5 comments about The Zombies - Greatest Hits.

1. Their hits were too few. Unless you really like the group I would suggest other music. It was a disappointment for me.



2. Amazon MP3 is supposed to be this DRM-Free Mp3 downloading paradise. And it is, but its content is now limited. So sure, I was a little bummed that the Zombies have no downloadable content on Amazon. I figure their label isn't keen on DRM free yet. So imagine my SHOCK to see that 'Time of the Season' in DRM-free form is availible from iTunes! You guys need to get on that! Don't let iTunes have some DRM free content that you don't have!
   
   I am no fan of AAC, even if it is DRM free now in some cases... so please, pretty please, get stuff like The Zombies available as a DRM free MP3!



3. I was very impressed by both the sound quality and the music. I knew a couple of Zombies songs from a while back, but the sound from LP's and tapes was never good. The sound on this SACD remix is vastly superior. It's not perfect, with still a little hiss, but there is much less distortion than the original mix. Also most of the recordings were apparently done with excellent recorders (for the time) because the high-end frequencies are all there! The sound is nearly transparent, like you're actually there in the studio. Back to the music itself, I discovered several great songs that I didn't expect to find. It's quite a blast from the past, and well worth the money.



4. For several years, I had a CD of Zombies greatest hits and was content to enjoy listening to some great old songs from a very talented group. But someone recently gave me this new CD and I can hardly believe the difference! The quality of each track is amazing, revealing subleties not even hinted at in my old CD or, of course, in the original vinyl recording. The CD has all of the Zombie hits and the best of the rest. It avoids the later acid recordings that never caught on with fans on either side of the Atlantic.



5. This, along with "Reggae in High-Fi" was my first purchase of an Audio Fidelity disc. I was very much looking forward to hearing the Zombies (without question one of the greatest Sixties bands) in the SACD format. I have the fantastic 4-disc "Zombie Heaven" box set (Big Beat Records, UK import) which, though it's Redbook and uses the original mono mixes for most of the material, sounds really, really good, and I thought, "well now, the Zombies in stereo, and in Super Audio! It'll be fantastic, even though I've already got all the songs."
   
   Well, unfortunately I confess to some disappointment. The first thing I thought when opening up the package was how cheesy the artwork was. I mean, SUPER AUDIO CD in big alyoominium-type shiny caps across the top, a fuzzy out-of-focus band photo, and some swirly stuff in the background. It looks like the artwork for a Spinal Tap bootleg. Let's put it on and see how it sounds, that's what matters, I thought, so I did. While it is nice to hear these songs in stereo, the mixes seem a bit off (the drums sound muffled to my ears, and the guitars a little tinny) compared to a couple of other Zombies discs I've got (OK, besides the ZH box I've got "The Zombies Collection" from Castle which is in stereo) and the vocals seem to suffer from some sort of compression, EQ, I don't know what. But they're rather flat (as in lifeless) sounding somehow compared to the ZH box. In fact after another couple of listens there's not much doubt in my mind that the ZH box set is much superior to this Audio Fidelity release, sound-wise. Which is somewhat surprising, given that ZH is "only" Redbook audio. (For that matter, it's vastly superior packaging-wise as well.)
   
   Just goes to show that just because it's SACD doesn't mean it's going to blow your mind with it's sonic quality. And all the raves I've read about the genius of audiophile remastering engineer Steve Hoffman now seem somewhat suspect. So I guess the cheese-flavoured amateur-style artwork suits the product within perfectly, after all. Put the cash you were thinking of spending on Audio Fidelity's "Greatest Hits" toward a copy of the Big Beat "Zombie Heaven" box instead (if you can find it). Sorry Steve.

5 comments about Yellow Submarine (Original Motion Picture Soundtrack).

1. What if the Beatles had released this album without the movie. And if they themselves had written the orchestral music on the B-side. And released this as an epic semi-progressive rock tale about a Yellow Submarine. Then this might have been a real classic album in the progressive rock genre, almost a year before King Crimson appeared.
   But when we know that these songs were just thrown together, 2 of them previously released, 2 of them from the archives being Sgt Pepper-rejects, and the orchestral score of course being written by George Martin for a film, then it's considered a disappointment. Even if the music in both cases sounds exactly the same. Isn't that an interesting thought?
   My advise is this: take YELLOW SUBMARINE with a grain of salt and find that it's an interesting mix between whacky psychedelic rock and lovely classical sounding music. And all in a good spirit. The result is actually not too far from TALES OF MYSTERY AND IMAGINATION by Alan Parsons Project.



2. Yellow Submmarine is unique. You have to remember it is a soundtrack to the movie. They do Yellow Submarine and All You need is love from other albums.
   They do however come out with four new songs.
   John contributes Hey Bulldog, which has alot of energy and is probably the best of the rour new tunes.
   McCartney contributes the very simple but catchy, All together now, which is not up to his usual standard, but not bad.
   Harrison does Its only a Northern Song which was written when he was fueding with his publishing company. George Harrison at this point in the career of the Beatles, was writing his best music.
   It's all too much is another Harrison song, but to me is not as favored as Northern Song.
   The rest is soundtrack music for the film. This is certainly not their best album, but for Beatle addicts like myself it is worth purchasing to complete the collection.



3. I was puzzled by the re-issue of the Yellow Submarine soundtrack's omission of George Martin's brilliant score, which set the tone for the film more than the periodic Beatles song. Not knocking the Beatles mind you, but not underrating George Martin.
   
   For tuned-in boomers, this is one of the soundtracks of their youth.



4. Okay, I must admit although I thought I knew what I was purchasing, I was disappointed at first with the CD in the reality that it didn't have all the songs from the movies. But after listening too it, I am glad I purchased it and have come to appreciate and enjoy the instrumentals. This is a George Martin project more than the Beatles....but that ain't bad.



5. When one looks back at the Beatles 13 studio albums, "Yellow Submarine" (1969) is not the one people usually point out as their favorite. "Yellow Submarine" is sort of like the Rodney Dangerfield of Beatle albums in the sense that it doesn't get any respect. Thrown in with twelve classic albums though, the standards are pretty high. That said, even if "Yellow Submarine" isn't a masterpiece by the Beatles standards, it's still worth owning if you are a fan.
   
   The first half of "Yellow Submarine" consists of six songs, two previously released and four new recordings. While the inclusion of the title track "Yellow Submarine" and "All you Need is Love" may be redundant for people who own "Revolver" (1966) and "Magical Mystery Tour" (1967) their presence really fits the flow and feel of the album and their inclusion works in the album's favor. "Only a Northern Song," written by George Harrison is spacey, psychedelic and thoroughly engrossing. It just sort of picks you up and takes you for a ride. "Only a Northern Song" was actually meant to be included on "Sgt. Pepper" and why it was left off makes no sense to me as I feel it stands as one of Harrison's finest compositions. McCartney's sing-along "All Together Now" is pretty lame, but still kind of fun. Lennon's "Hey Bulldog" kicks all kinds of ass and is one of the most rocking, ballsy, underrated songs he ever wrote in the Beatles. Another psychedelic Harrison composition, "It's All Too Much" is maybe a little more subdued that "Only a Northern Song" yet is as strong.
   
   The remaining seven songs are quasi-classical instrumental pieces composed by Beatles producer George Martin. While I don't listen to the instrumental side of "Yellow Submarine" all that much, I still enjoy it. While Martin's compositions may not be great art, they are still pleasant and the music is tuneful and soothing.
   
   I rate this album so low not because the music is mediocre, but rather because when "Abbey Road" and "Revolver" are the standard, the bar is set pretty high. Three of the new songs on this album, "Only a Northern Song," "Hey Bulldog" and "It's All Too Much" stand as some of the Beatles best music and I'd rate each of those five stars. And while Martin's instrumental side may not be brilliant, it's still memorable in its own right.

5 comments about Ultimate Collection.

1. Great music, great artist, great times. An excellent CD especially if you grew up listening to this music. It's timeless and first class.



2. Once you head Dusty's music you were hooked. Her vocals and singing style were never equaled in the pop world. Her style of singing was distinctive and absolutely beautiful. This is one of her better albums, capturing her style and performance were like no others could do. White soul at its' best.



3. Dusty Springfield could take a song and make it her own with her impeccable sense of timing, her excellent diction and her ability to perform with great sensitivity. This CD gives us a generous twenty songs by Dusty that should appeal to any Dusty Springfield fan.
   
   The track set begins with "Silver Threads And Golden Needles." This early track features Dusty singing wonderfully with The Springfields while they were still together. "Silver Threads And Golden Needles" sports a melody that seems a blend of country and folk rock; Dusty's voice never sounded better! "I Only Want To Be With You" features Dusty Springfield front and center on her own with a backup chorus. The catchy melody helps the song; but Dusty's strong performance makes the number shine. Dusty sings of how she wants only to be with her man now that they are in love. Dusty sings "I Only Want To Be With You" passionately and this undoubtedly helped to make this ballad a classic. Great! Moreover, "Stay Awhile" features Dusty doing a lovely early 1960s love song; and Dusty never misses a beat! Love those strings! The percussion enhances the number even further and the backup chorus helps to keep Dusty squarely in the spotlight.
   
   "Wishin' And Hopin'" was another early hit for Dusty; she sings passionately of how a woman can keep a man she loves. Listen for some great percussion; and Dusty's voice sounds rich, warm and vibrant. "You Don't Have To Say You Love Me" uses strings and drums to create a dramatic melody; Dusty sings this passionate ballad about a love gone awry. Dusty's character is alone after her man leaves her; and she contemplates following him to talk him into staying with her at least a while longer. "You Don't Have To Say You Love Me" is a great torch song that shines like silver and gold in Dusty Springfield's competent care!
   
   "The Look Of Love" showcases Dusty's vocals as she sweetly delivers this number to perfection. The musical arrangement makes good use of the strings, percussion and the brass to make "The Look Of Love" very beautiful. Listen for a lovely horn solo during the musical interlude; and Dusty's voice is in perfect form on this track. "Son Of A Preacher Man" is a country style ballad about Dusty's character and her relationship with the son of a preacher. Dusty delivers "Son Of A Preacher Man" without a superfluous note. Wow.
   
   "The Windmills Of Your Mind" gives us Dusty flawlessly singing yet another classic love ballad; and "What Have I Done To Deserve This?" features Dusty sharing the spotlight with The Pet Shop Boys. Dusty and The Pet Shop Boys sing of their pain after they have been jilted by difficult, demanding lovers.
   
   The liner notes include great pictures of Dusty and Jim Pierson writes an informative essay about Dusty and her career. We get the song credits; and there are comments about each song on this CD by Paul Howes.
   
   Dusty Springfield will never be forgotten. Indeed, she lives on through her great CDs; her music was a gift she gave to the world and we are all better off because of Dusty. Dusty's fans will, of course, consider this album to be a "must-have" for their collections; and people who appreciate classic pop vocals will like this album too.
   
   Enjoy!



4. It is what it is. "THE ULTIMATE" Fantastic!!
   Her voice is like no other.So Appealing!!
   You never get tired of listening.



5. If you love Dusty Springfield, this collection is great. One of our most unique and best vocalists ever. I wish I had appreciated her more while growing up in the 60s and 70s.

5 comments about The Capitol Albums Vol. 1.

1. the music of course is what i expected. but for the dollar that i paid for this you would have expected better packaging instead of paper sleeves basically.



2. The sound on the stereo mixes is absolutely amazing, just what the original UK releases deserved the 1st time they came on CD in 1987! I was only a baby during 1/2 of the time the Beatles made it big but I remember as a kid and a teenager friends had copies of these American versions. For years, Americans thought Meet the Beatles was the Beatles' proper debut. Ok, now for the negative part. The packaging leaves a lot to be desired. It's nice to have the original artwork on the "covers" of the CD albums, but you need a magnifying glass to read the liner notes. Also, it would be nice if the CD's included a jewel case or digipack (I know you've heard almost everyone else who's reviewed this complain about this). Of course, the liner notes on the original US releases are cheezy and laughable, but nonetheless entertaining ("They have pudding top haircuts that date back to the 11th century," as if that journalist is some great historian!). More extensive interviews in the book would be nice, but the pictures are pretty cool as are the quotes from all 4 Beatles. I also liked Mark Lewisohn's introduction.
   
   Ok, here's what the CD's contain. Meet the Beatles, of course, is a light version of With the Beatles (albiet with "I Want to Hold Your Hand" and "I Saw Her Standing There" thrown in). The Beatles' 2nd Album is just a collection of leftovers from With the Beatles, singles from the UK and their Long Tall Sally EP, with "You Can't Do That" thrown in. Besides, counting Introducing the Beatles (which came out on Veejay in 1963, yes, in America), this "2nd" album would constitute as their 3rd. Something New is really a light version of A Hard Days Night (there was a soundtrack album on United Artists, with instrumental jazz renditions of Beatles' songs conducted by George Martin). This was merely Capitol's way of getting their piece of the pie, nothing really "new," except for a German version of "I Want to Hold Your Hand," "Slow Down" and "Matchbox." Beatles '65 (Capitol really should have checked the year on this one, as it was released in December of 1964) is a light version of Beatles for Sale, with "I'll Be Back," "She's a Woman" and "I Feel Fine" added on. Capitol figured if they left a track or 2 off the American version of the album released in the UK (usually 3) and threw in a few songs from singles released in the UK, eventually they would have enough tracks for a whole other album. Thus, the American Beatles fan wound up buying more albums than the English Beatles fan.
   
   To hear the stereo mixes of these done with the proper care is a real treat, and you have the option of hearing these again in mono, which also sounds good (most of these are under a 1/2 hour, so you'll get to the mono before you know it). Sometimes, in the case of "She's a Woman" and "I Feel Fine," the mono sounds a little better (the vocals are more coherent on the mono). Capitol may not have spent the same kind of care as Parlophone did in preparing the Beatles' albums but this is a nice souvenir to have. Let's hope they include At the Hollywood Bowl, Hey Jude and the American version of Rarities in later editions (I had heard The Beatles' Story was not exactly worth listening to, so I, for one, am not disappointed in its absence). Also, I hope they include the soundtracks to Help! and A Hard Days Night in their entirety, though both of them are 1/2 Beatles' music, 1/2 instrumental music from both movies.



3. I grew up in the US in the 60's and this is how i remember the BEATLES lp's.If you are a true lover of the GREATEST band in the history of music. Well, you should be ordering this as you read this review!!!! I'll be ordering vol. 2 soon.



4. In 1987 The English version of the Beatles catalog was released in America on CD for the first time. Having been American and being used to the American versions of the Beatles catalog, I was a little disappointed.
   I used to wonder if we would ever see the American version on the market again.
   The British versions have nothing wrong with them, and I enjoy them alot. They are simply not the same.
   To me the whole point is, many American and English versions differ. So if they were the same, there would be no point in collecting the American versions.
   I enjoying hearing the sitar that is missing in Norweigen Wood or some of the differences the collections have.
   I am a Beatles collector and will buy an entire CD for just a small instrumental difference or a small difference in lyrics.
   To me this is what makes the entire collection worth while.
   I like to hear the reverb in I Feel Fine or She's A Woman. I also enjoy the sound of the American discs. Over the years I heard the American albums and got used to hearing the songs in a certain order. When the English versions came out in 1987 I had to look a little harder to find my favorite songs, because the album song orders had changed. Rubber Soul and Revolver just were not the same anymore. I also have to wonder if the album that was released about 1982 called "Rarities" will be released. It will also be interesting to see if the Live album at the Hollywood Bowl in 1964 and 1965 will be released again.
   I hope and pray that Capitol releses another volume with Revolver and possibly Yesterday and Today, as well as the few others that were passed over. This collection, as the heading says is for the collector who has to have it all.
   The positive side of this is, it feels like an old friend has come back to be with you.........................Now I can remonisce about the 60's the way I remember them.



5. As an ageing fan who fondly remembers Beatlemania and occasionally feels a certain nostalgia for it all, I myself am not particularly interested in resurrecting all the hatchet-job releases we got on this side of the pond, although I completely understand long-time fans' desire to re-obtain the mixes they prefer. Too many of these albums make little stylistic sense and are, strictly speaking, jumbled and misleading versions of the real thing, although being The Fab Four, they're still good listening.
   
   Please, Capitol/EMI, this is what I'd like instead:
   
   1. A complete overhaul of the entire catalogue - all of the Parlophone LPs. Please supplement each album with contemporaneously recorded (or most appropriately so) 45 RPM releases and EPs and dump those hideous PAST MASTERS discs. So, for instance, RUBBER SOUL gets "Day Tripper"/"We Can Work It Out", REVOLVER gets "Paperback Writer"/"Rain", PEPPER gets "Penny Lane"/"Strawberry Fields" and MMT still gets "All You Need Is Love" and "Hello Goodbye". Just tack them onto the beginning or end of the disc. So simple. The early LPs would benefit greatly from this approach, too.
   
   2. A proper remastering. Bring the volume of the guys' instruments back up where it's supposed to be. Correct the anachronistic imbalance in the voices which, in the present British discs, uncomfortably emphasizes the "lead" vocalist. (Their chorus was never intended to sound like that; it was the 1960s - not the 1980s.) Lose the bizarre fetish for "previously unheard details" like giggles and snapping fingers. (Who cares about that?) Please get rid of the fake stereo; mono is plenty exciting when it's properly mixed. George Martin knew that. The Beatles knew that. And the fans who purchased millions of 45s knew it, too.
   
   3. And finally, please issue, as an adjunct to the complete British set, the American A HARD DAY'S NIGHT (Go get George Martin's instrumentals from UA) and thanks for having done HELP! and RUBBER SOUL.
   
   This is what we need.
   
   PS. Oh yeah, remember the reverb in "I Feel Fine" and "She's a Woman", too!

5 comments about The Moody Blues - A Night at Red Rocks with the Colorado Symphony Orchestra.

1. This is THE DVD to have. It is great to see The Moody Blues play with the Colorado Symphony Orchestra. The interview bits clue you into just what goes into a production like that. What a great concert to have a record of. There is a companion DVD called "The Other Side Of Red Rocks" that includes the songs not on this DVD. A Legend of the Mind should have made the cut here though! The companion DVD is very hard to find, and usually is not in the US region. It would be wonderful if they would put the two together, so that you can have the full concert! But for now, this is a must have DVD!



2. I always wanted to see the Mooody Blues in Concert at Red Rocks.
   This is absolutely wonderful. I was singing along.
   
   If you are a Mooody Blues fan, I would suggest to purchase this one.
   Enjoy



3. Absolutely fantastic. You don't need to be a Boody Blues fan to enjoy great music in a breathtaking venue



4. I bought this DVD for my husband. He is a huge fan of the Moody Blues. We watched it together and we both absolutely loved it. The Canyon not only adds ambiance but the acoustics are amazing as well.The Orchestra is a beautiful touch and only enhances the singers. We truly enjoyed this DVD and will watch it repeatedly.



5. I FIRST SAW THIS CONCERT ON PBS CH-13 IN NYC. I ALWAYS ENJOYED THE MOODY BLUES MUSIC. THIS IS A CHANCE FOR YOUNGER VIEWERS TO ENJOY THE 2ND GREAT BRITISH INVASION GROUP TO HIT THE US SINCE THE BEATLES. NOT TO COMPARE THE TWO GROUPS, THEY HAVE DIFERENT MUSIC STYLES. ONE THING IS CERTAIN, THOUGH THE WRITING OF THE ARTISTS: JUSTIN HAYWARD AND JOHN LODGE(PLAYS BASS AND ACOUSTIC GUITARS) IS SIMILAR. THEY WRITE THEIR OWN WORDS AND MUSIC LIKE JOHN AND PAUL. I SAW THEM IN CONCERT AT RADIO CITY MUSIC HALL HALL IN NYC 2 YEARS AGO. THEY CAME BACK THIS YEAR, BUT WAS UNABLE TO SEE THEM AGAIN. THIS DVD SHOWS THE TALENT OF THESE TWO GREAT MUSICIANS. JUSTIN WITH HIS OUTSTANDING GUITAR PLAYING. HE STILL USES A GIBSON GUITAR, THAT GEORGE HARRISON USED. JOHN WITH HIS LOWER VOICE AND GREAT BASS PLAYING. THEY HAVE AGED IN THEIR APPEARANCE, BUT NOT THEIR DEDICATION TOWARDS GIVING THE FANS A GREAT SHOW. YOU CANNOT WATCH THIS DVD WITHOUT GETTING UP AND DANCING, EVEN IF YOU DO NOT KNOW THE WORDS. IF YOU ARE YOUNGER THAN YOUR 40'S, FORGET ABOUT IT, ONLY IF YOUR PARENTS PLAYED THEIR MUSIC YOU CAN APPRECIATE WHAT GOOD MUSIC IS ABOUT. I DID NOT FOGET THE ELDER RAY THOMAS WHO I DID NOT SEE AT RADIO CITY. HE PLAYED THE HORN SECTION WHEN THEY WERE YOUNGER. WISH THERE WERE MORE SONGS ON THE DVD. I HAVE THE CD ALSO. MY AUNT WHO IS IN HER 70'S CAN'T UNDERSTAND ENGLISH VERY WELL, BUT I GAVE HER THE TAPE, CAUSE SHE LOVED HOW CLEAN THEIR MUSIC WAS, NOT TO MENTION THEIR ATTIRE. LISTEN FOR NIGHTS IN WHITE SATIN, TUESDAY AFTERNOON, GEMINNI DREAM, FOR MY LADY, LEAN ON ME(JOHN LODGE)I READ THAT JUSTIN HAYWARD HAD A COLD OR SOMETHING, YOU WOULD NEVER NOTICE IT, I DIDN'T. THIS DVD IS WORTH BUYING TO ANY BRITISH INVASION FAN, OR ANY PERSON THAT LOVES GOOD MUSIC AND CONCERTS. ALSO, KUDOS TO GRAEME EDGE THE MOODIES DRUMMER AND THE WOMEN BACKUP SINGERS. I HOPE THIS HELPS. THANK YOU

5 comments about Live at the BBC.

1. If you love The Beatles this is a must have for your Beatles collection. The quality of the recording is very good. I recommend purchasing the CD set!



2. This is a collection of Beatles songs on BBC radio between 1962-1965. It includes self composed songs and classic numbers performed by the Beatles. These are LIVE radio tracks, only one or two songs are live in concert. There are funny speeches and jokes as well. This CD was out of print for sometime but has been back in print since I bought it in June 2001. This is a must for any Beatles fan.



3. The two Live at the BBC CDs contain live radio broadcasts of The Beatles from March 1962-June 1965. They answer a question a lot of us were asking then: "Where did these guys suddenly come from?!?" The answer we had before this release were a glossy public relations product. "They are John-Paul-George-Ringo... They are Lennon-McCartney...They are true originals!!" So we were told. The real truth revealed in these live recordings of the early Beatles is that, musically, the Beatles came from the USA by way of movies and mid-50's to mid-60's records from Memphis, New Orleans, Detroit, New Jersey, New York and more, and became a rocking club dance band by getting the people up on their feet and keeping them up. In short, they rocked, and here are 69 recorded tracks of proof, dating from the days when they played every night in small dance venues. If you are in a hurry, remember, Live at the BBC rocks!
   
   
   Did I mention they were funny? Although I'm from Memphis, home of the blues, rockabilly and Elvis, I've been a Beatles fan since I was fifteen. In December of 1963 I got my first guitar for Christmas expecting to play folk music. But wait! After Christmas, Memphis pop music radio suddenly began to be full of hip, wry and joyfully energetic Beatle songs. They sang about life as a teenager, our life, in such a way that we "got it": "And when I touch you I feel happy inside, It's such a feeling that my love, I can't hide, I can't hide, I can't hide."; "And now it's up to you, I think it's only fair...Pride can hurt you, too...apologize to her; because she loves you, and you know that can't be bad...you know you should be glad!" They were serious, or at least real, and, they were funny. "She was just seventeen. You know what I mean."
   
   The humor of British comedy movies some of us had seen at the local foreign film theaters found its way into my high school with the Beatles. We did not know, at the time, that their mentor in the recording studio was also Peter Sellers comedy record producer. They were so new to our ears and eyes that we knew nothing but the laugh-out-loud truthful songs and the playful, hip attitude we immediately recognized as cool: our cool... `60's cool. By early 1964 they monopolized the top of the American pop charts.
   
   As revealed in Live at the BBC most performance material was apparently chosen based on their experience of the strength of the song with a live dance crowd rather than its place on the charts. I suspect much of what they played, they had rarely, if ever, heard on the radio, even Radio Luxembourg. This was because at that time, under agreements with the musician's union, English radio was allowed very little "needle time" to play recorded music. This, by the way, is why the routine about playing "Hard Day's Night" live was done over the end of the record's playback. These CDs have a lot of songs on them that were probably really new music, a turn-on for The Beatles' radio audience. Other songs seem to be personal favorites of the individual group members, whose taste is revealed in a way that later recordings of their original music homogenizes and conceals, especially George, who sings more lead and comes off funnier and more personable in this release than their records.
   
   In these recordings we find that The Beatles were clearly Elvis fans, and part of the Elvis generation of musicians, just as I am part of The Beatles' generation. On this release, they do a spot on cover of Elvis "That's All Right Mama", both vocally and instrumentally. Paul really can sound like the early Sun Records rockabilly Elvis, and George could play like a Tennessean. For you younger fans, I am not talking "Suspicious Minds" Elvis here, I mean the Louisiana Hayride Elvis. The Elvis I saw when I was six years old, playing a set in a parking lot in Memphis for the original grand opening of Mrs. Jacobs' Fawn Laundry-Cleaners at the corner of Alcy Rd. and Bellevue Boulevard (now known in memoriam as _Elvis_Presley_ Boulevard). They also have other Elvis material, "I've Got a Woman" and "I Forgot to Remember to Forget".
   
   They each had their own taste and vocal specialties. Paul sang high ranging Elvis and Little Richard, and smooth vocals like Peggy Lee's hit "Till There Was You". George and John loved rockabilly like Carl Perkins and Dorsey Burnett. John loved Chuck Berry rock, and well-written songs by several writers on an apparently song-by-song basis. George had a slightly skewed, zany, humorous taste in songs, including The Coasters "Youngblood" and the crazier rockabilly, like Carl Perkins' "Glad All Over". He clearly had a style, but at that time, expressed through covers.
   
   They clearly had not only favorite artists, but also favorite writers, like Jerry Leiber-Mike Stoller and Gerry Goffin-Carole King (who are about the same age as the Beatles and have been mentioned by John in interviews as role models for Paul and him). Many more favorites are revealed on these 2 CDs. I have really enjoyed The Beatles' Live at the BBC. In fact it's ripped and hanging around my neck, stuck in my ears right now. Did I say that there are 69 tracks?! What are you waiting for? Stop reading this and order! You can be listening tomorrow!
   
   Live at the BBC rocks!
   
   
   John Evans of THE BOX TOPS



4. Excellent addition to my Beatles collection. I would recommend it to anyone, whether a Beatles fan or not. Good variety of music. Shows the versatility of the Beatles and their music.



5. As a Beatles fan of many years, I wondered about this collection and had lots of questions. Sound quality? Turns out it isn't too bad, overall, and is better than I thought it would be. Would it be songs and lots of chatter, or less chatter? Turns out that the CD is 99% songs, with really very little chatter. This CD shows how the Beatles, in their early years anyway, were real chameleons. They covered any song that struck their fancy, be it country, rock and roll, or whatever. They were just getting started, really, as songwriters. At this stage in the game they were apparently HIGHLY imitative. Many of the songs they covered were, word for word, note for note, sigh for sigh, total copies of the originals. One real nice surprise is the number of songs sung by George in those days. His voice was really pleasant, and had some bottom to it instead of the thin reedy voice we were often treated to in later recordings. Bottom line is...if you are a Beatles fan, this CD is for you.

5 comments about Live At Leeds [Deluxe Edition].

1. First time I heard this was over FM radio wearing headphones lying in bed, listening. They played the whole thing and they had short interval of somthing weird and then played the next cut, did this for the whole album, it was 1970 somthing.
   IF you havent listened to this whole thing with real headphones without distraction, do it, trust me, do it, I would not lie.
   Good lesson for guitar players also.



2. It's The Who. Live. At Leeds University. Duh. How come you haven't bought it already? Powerful live set from seminal rock four-piece, blah, blah, sizzling energy, innovative songwriting, blah blah....Keith Moon....buy it. Listen to it. Have mind blown.



3. Amazing live album is all that i have too say for this. The drums are absoutley amazing Keith Moon is probaly one of the greatest rock drummers of all time his peformance is great here. Pete Townshends guitar is great and everybody in this is really doing great on there instruments.
   
   This may just be one of there greatest peformances of all time it has the energy and they sound just really great here i think all the live versions sound great on here
   
   If your a big Who fan like me buy this album today you wont be dissapointed...



4. Really horrible sound quality, and the band must have been totally wasted...Apparently with so many for sale , others thought the same.



5. I'm not a huge fan of The Who but this record is undeniable. The band is on fire and at a creative peak. I actually like the single disc version more than the double (I'm not a fan of the Tommy material, sorry). Everyone needs a copy of this.
   
   If you like high energy R&R like this and MC5, Stooges, Ramones, etc check out Mighty High...In Drug City.

5 comments about Arthur - Or The Decline And Fall Of The British Empire.

1. Some thirty-nine years after it's original release, Arthur still resonates as an intelligent and insightful concept album. Unlike The Who's Tommy (released the same year), this album tracks what some may consider more mundane matters but I believe it is as compelling (if not more so) as Tommy. Each track shines and the album flows beautifully.
   
   This rock album does not address the concerns of adolescence. Instead, it's about the sense of melancholy of growing older (wiser?. Arthur is not without its sense of whimsy and fun--it has whimsical moments. Mostly, however, it is a passionately performed exposition about growing older and realizing that life has not quite turned out as one might have expected. Coming to terms with the reality of one's life also figures as a theme here. No other track on this album unifies these themes as masterfully as Shangri-La which is probably one of the best rock songs ever composed.



2. 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).



3. 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.



4. 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.



5. 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 comments about Relics.

1. good complimation=great songs= you buy now
   thats all that needs to be said about this cd
   buy today people if you love psychdellic music like me



2. An album that takes the psychedelic style of the early days of Pink Floyd and makes memorable pop songs out of them. That quite possibly places the band (and this album) on the same level as the Beatles Sgt. Peppers Lonely Hearts Club Band. Do you agree? You should, because it's true! Relics is probably even better than the Piper at the Gates of Dawn. It's not perfect because of the song "Bike" but besides that one, you have a mighty fine collection of late 60's psychedelic gems.



3. Relics is really a great way to introduce yourself to early Pink Floyd. Most people become fans of Pink Floyd thanks to albums like Dark Side of the Moon, The Wall, and Wish You Were Here. As soon as they start exploring the rest of the catalog they get turned off by a lot of the pre-Dark Side stuff perhaps because they choose the wrong albums, perhaps because they don't give it enough of a chance, or perhaps because admittedly the pre-Dark Side Pink Floyd is basically a "completely different" group.
   
   This is where Relics and can be a great album to introduce yourself to early Pink Floyd. These two albums showcase the Syd Barrett led Pink Floyd, which was more psychedelic, a little strange, but really every bit as talented as the popular Pink Floyd of the later 1970's.
   
   Relics is an early Pink Floyd compilation in that it puts forth some of the great tracks from their first few albums while throwing in some B-Sides on non-album singles. The beauty of it is that the previously released tracks show the highlights of the albums Piper at the Gates of Dawn, Saucerful of Secrets, and More, the latter two which are generally inconsistent albums that can be tough to listen to if you've never experienced early Pink Floyd. The other beauty of Relics is that it provides those non-album singles like Arnold Layne and See Emily Play, which are great songs that predated Piper at the Gates of Dawn and really complement the collection (they probably should have been on Piper). And furthering the discussion the tracks from Piper at the Gates of Dawn: Interstellar Overdrive (one of my favorites) and Bike are really fantastic. Of course, once Relics grows on you, I think you'll find that The Piper at the Gates of Dawn is a fantastic album too, but that is for another review.



4. I bought this CD for my boyfriend as his 28th birthday gift, he's the world biggest Pink Floyd fan, and he was CRAZY abt it! His listened to it the MOMENT we got home & his little sister (14) even took it for a bit & listened to it herself! =) A great cd, any true fan will LOVE IT!



5. Pink Floyd's sixth album entitled Relics was released in July of 1971 in the US.
   The album was a collection of early singles, B-sides, album tracks and one previously unreleased track.
   The album featured the A sides of Pink Floyd's first two singles "Arnold Layne" (which was the band's first single release in 1967 and a UK Top 30 hit and was banned by the BBC because of the lyrical content) which is classic Syd Barrett and "See Emily Play" (which was the band's second single and reached the UK Top 10 in 1967 and first track produced by Norman Smith) arguably Syd's finest track.
   Two songs from the band's debut The Piper at the Gates of Dawn appear (those are "Interstellar Overdrive" and "Bike").
   The later three singles' B-sides (which are "Paint Box", "Julia Dream" (David Gilmour's vocal debut) and "Careful With That Axe Eugene") all appear here in stereo versions (the mono mixes of these tracks were first issued on CD on the band's 1992 box set Shine On).
   One track from 1968's A Saucerful of Secrets is represented by "Remember a Day", one of Rick Wright's best songs.
   Two tracks from 1969's More ("Cirrus Minor" and "The Nile Song") appear.
   The major reason to buy Relics is for the song "Biding My Time" which was a part of Floyd's The Man and The Journey suite performance from 1969 and a studio version was never released until Relics. The track featured Rick Wright on trombone and Gilmour's soaring guitar solos.
   Relics hit #152 on Billboard in 1971 but the album is now regarded as a cult classic and a good taster of the Syd Barrett era Floyd.
   The album was only available on cassette, 8-track and LP for many years and not on CD (I first got this album on cassette in December of 1987).
   It wasn't until August of 1996 that the album was finally released on CD officially here in the US and was remastered by long time Floyd producer/engineer/friend James Guthrie and long time Floyd mastering engineer Doug Sax. The album is a good summary of Floyd in the 1960s.
   Highly recommended!

5 comments about Meaty Beaty Big and Bouncy.

1. MBB&B is a classic Who collection, commemorating the days when the Who were a singles band. If you want to know how great a collection it was/is, do some research and find the original review of the album in Rolling Stone. The reviewer was one Pete Townshend, and he'll set you straight on just how important this collection was/is.
   
   Why is it still important? Well, God knows that there's no scarcity of Who "greatest hits" collections, but this was the first and by far the most necessary, as many of the singles hadn't been released on LP or were released on some shabby product (like Magic Bus). Furthermore, the LP is the only place you can find the extended version of Magic Bus. For some reason, this version was not used on the CD. A previous reviewer stated that was because they could only find the fake stereo master; I don't know if I buy that. This also features a GREAT extended STEREO version of I'm A Boy that is available nowhere else, and this DOES appear on this CD version.
   
   If you're a huge Who fan, you have to hunt down the LP version of MBB&B to get the great extended version of Magic Bus, but this CD is still worth the money to get this sequencing and the great I'm A Boy.



2. Almost containing all the singles realesed by the Who from 1965-1968 yet missing a few(A Quick On While He's Away, Magic Bus) But all in all its the best Who CD if you just want too focus on there early stuff. Its all here all the songs like, I Cant Explain, My Generation, The Kids Are All Right, just a great cd,
   you need this cd if you listen to the who



3. Peter Townshend described this album as the Best Who Album.
   What more could be said?



4. As a survey of the early-to-mid period Who (1965-1970), Meaty Beaty Big & Bouncy is about as good as it gets. It features the hits ("Pinball Wizard," "My Generation") and beloved album tracks ("Boris The Spider," "A Legal Matter") with generally excellent sound quality and good sequencing. Since a lot of the band's best songs from this period were released as single-only, non LP tracks, this compilation is an excellent way to fill in the gaps in your Who collection- and therefore your rock collection. Take it from me, this is fantastic music. Nothing more needs to be said. Damn, short review.



5. 
   This edition contains the previously unavailable long version of "Magic Bus", clocking in at 4:33.
   
   While I'm not the greatest Who rarities historian, I believe there was only one other CD, a long-OOP 1985 import compilation ("The Who Collection Volume 2"), that contained this LP-only-rarity.
   
   According to an excellent Who rarities site, (thewho.info/Rarities1.htm), this is a correct assumption.
   
   This track has also, along with all the other material on this 'sleeve edition, been remastered. While still only in its original LP simulated stereo, "Magic Bus" probably sounds as good as it is ever going to.
   
   This limited edition mini-sleeve is already OOP in Japan, and fast disappearing into private Who collections, so don't delay in getting yours.
   
   WHAT IS A JAPAN "MINI-LP-SLEEVE" CD?
   
   Have you ever lamented the loss of one of the 20th Century's great art forms, the 12" vinyl LP jacket? Then "mini-LP-sleeve" CD's may be for you.
   
   Mini-sleeve CDs are manufactured in Japan under license. The disc is packaged inside a 13.5MM X 13.5MM cardboard-sleeve, precision-miniature replica of the original classic vinyl-LP album. Also, everything else packaged with the original LP is precisely replicated and included, such as gatefolds, booklets, lyric sheets, posters, printed LP sleeves, stickers, embosses, special LP cover paper/inks/textures and die cuts. An English-language lyric sheet is also included, even if the original LP did not have printed lyrics.
   
   Then, there's the sonic quality: Often (but not always), mini-sleeves have Japan-dedicated remastering (20-Bit, 24-Bit, DSD, K2 or K2HD, and/or HDCD), and can often (but not always) be superior to the audio on the same title anywhere else in the world. There also may be bonus tracks unavailable elsewhere.
   
   Each Japan mini-sleeve has an "OBI" ("oh-bee"), a Japan-language promotional strip. The OBI often also lists the original album's release date, the Japan street date of that particular disc, the catalog number, and mastering info. Bonus tracks are always only listed on the OBI, maintaining the integrity of the original LP artwork.
   
   The enthusiasm of mini-sleeve collecting must be tempered, however, with avoiding fake copies of Japan `sleeves manufactured in Russia and distributed throughout the world, primarily on eBay. They are inferior in quality, worthless in collectable value, a total waste of money, and should be avoided at all costs.
   
   Also, there are older Japan mini-sleeve releases that have been supplanted with newer ones, usually with updated audio (such as JVC-Japan replacing older K2-mastered titles with new K2HD mastered releases).
   
   All mini-sleeve releases are limited edition, but re-pressings/re-issues are becoming more common with some of the Japanese companies (but, again, not always). Mini-sleeve collecting can get expensive quickly, so, if you're a novice, it is highly advisable to seek the advice of an experienced `sleeve collector!