few curveballs amid the expected parade of radio hits. Along with party starter Rock & Roll All Nite, belly rubbing ballad Beth, and the seductive Calling Dr. Love (which grace ALL of the band's cash-in comps), fans are treated to a surprising number of deeper tracks. We're not just talking about early faves Duece, Strutter, and Cold Gin, which, while not Top 40 hits, are all part of the classic KISS canon. The low key single Sure Know Something and Destroyer's "shoulda been huge" anthem Flaming Youth are unexpected, welcome choices. The ridiculous guilty pleasure Plaster Caster and Ace Frehley's underrated Unmasked jewel Two Sides of the Coin are what set this collection apart, not to mention Do You Love Me, another Destroyer song that deserved better. At sixteen cuts, Greatest KISS has just enough makeup era bombast to satisfy the casual fan...although another disc of rarities, alternate takes, and live tracks would have certainly sweetened the pot.

RATING: FOUR FLAMETHROWERS


title: SCHOOL DAZE

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ANIMAL ROCK-VARIOUS ARTISTS: Compared to the original soundtrack of Animal House, Time Life's knock off Animal Rock wins the frat house party sweepstakes hands down. It offers nearly twice as many tracks, including the original versions of Louie Louie and Shout (sung by John Belushi and Otis Day & the Knights in the film). Soul Man, Knock On Wood, and Mustang Sally are undeniable slabs of raw RNB greatness, mixed in with one hit wonder anthems by The Trashmen, The Human Being, and The Surfaris. Tommy James' Hanky Panky and Mony Mony are perfect singalongs for beer soaked dance floors, while no party would be complete without Mitch Ryder's hoarsely belted Devil With a Blue Dress/Good Golly Miss Molly medley. There's something for every keg tapping, toga wearing, party crashing college dropout on Animal Rock!

RATING: FOUR BOTTLE OPENERS


title: DOUBLE EXPOSURE

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ALBERT HAMMOND-IT NEVER RAINS IN SOUTHERN CALIFORNIA: Albert Hammond's first and best LP contained his biggest hit, It Never Rains in Southern California, an "ode to the road" reminiscent of Bobby Bare's equally forlorn Detroit City. Everyone from Sonny & Cher to The Hagar Twins from Hee Haw covered it, but no one ever topped Hammond's perfect radio friendly delivery. The spirited singalong Down by the River, an ecology minded follow up, deserved hit status as well, but at least Hammond's gentle The Air That I Breathe scored a comeback for The Hollies. Mama Cass tackled If You Gotta Break Another Heart and The Association covered Names, Tags, Numbers & Labels, two more thought provoking efforts that showcased Hammond and partner Mike Hazelwood’s sublime song craft. Bolstered by session legends Larry Carlton, Hal Blaine, Joe Osborne, It Never Rains was Albert Hammond's lone Hot 100 album, but it serves as one of the finest examples of the entire seventies' singer/songwriter era.

RATING: FIVE GUITAR PICKS

ALBERT HAMMOND-THE FREE ELECTRIC BAND: In spite of a Top 50 hit single with the title track, Free Electric Band, Albert Hammond’s follow up album to It Never Rains in Southern California, fell short of his debut’s success. FEB had a message to convey along with its jangly beat, and listeners in certain parts of the U.S. (or those who owned the K-Tel collection Fantastic) were exposed to Mike Hazelwood’s lyrical deluge and Hammond’s well crafted folk-pop backing. Almost as interesting are The Day the British Army Lost the War and Smokey Factory Blues (which was covered by a reconstituted Steppenwolf). Both tell a complete, rather compelling story not unlike the Gordon Lightfoots and James Taylors of that singer/songwriter era. Likewise, The Peacemaker stands out for its stark delivery and Hammond’s coarse vocal work. Backed by the same cast of session pros that produced It Never Rains, Free Electric Band is a platter worth seeking out for the many who missed it the first time around.

RATING: FOUR FOLK SONGS


title: SCANDAL SHEET

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SCANDAL FEATURING PATTY SMYTH-SCANDALOUS:

Before the MTV influenced We Are the 80s series of cds, (spotlighting acts like Eddie Money and Flock of Seagulls), Scandalous was the only "best of" collection available by Patty Smyth's new wavey band. Prior to scoring a couple of MOR biggies as a solo artist, Smyth led the perky charge on catchy radio faves Goodbye to You and Love's Got a Line On You. The Warrior, a Holly Knight/Nick Gilmer co-write, proved Scandal's biggest smash, awash in arena rock guitars and Smyth's soul drenched vocals. Even the lesser hits (Beat of a Heart, Never Enough) are highly enjoyable in an earworm sort of way, and their cover of Journey's Only the Young fits right in. Although this comp seems skimpy at just ten tracks, Scandal only made one full length LP and one EP, so the cream of their career is right here.

RATING: FOUR CUTE GALS


title: BEACH PARTY

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BEACH BEAT SHAGGIN'-VARIOUS ARTISTS:
To some people, especially in the Carolinas, "beach music" means something entirely different than Brian Wilson, Jan & Dean, and songs about surfer girls and custom hot rods. Beachbeat Shaggin' serves up twenty fun, highly danceable RNB oldies from artists like The Drifters, Freda Payne, and even Vegas legend Louis Prima. Some were national hits, many were only regional successes, but the sunny, good time groove is unmistakable. Two groups led by General Johnson, The Showmen and Chairmen of the Board, lead the charge with funky gems 39-21-46 and Give Me Just a Little More Time. Frat rockers The Swingin' Medallions kick up some serious sand via their Bruce Channel cover Hey Baby, while The Tymes hit a bullseye with the irresistible Miss Grace. Names like The Embers and The Catalinas may not ring a bell, but their euphoric efforts I Love Beach Music and Summertime's Calling Me pretty much some up what this dandy little luau platter is all about.

RATING: FOUR SANDALS


title: FEEL THE VIBRATION!

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RONCO PRESENTS GOOD VIBRATIONS: With an emphasis on CBS record label acts, the twenty-two track sampler Good Vibrations' is virtually flawless in its song selection. If you can ignore the usual practice of fading out songs early to make 'em all fit, there's real seventies gold to be enjoyed here. Not only are huge hits like It Never Rains in Southern California, Brandy, and Long Cool Woman trotted out, there's a nice mix of deeper tracks that AM radio probably never gave the time of day to. The Raiders' earthy singalong Country Wine, Poco's Good Feeling to Know (featuring Richie Furay's heavenly high pitched vocals), and The O'Jays social commentary 992 Arguments are surprise choices that makes this platter stand out. That's not even counting Johnny Williams' funky, impossible to find Slow Motion or The Association's equisite cover of John Sebastion's Darling Be Home Soon. Philly Soul (If You Don't Know Me By Now), blue eyed soul (Go Down Gamblin'), and psychedelic soul (Thank You Falletin Me Be Mice Elf Agin) also share space with rockers like Mott the Hoople and Redbone, making Good Vibrations a happy case of truth in advertising.

RATING: FOUR VIBES


title: DYNAMITE DANCE DISC!

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K-TEL'S DISCO DYNAMITE-VARIOUS ARTISTS: Even though it kicks off with Disco Duck, the novelty everyone loves to hate, K-Tel's Disco Dynamite is one of that label's best choices for dance fans. Each track is mixed into the next for a continuous groove-a-thon, the way the club DJ's used to do it. Kings of the genre KC & the Sunshine Band surface three times with their infectious "Miami Sound", and Philly Soul faves The O'Jays and Harold Melvin & the Blue Notes also get some tasty licks in. Disco Tex's euphoric chant Get Dancin' (a staple of many K-Tel albums) shares space with other "one and two hit wonders" like Silver Convention, B.T. Express, and The Andrea True Connection. Frankie Avalon updates his oldie Venus with a percussive beat and Stax soul legend Johnnie Taylor croons the sultry Disco Lady, while artists like Stratavarious and Whirlwind are typical no name K-Tel inclusions. No extended dance mixes (remember who we're talking about here), but Disco Dynamite offers nearly an hour of fast paced, funk-filled fun!

RATING: FOUR PLATFORM SHOES


title: POWER HOUR!

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(This review refers to the original LP release, with twice as many tracks as the CD).

K-TEL'S MUSIC POWER-VARIOUS ARTISTS: K-Tel's Music Power offers the usual chart-bustin' suspects including The Grass Roots, The Four Tops, and Tony Orlando. It also gives listeners the chance to experience woefully underexposed hits like The Raspberries' sultry scorcher Tonight, Stories' blue eyed soul slab Mammy Blue, and Sonny and Cher's future Budweiser jingle When You Say Love. Brownsville Station's juvey delinquent anthem Smokin' in the Boys Room, Sweet's bubble-glammy Little Willy, and Jim Stafford's funny, funky Spiders and Snakes rub shoulders with a healthy dose of Canadian acts (lan Thomas, Gordon Sinclair, and Lighthouse, the Great White North's answer to Chicago). The usual assortment of soul stars appears too (Gladys Knight, The Chi-lites, Barry White), so it's hard to single out many weak spots. Other than K-Tel's normal policy of whittling down hits to make twenty-two of 'em to fit, Music Power is a quick, satisfying fix for worshippers of seventies pop.

RATING: FOUR POWER STRIPS


title: STEELY FAN

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STEELY DAN-DEFINITIVE COLLECTION: College buddies WALTER BECKER and DONALD FAGEN were failed Brill Building songwriters, JAY & THE AMERICANS touring musicians, and unabashed DUKE ELLINGTON fans...then they formed STEELY DAN, whose snarky attitude towards rock stardom fueled an eight platter career that mixed prickly jazz-pop, obtuse subject matter and tricky time signatures. Originally a proper band featuring guitar wiz JEFF "SKUNK" BAXTER among others, BECKER/FAGEN eventually eschewed a permanent lineup in favor of flawless studio production with cream of the crop session players. The finely honed, eclectic Top 40 singles REELING IN THE YEARS, RIKKI DON'T LOSE THAT NUMER and PEG rub shoulders on this sixteen ditty anthology with deeper album tracks like DIRTY WORK (the one chestnut not warbled by FAGEN), BODHISATVA and BABYLON SISTERS. Casual STEELY DAN lovers who pine only for the big hits may find this collection "DEFINITIVE"...but for fanatics, (you know who you are) this is merely an advertisement for their series of "must-own" original albums.

RATING: FOUR QUESTION MARKS


title: HOLE IN YOUR SOUL

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ON THE SOUL SIDE-VARIOUS ARTISTS: Like the greatest K-Tel sampler you've never heard, On the Soul Side offers 22 hits by 22 stars (minus that company's annoying practice of heavy editing) which range from Gladys Knight and the Pips to Archie Bell and the Drells, from Sam and Dave to James and Bobby Purify. The beauty of this party package from Time Life?...aside from Wilson Pickett's automotive anthem Mustang Sally and Carla Thomas' sensual spelling lesson B-A-B-Y, most everything here will be fairly obscure to your average AM radio fan from the sixties. Sultry slabs from soul's most important labels, including Stax (Otis Redding), Hi (O.V. Wright), Atlantic (Solomon Burke), Motown (The Originals), and Chess (Billy Stewart, Etta James) are front and center, with the Muscle Shoals groove of James Carr and Johnny Adams' churchy New Orleans roots represented as well. If you're tired of the same old collections offering the same old songs, On the Soul Side will have you shouting out for more.

RATING: FIVE BEADS OF SWEAT


title: QUADRUPLE VISION

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FOREIGNER-40 HITS FROM 40 YEARS: The keeper in this double disc retrospective is the first platter, which spotlights the half English/half American outfit's radio-ready ear worm romps Cold as Ice, Hotblooded, Jukebox Hero, and their power ballad juggernaut I Want to Know What Love Is...not to mention fan faves Blue Morning Blue Day, Women, and Tooth and Nail. The second half, which includes three new tracks, will likely interest only diehards who have stuck with the group through thick and thin, not to mention umpteen member changes. Like Boston, Styx, and Journey, their fellow arena rockers from the seventies, Foreigner is down to one original member these days...ex-Spooky Tooth guitarist Mick Jones, who tours with blue eyed soul singer Lou Gramm soundalike Kelly Hanson. They may have released as many compilations as they have original albums by now...a not uncommon practice among older acts...but 40 Hits From 40 Years proves to be the most complete souvenir of Foreigner's impressively long career.

RATING: FOUR STARRIDERS


title: SOUL-POWERED!

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K-TEL'S DANCE MACHINE-VARIOUS ARTISTS: Before disco fully developed into one of pop radio's most overexposed "love it or loathe it" fads, K-Tel's twenty track party platter Dance Machine busted out some of the fiercest funk and most danceable groove-ology of the mid seventies. The playlist leans heavily on the "Miami Sound"...KC and the Sunshine Band's first two career makers Get Down Tonight and That's the Way I Like It, Little Beaver's soulful Party Down, Jimmy "Bo" Horne's Gimme Some and George McCrae's chart topping Rock Your Baby (not to mention his wife Gwen's slinky Rockin' Chair). But there's also the robotic Euro-thump of Silver Convention's Fly Robin Fly, Kool and the Gang's jazz-stoked jam Higher Plane, and Labelle's sultry shout-out Lady Marmalade to keep things moving. Refreshing for its inclusion of deep club cuts from Jim Gilstrap, Betty Wright and Bohannon...which nicely offsets chart juggernauts by James Brown, The Blackbyrds and B.T. Express...Dance Machine is the perfect excuse to slip into your favorite platforms and boogie the night away.

RATING: FOUR AFROS


title: SEALS OF APPROVAL

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DAN SEALS-THE BEST: The younger brother of Seals and Crofts member Jim Seals was hardly the first (or last) pop star to throw his hat into the country music ring...Kenny Rogers, B.J. Thomas and Billy Joe Royal all had varying degrees of success doing the same thing. The lead singer on most of  England Dan and John Ford Coley's easy listening seventies hits put on a Stetson and continued his inoffensive ways, scoring several chart toppers including the dance floor-friendly Bop and mellow Marie Osmond duet Meet Me in Montana (both written by Paul Davis, another pop-to-country transfer). Seals' smooth adult contemporary sound meshed well with the eighties' twang-free Urban Cowboy craze, which included the countrypolitan efforts of Mickey Gilley, Crystal Gayle and Johnny Lee. If the hard core honky tonk vibe of George Jones and Merle Haggard is your thing, then sentimental ditties like God Must Be a Cowboy, My Old Yellow Car and You Still Move Me likely won't be your cup of white lightning...but for fans of competent soft rock (an oxymoron if ever there was one), Dan Seals' eleven track sampler The Best fits the bill nicely.

RATING: THREE BOPS


title: HAIR TODAY, GONE TOMORROW

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MONSTER MADNESS-VARIOUS ARTISTS: Before grunge swooped down and wiped it off the map, that glam-influenced, melodic strain of hard rock known as Hair Metal reigned supreme via an explosion of pretty boy perms, day glow colors and miles of Spandex. The double disc issue of MONSTER MADNESS, a TV only offering, ponies up virtually every important name associated with the genre, from SKID ROW, QUIET RIOT and POISON to ringers like FOREIGNER, BLACK SABBATH and NELSON (yes, we're talkin' RICK'S kids). Along wth far too many dreaded power ballads, you'll hear indispensable anthems such as TWISTED SISTER's I WANNA ROCK and MOTLEY CRUE's DR. FEELGOOD, not to mention FASTER PUSSYCAT's unforgettable regurgitation of the ultimate CARLY SIMON put down YOU'RE SO VAIN. If names like SLAUGHTER, RATT and WARRANT twang the head-banger strings in your soul,  MONSTER MADNESS is a pulverizing party platter well worth hunting down.

RATING: FOUR CANS OF MOUSSE


title: CARTER COUNTRY

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CARLENE CARTER-MUSICAL SHAPES: Pairing JOHNNY CASH's stepdaughter with genre-jumpers ROCKPILE turned out to be a hell of an idea at the dawn of the eighties; MUSICAL SHAPES, with its retro-chic cover art, cow-punk grooves, and sassy song selection is the finest record most folks never slapped on a turntable. Rockabilly rebel DAVE EDMUNDS' six string licks and NICK LOWE's popping bass lines ride shotgun over CARLENE CARTER's alternately chirpy/growling pipes...to put it bluntly, she sings her ASS off. I'M SO COOL, MADNESS, and TOO BAD ABOUT SANDY are seductive slabs of new wavish grit, while the morning after weeper TOO DRUNK TO REMEMBER would pass muster on a LORETTA LYNN album. In the "shoulda been a smash" department, EDMUNDS and CARTER mesh twangy voices for the tasty trucker ditty BABY RIDE EASY, while crafty updates of FOGGY MOUNTAIN TOP and mama JUNE CARTER's composition RING OF FIRE round out this hip barn-burner of a party platter. Neither CARTER nor ROCKPILE ever received their due as ground-breaking talents...which probably sits fine with their close knit circle of roots conscious fans.

RATING: FIVE LIPSTICKS


title: ROCKIN' TO NEW ORLEANS

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FATS DOMINO-MY BLUE HEAVEN/THE BEST OF: New Orleans' most famous musical exponent FATS DOMINO racked up a helluva lot more hit singles than CHUCK BERRY, LITTLE RICHARD or BUDDY HOLLY, yet he's seldom mentioned in the same breath as one of rock & roll's pioneering figures. Starting with the raw 1949 smash THE FAT MAN, his warm, conversational vocals and rollicking boogie woogie piano drove dozens of classic laid-back ballads and mid tempo rockers usually written by himself and prolific bandleader DAVE BARTHOLOMEW. Whether covering standards or performing his own material, DOMINO's jovial, non-threatening presence bowled over blacks and whites, parents and teens alike via BLUEBERRY HILL, WALKIN' TO NEW ORLEANS and AIN'T THAT A SHAME. Like so many early rock stars, FATS' chart dominance ended with the invasion of THE BEATLES, whose songs he nonetheless covered, notably their funky homage LADY MADONNA. MY BLUE HEAVEN racks up twenty titanic tracks reeking of charisma, charm, and class from a performer whose talent was every bit as big as the man himself.

RATING: FIVE TINKLIN' IVORIES


title: HERE'S THE DIRT

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THE NITTY GRITTY DIRT BAND-BEST OF: In spite of numerous lineup changes, THE NITTY GRITTY DIRT BAND has been forging an easy to digest blend of pop, bluegrass and country-rock since the late sixties, when their lightly psychedelic BUY FOR ME THE RAIN became their first Top 40 hit. A former jug band boasting impeccable vocal harmonies, THE NGDB helped boost the careers of MICHAEL NESMITH and KENNY LOGGINS by covering SOME OF SHELLEY'S BLUES and HOUSE AT POOH CORNER, and especially JERRY JEFF WALKER, turning his sentimental saga MR. BOJANGLES into a massive hit. Flaunting their folky roots and multi-instrumental abilities, they also tackled JOHNNY HORTON's BATTLE OF NEW ORLEANS and HANK WILLIAMS' JAMBALAYA with vigor and authenticity. After the succulent 1980 pop hits AN AMERICAN DREAM and MAKE A LITLE MAGIC, notable for JEFF HANNA's warm delivery and sweet backup from LINDA RONSTADT and NICHOLETTE LARSON, the group found a comfortable niche in the country field for the next two decades. That batch of sparkling down home singles can be sampled on MORE GREAT DIRT.

RATING: FOUR SPECKS OF DIRT


title: RUNAWAY HITS

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DEL SHANNON-GREATEST HITS: Early sixties chart mainstay DEL SHANNON influenced (among others) roots rocker TOM PETTY, who namechecked both DEL and RUNAWAY in his own smash RUNNIN' DOWN A DREAM, and orchestrated SHANNON's eighties comeback album DROP DOWN AND GET ME. SHANNON, who brandished a mature, soulful vocal delivery peppered with a trademark falsetto at key junctures, also wrote much of his own material (unlike most pre-Brit Invasion stars). His healthy string of moody chestnuts were soaked in desperation, revenge and memorable gimmicks like RUNAWAY's groundbreaking musitron solo and KEEP SEARCHIN' (WE'LL FOLLOW THE SUN)'s eerie wailing coda. DEL also proved an interesting interpreter, tackling THE BEATLES' FROM ME TO YOU, BOBBY FREEMAN's DO YOU WANT TO DANCE (later covered by both THE BEACH BOYS and THE RAMONES), and ROGER MILLER novelty THE SWISS MADE with equal gusto. Not everything on GREATEST HITS works as well as bittersweet hits like HATS OFF TO LARRY and LITTLE TOWN FLIRT, but this collection (in glorious mono) succeeds as a satisfying tribute to one of pop 'n roll's most undervalued pioneers.

RATING: FOUR HATS


title: PIT BOSS

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SPUDS MCKENZIE'S PARTY FAVES-VARIOUS ARTISTS: This most basic of instant Toga Party samplers is also one of the most enjoyable, and not just because the cover features Anheuser Busch's short lived but long remembered eighties mascot SPUDS MCKENZIE, decked out in shades and square guitar. This indestructible mix CD rolls out an even dozen rug cutters from Rock's Founding Fathers JERRY LEE LEWIS, EDDIE COCHRAN  and CHUCK BERRY, not to mention DION's immortal anthem THE WANDERER, the euphoric HUMAN BEINZ one shot NOBODY BUT ME and that granddaddy of all garage garbage greats LOUIE LOUIE. You'll also want to crank up timeless BEACH BOYS' rag top sing-along I GET AROUND and THE SPENCER DAVIS GROUP's GIMME SOME LOVIN' (highlighted by STEVE WINWOOD's truly amazing teenaged soul shout). There's nothing close to a clunker in the bunch here...and even if the party's over in under half an hour, you can always crack open another cold one and hit the "repeat" button...anything to keep SPUDS smilin'.

1)Nobody But Me- The Human Beinz

2)Gimme Some Lovin'- Spencer Davis Group

3)Johnny B. Goode- Chuck Berry

4)I Get Around- The Beach Boys

5)The Wanderer- Dion

6)Willie And The Hand Jive- The Johnny Otis Show

7)La Bamba- Ritchie Valens

8)Summertime Blues- Eddie Cochran

9)Louie Louie- The Kingsmen

10)Great Balls of Fire- Jerry Lee Lewis

11)Papa-Oom-Mow-Mow- The Rivingtons

12)Time Won't Let Me- The Outsiders

RATING: FOUR BARKS


title: STOMPING GROUNDS

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THE STOMPERS-GREATEST HITS...LIVE!:  Like their far better known New England contemporaries the J. GEILS BAND, THE STOMPERS were always most at home on the live stage, pounding out good time workin' class rock & roll and encouraging trademark "Whoa-ho-ho-ho" call and response from their rabid fan base. With head cheerleader SAL BAGLIO front and center on scratchy vocals and CHUCK BERRY guitar, GREATEST HITS...LIVE! finds the feisty foursome unleashing a crowd pleasing set of their best loved (at least in Boston) nuggets. Early groove-grabbing staples SHUT DOWN, COAST TO COAST and AMERICAN FUN stand loud 'n proud alongside the infectious NEVER TELL AN ANGEL and doo-wop-infested ONE HEART FOR SALE, their later solid stabs at pop stardom.  A euphoric retro rock medley of WIPEOUT/WALK DON'T RUN/PALISADES PARK provides the perfect capper to a slam-bang Saturday night soaked in sweat, suds and unabashed sing-a-longs shouted from the rafters...THE STOMPERS' undisputed stock in trade from the very beginning.

RATING: FOUR  STOMPS


title: CRAWFISH FIESTA

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GLORY DAYS OF ROCK & ROLL/NEW ORLEANS: Funky as hell instrumental group THE METERS notwithstanding, TIME LIFE's double disc collection GLORY DAYS OF ROCK & ROLL: NEW ORLEANS serves up virtually every important artist from the Crescent City's profound late fifties/early sixties hey day. You'll feast on a unique, spiced just right gumbo of RNB, jazz and pop indigenous to the region, a generous sampling of chart topping chestnuts along with under the radar local hits just as deserving of attention. FATS DOMINO's good time mellow moods and polar opposite LITTLE RICHARD's frenzied wildcat workouts share space with fellow ivory ticklers PROFESSOR LONGHAIR and HUEY "PIANO" SMITH; meanwhile,  titanic titles like MOTHER IN LAW, IKO IKO, WORKING IN THE COAL MINE and BAREFOOTIN' (many penned by wunderkind ALLEN TOUSSAINT) keep the street party peppered with hot sax, gritty axe and low down 'n dirty groove-ology. Rockers from JOHNNY WINTER and THE STONES to JOHN FOGERTY and DEVO have been mining these salacious sides for decades, undisputed testament to the depth and breadth of The Big Easy's incalculable "melting pot" influence.

RATING: FIVE SECOND LINES


title: LOCO BOYS MAKE GOOD!

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THE FOOLS-WORLD DANCE PARTY: While even non-New Englanders can sing the praises of THE J. GEILS BAND, THE CARS and AEROSMITH, Ipswich, Massachusetts homeboys THE FOOLS, the clown princes of eighties rock, are in more rarified company. Released in 1990 as the long awaited follow up to their new wave era SOLD OUT and HEAVY MENTAL platters, WORLD DANCE PARTY finds belter MIKE GIRARD and crew joyously blasting out the title anthem, faithfully regurgitating MANFRED MANN's ear worm DO WAH DIDDY DIDDY, and otherwise acquitting themselves quite nicely, thank you. THE UNTOUCHABLES is a rare belly rubbing ballad that compares favorably to the band's early cover of ROY ORBISON's CRYING, while SHE MAKES ME FEEL BIG and SEX plow THE FOOLS' more familiar "nudge-nudge wink wink" terrain. The hands down highlight is cult classic LIFE SUCKS THEN YOU DIE, a country-fried redneck rocker custom made for frat parties or barn dances. A ho-hum remake of their semi-hit IT'S A NIGHT FOR BEAUTIFUL GIRLS is the only real misstep, but the "rockers unite" vibe of WORLD DANCE PARTY is the hip aural equivalent of a peace sign.

RATING: FOUR YEEHAH'S


title: RE-UNION

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UNION-ON STRIKE: For BTO gearheads who simply couldn't get enough of RANDY BACHMAN's tasty guitar licks and FRED TURNER's mountain man bellow, the one off project UNION made for a welcome, if somewhat flawed comeback. MAINSTREET USA, which coasts on pop rockin' hooks and RANDY's talk-sing vocals...a crafty cross between his RNB-laced LOOKIN' OUT FOR NUMBER ONE and YOU AINT SEEN NOTHIN' YET...might have achieved hit status had it been released during BTO's mid seventies hey-day. PACIFIC NORTHWEST BLUES boasts a similar carefree vibe and KEEP THE SUMMER ALIVE naturally ivokes images of THE BEACH BOYS, while STAY AWAY FROM THE HONKY TONKS and TEXAS CANNONBALL unleash TURNER's bruising, JOHN FOGERTY-on-steroids assault. Two factors mar UNION's impact considerably...the CD is slightly sped up compared to the original vinyl version, and grating third lead vocalist FRANK LUDWIG adds absolutely nothing to the mix (even TIM BACHMAN was better). In spite of these flaws, BTO completists (you know who you are), will undoubtedly find ON STRIKE essential listening.

RATING: THREE STRIKES


title: BAKERSFIELD BOUND

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MERLE HAGGARD-LEGENDARY COUNTRY SINGERS: One of the most important and respected of all country legends, MERLE HAGGARD (along with BUCK OWENS) was the chief practitioner of the "Bakersfield Sound", a hard core honky tonk/western swing alternative to sixties Nashville's safer, more commercial side. Hag's self-penned, thought provoking arsenal included blue collar sagas (RAMBLIN' FEVER, WORKIN' MAN BLUES), prison laments (SING ME BACK HOME, MAMA TRIED), saloon songs (THE BOTTLE LET ME DOWN, SWINGIN' DOORS), and thought provoking anthems (FIGHTIN' SIDE OF ME, OKIE FROM MUSKOGEE), most of which topped the charts. He was still racking up big hits such as I THINK I'LL JUST STAY HERE AND DRINK, TWINKLE TWINKLE LUCKY STAR and LET'S CHASE EACH OTHER AROUND THE ROOM well into the eighties. TIME LIFE's expertly assembled anthology ponies up over two dozen stone classics by HAGGARD, an artist whose very name invokes the rootsy best of his irrefutable influences, from BOB WILLS and HANK WILLIAMS to JIMMIE RODGERS.

RATING: FIVE HAGS


title: PURPLE REIGN

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PRINCE-THE VERY BEST OF PRINCE:  MICHAEL JACKSON may have gotten more press but the REAL talent of the eighties was a certain sawed off multi-talented violet-enshrouded Minneapolis funk diversh who dubbed himself PRINCE. Not only could this elusive, erotic wondercat sing like STEVIE WONDER and dance like JAMES BROWN, he also jammed out on any instrument, and penned huge pop hits for THE BANGLES, TOM JONES, SINEAD O'CONNOR, SHEILA E, and CHAKA KAHN, in addition to his own impressive repetoire of cunning classics. His falsetto-belted debut ditty I WANNA BE YOUR LOVER and the one-two club-floor punch of LITTLE RED CORVETTE and 1999 made way for a bevy of mega-charters from the heat-sinking soundtrack PURPLE RAIN, (including the nine minute title piece) as well as sexually charged followups such as RASPBERRY BERET, the SHEENA EASTON duet U GOT THE LOOK, and CREAM. Were it not for his legendary eclecticism and highly experimental nature, PRINCE could have no doubt churned out radio smashes right into the new millenium...as it is, THE VERY BEST captures the master at the absolute peak of his purple powers.

RATING: FIVE SMIRKS


title: ROMPER STOMPER SHOW STOPPER!

text:
THE STOMPERS-THE STOMPERS: THE STOMPERS, helmed by gritty soul-shoutin' singer/guitarist/songwriter SAL BAGLIO, was the ultimate Boston bar band...no mean feat from a region that also spawned THE REAL KIDS THE FOOLS, and THE LYRES. The well named foursome conjured images of smoke filled night spots, Pabst Blue Ribbon brewski's and sweat-soaked party rock riddled with vibrant audience participation choruses. This major label debut showcased their in-yer-face sixties vibe via local blue collar anthems AMERICAN FUN, SHUT DOWN and COAST TO COAST, plus shoulda-been national hit NEVER TELL AN ANGEL (WHEN YOUR HEART'S ON FIRE). The title of ROCK, JUMP & HOLLER outlined the band's exuberant "no-wave" intentions, while ONE HEART FOR SALE mixed doo-wop backing vocals with unabashed sentiment, and LEAVE IT IN MOTION finished the whole shindig on a funky, boot-kickin' high note. Had they gotten a few more breaks in the business, perhaps THE STOMPERS would have reached the heights of fellow roots rockin' Beantowners THE J. GEILS BAND, instead of remaining New England's best kept Saturday night secret.

RATING: FOUR BEER NUTS


title: HITS & PIECES

text:
THE DAVE CLARK FIVE-THE HITS: Like a soulful cousin to THE FAB FOUR, THE DC5 roared more like a DC10, racking up well over two dozen hits during a three year period in the mid sixties. Highly energized RNB covers such as BOBBY DAY's OVER & OVER, CHRIS KENNER'S I LIKE IT LIKE THAT, and THE CONTOURS' DO YOU LOVE ME mingled alongside rowdy, cock-sure band originals GLAD ALL OVER, ANY WAY YOU WANT IT, and BITS & PIECES, all earmarked by lead singer MIKE SMITH's ferocious howl and the group's beat-heavy stomp 'n whomp sound. Among the non-smashes here are GOOD OLD ROCK & ROLL MEDLEY, the same set of fifties classics that CAT MOTHER & THE ALL NIGHT NEWSBOYS had a smash with, and a decent cover of NA NA HEY HEY KISS HIM GOODBYE by one hit wonder STEAM. Criminally short lived, but immensely popular, THE DAVE CLARK FIVE brought a big bad bang to the British Invasion and a profound influence on rock & roll that can never be underestimated.

RATING: FIVE HIGH FIVES


title: Oh yeah

text: This is one of my Favorite Groups.........at 67 yrs. old I do still love my music..........You need to listen to this while cleaning house.


title: Katie Melua Collection

text: Great set from katie melua in this collection.<br />Including the hits from her 3 albums, new recordings and a live dvd with behind the scenes footage as well.


title: Take Me Higher?

text: No thanks. I want stay on the ground so I can stay safe.


title: Overrated!

text: This song is overrated.


title: This band should of never been popular

text: It would be a great dream that this band and song should have never been popular.<br />It's complete trash , tacky and very embarrassing call themselves a rock band.


title: FutureNever

text: Great to hear daniel johns is back making music again. This is his best album by far.


title: 216

text:
Almost forgot about this album. It has half of the lineup from mushroomhead.
All metal all glory. Great news the CD is not out of print. It's available at the band's website.
I got mine from there. Worth it!


title: Essential Collection

text: You like this if you enjoy his early stuff. For a 2 cd set it's a mixed bag.<br />Mostly 70's , Some 80's and later recordings. Nice packaging too.


title: Album No 8 Deluxe

text: Katie continues bringing out the goods.<br />Bonus tracks are great. Really dig the packaging as a book.


title: We Are Chaos Target Edition

text:
Manson never puts out a bad album.
The bonus tracks and packaging are a nice touch.
I'm bummed target didn't carried it in my area.
So I have to order it online to get the cd.


title: The Cleveland Show

text: This is a great spin off to family guy. Total worth owning the series.


title: Great Soundtrack

text: If you loved the movie then get the soundtrack as well.<br />The songs sound great to hear on vinyl.


title: Ha! Ha!

text:
I heard of this band few years ago and have to hear this stupid album more than 5 times a week at work !
Gosh I'm so glad I don't have to listen to that crappy band and that abortion of an album ever again.
Ha ! Ha ! Laughing so hard that the cd is out of print.
Those guys should just do eagles covers and just call it a day.
The Ataris will not be missed. Pipebomb !


title: Very cool project

text: I like the feelings hijackers , This is a very cool project. Check'em out.


title: M3

text: This band rules! They never put out a bad album.


title: Great Song

text: Perfect song choice to promote the bean movie. This single is awesome and it comes with a poster too.


title: Superbuick

text: This is one of those albums that should of change the world.<br />Superbuick is one of those rare gems.


title: Awesome tribute indeed

text: Awesome tribute indeed. They almost played the whole album of blizzard of ozz live!


title: Bark at the moon

text: Not one bad song on bark at the moon. Even the bonus track is awesome.


title: The iconic debut of blizzard of ozz

text: Where it all started on ozzy's solo career after black sabbath.<br />The iconic debut of blizzard of ozz.


title: Cross Purposes Live

text: Great live set on cd and vhs. Too bad 3 songs are not on the cd because of runtime.


title: That man is a legend

text:
The highlights are the songs themselves and the stories around them.
Only reason i'm giving it 4 stars is because tiny tim should of tone down the religious crap on this record.
No one cares about religion they should of just edit those parts out.
Now I know why it's out of print.


title: The End Tour CD

text:
The leftover tracks from 13 are awesome and the live tracks are a nice touch.
Make sure you get the official cd from there ozzfest store on ebay.
Not the bootleg copy in a jewel case from someone else.


title: First day of my life

text: Awesome song also appeared on the reissue of Beautiful Intentions.<br />The acoustic version of first day of my life is good , The B-side runaway is worth getting this single.


title: Its Not The End

text:
Spice Girls put out a great single with goodbye in 1998.
There first song recorded after Geri Halliwell left the group.
#1 in the UK and a few other tracks on this single.
Christmas Wrapping And a few live cuts from there wembley stadium concert.
Sisters (are doing it for themselves) Performed by Mel.B & Melanie C
And We Are Family. Like to see that concert released as a cd / dvd set.


title: Tiny Tim Unplugged

text:
A great concert from start to finish. Songs you heard before and most of them are not on his albums.
This is the tiny tim you know and love. Too bad its out of print.
If you want to spend 100 bucks on this cd then go for it!


title: Tomorrow EP

text: Great ep from silverchair. The starting point were this band started before frogstomp a year later.


title: Young Modern Special Edition

text: One hell of a follow up for diorama. The DVD is cool and better packaging.<br />An absolute must for the fans.


title: Live at Le Bataclan. Paris, France

text: Great concert for a great cause. Good luck getting this on cd only 20,000 made.


title: Silverchair - Diorama

text:
One of the best albums they ever done.
The first 3 albums are amazing.
Ever since I heard the greatest view early in 2002.
I fell in love with it.
One of the best albums in the 2000's
#1 for me no question about it.


title: Wonderful Album

text: Here is a lost album from tiny tim that's worth owning. Wonderful world of romance finally released on cd in 2006/2007.<br />Wonderful album to listen too.


title: Goin' Down

text: Goin' down became the first single off northern star from melanie c. Ga ga also on that album too.<br />The b side angel on my shoulder on CD1 and I want you back is on another version of that single are worth getting.


title: My ears are blown away!

text: My ears are blown away! Can't believe the sound quality on cassette is incredible.<br />Like what they did with the artwork , It looks like a bootleg tdk insert.


If you are a true fan of nirvana and like anything by kurt cobain should not bash this album.
I have the movie on dvd and go get the deluxe version of the soundtrack instead.
You'll be so glad you did. Home recordings what did you expect? greatness.