5 comments about Made in Japan.

1. With The Band's "Rock of Ages" and The Allman Brothers "At Fillmore East" double live albums, it's only fitting to capture another stellar live band in their prime. DP was hitting their peak with the lineup that made them legendary (known as the Mk II lineup). With the success of their biggest selling album "Machine Head", the boys embarked on an extensive tour culminating with these performances in Japan.
   
   The octane level of these performances is simply immeasurable. No slouchers here at all! Blackmore's guitar just pierces right through your ear. Lord's Hammond organ gives so much weight to the sound, it'll knock your feet off the floor. Glover's bass playing matches both of them easily. As a drummer myself, Paice has always been the bee's-knees for me with his fast and powerful execution. And Gillan's voice just soars to the stratosphere.
   
   This was a time when Rock bands actually played live and NOT just simply duplicate the studio versions of the songs like they do today. Almost all the songs here are extended to double, triple and even five times the length of their studio counterparts! This type of musicianship is getting more scarce than ever today.
   
   I'm not going to go over all the cuts here but highlights are: The opener Highway Star that just doesn't let up. Paice's drum solo on The Mule. Lord's opening Hammond segment on Lazy making you think it's Jimi on keyboards. Gillan and Blackmore's voice/guitar exchange on Strange Kind of Woman and the 20 min. workout on Space Truckin'. And with the newly added bonus tracks of Speed King, Lucille and their earlier hit Black Night, we now have a more complete concert.
   
   MIJ certainly ranks with the previous said albums along with The Who's "Live at Leeds", Yes' "Yessongs", ELP's "Welcome Back...", King Crimson's "USA", Little Feat's "Waiting for Colombus" and the countless Grateful Dead live albums. Now if the mindless punks of today would just pay attention to this!



2. Made in Japan may be the best live album recorded during the early 1970's. The Mark III line-up was the actual Deep Purple as we know them today. The early versions with Nic Simper and Rod Evans, along with the later Mark IV version with Glenn Hughes and David Coverdale were competent and produced good music with a few classics, but Deep Purple was Ian Gillan, Richie Blackmore, Jon Lord, Roger Glover, and Ian Paice. This album is a tribute to how good musicians once were, how well they could learn to play together, and they defined what a band must do to be established as a great live band. All of this during a time where the group grappled with extreme personality clashes amongst themselves.
   
   Starting with the brilliant and understated opening of Highway Star, you know within a few minutes that this is a great CD. The guitar solo in this cut actually involves Blackmore playing through one passage with his hand above the neck which left young impressionable guitarists gasping in awe for those lucky enough to have seen it. Gillan, with his very unique and sometimes totally annoying voice is as much a part of the DP sound as Jon Lord's Marshall driven keyboards. The stolid talent of Roger Glover and Ian Paice's "Buddy Rich does hard rock chops" all contributed to the overall sound which is captured authentically on this CD.
   
   Although all the cuts on this album are worthy of listening over and over, the standouts are the inventive version of the overplayed Smoke on the Water, and the crowning achievment Child in Time. The latter, once you get through Gillan's oddly engaging screaming, treats the listener to a short but effective keyboard solo, and then ascends into one of the single most brilliant instrumentals ever played during the rock era. It is doubtful that any of the garage bands turned mega-stars could manage to cover this tune, much less duplicate the original musicality. The guitar solo is absolutely brilliant, soaring time and time again to where it is almost physically unimaginable, shows why to this day no great guitarist lists are complete without Blackmore. Underneath it is a very solid and understated Jon Lord and the incredible drive of Paice and Glover playing in a style reminiscent of a hard rock version of one of the 1940's swing bands. Just to listen to this one instrumental, which at the conclusion leaves the audience silently awe-struck is worth owning the CD.
   Neither of the encores are really much to mention, but the added treat of the lively Strange Kind of Woman makes this CD one of the best rock albums ever recorded. If there was a band that could compete with the Mark III line-up of Deep Purple, I must have missed them as none come to mind. This group clearly paved the way for ELP, Kansas, Rush, and the other major concert bands who followed.



3. This is one of the best, if not THE best live album by any 70's rock band.
   The atmosphere on this album is electric throughout. Listen to the start of Highway Star, the band changes gear a couple of times and delivers a stunning performance - the whole place is rocking.
   The sign of a great live album is that some of the versions on Live In Japan are better than the studio originals. One such track being the overplayed Smoke on the Water.
   The mk II line-up of Deep Purple was fantastic. Blackmore and Lord repeatedly deliver brilliant solos, Gillan's voice is amazing and Ian Paice still remains one of the best rock drummers (playing with McCartney in the late 1990's).
   The set has subsequently become a greatest hits album by default.
   The 2nd CD contains 3 encore tracks which are a bit of a mixed bag. I had a far better version of Lucille on an LP many years ago, but this is a minor quibble as overall this album represents a great band at its peak.



4. Last May, VH1 did a special on the history of heavy metal which was broadcast over four nights and while it was enjoyable it was also remarkable who they had elected to omit and who they included. Calling KISS's landmark lp 'Alive' metal's first live album was grossly inaccurate as Deep Purple, an genre innovator whose contributions to metal seem to be neglected by revisonists, actually released THE first heavy metal live record in December of 1972. 'Made in Japan' can not only lay claim to being one of the first warts and all live documents of super heavy music but it also one of the genre's finest early momunments and the shining jewel in the Purple catalogue. Though they were falling apart at the seams internally, the Mark II lineup was in its fabulous glory and totally unified on the stages of Osaka and Tokyo during August of '72. The band was playing the greatest versions of their best songs which is always the mark of a great line record, historically relevant and outdoing what was recorded in the studio. The epic length of such cuts as "Child in Time", "Strange Kind of Woman", "The Mule", "Lazy" and closer "Space Truckin'" feature not one wasted note. Gillan proves his worth as emcee of the loudest and most exciting live band in the world and his performance is magnificent ("Child in Time" - scary good, "Strange"- virtoistic and funny at the same time). Blackmore is the master! ("Highway Star", "Strange" and of course "Child in Time" - just the best in the business at playing lead guitar). Lord, organist supreme and causing pain and pleasure during "Lazy" and "Space Truckin'". Paice shows he may have been John Bonham's biggest rival as he shreds during "The Mule". Glover's bass raises goosebumps as he enters "Smoke on the Water" - for many the definitive version of that song, though you could say the same for all seven cuts. Bonus CD is emmense with "Black Night", "Speed King" and "Lucille" contributing to the sonic celebration. Deep Purple may not be respected much today in the heavy metal annals but they are right up there with Zeppelin and Sabbath in my humble opinion. Neither one of those bands created a lasting live document during their peak years (though we waited 30 years for 'West Was One'!). Purple should be in the insanely stupid hall of fame for many reasons but maybe because of what happened on three nights in the Far East most of all.



5. THE BAND: Ritchie Blackmore (guitars), Ian Gillan (vocals), Jon Lord (keyboards), Roger Glover (bass), Ian Paice (drums & percussion).
   
   THE DISC: (1973) Originally 7 songs clocking in at 77 minutes; 2 vinyl album presented on one disc. This digitally remastered "25th Anniversary" edition (1998) contains a 2nd disc with 3 bonus songs, "Black Night", "Speed King" and a 50's cover "Lucille". Disc-2 clocks in at approximately 21 minutes. Included with the discs is a 14-page booklet with original artwork and bonus color band photos, song titles, song times, and a brief 3-page intro. Songs recorded live in Tokyo and Osaka, Japan. There is also a (most complete) rare 3-disc version availabe as well. Originally on Warner Bros label, this remastered edition is on Rhino.
   
   COMMENTS: "Made In Japan" is perhaps one of the best live recordings of a hard rock / heavy metal act ever. Think of the other classic acts that had great live albums from the past... Peter Frampton, Led Zeppelin, Kiss, Foghat, UFO, Lynyrd Skynyrd, etc. "Made In Japan" offers the complete package - excellent sound quality/production, emotion, energy, excitement, audience participation, and a great selection of songs. The audience was respectfully quiet during the songs and really let it out in between them. Incredibly, no added audience filler noise! The slower parts of "Child In Time" - you can hear a pin drop. It's interesting to listen, when "Smoke On The Water" is introduced by Gillan the crowd is silent... almost like they're not sure what they're about to hear. The 6 minute drum solo on "The Mule" was enthralling from Ian Paice - one of my favorite all-time rock drummers. Jon Lord's keyboard work is 2nd to none. His best work on this album is on the songs "Lazy" and "Child In Time". Seems that Lord and Blackmore had some great fun dueling back and forth. Some of the tunes, like "Strange Kind of Woman" and "Child In Time" sound better here than on the studio album. Gillan's interaction with the audience at the end of "Strange Kind Of Woman" is priceless. Ritchie Blackmore's trademark guitar sound and blistering solo's are amazing. 7 total songs - short track list but 6 of the 7 songs are 9+ minutes or longer. Two songs ("The Mule", Strange Kind Of Woman") from "Fireball"; one song ("Child In Time") from "In Rock"; and four from "Machne Head". The album closer is the marathon "Space Truckin'" clocking in at just under 20 minutes. "Made In Japan" is a highlight reel of two great shows on the "Machine Head Tour" in '73. The only thing wrong with this original issue is that it's just not long enough. Now, with the remastered "25th Anniversary" edition you can buy more of the show. Classic disc (5 stars).

5 comments about Live at the Royal Albert Hall (with Bonus Disc).

1. this is a great cd, this is one of the greatest bands in the history



2. Yes, the Who are one of the greatest live bands ever, but on this album they certaintly don't sound like it. The only redeeming factor is great songs such as "Baba O'Riley", "Won't Get Fooled Again", and "My Generation". I particularly didn't care for the long drawn out version of "The Kids Are Alright". I also felt that it would have been a better concert without the special guests.
   
   I give this album three stars because the song selection is good but the overall performance was subpar.



3. I already own the Live at the Royal Hall DVD which is a great DVD to own.
   This CD package includes a bonus disc of unreleased Who material which was performed later that includes Young Man Blues, Summertime Blues, I Do Even Know Myself and I'm Free. In addition, the original CD also has a great performance bt Eddie Vedder of Pearl Jam from the Who's Next Album Getting in Tune. In addition, it has another song Mary Ann with The Shaky Hand. I have converted this performance to MP3 files in order that I can listen to it on my IPOD. In addition, this CD/DVD has probably one of John Entwistle's last performance since he passed away later at the Hard Rock Hotel in Las Vegas before the start of another Who tour. In addition, great performance by Bryan Adams, Noel Gallagher, Kennedy, Eddie Vedder and others. It is a great tribute to one of my favorite and greatest Rock and Roll bands of all times. The Who is still touring and I highly recommend everyone to see them.



4. When I first saw this set available on CD, my first thought was "great - just what the world needs - another Who live album!" But the sucker that I am for music by The Who, I bought it anyway, and was pleasantly surprised by how good it is. Having stripped themselves to a five-piece after the 1989 "The Kids Are Alright" tour and the 1996 "Quadrophenia" tour, the Who got back to basics for this show. These guys may have been in their fifties when they did this, but that didn't stop them from returning to their over-the-top bombastic glory. If I could use one word to describe their performance, it would be "incendiary." Roger Daltrey's voice can't quite hit the high notes like it used to, but he showed on this set that he still had the pipes to do Who songs justice. Pete Townshend has a very nasty guitar tone throughout, and this is not a bad thing. Best of all, you get to hear John Entwistle, the Bassist of the Millennium, playing lead bass while Pete thrashes out his power chords. The interplay between him and Pete, especially on Magic Bus, is a revelation. He plays a mind-bending solo on 5'15. Sadly, The Ox is no longer with us. I still miss him. There are no bassists like him - before or since. His final performance is documented on the bonus disc, and it's quite a performance. The band is at it's fire-belching best throughout. The song selection is top notch, and includes a few surprises (The Relay, Let's See Action, I'm One, Mary Anne With the Shaky Hand), plus the usual suspects. The only reason I don't give this set 5 stars is because too much of the between-song banter from Pete is left in. The only exception to this was when he put a heckler in his place. Pete always was a punk at heart. This performance reminds me of when they played at MSG in New York after 9-11. I remember they blew the roof off the place, and this performance in London has that same feel. This is a worthy addition to any Who fan's collection. Get it now - you won't be disappointed.



5. The Who are truly one of the greatest bands ever (along with Led Zeppelin, they are the greatest ever for me), and this 2000 recording of their benefit concert for teenagers with cancer at England's legendary Royal Albert Hall is proof that even as they enter old age, these guys still rock like nobody else.
   
   The performances (including four bonus tracks from 2002) are unbelievably strong the whole way through, from "I Can't Explain" to "Won't Get Fooled Again" to "See Me, Feel Me / Listening To You". I could've done without the special guests, but that still did nothing to make the album any less great.
   
   This cd is also special because you get to hear the late, great John Entwistle for one, last time. The man is on fire throughout the whole show. What a truly great loss. I know I'm not alone when I say John is deeply missed.
   
   This is an absolutely fantastic live album that belongs in everyone's collection.

5 comments about Who's Last.

1. It's 1982 and Pete Townsend fresh out of Rehab is back on tour leaping and jumping about- we are so lucky to still have this rock legend alive - he almost died in the back of a british taxi in late 1981 from cocaine stuck up his nose - the fast thinking cabbie found him lying blue in the backseat - He really went down hill after many kids got killed at 1979 Ohio gig - Kids piled up in a doorway after a sound check started - there was a Time magizine story on The Who just before saying this might be thier last tour etc - fearing missing the show people kept pushing till people were crushed to death - The Who didn't even know it happened till after the concert was over - Pete flipped out backstage over it -I think he blamed himself for it all and going on after Keith Moon died in 1978 that led to this sad tragety. I just know this ate him up alive after a radio interview in 1980 I heard once - the guy asked him how he felt about all the kids that got killed and hurt etc.. he just exploded ranting about I don't care about anybody I'm just a selfish old bastered - etc then got up and left the station all upset and in tears by reports of people there - Kenny Jones was a good drummer I don't care what anybody says - he last played with the Who two times in 1985 at Live Aid and another gig in 1988 for a charity event - he also got in a real bad auto accident in 1986 resulting in many injuries that might be why he didn't tour later - The Who used Pete's drummer in 1989 for the Tommy 20 year anniversery tour from Empty Glass and Chinese Eye's Album's etc..This 1982 recording is not bad but it's the new look Who sound from the It's hard and Face Dances era - the bad rap or should I say crap about poor Kenny really started when Good Morning America had the Who on in 1981 - the lady asked Kenny how many Albums of the Who he played on and it came out that he played on half of Who Are You album too because Moon was too strung out to play in the studio etc... needless to say the hard core fans resented it - but Kenny did play on many tracks of Who Are You like Music Must Change etc.. He was a good friend of Moon's too and was chosen by him if anything should happen to him etc..? Anyway Pete liked Kenny anyhow anywhere - So in perspective you see why this album has it's faults - but look at what they had to go through this period to make it - Moon Died in 78 - 14 kids died and many others got hurt in 79 - Pete had to file for bankrupcy in 81 from his bad business efforts and went to the Betty Ford Clinic to clean out his drug and mental problems - This Period of the Who sounds a lot like Pete's solo albums of the same period to me - Roger's voice is not bad but better on earlier efforts - I know they had sound problems on this tour so maybe that's why - The Clash opened up for the Who in Philadelphia PA USA at JFK Stadium on this tour - Pete looked cooler there he had a red bandana on his head and bluejean jacket and pants with a purple shirt - That was a great show - too bad they didn't film that one - even the Clash would be good to see now after all these years I think he used the same gold Telecaster he used a Live Aid and the Who's last concert Video worth searching out too - anyway I feel the smaller 1981 shows like the Spectrum Arena were better before Pete went to Rehab - he had more fire then in his playing even though he seemed to lose his balance alot and seemed a little unsteady on some jumping songs etc.He even had trouble at times doing the jump kick routine like he ran out of energy or was too weak to do - one routine he did later was to extend his arms out and shake his hips that looked pretty cool on stage .when he played the black Telecaster he sounded the best for some reason and seam louder too - I don't think he used it on any songs on this CD - I can tell it had a unique sound that I perfered to the other Telecasters he used then - you can see him useing it on the 1981 Another Tricky Day Video for MTV - it's in the Rock n Roll Hall of Fame now even has the same strap on it - yes the same town as the tragedy - God life is crazy isn't it the irony of it all - the town Rock n Roll was born in - That had to kill Pete to go there for the dedication - I just know it - poor guy I know that really effected him negatively - even his music got weird after it happened when you think about it - It just doesn't have the vision he had earlier - maybe Rock really is dead - The OX sounds great as usual on here - great bass player for sure - I heard a interview with him about this Who's last recordings - when they got back to the studio to everybody's horror the bass tracks were all too low to hear - so he had to set up the same stage set up in the studio around 1984 to redo all the bass tracks on here so the tapes could be used as a new quality product etc.. he said he played every track excatly as possible to the concert performances as he could remember them or by listening to the lame volume levels on the bass tracks and copy that as much as possible - that's why this album took so long to come out in late 1984 almost two years after the tour - at the time he thought it was thier last tour so he redid the tracks etc. - this has been done a lot in rock for various reasons - usually Vocals - his bass on this tour and Live Aid hangs in a Hard Rock Cafe in Germany now - When I hear this CD I think of all this above as a excuss for it's lack of energy to me - It's not Kids Are Alright it's Pete Burned Out - it's the Bass too low - it's a lame I can't Explain for the Two Thousandth Time - it's 1982 and the Who look like dinosaurs even then - I remember thinking then look how old they look - but comparing it to now they look like kids then in 1982 - To me Pete Townsend is the Godfather of modern Rock as we know it - he's your typical Rock Star - Great Song Writer that burns money and then starts a Charity - Bankrupcy - Groupies - Almost died of drugs- lost two good friends in the band - Visionary too - he said the internet is the future of music in 1993 and everybody at the seminar got up and walked out on his lecture he was giving laughing and shaking thier heads - Who's laughing now - now music sales have crashed Pete's still playing and touring when newer bands went all down the drain what a shame - This is not the Who's best but essential to any fan just the same - It's a real hard game now in Rock n Roll - even the news is used against people in this business to get rid of people in it - the list is endless of destroyed bands in this game - that could be why the Who got back together it's just too hard going solo now and make it pay like a big group does etc.. - The Two are still touring - these two guy's are fighter's there not quiting yet - sometime I think these guy's will tour into the wheel chair stage of life if they have too - Live shows are where the money is always was and will be - Long Live Rock



2. The lack of the newer material, poor sound quality, and just the impression these guys were just plain tired of it all make this the Who's recorded low point. All of these songs have sounded much better before and since. Unless you are a Who completist (I am :)), let this one go.



3. I think that this has the pential to be one of there best the songs in the cd are great. I whould give the seclection if songs a 4 but I give the sound Quality a 2. I whish they would put out a remastered version and clean up the sound. Then I probbaly whould give it a 5 but intil they do that It only gets a 3



4. I found the later copy that has all 17 tracks on a single cd...was a British Import.
   
   The sound quality is far better than the other recordings I have encountered from that era....as well as the boots of the 1982 Mapleleaf Gardens Concert on Dec 17, 1982.
   
   What you're getting here is basically a smorgasbord of tracks from that 1982 Farewell Tour...from a varied venue. I still found the recording quality to be fairly consistent....taking in consideration different stages and different acoustics....all the technical variables that contribute to the sound of a recording. All in all..I consider it to be a valued assett to any fans Who collection. Many of the purests thumb their nose at these recordings, as they prefer the band in the Keith Moon days. Kenny Jones gave the band the opportunity to keep going thru 2 more excellent studio albums and he also supplied a rock steady percussive foundation...something Keith frequently lacked in. Keith was a dramatic showman and percussive whirlwind....but much of the time...his performance got in the way of his ability to lock down a solid groove with John. Kenny permitted the band that foundation to cut loose with. Johns bass rips thru like a razor and locks in tightly with Kennys drumming.
   
   I have the complete Toronto show on CD....and attended 2 shows from that tour....this CD brings back those memories nicely.



5. Although The Who are the epitamy of "Arena Rock Gods", this album isn't their best live work. If you are looking for a CD of a grab back of live Who from most of their album material, this is a good start. There are much better Who live albums though. The quinessential live Who album is Live at Leeds: Deluxe Edition. Although the Leeds album is magnificent, it only encompasses the early Who and the 1969 - 1970 period. There are many other era's of Who music to experience live. To feel out the Live Who, I would suggest these for the different areas.
   
   1971 - 1973: Who's Next: Deluxe Edition. The second CD of this contains one of their Lifehouse Concerts at the Young Vic Theatre in London.
   
   1974 - 1977: The Who By Numbers (Remastered) Because it contains three songs from this period live. There isn't too much live stuff from this era that has been released on official CD's
   
   1978: The Kids Are Alright
   
   1979 - 1981: The Remastered Versions of "Face Dances" and "It's Hard"
   
   1982: Who's Last
   
   1989 - 1990: Join Together

2 comments about Percy.

1. Although there are several nice numbers (`Moments', `Dreams', etc), and some rock solid Dave Davies guitar licks, think of this as an extended CD single for the great `God's Children' and `Willesden Green' [both of which are available on `Kink Kronikles']. Grab this for sure if you don't have that. If you're Kinky, grab this anyway.
   Unfortunately, Amazon's track listing is inkomplete (sorry, English teachers). Indeed, the extra tracks are the same as the earlier (2000) Castle release - see that disc for further reviews. The bonus tracks are all mono mixes from the film :
   
   14) Dreams
   15) Moments
   16-18) The Way Love Used To Be



2. This is the soundtrack to the quirky 1971 film "Percy" that saw Ray Davies and bandmates contribute all of the music to the film. If you're a fan of the 60's and early 70's music by The Kinks then you will surely find much to love here on this album. There are a few instrumentals including a great version of "Lola" combined with many new full songs with lyrics. They include my personal favorites "Moments", "Dreams", "Animals in the Zoo", and "God's Children".
   
   I'm overstating the star rating slightly (this is probably more of a 4 star album) but because it's so overlooked and there are no other reviews I wanted more fans to take notice of this forgotten piece of the Kinks catalog.
   
   This album is also part of the great remastered re-issue Sanctuary series, so you'll get great sound, great packaging, and great liner notes with some really great background info on the album and that period of the Kinks career.
   
   Don't miss out. Help celebrate the entire career of one of the best bands of all time.
   
   Long live The Kinks!

5 comments about Complete BBC Sessions.

1. Dusty Springfield did everything she could to airbrush herself in a studio situation, so to hear her looser is to hear her rawer, but more real, revealing more of a masculine vocal strength she hid under echo and breathiness if she could in a more controlled situation. For me the great singers are actors (and actresses, which is word that acquired a silly stigma for some reason) and on these recordings, though not technically as well crafted as the studio recordings, Dusty is acting at a higher level on most of the songs, particularly her hits. The arrangements are closer to some kind of jazz combo in a club, at times a pickup one-night stand group feel, but Dusty just reaches deeper - of course. Similar to the way Aretha Franklin sings better on the much-disparaged "In Paris" live album BECAUSE the backup group isn't top notch. AND a full handful of songs totally new to her catalogue. You wouldn't maybe introduce someone to Dusty with this CD, but for anyone else, it's a no-brainer. If they had handed her "O Solo Mio" she would have found a way to do it unforgettably.



2. I'm such a Dusty fan I even made a trip to London just to go album shopping...and it was worth it! This album is great just to hear her raw live vocals delivered with all the control, power and verve she had - which was a lot! She's the best and you need look no further than these live recordings to see why. Although the BBC studio bands aren't always up to Dusty's level they do a reasonable job playing her arrangements. This a great album to add to any collection of Dusty's music.



3. As the cupboard is scraped bare of all studio recordings by the late great Dusty Springfield, this live set from the BBC is a great find. The majority of these songs previously appeared on a Dusty Springfield Bulletin, fanclub-only CD release. That CD included interview segments which are not included here. In exchange there are several more previously unavailable tracks, including 3 early performances by Dusty's folk group The Springfields and her solo take on "Tossin' and Turnin'," which she never recorded in the studio. Highlights of this collection include three other songs that were either never recorded in the studio by Dusty or have been lost: Stevie Wonder's 'Uptight (Everything's Allright),' the Bee Gee's 'To Love Somebody,' and Jackie Wilson's '(Your Love Has Lifted Me) Higher & Higher.' Top-notch vocals throughout. Highly recommended.



4. Whenever any lost song by the great Dusty Springfield turns up, it's an event for her fans, but when an ENTIRE ALBUM of rare or previously unreleased material hits the marketplace, well, it's a cause for celebration. Okay, so the sound quality on some of these tracks isn't the best, and the performances by the backing musicians might be a bit muddy here and there, or the arrangements similarly cluttered, but none of this takes away from the superb vocal performances. Dusty didn't think of herself as one of the Great Ones, and she was a notorious perfectionist in the studio, but the songs included here show her to be a gifted live performer. There's a rawness and a spontaneity here that makes listening to this a real treat for those of us who mostly know the studio album versions of many of these tunes, and have heard them so many times we have memorized every second of every sound and syllable.
   
   The first three tracks, by The Springfields, did not overwhelm this listener, and impatience began to set in almost immediately. Then, a rushed, almost frantic rendition of "La Bamba" (with poorly pronounced Spanish lyrics) threatened to sink expectations for a sublime Dusty experience. But what followed was a surprising, energetic Motown-styled version of "Tossin' And Turnin'," and these ears began to perk up. An emotionally bare and intimate reading of "I Just Don't Know What To Do With Myself" set up the rest of the CD, and from there it never let up.
   
   Two very different performances of "I Can't Hear You No More" are included here, and it's a toss-up as to which is better. On the first one, the band really gets it going, The Echoes do their backup vocals just like they do on the record, but Dusty's singing is just shy of breaking apart. It's a powerful moment. The second version is a tad slower and more laid back, and has less of a wall of sound behind the vocals. It's also more like the album version. In between, a perfunctory "Wishin' & Hopin'," never a particular favorite of mine, manages to gain some interest by having a slightly kickier beat than the original single, and after that a beautifully sung version of her hit song, "Losing You" keeps this collection on the beam. The bass and drums on this one almost make it better than the original recorded studio version, and the backup vocalists are perfection itself. Another song that doesn't add any new ground is "In The Middle Of Nowhere," but it's typically well done by Dusty, and then she follows it up with a fun performance of the Charley & Inez Foxx hit, "Mockingbird," which features one of the Echoes in place of the second Dusty heard on the album version.
   
   The final ten songs bump this CD up to the stratosphere. "Little By Little" is crystal clear and, I think, much better than the hit single version, which always sounded to me like it was recorded in a bathtub. Soul classics never put to vinyl by Dusty, "Uptight (Everything's Alright)," "We're Doing Fine," "Good Lovin," and (Your Love Has Lifted Me) Higher And Higher" are all given the typical, devoted Springfield treatment. She clearly loved doing this kind of music. Two of Dusty's best known hits also come in this final stretch, an impassioned "You Don't Have To Say You Love Me," and "Son Of A Preacher Man," which may not include the perfection of the Memphis musicians, but Dusty sings it even better here, if that's possible.
   
   For me, there are two transcendent moments on this CD: "Chained To A Memory," which is sung with heartbreaking immediacy, and Robin Gibb's "To Love Somebody," which was recorded during the Memphis sessions but lost in an infamous Atlantic warehouse fire (that also robbed the world of many other great artists' master recordings). It's a truly wonderfu gift to starved Dusty fans everywhere, not only to have this song at last, warts and all, but to have each and every one of these recordings.
   
   I'm sure I'll wish that I could get rid of the announcer's voice at the beginning of many of these tracks, after I've listened a few times, but on the other hand, this is pop music history, so I guess I really don't mind too much. The mono and sometimes mirky recording quality of this CD made me tempted to only give it four stars, but that would be unfair, since these imperfections were anticipated. The songs, and Dusty's one-of-a-kind voice are what make THE COMPLETE BBC SESSIONS so special.



5. Having collected Dusty's records since the 60's, it's always great to have something different to add to your collection.
   
   Most of Dusty's solo tracks on this cd were released exclusively through the Dusty Springfield Bulletin some years ago but on this new commercially released cd we had the addition of some of The Springfields hit rsongs and how well they sound LIVE!
   
   All the tracks on the cd are from radio broadcasts and the quality is excellent, there are some of Dusty's huge hits like Son Of A Preacherman, Losing You, I Just Don't Know What To Do With Myselfg and her worldwide smash You Don't Have To Say You Love Me.
   Tracks that Dusty never recorded in a studio such as Tossin' & Turnin' have a great early rawness that really adds to the performance, we also have The Bee Gees hits To Love Somebody - Dusty did record this but it was lost when there was either a fire or flood in the Atlanic studios.
   Another point of interest is the inclusion of two different versions of I Can't Hear You (No More).
   The Jackie Wilson hit (Your Love Has Lifted Me) Higher & Higher is also another great performance from Dusty and the whole cd is such a welcome release.
   Look out for the companion dvd to this set, it should be released late August so go ahead and treat yourelf to both!

1 comments about The Searchers.

1. From the most underrated group on the planet. This is a fine example of the Searchers going through a purple patch. I would have rated this five if it was not for the fact that you can get both this album and Love Melodies both on the same CD under the Sire Sessions - one of the best CDs of the 80's.Great work

1 comments about The Best of Cilla Black (1968 Edition).

1. I love this album. Not only do I adore the cover shot by John Kelly [hmmmm, wonder where Madonna got the idea to do the cow-girl look??] but this collection by the original 'pop princess' really gives you a great retrospective of class Cilla.

   My favourites would have to be some of the new tracks to CD which include the adorable "It's now" and "He was a writer". It's understandable why they are so popular with Cilla's fans.

5 comments about 20 Beat Classics.

1. This compilation covers Georgie Fame early period 1964-66. Apart from two track his first studio-album "Fame at Last" is here in its complete. The rest of the compilation consists of selected tracks from his two 1966 albums "Sound Venture" and "Sweet Thing" and of course some of the great non-album single tracks, such as "Yeh Yeh" and "In the Meantime".
   
   Fame is a great singer - lovely smokey voice - and with the right material he's simply irresistable. His early single hits like "Yeh Yeh", "Get Away" and "In the Meantime" are as danceable as ever - seems like music like this is not recorded any more.
   
   Just as charming as the singles are album tracks like "My Girl", "Sitting in the Park" or "Sweet Thing".
   
   Everything is musically perfectly performed by the great Blue Flames though some tracks like "Funny How Time Slips Away", "Let the Sunshine In" and "Pink Champagne" may come out a little like fillers.



2. Growing up in the 1960s we all knew "Yeah, Yeah" and "Get Away" but Georgie Fame has a lot of other good stuff out there. I made and effort to collect all his old American and British albums. I have this CD on an album and it is excellent. I really like "Sitting In The Park" a great song by Georgie Fame. I wish that "Last Night" from the American album "Yea, Yea" was on this CD, it is a great five minute rocker.
   
   If you haven't heard Georgie Fame & The Blue Flames before it would be worth your time and money to check out this CD.
   
   You might also want to check out "The Bonnie & Clyde" album that is on Epic records. That album has a great cover of "When I'm Sixty-Four" on it.
   
   I know you will like Georgie Fame if you like British Invasion Music, if you don you probably won't like this CD.



3. I've had this collection on tape for many years, having earlier had much of the content on vinyl. About to buy the CD for reasons of practicality.
   
   It really is a sublime collection and a constant reminder of just what a good band GF & The Blue Flames were in the mid-60's. As an Englishman now living in New Zealand I'm surprised to read that Georgie is so little known in the US.
   
   For anyone really keen, you can try tracking down a VHS tape "Ready Steady Go - Volume 1". GF & BF's play Yeh Yeh live, at a time (1964) when very little live music was performed on British TV...........and the whole band really cooks. Coincidentally, the same tape will also provide the VERY first TV appearance by Georgie's more recent musical mate Van Morrison (singing with THEM), aged 18 at the time I believe.
   
   Georgie is still going strong. I saw him perform less than two weeks ago (7 April '07) here in NZ. The voice is as strong and tuneful as ever (at 64) and the Hammond still rocks. Long may it remain so. He'll be at Montreux this year also.



4. To most Americans who have heard of him, the name Georgie Fame brings to mind his cheesy novelty hit Bonnie and Clyde. Others, who are more musically advanced, know of him as a sideman for and a producer of some memorable Van Morrison albums in the 1990s. But few of us ever knew him as a star in his own right. I bought 20 Beat Classics on the strength of an amazon recommendation and my curiosity about a musician who added much to the continuing success of the legendary Morrison. On the first listen I was less than impressed, but on subsequent listens the CD began to grow on me. Sure its primitive, at times it is even lame, but at other times it is excellent. Fame covers a lot of ground here, touching on compositions by artists as varied as James Brown and Willie Nelson. My favorites are the rocking Yeh Yeh, the jazzy Moody's Mood For Love, a very soulful rendition of Nelson's Funny How Time Slips Away, In The Meantime, Blue Monday, and I Love the Life I Live. The lowlight is My Girl and the switching of some lyrics in an otherwise decent rendition of Papa's Got A Brand New Bag. These should be listened to in the spirit of the times in which they were recorded. When heard from that perspective, Fame comes across as a hip musician whose play was very much on the edge in its day. If you liked the sounds of Them, the Kinks, and the Yardbirds you are almost sure to like this fine assortment of good-time rockin' blues.



5. Great original music as well as classic 60's R & B covers. His smooth style holds up to multiple listenings.

5 comments about Who's Missing.

1. While not exactly an essential album for new or casual fans, not to mention how this is a first-generation CD, it is very worthwhile for serious fans. There are some very good rarities here, and even though most of them have since been issued on other formats, a couple of them are still only available here. Among the only-to-be-found-here rarities are the original version of "I'm a Boy" (one of my favorite singles of theirs), "When I Was a Boy" (my absolute favorite of John's songs!), the full-length live version of "Bargain" from 1972 (also available on the boxed set, but inexplicably cut a bit short), and "Here for More," a 1970 song that is unusual in that not only did Roger write it, but he also wrote it all by himself. The relative few times he has written songs, it's almost always been done with a co-writer. In addition to all of the interesting rarities, the cover picture is also one of their more interesting ones. It's well worth searching out for the fan who is ready to branch out beyond their studio albums and get into lesser-known tracks. One of the many things I love about The Who is that even their leftovers and rarities are (usually) great. These songs are far from bottom-of-the-barrel rejects that only a super-hardcore fan would want to listen to. They're definitely nowhere near the league of the absolute worst Who song I've ever heard, that beyond-horrible alternate version of "The Real Me" on the boxed set.



2. 
   Over half the rarities on this 1985 CD have now appeared on later Who editions in far, FAR better audio quality than this disc.
   
   However, if you're a completist, there are still 5 tracks unique to this CD that make this worth adding to your Who collection:
   
   6.) I'm A Boy (a different version than on "Maximum R&B" box set)
   9.) Here For More
   10.) I Don't Even Know Myself
   11.) When I Was A Boy
   12.) Bargain (same "Live at San Francisco Civic Auditorium, 1971" take that appears on the third "Maximum R&B" disc, but this version is 1:17 longer than the MR&B track, although, of course, the MR&B sounds better).
   
   The remaining tracks appear in superior audio on these CD's:
   
   Tracks 1-4: The 2002 "My Generation Deluxe" CD (and Japanese mini-LP sleeve CD)
   5: "A Quick One" remastered & expanded (and Japanese mini-sleeve CD) versions
   7: "Odds & Sods" remastered & expanded (and Japanese mini-sleeve CD) version
   8: "MR&B", Disc 2
   
   Just be aware the audio on this "Missing" CD is derived from the original LP-EQ'd masters and is sub-par with all the updated Who catalog.
   
   Also, the front "booklet" is just the same cheap fold-over that MCA included in the majority of its CD catalog throughout the 80's & 90's.



3. I have a few more words to say:

   The Canadian version is the only edition you can find new. If you can find the out-of-print US version, you've got your hands on another Who out-of-print CD.

   To find out which is Canadian and which is American, you can:
   A) Look at the release number. The American version is MCAD-31221, The canadian is MCBBD-31221
   B) Look at the back. It says the place where it was manufactured and the location of the MCA company.

   To a new Who fan, both of them are the same in sound and covers. To a real collecctor, getting the US version would be more of something to get.

   But either new Who fan or Collector, JUST GET THIS ALBUM!!!!!




4. I agree to the reviews below. It's a great collection of rare songs for Who-Collectors rather than for casual fans. What's more most of the songs are available on the box set "30 Years Of Maximum Rhythm & Blues" or on the 1998 edition of "Odds and Sods". However, "Who's Missing" is great to listen as an album and the excellent Entwhistle song "When I was I boy" is on no other compilation.

   Regarding the fan's request a few review below. I recently purchased "Two's Missing" (also fantastic)on ebay Germany for € 35,-. I was really lucky, I know. It is also sold on amazon market place Germany for € 199,- (!). So I agree: Do buy "Who's Missing" now as long as it can be purchased so easily.

   To sum it up. I love that band!




5. Out of all the years I've loved The Who, I have to say this the easiest to get rarity album. It's got great songs and all though it's a rarity collection, it was from 1985. At that time, I'm A Boy was rare and I thought that the version on here would be like the version on MBBB, but it was the more common version (like I said it wasn't common in '85).

   Shout & Shimmy -The UK B-Side to My Generation
   Leaving Here -Recorded when The Who were The High Numbers
   Anytime You Want Me -The slow song for this CD and the B-Side to
   'Anyway, Anyhow, Anywhere'
   Lubie (Come Back Home)-A great rarity. Previously Unreleased
   Barbara Ann -A great rocker, featured on "Ready Steady Who" and
   the remastered "A Quick One"
   I'm A Boy -The version most people know. Great Tune.
   Mary-Anne With The Shaky Hands -B-Side to the classic 'I Can See
   For Miles'
   Heaven & Hell -A GREAT John Entwhistle song. B-Side to
   'Summertime Blues'
   Here For More -1 of the very few songs written by Roger. B-Side
   'The Seeker'
   I Don't Even Know Myself -B-Side to the classic 'Won't Get
   Fooled Again. Featured on the remastered 'Who's Next'
   When I Was A Boy -B-Side to 'Let's See Action'
   Bargain -Previously Unreleased (Why? This is EXCELLENT)

   I also reccomend 'Two's Missing'

5 comments about Having a Rave Up.

1. Considered by many to be The Yardbirds' best, whether it is or is not true, hardly matters. It's good. That's all that really matters.
   
   The opening track, "Mr. You're a Better Man Than I" serves as evidence of this, as it manages to be, simultaneously, catchy, bluesy, slightly psychedelic, and pretty heavy (especially for its time). The album is full of such songs, with a bluesy feel over very heavy bass and drum lines, making it both rock and proto-metal, while maintaining a psychedelic, progressive feel. Thus, in one album, The Yardbirds balance a good number of future trends in rock/metal music, and it's easy to see in this one album the precursors to Led Zeppelin, Black Sabbath, and Cream, as well as Jeff Beck's solo material.
   
   The number of artists influenced by this, either directly or through one of the above bands/artists, must be staggering!



2. It was December 1965, and after reading a music column by Clay Cole saying that Jeff Beck was the best guitarist out there, I knew I had to have this album. I will never forget the first time I heard "The Train Kept A-Rollin" ... I couldn't believe a guitar could sound like that. This album changed my life; it made me realize that rock and roll could be intense, improvisational, virtuoso, and hot.



3. The Yardbirds' third album (and their second with guitarist Jeff Beck, who replaced Eric Clapton) is one of the very best rock records of the entire mid-60s, a scintillating collection of tunes that plays like a best-of collection. In its original (vinyl) incarnation, Having a Rave Up was split neatly down the middle: Side 1 consisted of six studio tunes recorded with Beck on guitar, while Side 2 featured four songs recorded live during the group's Clapton days (these recordings, as well as several others, can be found on the group's 1964 U.K. debut, Five Live Yardbirds). This may seem like a messy and unfocused way to organize an album, but it works fantasticaly well- the record effectively showcases the unique talents of each guitarist, as well as the distinctive features of both eras of the band's career. The first half is marked by Beck's effects-laden guitar virtuosity- the band's amazing rendition of "Train Kept A-Rollin'" is a hyperactive rush of fuzz-toned soloing and brutal thunderclouds of feedback. Keith Relf's exuberant, double-tracked vocals are equally inpressive. The cover of Bo Diddley's "I'm A Man" is another freewheeling classic, propelled by a storming, air-tight rhythm section and some swaggering harmonicas from Relf. The instrumental break, in which the tempo switches to a double-time gallop and Beck turns his guitar into a pure rhythm machine, is nothing short of dazzling. "Mister, You're A Better Man Than I" burns with quiet intensity, riding along on Jim McCarty's crackling drums and some bitterly sarcastic vocals. Jeff's searing, distorted guitar solo is, of course, superb. "Heart Full Of Soul" is a slice of minor-key mid 60s cool with a few superb fuzz-toned guitar interjections. The folky, melancholy "Still I'm Sad" and the puzzing paranoia of "Evil Hearted You" are also excellent. Side 2 shows off the Yardbirds when they were still a young and hungry blues-rock band, bashing out out songs with more gritty passion than technical skill. It's every bit as good as the first half, a wonderful showcase of rock 'n' roll in its rawest and purest form. The cover of Howlin' Wolf's classic "Smokestack Lightening" captures all of the original's menace and vicous bite, throwing in a rip-roaring instrumental explosion for good measure. "Respectable" keeps things going with a rip-roaring burst of R&B drenched fury, while another rendition of "I'm a Man" (compare to the one found on the first side) features a searing harmonica solo and a raucous Relf performance. Finally, the take on "Here' Tis" is a rhthmic blood-pumper with some of Clapton's coolest guitar-strangling. All in all, a superb little record. This CD edition features eleven bonus tracks, including the Beck-era non-LP single "Shapes of Things," which foreshadows psychedelia with its bold, trippy lyrics, cavernous instrumental effects, and trembling, off-kilter guitar work. This CD will fit snugly in the collection of any fan of 60s rock n roll. Totally recomended.



4. Having a Rave Up is one of the best albums from the 1960s. In particular, one might find interesting, I'M A MAN, STILL I'M SAD, HEART FULL OF SOUL, EVIL HEARTED YOU, and MISTER YOU'RE A BETTER MAN THAN I.
   
   These tunes feature easy-to-learn guitar leads and riffs, some more developed than others. In subsequent recorded work, Jeff Beck produced exciting and creative lead guitar solos and riffs in LOST WOMAN, SHAPES OF THINGS, JEFF'S BOOGIE, HAPPENINGS TEN YEARS TIME AGO and BECK'S BOLERO. In particular, LOST WOMAN features the most interesting pairing of guitar and harmonica to be found in the entire genre of rock'n'roll, or perhaps even in the entire history of recorded music.
   
   Moreover,what distinguishes this album is the deadpan, British-style singing of Keith Relf. Other examples of British deadpan singing can be found, for example, in anything by the 80s New Wave group, Squeeze, and anything by the 80s New Wave group, Gang of Four.
   
   In guitar other work from that era, comparable lead guitar solo work can be found in Pink Floyd's COMFORTABLY NUMB, Vanilla Fudge's YOU KEEP ME HANGING ON, anything from The Greatful Dead's first album, and Quicksilver Messenger Service's THE FOOL. I might also recommend Return To Forever's first album, HYMN OF THE SEVENTH GALAXY. Unlike most "jazz fusion" albums, HYMN OF THE SEVENTH GALAXY cannot whatsoever be mistaken for easy listening music. This album features excellent, easy-to-learn guitar leads in a style not too far removed from that of Jeff Beck.



5. I bought this album (no CDs then!) when it came out. It has stood the test of time and, in my opinion, is one of the groundbreaking albums in rock. It was way ahead of it's time, considering it came out in 1966. A classic.