5 comments about Jerry Maguire: Music From The Motion Picture.

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 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 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!

5 comments about Collectors' Guide to Rare British Birds.

1. It really annoys me when people keep citing the fact that Ronnie Wood played with them as if that alone is the reason for paying The Birds any attention. The truth is, in terms of aural sex and violence, non of the UK bands from the mid-'60s could compete, not even the mighty Who.
   
   This disk represents an opportunity to savour one of the top Freakbeat outfits of the day and marvel how in hell they languished in obscurity for as long as they did (probably still do). Well, the majority's loss is our gain since the average clod would probably be way too uncultured to appreciate the 3-chord snarl and splendour of our favourite London lads. Musically, they had their roots in American soul music, R 'n' B, Bo Diddley etc like pretty much everyone in Britain back then but rather than follow the formula slavishly, they cranked up the hostility and aggression way up to ten to produce something suitably unrecognizable from the original. Cream of the crop is "Daddy Daddy" a bizzare tale involving a group of children being left somewhere surrounded by horrible people which ends up dissolving into fuzztone freeform madness towards the end. And lo and behold! The alternate version called "Daddy Daddy Daddy" is even more deranged!
   
   Sonically, the disc is impressive. I have much of the material on vinyl (a compilation called "The Birds" recently came out on vinyl and I'd advise everyone to get hold of a copy) and while it's true that the CD does not capture lower-end frequencies and bass as well as the LP, it's still a searing effort. You can really feel the hate and blinding intensity in those guitars. Full marks for the digital mastering and for a change, it's one CD that I can honestly recommend to anyone who's turntable-less
   
   The '64 - '66 era was Britain's finest hour, at least musically. And The Birds were part of the whole thing nesting comfortably against other tough white R 'n' B outfits like the Pretty Things, The Small Faces and The Who. These recordings will appeal to all those who pine for the days when Rock 'n' Roll was crude and "dumb", before psychadelia reared it's ugly snout and put dangerous ideas about "good musicianship" into the fragile minds of all those impressionable Mod hoodlums



2. I would probably buy this one in a heartbeat as I throughly enjoyed the cover of "No Good Without You Baby". So much rage on that track, and they do a good version of "Leaving Here" too; just as good as Motorhead's version. However, There is one song not included here, and that's a shame because I would like to hear more of it instead of a 30 second clip from the movie "The Deadly Bees". The song was called "That's All I Need For You"; it's a snarler, and unfortunately, it's not here, and I wonder if I'll ever hear the whole song. Other than that this looks good.



3. The title of my review is borrowed from the posters Ron Wood painted advertising club gigs by The Birds - it's as apt a description of the music they made as any I can think of.
   The Birds (1964 - 67) are certainly a historical curiosity, most noteably as Ron Wood's first band until he left the nest in January 1967 for superstardom with The Jeff Beck Group, Faces, and for the past 33 years, The Rolling Stones. Another founding member, bassist Kim Gardner, achieved a modicum of fame as a member of the legendary Creation (to be joined, for a few months, by Wood). But though the group's output was rather slim - three singles for Decca in 1964-65, a fourth on Reaction in 1966 - this superb compilation makes a case that they were more than a footnote, that in fact they were one of the most exciting bands of their too-brief time. This set collects all the bands singles, cancelled singles, unissued tracks, and a few alternate versions. The set begins with their powerful debut, Wood's "You're On My Mind," b/w a primal, incendiary version of Bo Diddley's "You Don't Love Me," (issued November 1964). This was followed by the oft-covered (but never better than here) Motown fave "Leaving Here" (which Ron revisisted on his 2002 solo cd, "Not For Beginners") backed with another Wood original, "Next In Line." These tracks show just why the Yardbirds occasionally used Ron Wood to fill in when Keith Relf was ailing - his slashing guitar and energetic harmonica would add to any rave-up, even though (amazingly) he was only 17 years old (and 19 when he left to join the Beck Group)! The Birds' third single represents a massive leap forward in terms of sheer raw power and authority. "No Good Without You" (another early Motown gem, but the Birds make it their own) and especially Wood's "How Can It Be," are astonishing: bassist Kim Gardner and drummer Pete McDaniel provide a dense bottom to vocalist Ali Mackenzie's undeniable charisma and Wood's (abetted by second guitarist Tony Munroe)remarkable guitar - exquisitely deployed sheer sonic filth, chunky, slashing, sputtering shrapnel in every direction, all seemingly improvised (within the songs' framework) but in fact great excercises in tension and dynamics. These tracks are as viscerally powerful as any the Kinks/Who/Small Faces were issuing at the time, and reward repeat listens with an array of cool details. And lest we forget, vocalist Ali Mackenzie (who shoulda been a contender...) projects punk attitude and absolute confidence without any excessive mannerisms or even a whiff of self-indulgence. Just as the Birds were improving with each new release, and gaining a devoted following for their live shows, the group left Decca to sign with Robert Stigwood's new Reaction label in late '65. Around this time things started to unravel. Various factors, including the sudden superstardom of the US Byrds, who made a very successful British debut, prevented the Birds' Reaction debut single from coming out 'til 11 months after its predecessor, destroying what momentum had been developed. "Say Those Magic Words" is a driving, splendidly melodic rocker, but once again it's the Wood/Munroe b-side, "Daddy Daddy" that displays the remarkable and ongoing musical growth: at over 4 minutes, 'Daddy...' has an unusual, occasionally surreal lyric of confusion and dread as well as an unconventional structure. A powerful garage/psych gem, around the halfway mark they switch gears with a long, dense instrumental section exploding with darkly relentless guitar interplay and pummeling rhythm.
   And that, for the time being, was that - the group made an appearence in "The Deadly Bees," (1967) - a very cool-sounding Wood song that, a master evidently eluding our compilers, only exists in fragmentary form on the film's track, so it's included as an unlisted coda complete with the actors' dialogue over the band's performance (in the film, the Birds appear on TV while the characters go about their business). I certainly hope the master for this marvelous rocker - and other titles apparently recorded but not included, is eventually unearthed and issued! The rest of this set gathers some terrific unreleased material, including a cancelled Reaction single, the fine pop-soul-rocker, "Good Times" and two versions of Pete Townshend's "Run Run Run" that outrun the Who's; more quite worthy alternate versions of previously mentioned tracks; the group's very first (June '64) demo of "You're On My Mind"/"You Don't Love Me", warmer and bluesier, if less intense, than the debut single. The most recent song is a late '66 Wood track, "Granny Rides Again," that Ali Mackenzie completed as the band fell apart, in early '67 - their jauntiest yet, reminiscent of some of Creation's circa '68 tracks, but with the relieable rock-solid bottom & thick/crunchy sound that characterized Wood's playing during the period. This terrific set comes with a booklet featuring period photos and memorabilia and a decent history of the band, housed in a nice slipcase. Is there more material in the vaults? I hope so, & that as great as this Deram comp is, additional tracks will be recovered. One final minor complaint: I don't like Jon Astley's work w/ the Who catalog, & I hope he isn't once again the remastering engineer if that next, REALLY definitive Birds set is released - and why not? There still has yet to be ANY US cd of this great group's work, despite Wood's subsequent stardom and the raw power of this music. Bob Irwin (of Sundazed), are you listening??? But for now, if you like the primal energy of early Who/Kinks/Small Faces, or just superfine rock 'n' roll, or if you became aware of Ron Wood through his fine work with Faces or the Rolling Stones, this collection will surprise you and rock your socks off. PLAY LOUD!



4. I was amazed by how good this compilation was!! Anybody who likes sixties british invasion/garage will enjoy this cd!Ron Wood(faces,stones) & Kim Gardner(the creation)are in this band. They are too good to be as unknown as they are. I would love to have their stuff on vinyl someday, but damn...it's so expensive. Heh, I'm watching......



5. Every once in a while you buy a CD, never having heard the group before and hoping that it will contain at least a couple decent songs. This was one of those rare CD's that is packed with excellent songs. Any fan of rare 60's Brit R&B must buy this CD. It is without a doubt a musical investment that you will never regret.

5 comments about Between The Buttons (UK).

1. "Between The Buttons" makes for an exasperating listening experience. The Stones are obviously going through a transitional period in which they don't seem sure what their next step should be. It is the beginning of 1967 after all; their major competition, The Beatles, had released "Revolver" just a few months before and what an incredible ambitious record that was in terms of production, composition, performance, and arrangements. The Stones would like to equal it and in some ways they do succeed, but the major obstacle for them here is that they still insist on conveying adolescent misogynistic sentiments; practically the whole record is devoted to putting down or castigating a woman in one way or another. It winds up sounding so hackneyed. In fact, this would be the last album The Stones would dedicate so much effort to this kind of tripe. Songs with a more or less sexist viewpoint will still pop up now and then in the coming decades but not to the tiring extent displayed here.



2. This album is not the hybrid SACD version as listed on the website. Just the DSD remastered CD. Customer Service could not ensure the product was correct before it was shipped. The Customer Service centers are not in the same location as the fulfillment centers.
   For these reasons, they are unable to check the physical details of an
   item for you. They did however say they would accept a return no problem.



3. This is an album that I have come to appreciate as time has gone by, but many of the things that I originally had problems with still remain. Mostly they are the surprisingly inane songs like "Cool, Calm, Collected" and "Something Happened to me Yesterday." There is also the misstep of "She Smiled Sweetly" which goes so far away from the Stones strengths that I can see it being covered by Paul Anka. The first two sound like ridiculous attempts to copy the Beatles equally moronic kindergarten sing-a-longs like "Yellow Submarine." These things are avoidable to be sure, but they also reduce the rating, if for no other reason than because they are so incredibly insipid.
   On the positive side, I've come to really appreciate the rest of the tunes, especially on the U.K. version which I like much more than the U.S. version. While I miss "Ruby Tuesday," it's worth the trade-off to get the others, especially one of the most simultaneously cruel and yet endearing songs about being a groupie in the scathing "Backstreet Girl." Jagger is the greatest lyricist when it comes to being anti-romantic. The other numbers which are found on both U.S. and U.K. versions are good to great. The first four songs are very good from the excellent "Yesterday's Papers" (with Brian's vibes adding a gorgeous touch) to the rocking Keith riff rocking number "Connection."
   This is as much a product of the times as Some Girls was in the late seventies or Undercover was in the eighties. There is a heavy sixties feel complete with the unfortunate psychedelic influences they'd mine deeper on the follow up to this one. That aside, there are still some well written songs and you can sense the pending brilliance of the oft-celebrated quartet of albums that were to commence a year from this curious part of the Stone's career.



4. Thank goodness for this U.K. version of Between The Buttons. There's no "Ruby Tuesday" and no "Let's Spend the Night Together." Both of these songs I'm just so tired of...thank you very MUCH classic rock radio. Besides, those two hit songs are available on countless greatest hits collections. In my case, I've got "The Singles" 3 disc collection. Anyway, this album is an underrated Rolling Stones classic in my opinion. Regardless of what Mick Jagger says. You'll get a lot of great songs, such as "Yesterday's Papers," "Connection," "Back Street Girl," "All Sold Out," "Miss Amanda Jones" and "She Smiled Sweetly."
   
   Sure, it would have been nice to include some bonus tracks, but that's show "biz."



5. This album by the Rolling Stones was released in early 1967. The Rolling Stones were at a period where they were moving more into arty territory and away from their R&B roots. The music is more experimental than their previous releases, but not TOO experimental. The album gets a mixed reaction from Rolling Stones fans, but I think it's great.

5 comments about Forty Licks.

1. Forty Licks just has so many of my favorite Stones songs that the two cd's are among my must-haves for tunes for a road trip!



2. Ok this is a good stones compilation. If you ever listen to any classic hits station you have most likely heard all these songs.



3. Fantastic journey through the blues soaked soul of the greatest rock band of the 60's through 90's. Amazing to see how their sound evolved through time- maintaining a tight signature sound that seems to always remain fresh. Truly a band- in that the sum of their parts far exceeds the contributions of each Rolling Stone! Simply Delicious...
   
   For a band with such far reaching influence, catalog, and musical tastes- a two disc set can't possibly comprise their musical genius. For those wishing to put together a Rolling Stones Career Retrospective of their most enduring tracks- I humbly submit you add the following MP3 downloads to this fine two disk set:
   
   
   As Tears Go By
   Get Off of My Cloud
   Harlem Shuffle
   Heart Of Stone
   Heartbreaker: Doo Doo Doo Doo
   Midnight Rambler
   Moonlight Mile
   Play With Fire
   Rock and a Hard Place
   Sway
   Time Is On My Side
   Ventilator Blues
   
   Hope you don't get Sticky Fingers as you enjoy what assuredly is not a
   "Beggar's Banquet!!" Goats Head Soup for All....



4. Forty Licks is probably one of the most listenable Stones collections available. Worth getting but sorely missing one of my favourite tracks: Time is On My Side. This is a poppier upbeat collection rather than the ballads route. Most importantly, it does a good job of mixing the old with the newer tracks - not an easy feat, but tracks like "You Got Me Rocking" and "Don't Stop" blend in well. Agree that this could've and should've probably been 3 discs. But it's a nice punchy mix as it is. There will probably never be a perfect Stones collection, but this works for me. Viva Rock and Roll!



5. Forty Licks is an excellent sampler of the Stones' long and varied career. Anyone who loves the Stones or just wants dip the toe into their history will love this collection.

3 comments about Classic Moody Blues.

1. I enjoyed this DVD as it showed them earlier in their career. The videos were awesome.



2. This is a very nice collection of Moody Blue videos. I noticed that Amazon has no description of this DVD so here are the videos that are on it for anyone interested.
   
   Your Wildest Dreams
   Question
   No More Lies
   Sitting at the Wheel
   Driftwood
   Nights in White Satin (From Red Rocks)
   Say it with Love
   The Voice
   Steppin in a Slide Zone
   Gemini Dream
   
   I highly recommend it for Moody Blue fans as some of this stuff like "Sitting at the Wheel" is hard to find!



3. The cover is certainly misleading, but all the same, a great buy. All of the footage in this DVD is from 1992 and before, and it gives some insight to what the Moody Blues were like in their younger years. The digital mastering is done beautifully, thus the quality is great. I expected, judging by the cover, this DVD to be clips from various concerts, but it was so much more! About half of the tracks are concert clips, and the other half are music videos. It shows a side of the Moodies that some have never really seen. I recommend this, as well as every other Moody Blues DVD for your Moody collection!!!

5 comments about Into the Afterlife.

1. This CD is for Zombies fans who have all of the other Zombies' CDs. If you don't have the other CDs, buy the 4 CD box set, one of the greatest hits CDs, or their masterpiece, Odyssey and Oracle first.



2. "Into The Afterlife" provides a further glimpse into the transitional period between the Zombies aborted "R.I.P." album and Argent, as well as Colin Blunstone's "pre-solo" career. Although some of the tracks are demos, a recording of a Rod Argent belch can be a breath of fresh air these days. The tracks that represent Colin's "Neil MacArthur" persona are interesting, particularly his reading of "She's Not There". Overall, I wouldn't say that the contents of the CD are all that mindblowing, but the Zombies alumni have always been capable of transcendent moments in pop music. This product is recommended for fans of the Zombies, Argent and Colin Blunstone, if only to complete your collection. It is also a worthy purchase for fans of so-called "chamber pop".



3. I think this collection was made for the "hardcore" zombies fan. It contains basically demos for the band Argent and Out Of Print singles released by Colin Blunstone as Neil MacArthur. But if you're just a casual fan, I would skip this collection. It doesn't showcase the band (The Zombies) at all. But it's so awesome to finally have that Neil MacArthur version of "She's Not There" in english and italian to boot on CD! I'm really glad as a "hardcore" fan of the zombies to have this collection, but again, if you're a casual fan. Skip this cd!



4. I have loved the Zombies for many years and was excited beyond belief when I heard about this cd coming out. Now, after giving this collection many chances I wish I could send it back. It's utter trash--unless you are a diehard Zombies fan. (Note: I am a diehard Zombies' fan, and I most definitely could do without this collection....so, noodle that one)
   
   Anyway, I really don't get these other reviews and the constant praise... The Neil MacArthur stuff is slow, soft, wimpy, garbage--go for the early solo Colin Blunstone records instead. The Argent/White demos are quite lacking and a bore--with the exception of "Unhappy Girl" which happens to be the best track in the collection...try and just get this and you're set. And the "Zombies" tracks are just recycled from Zombie Heaven--they call them "Orchestral Tracks"...they are just basically bad mixes from the originals...nothing special here for sure.
   
   So my advise, well, is to avoid this cd...it's a waste of money...I learned the hard way after reading all these positive reviews on here.



5. Here is an "odds and sods" album from the Zombies. Some of the tracks were recorded by the band, but most of it came out after their lauded 1968 release, "Odessey and Oracle," which was their last LP. Zombies fans of any stripe will like this CD. But for those who own the box set, Zombie Heaven, and have worn out the discs with repeated plays, many of these tracks (such as "If It Don't Work Out," "She Loves the Way They Love Her") will be more than familiar. On the down side, some of the songs are half-finished demos ("Unhappy Girl" and version one of "Mr. Galileo"), and the inclusion of some tracks--such as the orchestral mixes and the Italian version of "She's Not There"--are pure filler. The real pleasure for Zombies fans are the Neil MacArthur (aka Colin Bluntstone) tracks. Those songs contain Blunstone's trademark perfect vocals, and the arrangements are often done bossa nova style. Blunstone's style was always "breathy," and his version of "Without Her," done just above a whisper, is terrific. Worth buying for those who love the Zombies, but those looking for a great introductory CD should check out the fantastic As and Bs side disc or one of their many compilation albums.

No comments about Solid Bond.

No comments about The Very Best of the Searchers.