5 comments about The Magnificent Moodies.

1. Just as there were two Small Faces. Marriot v Stewert, there were two Moody Blues, pre and post Laine.
   For me, Go Now remains one of the most enduring songs from the 1960s. The rest of the songs more or less can be found on any eary Stone,Beatles, Kinks,Who, Rolling Stones album.
   I would have loved to see the early Moody Blues evolve as the above mentioned bands did. But it did'nt happen.
   The second Moody Blues were the pot smoking LSD type songs Nights in White Satin, Timothy Leary's Dead. Brilliant? Personally I could tell them where they could ride their seewaw!
   Unless you are a big fan of early English R&B or this is the only way to get your hands on Go Now, I would pass.



2. The original Moody Blues -- guitarist and principal vocalist Denny Laine, pianist/vocalist Mike Pinder, drummer Graeme Edge, bassist Clint Warwick and Ray Thomas (wind instruments, vocals) -- had only one hit single in 1965. That song, a cover of Bessie Banks'"Go Now", would prove impossible to follow up. Neither the following singles or the LP "Magnificent Moodies" would come close to reaching the top 40 in the US or the UK.
   
   Repetoire has now reissued the 12 track album on this CD, along with 14 other tracks that had been released only on singles, many only in Europe -- all the songs recorded by the first lineup. This reissue is the first to contain the French EP track, "People Gotta Go", by far the rarest Moodies track. It's pretty typical British Invasion music, with the primary distinction being that the sound is centered more on Pinder's piano than guitar.
   
   When listening to this stuff, it's understandable why this version of the group never really made it -- they weren't all that good. Laine was a very soulful vocalist and Pinder an OK pianist, but the guys, even for the era, were very limited musicians. Some of the covers sound pretty thin, and Laine/Pinder weren't exactly Lennon/McCartney in the songwriting department. Besides the wonderful "Go Now", there are only three other tracks that rank up there as classics. "Time Is On My Side" is a more upbeat version than that by the Stones; "From the Bottom of My Heart" is a haunting acoustic number; and "Boulevard de la Madeleine", their next to the last single, is a gorgeous ballad. This is the only track here that hints at any progression or sophistication from the band. By the time it came out, though, Laine and Warwick had left, resulting in two key replacements that would eventually catapult the group to a new level of sucess.
   
   Moodies hardcores will want this CD. Otherwise, very few Moody Blues fans would consider it worth the effort, even though there are a few gems here.
   



3. This is the real stuff, the Denny Laine-led Moody Blues, proud part of the British R&B Invasion. Don't be fooled by the post-Laine hippie band.



4. I have been eagerly awaiting Repertoire's new updated "Magnificent Moodies" (REP-5077), which arrived today.
   
   Tracks are:
   1.I'll Go Crazy
   2.Something You Got
   3.Go Now!
   4.Can't Nobody Love You
   5.I Don't Mind
   6.I've Got A Dream
   7.Let Me Go
   8.Stop
   9.Thank You Baby
   10.It Ain't Necessarily So
   11.True Story
   12.Bye Bye Burd
   13.People Gotta Go
   14.Steal Your Heart Away
   15.Lose Your Money (But Don't Lose Your Mind)
   16.It's Easy Child
   17.I Don't Want To Go On Without You
   18.Time It On My Side
   19.From The Bottom of My Heart (I Love You)
   20.And My Baby's Gone
   21.Everyday
   22.You Don't (All The Time)
   23.Boulevard De La Madeleine
   24.This Is My House (But Nobody Calls)
   25.Life's Not Life
   26.He Can Win
   
   The original Moody Blues recordings have always sounded murky and second (or third) generation, and unfortunately, although they DID make some sonic improvements, they still sound pretty awful. (I read somewhere that Mike Pinder, an original member was quoted as saying that these sides were professionally recorded on multi-track and he doesn't know why they don't sound better....)
   
   Here's what they fixed:
   
   "I've Got A Dream" - brighter than other reissues...more like other tracks.
   "Stop", "Everyday" and "You Don't" - they got rid of most of the tape hiss.
   "People Gotta Go" - a rare track only issued on a 1966 French E.P. It was recorded at the final Laine session.
   
   Here's what they HAVEN'T fixed:
   
   "Boulevard De La Madaleine" - I believe that is the correct spelling...not Madelaine and this track NEVER faded in (taking nearly 20 second to get up to the proper audio level....only after John Tracy did the original Decca/London anthology in 1988. BEFORE that reissue, the UK single, the US single and the rechanneled track on "World Of" LP did NOT fade in.)
   
   John Tracy's late 1980's reissues, besides containing silly liner notes, had an engineer that enjoyed fading in tracks that started at full volume. (This is occured on "Something Better" by Marianne Faithfull and "Laughing Fit To Cry" by The Fortunes.)
   
   So....their reissue is about the best I've heard on CD, and contains all 26 tracks The Denny Laine-era Moody Blues recorded...but not the sparkling quality I've come to expect from Repertoire.
   
   Pity....a major disappointment for me....The Denny Laine Moody Blues sessions are among my favorite 1960's UK recordings....BUT STILL WORTHWHILE BUYING.



5. The Moodies started as a combo of Brummies Mods, studying religiously the black scene of the era, James Brown, Sonny-Boy Williamson and Gloria Banks (whose "Go Now" became a number one hit statesides). Their Lead singer, Denny Laine, co-wrote the bulk of their repertoire before leaving the band in 1967. This release includes their debut album, 12 r'n'b tunes very representative of the mid-sixties english sound ( check also the Nashville Teens) plus their entire production before embarking on a drastic change of musical direction under the baton of their new singer, Justin Hayward. Denny Lane will join later Wings to become one of their pivotal members.

2 comments about Treasures, Vol. 1.

1. If you are a serious Petula Clark fan, as I am, you probably have most of the songs on this failed collection (a "Vol. 2" was never released), but there is one track here that is REALLY hard to find: "Oxygen." This should have been a huge hit. I am a DJ, and whenever I play this track at parties, people stop whatever they're doing and take notice. It never fails to prompt someone to run up to me and ask, "what is that?" Not really a dance track, it does have a vaguely 80's disco feel, but perhaps the best description I can come up with is that it's like Petula meets Jean Michel Jarre. If any of you fans out there can tell me what the original source for "Oxygen" is, I would love to know; I Googled it a while back, and came up with nothing more than listings for this collection, and one other compilation. Clark's official website lists a remix of it, too, but I was still unable to get much more info. Petula sounds great, here; the song is very different for her, and if there has ever been an entire Pet Clark album of this style of music, I would love to locate it, but of course, I need a title!
   
   The rest of this set is pretty good, and it only includes a few songs that have been available on lots of other collections, so if all you have is one of the more common greatest hits CD's, and you want a little more from Petula, there won't be many repeats here.



2. This is a compilation put together by the Scritti Brothers that never seems to have gotten any notice, and so a follow up was never done(this, according to a note I received from the company in response to an inquiry). There are several cuts here that are really worth having for anyone who truly loves her work as much as I have.
   "Oxygen," (produced by the Scritti Brothers) makes a terrifc opening cut with a very warm and full sound worthy of Petula's voice. It makes me wish the she would record more often and more stuff like this. You can say the same about, "City of Dreams," which harkens back to,"London Town."
   "Love Won't Always Pass You By," though not as compelling as, "Oxygen," and "City..," is yet another terrific cut, along with, "Gypsy." The surprise addition of the long-forgotten, "American Boys," was a real charge. In case you don't remember (I certainly had forgotten it), "American Boys," was a slightly childish but charming ditty about the appeal of American boys which she released at the end of the Sixties. The song was the last of her string of American singles and marked the end of her radio play here.
   "You and I," from,"Goodbye Mr. Chips," is a wonderful way to end the CD and ends it with a truism: that she and we, through her music, will, "travel on together."

   I don't believe my collection of Petula's work would be complete without this and it has a special place in my heart. You owe it to yourself to get this one! For love of her voice.

1 comments about Singles 1963-1965.

1. This is the UK singles box set. It includes the Stones' British singles and EPs (extended play) in the order of their release. For those of the CD era, EPs were popular in the UK in the 1960s and the Stones used them very effectively as what today you would think of as mini-albums. For example, their first EP was known simply as "The Rolling Stones EP" which was part of their innovative idea not to give a name to their albums....their first full album was also un-named. The first EP brought them to prominent attention with their powerful renditions of Bye Bye Johnny, Money, You Better Move On, and Poison Ivy. Except for You Better Move On, these tracks were not released in the U.S. until 20 years later when retrospectives began to be offered.
   
   This CD is a limited edition box set that includes 12 CD designed to replicate the original vinyl releases. They include the original picture sleeves (most now very expensive collector's items) and the 3 EPs are released here in their original format for the first time on CD. The box also includes 3 photo cards and a 28 page booklet with exclusive linear notes.
   
   This is one of the best box sets I've seen ever, but it is for collectors only!

3 comments about Nite Flights.

1. This is more of a Scott Walker album than a real Walker Bros album so Walker Bros fans may be disapointed by the content if they are more used to "The Sun Aint Gonna Shine Anymore" and "Make It Easy On Yourself". However Scott Walker fans will find more to celebrate here with astonishing tracks like the epic "The Electrician" (my own personal fave from this album).
   Interesting stuff indeed.



2. When THE WALKER BROTHERS unexpectedly reformed in 1975 with the album "No Regrets", it did seem for a brief while that they may just be capable of reaching the kind of dizzy heights they peaked at in the Sixties, especially when the title track "No Regrets" became a smash hit. By the time the next album, "Lines", was released in 1976 however, any such thoughts became fairytales.

   The final album in the reformed WALKER BROTHERS tenure was quitely unleashed in 1978 under the title of "Night Flites", and was quickly forgotten. Unlike it's two predecessors though (which whilst enjoyable were certainly not Scott Walker at his most prolific), "Nite Flites" began the transition for Scott which saw him completely leave behind the Scott Walker of the Sixties, particularly the persona from the the first three WALKER BROTHERS albums. The fact that Scott always seemed to hate having to deal with the fame of being a "pop star" made this progression inevitable, and the often touted inaccessability of his self-penned material on his two solo albums after "Nite Flites" (on 1983's "Climate Of Hunter" and 1995's "Tilt"), actually can be heard unexpectedly on this, THE WALKER BROTHERS final album.

   Viewing "Nite Flites" as a whole, I would only rate the album with 3 stars, as the only tracks of real note are the first 4 out of a total of 10. These four stand-out tracks are the only ones written and sang by Scott, and it certainly shows. Whilst the 70's disco influence threatens to invade both tracks 1 and 3 ("Shutout" and "Nite Flites" respectively), they are nevertheless brimming with cutting lyrics which seem to float around, trying desperately to interlink with each other whilst fighting to find a deeper meaning. Both songs are backed by a rock/pop beat, and yet like so many of Walker's output, hide a much darker and deeper tone than at first may be apparent.

   If these two songs would have lovers of only the more commercial pop style of the sixties WALKER BROTHERS confused and disillusioned, then tracks 2 and 4 would have them turning off their stereos in sheer disgust! For "Fat Mama Kick" and "The Electrician" really do push THE WALKER BROTHERS further than they were actually equipped to go. By that, I mean simply that they are purely the mind of Scott Walker - personal, complex songs that relate to drug use and are admittedly difficult for the average listener to fully comprehend. John Walker and Gary Leeds simply have no function in this arena, and it was inevitable that this had to be the last album for the group.

   The remainder of the album are lacklustre affairs written and performed by John and Gary, with Scott assisting on backing vocals and playing the occasional keyboard or guitar. Granted, none of them are particularly dreadful, and the disco drenched album closer "Child oF Flames" is a lot of fun, but when you realise that whilst listening to the lyrics that both John and Gary are almost trying to compete with Scott's unique, poetic style of writing, the whole affair becomes almost laughable. Neither Gary or John have the expressive voice to carry off even "second-rate" Scott Walker style songs, so allowing them to perform and write the last six songs is all too foolhardy, and has you believing that the entire album is pretty average.

   "Nite Flites" is certainly not just average fodder however. For the first four tracks it has the listener spellbound as they try to comprehend what dark journey Scott is asking them to follow (and believe me you get something new out the songs every time you listen to them, as if unravelling some chinese puzzle). The remainding Leeds/J Walker compositions do seem out of place though, and make you realise that the time had come for Scott to break up the band once again, and thereafter embark on his remarkable masterpieces that are "Climate of Hunter" and "Tilt".

   Within THE WALKER BRORTHERS cannon then, "Nite Flites" does stand alone. It's like nothing else the band ever recorded, and whilst doesn't rank with either "Take It Easy...", "Potrait" or "Images" (the sixties albums), is still well worth purchasing, if only for the first four tracks!




3. I have been a fan of the Walker Brothers since about 1965, and was thrilled when this album came out several years ago. I purchased it and have played it about three times since then. They have not aged well.

4 comments about The Universal Masters Collection: Classic Moody Blues.

1. Another brilliant Moody Blues compilation. This time there are a few different songs on this one that are not normally on other compilations. One song that I don't care for on this compilation is Sitting At The Wheel. It's a good song if you hear it likie we're used to hearing it but the version on this compilation is over 7 minutes long and is a dance mix. Moody Blues songs shouldn't be butchered like this. Other than that, great compilation.



2. Here is a Moody Blues collection, similar to their other Best Of releases, featuring tracks taken from nearly all of their original albums.
   
   This CD features the mix of "Your Wildest Dreams," from the original CD version of "The Best Of The Moody Blues," where the song goes from stereo into mono for a brief second (At 1:42 in the song).
   
   We also get the 1989 orchestral remake of "Question," which originally appeared on "Greatest Hits"/"Legend Of A Band" ... A shame that this collection didn't feature the orchestral version of "Isn't Life Strange" as well, for something a little different.
   
   The "Classic 7" era, on this compilation, is represented by "Voices In The Sky," the original version of "Isn't Life Strange," "Gimme A Little Somethin'," "After You Came," "Watching And Waiting," "Dear Diary," "A Simple Game," and the non-orchestral version of "Nights In White Satin." Many of these tracks feature the marvelous sound of Mike Pinder's mellotron. :)
   
   There are short versions of some of the tracks (Possibly single mixes), including "No More Lies," which leaves out the extended instrumental ending from the original version, "Driftwood," and "Talking Out Of Turn" (The shorter mixes that were featured on many Best Of collections).
   
   On this occasion, Justin Hayward and John Lodge's "Blue Jays" is represented by "I Dreamed Last Night," one of the major highlights of the album, and an outstanding orchestral track.
   
   Possibly the biggest bonus you get on this release is an extended, remixed version of "Sitting At The Wheel," which I've never heard before until I purchased this CD ... It's over 7 minutes long, and is every bit as energetic and enjoyable as the original mix, from "The Present." This track alone is the main reason to buy this disc!
   
   Two entries from "The Moody Blues Anthology" reappear here, the 4 minute orchestral mix of "Bless The Wings (That Bring You Back)" and "Highway" (Also featured on "Time Traveller").
   
   The only fault I've found, concerning this CD, is that many of the tracks (Most notably "Watching And Waiting," "Highway," and "A Simple Game") fade out a few seconds earlier than on their original releases and appearances on other compilation albums. Maybe this was done in order to fit more tracks on the disc? I would rather a shorter song list with the full length of each track.
   
   On the up side, and to wrap up, this is a fine Moody Blues collection that breaks away (a little bit) from the usual track list of greatest hits ("The Best Of The Moody Blues"/"Gold"). You get some hits mixed with other fantastic tracks not included on many Best Of releases ... A wonderful assortment of classic Moody Blues songs that range from "Days Of Future Passed" to the "Keys Of The Kingdom" era. Thanks for reading. God Bless... :)



3. Made in EU in 1999, Serial# 541-088-2, Playing Time 77:43

   Yes, the people at that record company give us yet another compilation of the MB. This time, the content is identical to the 1998 "Master Series" CD, with a few tracks re-organized.

   As a MB completist, I am a bit surprised that some of the alternate versions presented here are not credited as such; so here's a quick rundown of the content:

   There is 1 song taken from each of the MB albums between "Days Of Future Passed" and "Time Traveller", but some have received a "special treatment": track 3, originally released on ISOTLC, has been remixed for their 1989 "Greatest Hits" album; track 5, originally on "Sur La Mer", is here in its 7-inch single version; track 6 is from the "Blue Jays" album; track 7, from "The Present", has been remixed to 7:31 by Steven Greenberg; track 8 is one of the 5 extra tracks included on the CD release of "Caught Live"; track 9 is an orchestral remix of the song originally on KOTK; track 10 is a shorter version of the song on "Octave"; track 12 is also a shorter version, originally on LDV; track 16 is from a 1968 single, and finally, track 17 is the single version of the classic track from DOFP.

   To the MB uninitiated, the content of the disc gives a broad perspective of their career; for the completist, it includes versions unavailable on CD elsewhere.

   It is however somewhat difficult to try and review 30 years of music on a single disc.




4. Since about 25 years I am a fan of the music of The Moody Blues, and of course I have all the albums of the group. Normally I am rather sceptic to compilations because many times the elections of songs differs from my taste and normally many compilations and livealbums have more or less the same songs leaving many good ones on the side.

   The compilation of this album is rather different and I am quite happy with it. It is also interesting that The Moody Blues is one group of many in this series of CDs. There is no cronological election, neither are all songs from the normal series of MB albums.

   The versions of "Question" and "Sitting At The Wheel" are not from the albums, but are different. Especially the second is a very remarkable different mix from the version of the album "The Present" and actually I enjoyed this mix very much. I was stunned that the MB had made such a different mix of it and I think it is important in the collection of every MB-fan.

   Personally I am very happy that "Driftwood" is one of the presented songs, in my opinion one of the best songs of Justin Hayward ever. Furthermore the rather good "Highway" and "Gimme A Little Somethin'", the latter a song I do not understand why it did not get a place in one of the albums of MB. From the hand of Mike Pinder the album has only got "A Simple Game", a song that did not find its way to a MB-album either.

   I was very satisfied with the election of songs for this compilation and I am happy that the person who made this, had the guts to make a rather different combination of songs that most of this kind of albums. It is rather boring to get more or less alwas the same songs.

   It also important to say that the songs are digitally remastered.

   In the innersleve are some words of Daryl Easlea (the person who elected the songs?): "... this collection serves as an exellent overview to the Moody Blues career ... The music has a timeless quality that enables The Moody Blues to sound fresh today and make them ripe for revaluation, proving that songcraft and respect for your fans is more important than critical acceptance".

2 comments about An Apple a Day: More Pop Psych Sounds from the Apple Era 1968-1970.

1. Two things you need to know before ordering this disc:
   - Most tracks were taken from acetates and the sound quality is very dicey;
   - There is a reason you've never heard any of these songs.
   
   That having been said, there are a few amusing tracks but most are lackluster 1968 "product". This is for devoted fans of soft Brit psych-pop. Wait for a used copy under $12 to pop up and you'll probably feel that you've gotten your money's worth.



2. This is the second volume of recordings of songs by writers signed to the Beatles Apple Music Publishing company. Though most of the artists contributing to the CD are pretty obscure with a very limited recorded material behind them, there are a few exceptions.
   
   The Iveys, who later changed their name to Badfinger, are represented with four mod-inspired recordings quite unlike the material they originally released the group. Though all very much time-pieces quite interesting material, with Pete Ham's "Black and White Rainbows" as the strongest track.
   
   George Alexander of Grapefruit wrote two songs for the CD; none of them recordings by Grapefruit, but both among the strongest recordings on the CD.
   
   Songwriting team Gallagher and Lyle wrote four songs; three of them their own demos. Quite obvious that they were already at that time great songwriters. The Hollies sounding tracks "Technicolour Dream" and "Ivy Unrehearsed" are my favourites.
   
   The obscure band "The U No Who" who later turned into "Bachdenkel", deliver some of the very best recordings to the CD. Quite amazing that Apple did not offer the band a contract. Their title-track "An Apple a Day" is a very catchy song; their music both melodic and complex. Their other two at least as strong.
   
   All in all a fine collection of music from the 1968-69 psychedelic years in British pop-music.

5 comments about The Yardbirds.

1. The Yardbirds are remembered, by some, as the musical group which produced Eric Clapton, Jeff Beck and Jimmy Page. However, it was Keith Relf who founded the group and led its direction. His writing, singing and harmonica playing fostered and encouraged the direction of the group.
   
   The DVD "The Yardbirds" is NOT a mere black-and-white documentary of the group's history. It has many color parts which feature actual, on-camera narration by the groups members, producers, etc., which make it VERY up-to-date and informative. The music is absoultely wonderful too.
   
   Don't miss the live performance of "The Train Kept a'Rollin'" which is about half way through the video. When you see and hear this you will know that Keith Relf was the energetic leader of the group. Notice how he "works" the audience also. He WAS the Yardbirds !!!
   
   This is a truly great and historical video of, perhaps, the greatest blues-rock band the world has ever seen. If you love Clapton, Beck and Page you need to own this video to understand how it all started.
   
   David Fox



2. I was so disappointed bought it in a local store for my husband for Xmas who is a big Yardbirds fan and didn't read the reviews in here which I always do.... SHAME ON ME! The interviews were very good, however, the music was terrible ... the sound quality poor. Probably never watch this one again.



3. I bought this because I am in awe of Jeff Beck. This has plenty of recent Beck interviews, as well as J Page. That alone made this worthwhile for me.

   In addition, there are fairly complete live performances of some of the Yardbirds' greatest hits. The documentary narrative cuts into some of them, but some are played in their entirety and most important pieces are represented. There are clips of what must be a 12 year old Eric Clapton!

   A must have for all students of how rock was born!




4. This looks like a straight transfer from a VHS tape that was released in the early 90's, and evidently Rhino did nothing as far as remastering either the video and audio, and that is very disappointing. Most of the video clips are grainy and of terrible quality. Seems Rhino could have put in a little effort and found better segments. Overall, it's a pretty good, if brief, history of how the Yardbirds came together, but little care went into video/audio quality. From now on, it'll make me wary of any future documentaries of this type from Rhino, who normally excel at music CD remasters, but have greatly disappointed me in their DVD music documentaries.



5. Thought/hoped this would be a collection of footage from various TV programs. It was, but only in part. It's a documentary, mostly interviews of all the former members (except the late Keith Relf). Lots of good footage, I suppose, and not as big a RIP as "Cream -- Farewell Concert", but disapppointing still. Could've had the complete performances, sound-stage, lip-synced, whatever, notwithstanding, with the interviews and all as an adjunct or separate channel (it is, afterall, supposed to be a DVD.)

4 comments about Gimme Some Lovin': Live 1966.

1. I agree with the others about the quality of the Spencer Davis Group performance and would like to say that Steve Winwood's rendition of Georgia On My Mind alone is probably worth of the price, however there is one linguistical correction - Spencer Davis Group are playing in Finland and the annoying subtitles are in Finnish, not German.



2. When I'm on my deathbed and pondering the meaning of existence, I'm going to remember watching film of the eighteen-year old Steve Winwood singing "Georgia on my Mind" with acne and effortless soul. I go to it every so often to get hopelessly lost in thoughts of love, youth, song and the earth. It's a song about a song (so is Hoagy Carmichael's other gem, "Stardust," but he didn't do the lyrics for either one); it's a song about a particular place; it's about love; and it's sung with exquisite innocence by the very ancient spirit inhabiting dear young Winwood. (FYI It was originally written about Carmichael's sister Georgia, but has come to mean the state.) Winwood steals Ray Charles's intonation completely here (Charles did his version six years earlier in 1960), but no matter. It works. It's wonderful. Just skip to that one track. If you have a taste for rock and roll and above all if you remember the tunes, watch "I'm a Man" just before it and "Gimme Some Lovin'" just after it. Icing on the cake. I don't even care for rock anymore--I like electronic music and various other modern styles--but I once did (I'm Winwood's age) and this is epic stuff.
   
   It's worth noting that Winwood's keyboard work is fantastic, too.
   
   I'm no expert but I think the cinematography is ahead of its time, with ultra-close-ups and some fade-ins that are impressive. I suppose I should give this documentary some demerits **as a documentary** but as an experience in DVD watching with a fast forward button, I say it's seven stars, or twelve.



3. Gimme Some Lovin' Live 1966 consists of two sections. Only one is actually the band `live in 1966', the other being a documentary filmed for German television. Titled `With Their New Face On' (also the title of their first post-Winwood album), it takes up 58 minutes of the discs 92 minute running time. The documentary features band members Spencer Davis, drummer Pete York, guitarist/vocalist Phil Sawyer and organist Eddie Hardin. Basically, it consists of footage (with German narration) of the band rehearsing, working on material, clowning around and performing on-stage. While interesting from a rock history perspective, it's unlikely to generate repeated viewings by many. One scene, in fact, is almost painful to watch: Phil Sawyer recording a beverage commercial (`Great Shakes') to the tune of `I'm a Man.' Although Hardin and Sawyer were fine musicians, and nearly filled the instrumental gap left by Winwood, the loss of his voice simply could not be overcome.
   The other portion of the disc (and the reason to buy it) consists of the original Spencer Davis Group (Davis, York, Muff and Steve Winwood) performing live before a small audience in Germany. Unlike many rock-oriented shows of the time (Shindig, Top of the Pops, etc.), the band actually played and sang. No lip-synching here (musicians were paid less to do this than if they actually performed live). Truly, the SDG with Steve Winwood was one of the great British rock bands of the era, and the eight songs contained here prove it. Great live versions of such blockbuster hits as Gimme Some Lovin', I'm a Man and Keep on Running, along with vocal and instrumental showcases such as Georgia On My Mind (Winwood's organ work is especially impressive on this number), Together Till the End of Time and When I Come Home are a joy to see and hear. The blazing blues guitar riffs provided by Winwood on tunes like Mean Woman Blues and Dust My Blues (with Spencer Davis on vocals) are impressive, especially considering that he had only begun to play guitar a few years earlier (in the Winwood biography `Roll With It', brother Muff, who practiced hard to learn the instrument, describes when Stevie first picked the guitar up, saying "it's not so hard" and proceeded to play like a pro, much to his brother's chagrin).
   There's also a very interesting interview between sets, with the band eating, drinking and smoking (everybody smoked like chimneys) while being interviewed.
   The one complaint with the live set (mentioned by another reviewer) is that there are German lyrics superimposed at the bottom. Aside from this distraction, the sound and image are quite good, and fortunately, the camera work was also very well done.
   Various songs by the original SDG have appeared on rock compilations over the years, but none can hold a candle to this. If you're a SDG/Winwood fan, this is a must-have.
   I would have given it a higher rating, but the documentary takes up too much of the disc playing time to justify it.



4. Great black and white footage of the classic SDG, including the Winwood brothers, Pete York and Spencer Davis. its worth the price of admission to see these rare shots of Stevie Winwood in his prime, including his singing, organ AND guitar playing (his use of a white strat is reported as a motivation for Clapton moving to that instrument). The DVD also reminds viewers of the blues roots of the Spencer Davis Group. The reason I gave this a four star rating is because the songs include the annoying lyrics of each song written in German at the bottom of the screen as they are performed (taken from a filmed German performance). A real drag, blemishing an otherwise wonderful DVD. The second part of the DVD is a documentary focusing on the first of a number of post Winwood brothers versions of the band. I regret that the version shown did not include the guitarist Ray Fenwick (I saw that lineup in the late sixties). He is a great unheralded (in America) British blues-rock guitarist. It is a curiosity why the Spencer Davis Group never rose in popularity in America beyond their two major hits (I'm a Man and Gimme Some Lovin). This DVD reveals some of the reasons why that neglect is unjust. My recommendation on this one is to purchase it for the content BUT ONLY IF you can stand the irritating lyrics text on the screen. Hey, why did they not edit that out in the digital remaster??!!? A shame!

2 comments about The Roaring Silence.

1. Facts: This album contains the full length version of Blinded By the Light. It contains the shorter version as well. It contains a version of Spirits in the Night, also written by Springsteen. It contains originals by Manfred Mann's Earth Band in addition to these covers.

   Opinion: I bought this album because it had Blinded by the Light and I wanted to see if the other stuff that this Earth Band did was any good. I found myself disappointed. Singing the Dolphin Through's lyrics meant nothing to me and I found it to be slow build-up to very little. Waiter... I consistently find a very annyoying instrumental with no structure to hold it together and it hurts my ears to even think of it. The Road to Babylon, although with more lyrics that hold no meaning for me, I found to be gentle to listen to (and over too quickly with an abrupt cut-off). This Side of Paradise was tolerable because structure had been found again and I enjoy the sound of guitars over the sound of synthesized noise. Starbird laughs in Waiter...'s face because it shows the dueling (I don't know a word that applies to a competition involving more than two instruments) of strings and keys and whatever synthesized bunches are thrown in there. Questions is a bitter sweet end to what seemed like could have been a good album. I feel like there's a theme swimming around in this album somewhere, but I don't want to bother to go swimming with the dolphin's to find it. If you have Spirits in the Night performed Live by Springsteen and the E Street Band from 1975-1985, you have a better version. And I don't know why the shorter version of Blinded by the Light is put on here. It's a waste of space. And since I still have space to write, I'll say I comprehend approximately 75% of what Thompson is saying in these songs.




2. I consider this a great album, well beyond the popular cover of Bruce Springsteen's "Blinded By The Light." The music is a unusual mix of rock, synthesizers and gravely vocals. The overall effect might be called mystical, especially on tracks like "Singing The Dolphin Through" and "The Road To Babylon." Another favorite of mine is "This Side Of Paradise." All of the songs are memorable and the only one I'd skip is the frantic instrumental, "Waiter, There's A Yawn In My Ear." I was glad to see this album finally out on CD after many years.

3 comments about Live at Kelvin Hall.

1. I have to disagree with anyone who feels that this recording is bootleg quality because this album sounds a hell of a lot better than recordings, official or otherwise that are sourced from an audience recording. The issue is that live recordings were in their infancy at the time so naturally you are not going to get the same quality as a modern live concert. That said it is a fascinating recording. The more rocking numbers such as "You Really Got Me" come off better than the more introspective songs. The Kinks did put on a good live show but live they were not all that different from in the studio (unlike say the Who, who would turn songs into extended jams live). Live at Kelvin Hall was recorded as the Kinks were ending their pre-punk phase and entering their most interesting period, 1966-70 where they rightfully deserved the title of the English equivalent of Bob Dylan, rather than the insufferable Donovan. Obviously, one of the drawbacks of the recording is the audience of screaming fans who just won't let up. The Kinks at this point obviously tired of concert goers who were idol worshippers instead of actual fans (but didn't have the clout of the Beatles or the Stones to stop touring)decide to have some fun on "Sunny Afternoon" and ask the audience to sing along (which they do). Two years later, the Kinks would regain the right to tour in the U.S. again (which they had lost due to conflicts on the 1965 tour) and by then they would be a more sophisticated and "well respected" band but that's another story...



2. This is a great collectors CD showcasing the great Kinks live at home in the outrageous 60's at thir heyday..Similiarly like the Stones,Got Live If You Want It CD,(in feel,not actual technical recording issues) these live documents are made for collectors and for ravers because the sound is usually average at best.When it comes to great sounding live cd's overdubs are a natural..
   It is nice to hear both mono and stereo versions of the CD and to know this is live..the book and photos are nice..like the remaining Pye re releases on their early catalogue you won't be dissapointed as to the quality and sound.
   The song selections are good and the era is the Face To Face period when the Kinks began experimenting with a bit of Indian Music,a touch less blues, more introspective sounds and lyrics, getting ready for their defining greatness to be found on such classic releases such as Something Else,We Are The Village Green, Arthur,Lola,Muswell Hillbillies etc. when the Kinks started to morph in earnest into the less angry more interior band they became.



3. A truly great show by the Kinks at the start of their career, and this release is the best you could own. The problem with it is not in the reissue. Castle has done it's best to make this listenable, and even includes both the mono and stereo versions of the album, which is great. The problem is that the original recording sounds almost like it's a bootleg recorded by someone in the audience. This is good in that it has a kind of raw feel to it that makes it seem like you're actually there, but for the most part, it's hard to listen to. The crowd is frequently louder than the band, and the overall sound is rather flat. I would reccommend this to any Kinks fan simply because it's all that is available of the Kinks performing live in this era of their career, but be warned - it's rough.