5 comments about The Hurdy Gurdy Man.

1. I initially bought this CD to get the Hurdy Gurdy Man song for my computer. Of course, as a bonus, I got Mellow Yellow, Jennifer Juniper and Colours. Donovan remains at best the easiest listening singer there is.



2. This is a pretty good deal - the additional songs added here were from the Hurdy Gurdy Man sessions. I recently found out from the autobiography that Donovan intended the title track for Jimi Hendrix, but Mickey Most talked him into recording the now classic track himself.
   
   The quavering vocals, the swirling sounds and the buzzsaw guitars on Hurdy Gurdy Man always get me. Wow, what a song!
   
   I have listened to this album so much on vinyl that it has passed completely into both my sub-conscious and conscious minds, you know? The sun is a magical fellow. How can you possibly dispute this?
   
   I have always had the opinion that this album probably isn't for everyone - its too Donovanish, too introspective, too mellow for mass appreciation, its sort of like a bunch of ragas and less like a collection of pop songs. Actually, its somewhere in between, I guess: a blast of unique mysticism composed in Rishikesh, India by a 22 year old guy who had just started to turn the corner from pop star to private artist. There is so much delight and wonder in many of these songs, so much real emotion that as a collection its difficult to perceive. The songs also are more "breathed" than sung. That's a bit different, too.
   
   Ah well, this is kind of a funny review, but then this is a subtle, uncanny sort of release that I loved at first hearing so its hard to put my thoughts and feelings into just the right words.
   
   My idea is put this one together with the newly released complete 1967 concert CD and the Greatest Hits CD. All 3 came out in 68 and give you the basic Donovan formulation in all its glory. Put these three on random for a few days and you'll really have something.



3. The Hurdy Gurdy Man, released in 1968, is one of Donovan's best and most diverse albums. You get classic, optimistic Donovan (Jennifer Juniper, The Entertaining Of A Shy Girl, The River Song, The Sun Is A Very Magic fellow), jazzy Donovan (As I Recall, Get Thy Bearings, Teas) and new creative hights (Hurdy Gurdy Man, Tangier, Peregrine).
   
   
   The album starts out with the thunderous title track, with is heavy guitar likes and pounding drum loops. It is definitely one of the hardest rock songs Donovan has ever done and it managed to become a big hit as well, reaching #5 on the Billboard Hot 100. Then we go upstream a bit with the dark but whimiscal Peregine which bares slight similarity to George Harrison's work for the Beatles.
   
   Now it will take me a long time to talk about each and every one of the songs from the album so I'm just going to name some of the hightlights:
   
   As I Recall: A very bright and cheery jazz tune with a charming piano and a horn arrangement
   
   Hi, It's Been A Long Time: Possibly one of the most romantic tunes I have ever heard. The classical string arrangement contrasts so greatly with its hip-hop beat. On of Donovan's finest!
   
   Jennifer Juniper: Ah yes, this one's also very charming and romantic. Such image-envoking lyrics and a wonderful woodwind arangement
   
   The entire album (excluding Jennifer Juniper) was records in May 1968, along with the melancholic hit single Lalena and its charming B-side Aye! My Love, both of which are included on here as two of the seven bonus tracks. Here's a complete list of them:
   
   Poor Cow: B-side to Jennifer Juniper and also featured in the movie of the same name but with an alternate arrangement.
   
   Teen Angel: B-side to Hurdy Gurdy Man and one of my least favorite Donovan songs.
   
   Lalena: Released as a single in November 1968
   
   Aye! My Love: B-side to Lalena
   
   What A Beautiful Creature You Are: An outtake from the Hurdy Gurdy Man sessions and I can see why it was left off. A really bad song!
   
   Colours: Re-recording
   
   Catch The Wind: Re-recording
   
   Final word: get the album!



4. The aim of this album seemed to be diversity which is both its strength and its weakness. The World Music and heavy elements work, the pop and cute jazz have not aged as well. Donovan could sing jazz very well, such as the version of "Young Girl Blues" he did for the BBC around this time, which is magnficent. The jazz cuts on here are the weakest by far with the singular exception of "Get Thy Bearings".
   
   The bonus tracks are mostly singles (some recut for a greatest hits package) and b-sides. By far the best surprise is the duet "What A Beautiful Creature You Are" which is funny and sexy and would have sounded great on the Barabajagal album.



5. I liked the title song, but not much else on this record the first time I heard it. But after a few months of being in my car (I do a lot of long driving trips) the record started to grow on me. It's not, in my opinion, something you can like right out of the box, like "Mellow Yellow" or "Sunshine Superman," but it's every bit as good. Donovan was sort of moving in a different direction back then. There is a lot of Indian (like in the big country next to China, not Native Americans) influence here, mingled with that kind of medieval atmosphere associated with "Superman" and "Mellow." I don't know, it's hard to wrap my mind around this record that is so hard to define. I just know I like it now, that I play it a lot now.
   
   And on this version I especially like the extra songs. "Teen Angel" originally a B side is just outstanding. And this record is a good place for "Poor Cow" to finally find a home. Also I like that it ends with the versions of "Colours" and "Catch the Wind" that were rerecorded for the Epic "Greatest Hits" record. They work really well here as does "Lalena." The Hurdy Gurdy man brought songs to the people. Donovan is the Hurdy Gurdy Man.

5 comments about 20th Century Masters: The Best Of Dusty Springfield (Millennium Collection).

1. 20th Century Masters: The Best Of Dusty Springfield is yet another in this CD series of mediocre efforts to make a quick buck by placing as few tracks as possible on the CD. Yes, what we do get is very wonderful material and songs by Dusty; but they could have and should have added at least one or two more songs. The sound quality is rather good and the artwork is typical for this series.
   
   "I Only Want To Be With You" starts off the track set with Dusty at her best and a lush musical orchestration. Dusty never sounded better and this is easily a highlight of this album. Dusty's voice is as clear as a bell and her excellent diction bolsters her performance even more.
   
   "Stay Awhile" is a beautiful love ballad that features Dusty front and center with a very solid group on backup to support her. We again get a lush musical arrangement and Dusty delivers this number with passion; she sings wonderfully of a woman who wants more romantic time alone with her man. Listen also for "Wishin' And Hopin';" this has a distinct `60s light rock beat to it; and the percussion works very well on this number. Dusty takes "Wishin' And Hopin'" and she makes it all her own with her very sensitive interpretation of this fine number.
   
   "You Don't Have To Say You Love Me" has an incredible melody for a torch song that still tugs at my heartstrings every time I hear it; Dusty sings this to perfection and the changes between tempos and keys enhance the natural beauty of this song.
   
   "The Look Of Love" gets a very touching treatment from Dusty, who is able to convey all the romantic nuances of every word she sings. The percussion and strings work very well for "The Look Of Love," too. "What's It Gonna Be" places Dusty's vocals squarely in the spotlight and her backup singers never miss a beat, either! I really like "What's It Gonna Be."
   
   The CD ends with Dusty performing "Give Me Time." "Give Me Time" showcases a woman's pain at losing her man. Dusty sings this with all her heart and soul and it shows when you listen to this. Great!
   
   Overall, I have no gripe with these wonderful tracks by Dusty. My complaint is that there's just no way twelve tracks could ever be considered "The Best Of Dusty Springfield." I will take off two stars for this to make this a three star review. Indeed, this CD is truly best suited for a causal fan who wants just a few of Dusty's best songs; a more enthusiastic fan will never be satisfied with this. These diehard fans can find other CDs with more to them on this website.



2. I've just received this great CD and find that the selection of Dusty's hits to be representative of her career on the top-40 charts. Some on this forum complain that the collection is not 'complete', but the 20th Century Masters series has never claimed to be complete collections of any artist, but a representative sampling of their talents.
   
   The remastering on my copy is pristine. Those who give the album a low rating based on this malady have recourse. Even Amazon will exchange a disc for the same title if it is indeed defective. Since mine isn't, then the problem obviously does not reside in the remastering process.
   
   Dusty's music experienced a resurgence by being featured on the soundtrack of the Julia Roberts' vehicle 'My Best Friend's Wedding', which opened with a breathy rendition of 'Wishin' and Hopin' to great effect.
   
   I think this is an excellent album. 5 Stars out of 5.



3. I would give it a five star but the omission of Son of A Preacher Man is clearly the reason. It was one of her biggest hits of her career. Anyway, they could have used a couple of her more modern rather than just focused on the sixties where she peaked. The obvious hits are still here but the omission of Preacher Man makes you ask yourself why was it omitted. If I produced the biggest hits of Michael Jackson, I wouldn't forget Billie Jean would I? No, of course not, an explanation would be nice like maybe they didn't get the rights to some songs. The Millennium soluting the twentieth century artists like Dusty Springfield and Joan Armatrading are worth the price even if it's incomplete.



4. Very poor sound quality. For example, if you compare Stay Awhile & I Only Want To Be With You on this recording to the originals on the album: "Stay Awhile--I Only Want To Be With You" or the album: "OOOOEEEEE!" you will find that these are muddy renditions with the highs muffled and the very life of the songs squashed. I have several different CDs of many of the songs and I know.



5. 20th Century Masters is a great, inexpensive collection that does a good job of showcasing an artist's talent. To me, this cd shows her earlier important hits like You Don't Have to Say you Love, I Only Want To Be With You, Wishin' and Hopin', The Look of Love, and some lesser explored gems: All I See Is You, Losing You, and What's It Gonna Be. These 12 tracks are essential to any DS collection, but be sure you don't limit yourself to them either.

5 comments about Arthur (Or the Decline and Fall of the British Empire).

1. The Kinks are known as the best least known pop band for a reason- they are talented, consistent with their excellent material, and capable of writing one memorable song after another. This band really sounds like they were born to write wonderful catchy pop songs, and they succeed quite well. Since the reputation of the Kinks has gone up in recent years as one of the finest pop bands of the 60's, so has the popularity of their albums. Back in the 60's, people didn't listen to these albums as much as people do today, such as this one, Arthur (or the Decline and Fall of the British Empire).



2. Called an opera, a concept album, a TV score, the reality is that 'Arthur' is a daringly ambitious album that proved that the Ray Davies and his band were able to remain at the level of the three previous masterpieces starting with 1966's 'Face to Face'. Even more focused on "concept" than the 'Village Green Preservation Society' album, they pull it off by producing a tremendous range of material, from guitar-based riff rock like "Brainwashed" unheard on their previous several records to elaborate sonic suites on "Australia" and the unforgettable "Shangri-la". Indeed, though more of Dave's stinging lead guitar is evident throughout than on the trinity of previous songwriting epics, there are many songs that show effective use of horn arrangements, chorales, and strong production. The songs are uniformly catchy and the subject matter of past British Empire glory, World War II, and middle class concerns are brought home with some of the Kinks' all-time classics, including "Victoria", "Shangri-La" and lesser known but excellent songs, "Drivin", "Nothing to Say", and two beautiful ballads, "Young and Innocent Days" and "Some Mother's Son". The former sounds like a song from an LP 15 years later than this one; the latter, about a battlefield loss, is a great example of Ray's ability to paint a picture with lyrics. This LP was a critical success, and has stood the test of time as a musical work. It is an uncompromising triumph of British rock music from 1969 that has been and will remain among the best of the Kinks' albums and vibrant for decades to come.



3. It was finding Face To Face in the bargain rack at Woolworth's in 1969 that started it for me. Sure, I'd heard and loved the early singles...even had a few of them. But what to make of this LP? I never expected to find it, and I certainly didn't know anything about it. Lola was still to come, and the Kinks hadn't had a hit stateside in over 3 years. But, hey, at $1.99, I really didn't have much to lose. My instincts told me that I'd made quite a find, but the proof was when I took it home and put it on my new Coronado stereo (ceramic cartridge and all, remember those?). I knew from the first ("Hello...who is that speaking please?") notes of Party Line that I'd indeed found the bargain of my (then) short life. It never let up; one jem after another. I particularly loved Rainy Day In June and Holiday In Waikiki. I was an instant convert. So began the hunt for "the rest of the story", but it wasn't easy. Even a trip to Kansas City didn't uncover new Kinks LPs. But over a year later, lo and behold, digging through an 8-track bargain bin, I hit the jackpot. There were both Arthur and Lola vs. Powerman and the Apes, and again that price of $1.99. I remember turning all my friends on to the Kinks.
   
   I liked Arthur and Lola vs.... even better than Face To Face, largely because they sounded so much better (don't forget that ceramic cartridge), and they rocked a lot harder. 1966 was feeling pretty quaint in 1971. I thought, in terms of "high concept", that Arthur made Tommy look pathetic. Ray's observations were so poignant, and the songs hung together so well. I thought then and still think today that it was a work of genius. Ray was a bit of a cynical curmudgeon when he was the tender age of 25, and I liked it.
   
   However you choose to enjoy this album, it works. It is a literary marvel, but it also rocks and has great melodies and band arrangements. John Dalton and John Gosling really added a lot.
   
   A definite dessert island disc for me.



4. I know this isn't a spaghetti western but this Sanctuary version of "Arthur" is definitely worth more than the readily available Reprise version that's been around for years.
   
   Having owned both copies I can tell you first hand that this version has a much clearer and richer sound. Not only is the mix louder but the bass is deeper and above all it doesn't sound muddy like the older reprise version. On top of all that, you get great bonus tracks like "Plastic Man" , "King Kong", two great songs that were meant to be on a Dave Davies solo album (This Man He Weeps Tonight, Mindless Child Of Motherhood) and some mono mixes of some album cuts.
   
   OK, enough of the technical stuff, this album alone is a classic but then you get some great bonus tracks as well. This in my opinion is the Kinks best album, don't get me wrong I also love Village Green Preservation Society but this album has more kick to it. It features all members on top of their game. Ray is at his absolute best with his writing and voice, "Shangri La" is an under appreciated gem of his. Dave gets to kick his guitar on to high gear and his song "Brainwashed" is one of many highlights on this album. Mick Avory displays great drumming all throughout but for me his highlight has to be on "She's Bought A Hat Like Princess Marina" and John Dalton makes his full time debut on the bass playing a melodic bass line that McCartney would love on "Victoria".
   
   
   As you've probably read before this album had the bad fortune of being compared to Tommy at the time of it's release but what people didn't know was that this album was recorded before Tommy.
   
   I could go on and on about this album but I'd only be stopping you from getting it sooner.



5. 'Arthur' was part of a failed attempted at producing a television program with a rock soundtrack, the failure being that there was no show when all was said and done. Ray Davies most definitley held up his end and produced yet another stellar introspective work to follow up on his 'Village Green' project of the previous year. 'Arthur' had much more commercial success than the previous record, despite the fact that the plug was pulled on the show. I see 'Arthur' as the antithesis of 'Village Green' where it bemoans the decline of life in Britain where as the latter celebrated it. 'Arthur' contains some of the best Kinks songs of the era including leadoff thumper "Victoria", the title track, and the immortal "Shangri-la". "Mr. Churchill Says", "Yes Sir, No Sir" , and "Some Mother's Son" ridicule the futility of war and Britain's particpation in WW's I and II. "Australia" revisits the feel of exile and symbolizes the saga of Davies' sister Rosie and her emmigration to that far off land, which is also one of the few real psychedlic songs the Kinks ever did (the ending is anyway). "Princess Marina" and "Nothing to Say" are very humerous and highlight the struggles of working class Britons, much like "Shangri-la". A once great nation was falling back into recession and with any society, not everyone flourished during the "good times". Arthur and his family seem to represent that type of family and that is what Ray Davies always did best in his songscapes. 'Arthur' shouldn't be compared to 'Tommy', the other rock opera of 1969, because it is based in reality and history which I guess was too much for some people to deal with.

2 comments about What's Bin Did and What's Bin Hid.

1. This is Donovan's debut album in the UK and it was released on May 14th, just four days after Donovan turned nineteen, so the songs were all recorded when Don was just a Scottish lad. This is a folk type record with Donovan accompanying himself on guitar and harmonica. Though many people of the day were heralding Donovan as the British Dylan, his music is really quite different. True he does play the harmonica, but Donovan has a melodic voice that Dylan, and most anyone else for that matter, could ever equal. "Josie" is one of my all time favorite Donovan songs. I heard him sing it when I was sixteen at the Golden Bear in Huntington Beach, California and was really blown away. "Remember the Alamo" not written by Don leaves a lot to be desired lyricwise in my opinion, but the way Donovan sings it makes you want to get up and shout. Boy could he get the most out of a song. Of course, "Catch the Wind" Donovan's first huge single is everybody's favorite (if it's not it should be), but Don's rendition of Woodie Guthrie's "Car Car" and the Traditional "Keep on Truckin'' are out standing as is his version of "Donna Donna," which I like much better than the way Joan Baez does it. And then there is "Goldwatch Blues," boy what a song, "If you've a son who wants a good career, just get him to sign on the dotted line and work for fifty years." "Here's your gold watch and shackles for your chain." Yeah isn't that they truth, sometimes, like the lad in the song says, "I just want to take a broom and sweep the bloody floor." And if you don't get what I'm saying, well I feel sorry for you.



2. This is Donovan's debut album in the UK and it was released on May 14th, just four days after Donovan turned nineteen, so the songs were all recorded when Don was just a Scottish lad. This is a folk type record with Donovan accompanying himself on guitar and harmonica. Though many people of the day were heralding Donovan as the British Dylan, his music is really quite different. True he does play the harmonica, but Donovan has a melodic voice that Dylan, and most anyone else for that matter, could ever equal. "Josie" is one of my all time favorite Donovan songs. I heard him sing it when I was sixteen at the Golden Bear in Huntington Beach, California and was really blown away. "Remember the Alamo" not written by Don leaves a lot to be desired lyricwise in my opinion, but the way Donovan sings it makes you want to get up and shout. Boy could he get the most out of a song. Of course, "Catch the Wind" Donovan's first huge single is everybody's favorite (if it's not it should be), but Don's rendition of Woodie Guthrie's "Car Car" and the Traditional "Keep on Truckin'' are out standing as is his version of "Donna Donna," which I like much better than the way Joan Baez does it. And then there is "Goldwatch Blues," boy what a song, "If you've a son who wants a good career, just get him to sign on the dotted line and work for fifty years." "Here's your gold watch and shackles for your chain." Yeah isn't that they truth, sometimes, like the lad in the song says, "I just want to take a broom and sweep the bloody floor." And if you don't get what I'm saying, well I feel sorry for you.

5 comments about Twain Shall Meet.

1. Eric Burdon has a voice that's full of longing, for what might have been and what could still be if people didn't act so much like people act. It can make you sad or it can motivate you to be part of the solution instead of part of the problem.



2. When this album came out (It had a different cover; a line drawing of Eric in a "through the looking glass" style) I wondered if it would be any good. I took a chance and bought it. I was not disappointed. Every cut was good, but some were GREAT. Everyone I know loves Sky Pilot, and Monterey was an instant hit, but the mood evoked by We Love You Lil and Orange and Red Beams is amazing. Don't get me wrong, The Animals did a slew of excellent songs over the years but I am particularly fond of this album. Maybe because of the era in which it was recorded and released to its fans. In a time of great confusion in our lives, or maybe it was something deeper than even that. No matter, it was great and I am grateful for it. If you want to hear Burdon in a not-so-mainstream vein and still enjoy his music, buy this album. You won't be disappointed.



3. OTRA GEMA PSICODELICA DEL GRAN ERIC..LUEGO DE WINGS..SE DESPACHA CON OTRA PLACA EXCELENTE...MONTERREY,ORANGE AND RED BEAMS,SKY PILOT,JUST THE THOUGHT SE DESTACAN EN UN DISCO SIN DESPERDICIO. MERECE LA PENA REDESCUBRIRLO, REALMENTE.



4. this is a great album that just grows and grows on you.
   vastly underrated and overlooked. psychedelia at its finest!!



5. Being an Eric Burdon freak, I certainly do like this CD. The best part is it contains one of the all time greatest singles Sky Pilot in the best mix and mastering I've heard so far. However, there a few things one wishes had been done differently. 2 songs feature one of the other band memebers on vocals. Eric would have been better, but that's history and the tunes are still quite enjoyable. Seems to me to be an answer to Axis:Bold where Noel sings a couple. The tunes No Self Pity and We Are One are not exactly catchy tunes, but I would image would have been great on a psychedelic light drenched stage. The mono single of Sky Point is great. That tune is a totally differnt experience in mono. I think Eric is one of the few artists who I would call a mystical visionary.

5 comments about Best of Dave Dee, Dozy, Beaky, Mick & Tich.

1. This great band comes from Salisbury, UK, and I am very proud of them. Dear old Tich came to the Salisbury Blues Club last Wednesday to watch my son Dominic play sax.
   
   It may be a silly name - but it really is their various nicknames. They were really very very good indeed. Anybody who saw them on stage in their heyday will know that very few bands ever wanted to follow them. And before you sneer, oh doubtful ones, remember that Tich was voted World's Best guitarist in the 60s and nobody argued: he was a friend of, and jammed with, Jimi Hendrix: he played some cracking guitar on stage at the Heartbreak Hotel Club on Ibiza (Phil Carson's gaff) when the band backed .... Robert Plant (with a little help from Tony Kaye and Chris Squires of Yes): and that in the sixties the Boys outsold the Beatles in many counties.
   This run through of their greatest hits shows that they could sing and play to perfection, with fantastic vocal harmonies, honed by what must be a million gigs over the last 40-plus years. "Hold Tight", "The Wreck of the Antoinette", "Xanadu" and "Bend It" are all great pure pop songs and the only tragedy is that they were all written by Ken Howard and Alan Blaikley, the Stock Aitken Waterman of the day, and that the Boys' own songs were largely unrecorded until late in the day.
   
   Remember that these lads shared the stage with everybody, and I mean everybody, from the Beatles to the Stones to Hendrix to you name it and never came off second best. A fantastic and overlooked band, with a lot of these songs being recorded in a few hours in one or two takes.
   
   I saw Dave Dee (please get well soon, Dave), D B M and T at Salisbury City Hall in March 2006. This still-gigging band, still huge in Europe, were absolutely superb and played with all the gusto and skill of lifelong musicians. I gather that the 48-gig tour was a complete sell-out. I have had to endure Fall Out Boy this year too, and Dave and the boys are in a different league.
   
   Fascinating fact: Dave, as a cadet police officer, was first on the scene when Eddie Cochran was killed in a carsh near Bath, Somerset, and got his guitar out of the wreck.
   
   PS Note that Mick is Mick Wilson and NOT Mick Talbot as it says on the blurb.



2. 'Best British Invasion band to not make it' is correct, but this tune was well liked in the Midwest, if not throughout the US..they seemed like stars at the time.



3. This was not the only sixties group to have a silly name - Creedence Clearwater Revival was another that immediately comes to mind - and it didn't stop them making some upbeat, guitar-based rock music of really quality. It seems that they failed to make any impact in America, but they had thirteen hits in their native Britain between 1966 and 1969, many going high in the top ten.

   Their only number one hit was The legend of Xanadu, but Zabadak reached number two while Save me, Bend it and Hold tight all reached number four. All these hits plus all their lesser hits and a few misses are included here.

   Although most (but not all) of the songs are upbeat, fun songs, there is a remarkable variety of styles within this collection. Dave Dee Dozy Beaky Mick and Tich may well be the best British group of the sixties to fail in America. Although not up to the standard of the Beatles or the Rolling stones (who else was?), they were certainly as good as many British groups that did make it in America.




4. This is a pleasant CD and a reissue (albeit edited) of a 1991 Greatest Hits CD on Fontana. I have 20 CDs on this group-more than ANY OTHER GROUP in my collection! They are THAT GOOD-go get this CD! Fun time music, like the Monkees, the Jackson 5ive and early New Edition/New Kids On The Block! Not bubblegum, just goodtme music!



5. Though US music lovers may only know them by their name (which probably contributed to their lack of respect on the US charts), UK oldies fans will get a healthy assortment of big hits on one nice-sounding CD.

   For anyone who's into the music of Paul Revere and the Raiders, the early Who, and the Dave Clark Five, check out this CD. Don't let the funny name fool you--this is good stuff!

5 comments about Jerry Maguire.

1. The Mariachi song in the restaurant were Tom Cruise and Renee Zellweger did the dinning scene wasn't Armando Manzanero's "Por Debajo de la Mesa"... it was Gloria Estefan's "No me vuelvo a enamorar"



2. This soundtrack came out when the only things I was sure of in life was my music, my cats and my strength. I was married to a man much like Jerry McGuire but my guy didn't wise up in time to save the marriage. It was as though the music in this soundtrack had been put together just for me; Wise Up, Sandy, The Horses, Shelter, etc. I enjoyed it then and I still do. I think it's well worth owning.



3. The soundtrack album for JERRY MAGUIRE is deeply flawed.
   
   The first five songs have one thing in common: shaky vocals that border on annoying. Most of the others are simply mediocre. The best here, Springsteen's "Secret Garden," McCartney's "Momma Miss America" and Dylan's "Shelter From The Storm" are just not enough to save or make owning this one worthwhile.
   
   A backward pass for a loss of yardage. (2½ stars)



4. I've been trying to find the exact song sung in this movie but I can't. The original version was written by Armando Manzanero and it's name is "Por debajo de la mesa". This one is a very popular song sung by many artists in Latin America, but the best performance by far is by Luis Miguel. Too bad that this CD is missing a few of the melodies heard in the film.



5. Anyone know what's the mariachi song being sung while Rene Zellwegger is returning from the bathroom at the Mexican Restaurant?

5 comments about A Girl Called Dusty.

1. there is a great deal of fun on this disc!
   
   first of all, there are many of dusty springfield's first hits like 'i only want to be with you' and 'all cried out'. then there are wonderful covers of well known tunes 'ike 'anyone who had a heart' and 'when the lovelight...' that give new classics a different twist.
   
   lastly, there is a wealth of music i had never heard like 'do re mi' and 'summer is over' that i had never heard and i am so happy i can hear them now!



2. This was one of the first Dusty cds for me. Some highlights on this one are Anyone Who Had a Heart, Will you Love Me Tomorrow and You Don't Own Me. If you are new to Dusty and think she was merely a cover artist, listen up! This is one of the original record releases. Other Dusty essentials are Ev'rything's Coming Up Dusty and, of course, Dusty in Memphis. I hate to see all the re-packaging of her recordings with the same photo used and re-used with different titles. If I had the money, I would purchase her catalog of work as a very good investment.



3. This is the 1997 remaster of Dusty Springfield's breakthrough 1964 debut A GIRL CALLED DUSTY. The album features many bonus tracks, which were recorded around the same time as the album. Some of the bonus tracks are more contemporary like "Everyday I Have to Cry," " "Can I Get a Witness," and "All Cried Out," along with slightly less familiar songs such as the "I Wish I'd Never Loved You," "Once Upon a Time," and "Summer Is Over."

   Those songs, coupled with the original album tracks, make for an impressive release. The big hit from the album was "I Only Wanna Be With You", which was Dusty's first hit. The album features a diverse group of cover songs including "My Coloring Book" (Barbra Streisand), "Twenty Four Hours From Tulsa" (Gene Pitney), "You Don't Own Me" (Lesley Gore), "Will You Love Me Tomorrow" (Carole King), and others.

   The songs on this album are timeless, and Dusty made them her own. Some highlights include "I Only Wanna Be With You", "Mockingbird", "You Don't Own Me", "Twenty Four Hours From Tulsa", "Nothing", "Anyone Who Had A Heart", "Will You Love Me Tomorrow", and many others. Her first album, and one of the best of her entire career.




4. it's interesting to hear this album after some of her later works. for a 60s female debut album, this has some excellent tracks that can and has stood the test of time. dusty's voice is huge on most of these tracks, and although at this point she hasn't gained full control of her voice, it's still great to listen to because it captures a dusty springfield that is younger, more innocent and giddy, quite lovable actually, although even at this point her interpretation of songs are generally considered beyond her years (she was 25 when she recorded this album). in any case, there are some really swinging tunes in this one. personal fave is "mockingbird" (where she kind of duets with herself) and the 4th track with the really long name. it's very swingin'.



5. Dusty was lead singer of the Springfields, a folk-pop trio whose complete recordings can be found on Over the hills and far away (which I've already reviewed). Dusty wanted to record pop and R+B music so the trio disbanded. This CD contains all the tracks from Dusty's first album, plus bonus tracks recorded at around the same time. On this re-issue, many of the tracks have been re-mixed but they sound fine to me. You must make up your own mind about the re-mixing.

   The big hit here is I only want to be with you, which provided Dusty with her first solo hit. In the seventies, the Bay City Rollers and the Tourists both covered it and each had a UK hit with it.

   Anyone who had a heart was an American hit for Dionne Warwick, a British hit for Cilla Black and a French hit (sung in French) for Petula Clark. I don't think Dusty's version was released as a single in any country, but it's every bit as good as the hit versions.

   Other covers here include You don't own me (Lesley Gore), My coloring book (Barbra Streisand), Mockingbird (Charlie and Inez Foxx), Twenty four hours from Tulsa (Gene Pitney), Will you love me tomorrow (Shirelles) and Can I get a witness (Marvin Gaye).

   This is a wonderful album, very different from Dusty's music with the Springfields, which clearly signalled the way her solo career would go.

5 comments about Shazam.

1. This album has endured criticism as having songs that were too heavy and too long, called ponderous and overblown. I'm here to set the record straight -- I'm a big Move and Roy Wood fan, and I'm here to vehemently, absolutely state that this is both the Move's and Roy Wood's finest hour.
   
   True, Boulders is brilliant, full of great songs and imaginative arrangements. It's an unqualified masterpiece. But it does not exceed this album for several reasons. First, as good a drummer as Roy Wood is, his drumming on Boulders cannot compare to Bev Bevan's drumming on Shazam. Bev's skill, drive and precision is astounding, but Roy's production of the drums is equally astounding, and the combination of the two is breathtaking. The drums are recorded in stereo and pan across the stereo landscape with unmatched dynamics and realism.
   
   Also, the songs may be long, but anyone who criticizes that fact is ignoring the brilliant arrangements that never cease to amaze and intrigue the listener. There is not one wasted or excess note. Everything is tightly arranged, and the longest cut, the 10 plus minute Fields of People, may be the most brilliant and interesting on an album full of brilliant moments. The long cuts are very suite-like, taking the listener though constantly amazing twists and turn.
   
   Anyone who uses the words "heavy" or "laden" to describe this album just isn't really listening. Looking On would certainly, IMO, live up to those criticisms, but not Shazam. True, the bass and drums have a power and presence that would make the Who or Led Zeppelin blush, but how is that a bad thing? The guitars, both electric and acoustic, are breathtakingly and transparently recorded, with Roy Wood spinning out some of the most imaginative parts ever commited to tape.
   
   OK, then there's the vocals. Roy and Carl Wayne trade wonderful lead vocals, and the group vocals are, again, breathtakingly executed and recorded.
   
   Have I forgotten anything? Oh, all right, if the covers weren't so brilliantly chosen and executed I suppose one could carp about a lack of Roy Wood songs on a Move album. But the covers ARE brilliantly chosen and executed, and the bottom line is this -- if you are a lover of brilliantly sung, played and produced pop/rock that is imaginative and risk-taking, this album has it in spades. It is one of the best albums of its era, and I dare say one of the best albums of all time. It has a unity and a sound that makes a classic album classic. It's meant to be heard in one sitting, so that it can be appreciated in all its glory. Never again would Roy Wood produce such a focused and grand work, though he certainly came close with Boulders, and has continued to write great songs. For the listener that has some audiophile is his blood, though, this is Roy Wood's sonic masterpiece. As a singer, guitar player and producer, he is crisp, clear and masterful, with an emphasis on subtlety and sonics that was lost when he got lost in the murky wall of sound that became his trademark with Wizzard.
   
   Now, having said that, I hope this CD is remastered decently. I've bought three previous reissues, and none of them comes close to the original vinyl LP in sound. I'd sure like to see this masterpiece get the remastering it deserves.



2. This sonics of this remaster thoroughly tromps all the prior issues. I've had them all. The clarity and dynamics are very close to my original vinyl releases. Do not hesitate to buy this as it has never sounded better on cd.



3. I have no idea why this band never made it big in the US. This album and Message from the Country are two of the most overlooked British CDs in the US. If only ELO had not sold out and lost Roy Wood, they might have continued in this vane.



4. I was really excited about this reissue, especially after reading the other reviews. As soon as I put on headphones and listened, my heart sank. Much of the album is absolutley smothered in noise reduction. The quiet parts of the album are dead and glassy and there is not a trace of hiss. They spiked the treble in an attempt to retain some of the high end that they stripped away. It sounds really bad. I have seen this remaster descibed as "clearer" and "crisper". It's a farce. They heavily processed the tapes to make them seem cleaner than they really are, and in the process damaged the sound. If not for the remixed bonus tracks, which are a marvel to hear, this reissue would be totally worthless. Also, the alternate mixes of "Curly" and "Blackberry Way" are tacky re-processed stereo and not genuine alternate mixes. Very poor work on the part of Salvo and their hack remastering team.



5. I have purchased both European and Japanese CDs of this classic album before, and they have all had mastering flaws, primarily every one of them was missing the false start beginning to "Don't Make my Baby Blue." This is the first CD version to have the correct master of the complete album. And it is a great album--a pop masterpiece, right up there with Ogden's Nut Gone Flake or any other classic you could name. The Move rank up there with the greatest British bands of all time (as do the Small Faces). It's a perennial shame that they remain so under-appreciated in the States.

5 comments about Barabajagal.

1. Wonderful album.Fun to listen to. A definite must for all donovan fans. If you haven't listened to Donovan befor, try this album.



2. as whats previously been said, this album marks a decline in Donovan's consistency in terms of putting a whole flowing album together. Nevertheless this cd is well worth purchasing for the bonus tracks which makes one feel as if you have bought a full album's worth of unreleased material. Interestingly as well is the fact that the version of "superlungs, my supergirl" is NOT the same version that appeared on the original album. This version adds guitar parts and even ends differently with donovan chanting "hey". Its very similar however and may even be better upon comparison. The Swan (lord of the reedy river) is perhaps the most psychedelic or magical donovan song i've ever heard. This version even beating the brilliant simple version on the HMS Donovan album. If you are a hugh donovan fan already i think this should be the first remaster to start with considering there is so much unreleased material on this particular disc. The sound quality is also surprisingly great which is not always the case with remasters of 60s albums. "Where is she" sounds fantastic!



3. "Barabajagal" was Donovan's last album to be released in the 1960's and his fifth produced by Mickie Most.
   
   Compared to his previous albums this is probably the most versatile, partly due to the fact that it was recorded during several sessions, featuring different musicians.
   
   The three hit singles "Atlantis"; "To Susan on the West Coast" and "Barabajagal" are good examples of the album's great variety. "Atlantis" is a fine folky tune with an ecstatic ending ending much like the Beatles' "Hey Jude". "To Susan on the West Coast" is an acoustic anti-war song and "Barabajagal" is an almost riff-based rocker with solid backing by Jeff Beck Group.
   
   Among the tracks I like "Happines Runs" and "Superlungs My Supergirl", but the rest are mostly sub-par tracks. The original album had a very short playing time, a little more than thirty minutes. Fortunately a lot of relevant bonus-tracks have been added to the album.
   
   Interesting to hear "Stromberg Twins", another track with backing from Jeff Beck and his band; and song that ought have been included originally. But the strongest material are found among the last seven tracks, which are just demos; but all sounding great.
   
   "Marjorie" and "Palais Girl" are really great songs that finally get a deserved release.
   
   The booklet contains the final chapter of the Mickie Most Years ( part 4, Nov. 68 to Dec. 1969 ), which is great read; and although the album is not quite up to the standards of its predecessors, it's still a quite fine album.



4. Barabajagal is the last of the four remastered Donovan cds released by EMI in 2005. The original album was definitely a mixed bag. When it's good, it's excellent. Songs like Barabajagal, Superlungs and Atlantis rank among the best rock songs of 1969, and Happiness Runs is a charming children's song. Unfortunately, most of the other album tracks are just filler.
   
   EMI seems to have solved the problem with this reissue. The addition of the bonus tracks, all previously unreleased, double the length of the album, and -- like Sanctuary's reissue of Kinda Kinks -- many of the best songs on the disk are bonus tracks. All the bonus tracks here are good, some are great, and Swan (Lord Of The Reedy River) is one of the most gorgeous songs Donovan ever recorded, which is quite saying something when you think about it.
   
   Like the rest of the albums in this series of reissues, the sound quality is excellent and the liner notes are poor.



5. I've always liked Donovan's "Barabajagal," right down to the Victoriana of the album's artwork. This is not his most consistent album - I really don't need to hear "I Love My Shirt" or "Happiness Runs" very often, and they embody a certain precious quality that has not worn well (and didn't sound so great in 1969). There are, however, several gems on the original set, including the double-sided hit "To Susan On the West Coast Waiting", a still-fresh, deceptively low-key anti-Vietnam song, and the grand, five-minute "Atlantis," one of Donovan's biggest US hits, recorded in L.A. with the great Jim Gordon (Derek & the Dominos) providing superb drumming. Forget the "Hey Jude" comparison, this song has a power and personality all its own. The original album also included two collaborations with the Jeff Beck Group (classic line-up, with Beck, Ron Wood, Nicky Hopkins, Tony Newman, and Rod Stewart who stayed home), opening with the ferocious title track, an almost unbelievably intense excercise in controlled dynamics - a hard rock/funk classic, with Donovan at his 'hottest' and the Group truly 'molten'. The other D/JBG collaboration, "Trudi," rocks out, albeit in a less overpowering manner. I should note these tracks were from the last session by the Beck Group (May '69) who would break up by the end of July. EMI has turned this (and their other Donovan reissues) into "The story of the making of..." with outtakes, demos, copious notes, and period photos and memorabilia. A long rumored third track with the Beck Group ("Stromburg Twins") finally sees the light of day (a fourth, "Homesickness," appears in abruptly truncated form on the fine "HMS"), and the alternates, demos and sketches all provide great context and background on this still underrated artist's work habits, not to mention some highly listenable music, making this the edition of "Barabajagal" to own. Kudos to EMI!