5 comments about The Rolling Stones Now!.

1. You don't want to get mixed into a lot of nonsense that people can't stop jabbing about, saying things like "THIS is what BRIAN JONES' stones sounded like," or "The REAL Rolling Stones." Don't listen to any of that snobbish nonsense :)
   
   What you do want to do is buy this CD and enjoy it. It's a very enjoyable record, simply because all of the songs are quality rock music.
   
   This is a really nice record. Put it in your stereo and rock out!



2. This album shows how the Stones sounded back in the day. But it really sounds fresh today and that makes it fun to listen to. The band had a blusier edge back then. There aren't a lot of songs you're likely to know unless you're a true Stones fan, but every cut on here is a classic just the same. If you're looking to increase your knowledge of the Stones' work or longing for more of their earlier sound, this album will not disappoint. It brings back memories of how these guys sounded before flower power and stadium rock. The grittier side of the British Invasion.



3. The Rolling Stones-Now! ****
   
   Released in 1965 this was The Rolling Stones third LP release. While still at this point in their career they were mostly playing covers as they had yet to develop the chops for what would become the greatest songwriting duo in rock n' roll history.
   
   The covers may not be original but they show great talent and taste. Keith's and Brian's guitar playing on 'Mona' and 'Down The Road Apiece' showcase two of the instruments all time greats breeding new life into already classic songs. 'Little Red Rooster' became more of a Stones classic then anyone elses, they truly made it their own. Wyman and Watts hold down the tight rhythm while Mick Jaggers legendary drawl of words was working the vocals.
   
   But aside from the covers the band did write a few great tunes like the tender 'Heart Of Stone' and the rocking 'Surprise Surprise' were both great. Especially the former which went on to be a #19 hit single in its day.
   
   The Rolling Stones Now! is always a refreshing listen. To journey that far back and that early in the bands career and still hear how great they sounded even then shows why they are where they are now. This album even though is made of mostly covers shows what was to come from the band and for that I think it is important for every Stones fan to hear.



4. If you're buying Rolling Stones Now! you are likely replacing an older version that you've lost or damaged. Don't wait, don't delay, you will appreciate the SACD remastering even if you don't have a SACD player. The old songs have gathered new strength while you've been just sitting there dreaming of your glory years.



5. This is The Rolling Stones the way they were meant to sound before that bozo Andrew Loog Oldham conspired with Jagger and Richards to steal Brian Jone's blues band. They spent 3 or 4 years trying to one-up the Beatles (they never did). What a shame because something very special was lost I think. I don't think I've ever heard white boys from this era sound so black. Those three "men" destroyed Brian Jones, first stealing his band and then Richards stealing the love of Jones' life. Of course the guy was a mental wreck. Anyway, enough of that. Let's get on with this review of The Rolling Stones Now!
   
   The first time I heard this was in the fall of 1965 (I think). My sister joined a record club (without telling my parents) and this was one of her selections. She caught hell but I got to listen without remorse (ha!). Eventually my sister left home and didn't take this with her (maybe I hid it?) I was nine years old at the time, but a very sophisticated nine year-old with discriminating tastes. Everybody else loved those Beatles dudes. I always liked The Rolling Stones. Anyway, given that this was the very first Rolling Stones record in the house (what a great one to start with eh?) I'm very biased. I believe this is the best of their early material and that includes Aftermath (UK version of course!)
   
   This is great stuff, The Rolling Stones are firing on all cylinders here. Unlike other early Rolling Stones releases, "Now!" does not include a single stinker. In fact, the material is played with such strength that it's hard to pick the best cut (I'm a musician myself and can usually pick out the strong cuts from the filler). I guess I'm kind of partial to "Mona" but I love them all. If I had to pick one track that was weaker than the others it would be "Surprise Surprise" but it's still strong material. Anyway, that old Lp of mine is long gone so I'm thrilled to have this music once again.
   
   If you want a taste of the early Rolling Stones this is the CD for you. This is definitely the best from the band that was still adhering to Brian's original vision. Such a shame he let the drugs ruin him and helped him lose his position of leadership.
   
   I would definitely place "Now!" among their top releases along side "Aftermath", "Beggar's Banquet", "Let it Bleed", "Sticky Fingers", and "Exile on Main Street". If you can, try to get the beautifully packaged "digi-pak" 2002 remaster. It's just a very nice presentation. But it's the music that counts so if you get the jewel case, I'm sure you won't be disappointed as long as you get the 2002 remaster.
   
   Postscript: I've had this for a couple of weeks now and I cannot stop playing it. My collection includes everything from Miles Davis to John Coltrane to Frank Zappa to King Crimson. I typically like jazz and progressive music but I do have a weakness for blues as well, especially Muddy Waters. This is The Rolling Stones the way they were meant to sound. This is Brian's band.
   
   Three weeks later and it's still getting heavy rotation, many more than "Out of Our Heads" for example. I love this one!!

5 comments about The Who Sings My Generation.

1. I chose this CD as my 300th review for many reasons.
   
   My Generation, that one song itself is one of, if not the best example of The Whos highly charged loud, fast, rebellious music.
   
   Keith Moons drums pulsate and punctuate the lyrics and rhythm. When listening to My Generation, my pulse fluctuates to the beat, the adrenaline rush runs through my veins and summons my feet to dance.
   
   Keith Moon has been dead thirty years this September. The last big bam in rock. Keith Moon, a.k.a. Moon the Loon remains the epitome of rock bad boys. Leaving a generation in mourning, yet hasn't ceased influencing future drummers.
   
   Time has been good to this CD. It's still up there with the best of rock. A celebration of freedom, youth and their generation.



2. Though they came a little too late to dominate the British Invasion led by The Beatles and The Rolling Stones, The Who were still one of the most important and enduring groups of that era. While the Beatles were into pop and the Rolling Stones were into Blues, The Who were were a hard rock and they played with an almost punk like attack. Of course they would later go on to craft rock operas a la "Tommy" and "Quadophenia" but at the time "My Generation" was released they simply wanted to smash their instruments to the beat of the music.
   
   The album "My Generation" is The Who at there rawest. They play simple three and four chord songs that reflect there Rockabilly and R&B roots. "Out In The Street" and the James Brown cover "Please Please Please" are wild enough but other such as "The Ox" and the title cut are downright out of control. The title song has become an all time classic anthem with Keith Moon's thunderous drumming and John Entwhistle's groovy bass solo and, of course, the lyrics. Like punk, which would come many years after, The Who's music was all about youth and their rebellion. 50's rock had done this and groups like The Who were making sure the spirit lived on.
   
   Though much of the music here is simply R&B played with a hard rock ethic there is signs of things to come. The afterformentioned "Ox" was just as experimental as anything the group would do later on and "Instant Party" incoporated french horns which would be used later on "Tommy". Roger Daltry's sings with more of a rasp suited for the R&B, James Brown style R&B present here. This in direct contrast to his more harmonious crooning on such masterworks as "Who's Next". Peter Townshend plays exceptionly well here. Whether he's spitting out blues licks or smashing the living daylights out of his guitar, it's clear he knows what he's doing. Perhaps even more of a showcase than Daltry and Townshend are John and Keith. Quite often voted rock's best rhythm section, it's easy to see why. John's bass lines are just as driving as they are melodic and Keith's drumming is as wild as you can get and still keep in 4/4 time.
   
   In a way, The Who are the other Fab Four after The Beatles. "My Generation" is a wonderful start to one of the British Invasion's best acts. This complete's the holy trinity of British Invasion debut albums. The others are Beatles' "Please Please Me" and The Rolling Stones' "England's Newest Hit Makers" both also highly recommended.



3. Its really hard to review some debut albums, espically if a group had grown and went on to do bigger and better things, but the Who's Debut, "The Who sings My Generation" is far from awful, but its no where near the material they recorded from "Tommy" up to "Who's are You" (yes I love that album) "My Generation" does contain some material that might be considered ahead of its time such as the title track, and "The Ox" with blistering guitars and Moon's insane drumming, yet the album has some drawbacks, and its really only because of the time of its release. There are some bubblegum laden tracks here, and its hard for me to get into those songs, since I really I not the biggest fan of mid 60's rock. I do enjoy some of the tracks here, such as the two mentioned above and "Out on the Street", "The Kids are alright", and "A legal Matter" The other two tracks that are passable are "The Goods Gone", and "Much too Much" So thats five great songs, and two that are passable, the rest, well, I just didnt enjoy them, but that doesnt mean you wouldnt. If I was just gettting into the band, I wouldnt start here, but once you become a Who diehard like I am, I would pick it up. If you like the more bubblegum type style, you might like this album more then I did. Still it rocks better then most crap put out today. ENJOY



4. I was so excited back when the news broke that Shel Talmy (The Who's original producer) had finally decided to remaster the MG tapes he'd been sitting on for decades, and eagerly bought this two-disc set like a week and a half after it was released. While MG isn't one of my favorite Who albums, I do think it's a very good album (particularly for a debut album, and even more so considering what most albums in 1965 were like), and the deluxe set makes a good thing even better. This is such an improvement, in both sound and length, over the first-generation CD that was nothing more than the unremixed American version of their debut album, retitled "The Who Sings 'My Generation.'" From listening to the first disc, it's obvious that the original British version was the superior one, though at least, in comparison to how Capitol Records retitled and severely rearranged (i.e., misrepresented) The Beatles' albums for the American market, there was minimal tweaking done. The cover shot used is also the one from the original British album, which I think is far superior to the one on the American cover. I love the use of perspective in the photo, and how much more light and colorful it seems, not as dark and crowded.
   
   There are so many wonderful tracks among the original album songs, such as "Out in the Street," "Circles," the instrumental "The Ox," "The Kids Are Alright," and "It's Not True." I think my favorite of the original album tracks is "I'm a Man." Roger might not have had the greatest range at this time, but the voice he was working with was so well-suited to singing these R&B covers, a really gruff raunchy unpolished sound. It's hard to believe "I'm a Man" was left off of the American edition because of the line "When I get you in bed, darling, gonna make love all the time." It sounds so innocuous today, not graphic or R-rated at all! On the first disc, I also love the rarity "Bald-Headed Woman." It isn't really a deep or great song, but it just has that raunchy rough gruff sound that makes this entire album such a delight. The songs on the second disc, by and large, seem more geared towards hardcore fans than new or casual fans, since some of them are alternate versions and instrumental versions instead of entirely new songs, but they're just as much of a delight to discover. Among my favorites are the long-unreleased French EP mix of "Anyhow, Anywhere, Anyway," "Instant Party," and "Motoring." (I've always found it kind of amusing that the second disc is pink, which seems a rather un-Wholike color!) The majority of the bonus tracks hadn't been released anywhere. There are also wonderful liner notes and great pictures. The boys look so young!
   
   Overall, while this isn't a must-have for a new fan, it is highly recommended for any fans of longer standing who haven't gotten around to buying it yet. There are so many treasures to be discovered on this set, and the music has never sounded better. After they were proven so wrong about the supposed awful sound on the remastered LAL, I didn't believe anything the audiomaniacs ranted about how the sound on the remastered MG was going to be so awful and that the "right" versions of songs weren't being chosen. People who don't obsess over perfect sound quality and getting obscure releases just to get it, like the Belgian green vinyl version from 1980 from a certain record label, think it sounds just fine, and haven't thrown tantrums because the sound might not be the most perfect it could have been. Seriously, who even cares so much about that when normal people can't even detect these minute differences in sound quality and know that sound does change when something is remastered from tapes that were recorded using a much different recording process decades ago?



5. If you put it down to a time, a band, an album... The Who's MY GENERATION is the first punk album ever recorded: With heavy pounding on what had to be the most tortured drum kit at the time (on stage the group would shock audiences by smashing their instruments and demolishing amps and speakers), angry lyrics are screamed and stuttered over guitar feedback and power chords. Even the album's cover, with the band's four grim faces set in front of Big Ben rising into an overcast sky, leaves you with the impression that these guys are a cocky group of foul-mouthed wiseasses--especially the stiff-jawed blond one, who looks like he'd rather be shaking down a store owner for protection money, or simply just kicking someone's teeth out (and, according to more than a few of the band's biographers, Roger Daltrey often would use his fists to end differences, with Pete Townshend as well as others).
   
   This was 1965 and very few then would've had the courage or the foresight to put this kind of sound to wax. Sure, the Kinks also got together with producer Shel Talmy a year before to pioneer a heavier "rock" sound with "You Really Got Me," but they weren't taking it any further; it was easy confusing that song with its followup, "All Day and All of the Night," because they were basically the same thing with different lyrics. And as is always the case, it's the total package of talent with promotion, image with attitude.
   
   It also took real guts for a rising pop group in 1965 to make an album--let alone a debut album!--where 3/4 of the tracks are original compositions. Except for Dylan and the Beatles, nobody at the time was able to get away with doing this. The original UK album version contains three covers, James Brown's "I Don't Mind," and "Please, Please, Please," as well as Bo Diddley's "I'm a Man;" the US version dropped "I'm a Man" for the proto-psychedelic "Instant Party (Circles)"--yet another original! Pete Townshend was taking a big gamble with this record.
   
   In addition to the awesome title track, MY GENERATION also includes "The Kids Are Alright." Somewhat defining the group's early sound, "The Kids Are Alright" bacame a staple number on the Who's numerous compilations, and would provide the title to Jeff Stein's 1979 documentary on the band.
   
   Of the other numbers here, things start off with "Out In the Streets," a weird hybrid of R&B styles with droning guitar feedback. Meanwhile, both "The Good's Gone" and "Much Too Much" sound as if Keith Moon is barely able to control himself with the drumsticks as Townshend displays his prowess with power chords. Daltrey, naturally, just seems pissed off.
   
   Two other notable tracks are "La La La Lies" and "The Ox." The former obviously owing much to Martha Reeves & the Vandellas' "Heatwave" (a song the Who covered on their next album, A QUICK ONE), while the latter is a sort of group effort instrumental composition, written by Townshend, Moon and Entwistle with famous session man Nicky Hopkins.
   
   A brilliant and exceptionally aggressive album that layed the foundations for most things coming to rock music.

5 comments about The Kink Kronikles.

1. Take that, shuffle-play. John Mendelssohn fills all four sides of this two-LP set with informed and wonderfully inspired thematic collections of Kinks songs, one lyrical theme per side. In other hands, such an approach might have a reductive or pigeonholing effect, but here it provides a perfect, provactive glimpse into the depth and range of the Kinks' early recordings -- songs that reached beyond themselves to create lasting narratives, connections, and meaning.



2. It's time for the Kinks to get the respect they deserve. It is absolutely unbelievable that this is the best compilation release out there, and it is obviously brilliant!! It's time for Ray and the rest of the Kinks to get all their albums back in print where they belong, including the early ones. And, how about a box set of every recording they've ever made under the name of The Kinks? A 20 Disc Set! Now that would do justice to the greatest British Rock band of all time, and its greatest singer-songwriter, Ray Davies.



3. I grabbed this one from a Record Shop at Christmas Time, 1972. I had been a Fan of the Kinks since the first blast of: "You Really Got Me" was heard over a Crappy Transistor Radio, on a beach in 1964. I needed more Kinks, as at this time the only Record by the Band that I owned was: "Arthur".
   
   Well, this Double LP: "The Kink Kronikles", was and still is One of the Greatest Records of Music from the 1960's, I was ever Lucky enough to Purchase {$5.99}, for me it's THE Greatest Hits of that Decade.
   
   The Songs of Ray Davies are British Anthems: "Dead End Street", "This Is Where I Belong", "Waterloo Station", "Victoria" and "Days". A previously unissued track is here as well: "Did You See His Name?". I played these Two Records until they Melted. This Kollection opened a Huge Door of Music into my World, and I was buying a lot of Kinks Records after this.
   
   This is the DEFINATE look into a period {1966-1971} of some of the Greatest Music to have come from England during those years. The Kinks have never Gotten Their Due. Without these Great Songs, The Sixties still would have gone on...BUT, There would have been a Huge Hole, Right in the Middle of that Decade, that where this Timeless Music, would have been.
   
   If you wanna find out, what all the fuss was about, this Rock Music, we old-Timers, are still all worked-up over, more than Forty Years on, this will set it all in Place. This is The Sixties, some of the Greatest Music that you will ever listen to is on this CD.
   FIVE STARS !!!



4. this set covers the period that is by general consensus the kinks most creative period although not their most commercially successful. beginning to end this two cd set goes from strength to strength. highlighing most of the standout tracks from the kinks mid to late sixties albums and singles. several of these songs were hits in britain while obscure here in the states. several reviewers have criticized the sound quality of this set, and they make a valid point as the sound is decidedly murky. the songs are so great and the selections so well representing the peak of the kinks work, that i can forgive the technical shortcomings of this package and still give it 5 stars. so start with this set then move on to arthur, village green preservation society, something else, and lola and you are on your way to joining the kinks preservation society.



5. You will never know how awesome the late 1960's era Kinks were until you listen to the treasure trove of material on this cd. What a great band, capable of so many styles! Ray Davies is such a great song writer, Dave Davies always played the perfect chord/riff. It is silly to single out songs b/c this is essentially a greatest hit/should have been hit package. I love Shangra La, everything off of Lola/Moneygoround, waterloo sunset and the punkish "she's got everything"
   
   If your a casual Kinks fan, this is the one to get. If you want to get an introduction, this is also perfect.
   
   They were a different band in the late 70's and 80's.

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 Rushmore: Original Motion Picture Soundtrack.

1. As others have already pointed out (a long time ago, but it bears repeating), a great mix!
   
   Only disappointment on the disk is the Nothing in The World cut by The Kinks, with it's vocals driven into clipping at a few points. Ironically, cheaper sound systems actually sound worse as they struggle to deal with this issue. A very minor point to be sure, and I assume it came from the original tracks like that, because the rest of the album sounds great.
   
   I've always liked the one-hit wonder Concrete & Clay by Unit 4+2. If you do too, I'd suggest not trying too hard to find anything else by them. If you do manage to find one of their albums, be open-minded because apparently whoever wrote Concrete & Clay left the room leaving the rest of their tunes never hitting that fun hook again.
   
   Buy it today! I command you!



2. The vision of soundtrack producer Mark Mothersbaugh and movie director Wes Anderson which captures the movie scenes, while standing on its own as an eclectic collection of songs from classic artists.
   
   The Mod movement and British Invasion - Chad & Jeremy, Unit 4 + 2, The Kinks (Nothin' in the World Can Stop Me Worryin' 'Bout That Girl), The Who (A Quick One While He's Away) - and early 1970s compositions - Ooh La La (Faces, by Ronnie Lane and Ron Wood) and Oh Yoko! (John Lennon) - tell the story of the ever changing moods of the rebellious teen, Max Fischer.
   
   Selections by Cat Stevens (Here Comes My Baby & The Wind), Zoot Sims, Yves Montand, The Creation are paint brushes over a vast canvas, which are seamless in the mix. Mothersbaugh is responsible for nine of the tracks for the soundtrack, which was released on February 2, 1999.
   
   Five songs in the movie do not appear on the CD, including Donovan's Jersey Thursday and I Am Waiting by the Rolling Stones. But the scope of the music makes this a great example of a soundtrack that tells a perfect story, all by itself.



3. I freaking love this soundtrack! It added so much to the movie - it certainly wouldn't be the same without those great songs. I'm not young enough to remember when these songs first hit the airwaves and turntables, but I understand why Wes Anderson chose them. Mark Mothersbaugh's additional original songs are also fantastic!



4. The movie Rushmore was great and the soundtrack pretty good. But Mark Mothersbaugh's annoying score is placed at all the wrong intervals on the soundtrack. You're listening to some great British invasion rock and then one track later some totally out of place incidental music comes in and ruins the whole vibe of the album. The Mothersbaugh film score belongs on its own album just as other films have done. Mixing between songs and the score just kills the flow of the songs. You're constantly having to skip forward to the next track when the out of place score starts up again. Annoying as hell. And without the film's visuals? The score loses a lot of its power. It works great in the film but falls flat as day old soda water on its own.



5. Here are all the songs and the order in which they appear:
   
   1.Hardest Geometry Problem In The World - Mark Mothersbaugh
   2.Sharp Little Guy - Mark Mothersbaugh
   3.Making Time - Creation
   4.The Lad With The Silver Button - Mark Mothersbaugh
   5.Take Ten - Paul Desmond (*)
   6.Concrete & Clay - Unit 4 + 2
   7.Nothing In This World Can Stop Me Worrin' Bout That Girl - The Kinks
   8.Edward Appleby (In Memoriam) - Mark Mothersbaugh
   9.A Summer Song - Chad & Jeremy
   10.Blinuet - Zoot Sims
   11.Piranhas Are A Very Tricky Species - Mark Mothersbaugh
   12.Here Comes My Baby - Cat Stevens
   13.Friends Like You, Who Needs Friends - Mark Mothersbaugh
   14.Jersey Thursday - Donovan (*)
   15.A Quick One, While He's Away (live) - The Who(* the ragged-but-right version featured in the film is from The Rolling Stones' Rock 'n Roll Circus, NOT the Live at Leeds version found on this soundtrack)
   16.I Am Waiting - The Rolling Stones (*)
   17.Snowflake Music from Bottlerocket - Mark Mothersbaugh
   18.Rue St. Vincent - Yves Montand
   19.Kite Flying Society - Mark Mothersbaugh
   20.The Wind - Cat Stevens
   21.Oh Yoko! - John Lennon
   22.Manoir De Mes Reves - Django Reinhardt (*)
   23.Ooh La La - Faces
   24.Margaret Yang's Theme - Mark Mothersbaugh
   
   I've listened to this longer and more frequently than any other soundtrack. Pitch-perfect for the summer time.

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 Big Hits (High Tide and Green Grass).

1. If you are considering a purchase of Big Hits (High Tide and Green Grass), from March 1966, the main thing that you need to do is to make a careful comparison of the song list against the 2-disk album, Hot Rocks 1964-1971, the first disk of which covers a similar Stones period. The difference in songs? In a nutshell: It's All Over Now, Tell Me, Not Fade Away, and Good Times, Bad Times are not on Hot Rocks 1964-1971. Perhaps more importantly, though, the awesome Paint It, Black is on Hot Rocks 1964-1971 but not on Big Hits (High Tide and Green Grass). By buying Hot Rocks you get more bang for your buck, because the 2nd disk of Hot Rocks has a lot more great stuff from 1966 to 1969. Also, Hot Rocks (2 disks) is only a dollar or two more than Big Hits (with only 1 disk). In short, get Big Hits only if you do not have all of the early albums and you really want the above-mentioned songs. Does the music stand up to the test of time? Like gangbusters. The first 10 Stones LPs are a must-have for any serious CD collection.



2. This is a great collection of early Stones hits, spanning the period of 1963-1966. Certainly, fans of the '70s Stones may or may not appreciate this, but I have always been partial to '60s Stones, but I enjoy all Stones.
   
   Mick Jagger's voice is perfect on all of these. But my advice is don't buy this version of the album. If you can, try to hunt down the British version of this on the Decca label. 'Paint It Black' is on that version, among others that aren't here. That is the version to own.
   
   But, if you can't find that version, the US version is great as well. It's always rare to see 'Good Times, Bad Times' on a compilation, and so I give ABCKO tons of credit for putting it on here.
   
   And, the sound quality is excellent!
   
   Overall, take my advice and buy the British version (if you can find it, that is). It is a lot better. But, the Rolling Stones are icons, and almost everything they ever put out is superb.
   
   Highly recommended to any Stones fan. The first Stones comp remains one of the best. ENJOY!!!



3. The best. You better leave one earbud off so you can hear yourself singing along - (so you don't interrupt the power meeting you're attending).
   It brings a boomer back to the sixties in 1 minute flat.



4. I purchased the "High Tide and Green Grass" vinyl LP when it was released way, way back then ... I guess that makes me old. The CD version retains all the music and emotion that was there back in '67, but without the scratches and acne. This is classic Stones - classic British rock ... you have heard all the tracks before, but they are here together in what I'd rate as the best stones anthology. I also purchased "Through the Past, Darkly" in vinyl back then, and have repeated my actions with the CDs ... perfect companions. I might be old, and Mick and the boys might be very old boys now, but the music is still young - a great reminder of the freshness of the 60s ... relive it with these CDs even if you weren't there.
   RevF



5. This album contains what made the Stones so famous: a mix of blues, rock and R&B songs. All rendered with an energy that made them unique.
   In addition the No.1 rock song of all times - Satisfaction: you have to listen carefully to that song to understand all the influence in there; it is still today a pure delice.
   After the audition you will understand why the Beatles were the No.1 Pop band and the Stones the No.1 R&B band.

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!

5 comments about Flowers.

1. I never was a big Stones fan. I never was a big fan of "Ruby Tuesday", "Mother's Little Helper", and "Have You Seen Your Mother". But I must honestly say this album blows me away. I always thought I really liked "Let's Spend The Night Together", but after hearing everything that this album has to offer I barely listen to that song at all.
   
   I bought this album, because I wanted "Out Of Time". I got so much more than that. "Ride On Baby", "Take It Or Leave It", "Back Street Girl", and "Lady Jane" along with "Out Of Time" are some of the best songs I've ever heard by any artist anywhere anytime.
   
   The fact that these songs were written and performed by the same group that brought us "Satisfaction" and "Time Is On My Side" amazes me. Die-hard Stones fans will dislike me for dissing certain favorites, but to me these five songs that I mentioned are so much better than most of the most-beloved Stones songs. I always thought the Rolling Stones had a few really good songs in a huge catalog of decent songs, but these songs are incredible.



2. I finally got around to replacing my old casette version of "Flowers" with the CD. Although I prefer the earlier Rolling Stones' rough-around-the-edges sound to slick studio records like this one with the mandolins and harpsichords on some of the tracks, "Flowers" is still a great album. "Ruby Tuesday" is one of the Rolling Stones very best songs. Several of the other tracks carry interesting and sarcastic overtones of British class and social consciousness: "Lady Jane", "Back Street Girl", "Have you seen your Mother, Baby...", "Mother's Little Helper". The song "Let's Spend the Night Together" was so racy in it's day that the rolling Stones had to agree to change the Lyrics to "Let's Spend Some Time Together" to appear live on the Ed Sullivan Show in 1967. Taken as a whole, "Flowers" shows an introspective side of the Rolling Stones and has a lot of good tunes as well. This CD is well worth having in one's Rolling Stones collection.



3. If you don't know this "album," I have no idea where you've been for the past 40 years, but in any case, I finally caved and replaced all my old albums and of course had to include the Flowers album. It is peerless early Stones and will remind me always of go-go dancing in my undergraduate dorm room with my friend Martha. Keep the happy memories alive, and replace all your old records with these high-quality CDs.



4. 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.



5. This CD is great and one of the first I heard.Brian Jones is real good with his intrumentals.
   Great for every Rolling Stones fans and fanatics.

5 comments about Face Dances.

1. With a return to the 1960s pop sound, the band delivered a classic - You Better You Bet - while working within a framework to allow drummer Kenney Jones to shine.
   
   Daily Records, Don't Let Go the Coat and Another Tricky Day have very appealing hooks, with Cache Cache paced by a bouncy beat. The all-out rocker is John Entwistle's The Quiet One, with How Can You Do It Alone delivering an edginess through Roger Daltrey's lyrical interpretation.
   
   Peaking at #4 on the U.S. album chart, this March 1981 release is bolstered by five bonus tracks. The album demonstrates the art in crafting quality pop music and is an oftentimes overlooked gem in the band's amazing catalog.



2. The Who went on a three year hiatus after the death of drummer Keith Moon, but eventually re-grouped with former Faces drummer Kenny Jones being added as the new member of the band. The result was "Face Dances" an album that is very average by Who standards. The album was produced by Bill Symczyk who is probably best known as the producer behind The Eagles string of successful albums in the 70's and early 80's. Kind of an odd choice and his effect is definitely felt on this album. "Face Dances" produced one of the band's best singles in the opening track "You Better You Bet", and there are a few other highlights like "Did You Steel My Money", and "Another Tricky Day", but the album also has clunkers like "Cache Cache" and "Daily Records" here too. John Entwistle contributes two songs with his autobiographical "The Quiet One" as a rocking album highlight. "Face Dances" is a decent enough Who album and worth owning for fans, but for a band with the legacy that this one has the album is simply average.



3. I love this album. That may have something to do with the fact that it was the first Who album I ever bought (I was 14). But I also think the songs are great. They remind me a bit of the mid-sixties "Pop Who" as they bounce, snip and snipe. Kenney Jones does a fine job, and it's unfortunate that he's gotten so much flack for accepting the bands offer to join. Of course he's not Keith Moon! No one is.
   The only issue I have with this album is in the production. If they'd taken off even just a bit of the gloss it would have made a vast improvement I think. There's something a bit flat about the production. Though Bill Symczek (or however you spell his name) shouldn't necessarily take the blame either. The Who must have been familiar with his work - and for California rock such as The Eagles his production worked - but for The Who not so much. The band chose him though, so it's on their shoulders. Still though, I consider this a very underrated album. Songs like Don't Let Go The Coat, Another Tricky Day, You Better You Bet, and Entwistle's The Quiet One. There's a lot of humor to much of the material as well. It's the Who getting back to the more Pop approach they'd had early in their career. If the production hadn't taken the balls away from the sound then I think fans would have been more forgiving. Anyway, great album cover too! Enjoy!



4. I love The Who. It's fair to say that I am a Who collector. Their music is some of the finest ever made, and it's for that reason that the group made it to the Rock and Roll Hall Of Fame.
   
   Take yourself back to 1979. Keith Moon has just died. John Bonham would follow Moon to the grave pretty quickly afterwards. The situation? Zeppelin and The Who were left "drummerless." The Who fixed their problem by adding former (Small) Faces drummer Kenney Jones, while Led Zeppelin pulled the plug on their group entirely.
   
   'You Better You Bet,' of course, got the most radio play from 'Face Dances,' which joins 'It's Hard' in the worst Who record category. The song is catchy, but other than that, there is really no other reason to listen to this.
   
   It's more of Townshend's synth-pop with Roger and John just simply playing along. This type of music would inspire Pete to do songs like 'Let My Love Open The Door,' among other songs of his in the 1980s during his solo career.
   
   This is recommended, but only for Who completists or Townshend solo fans.



5. With 64 reviews already registered there's not much more to add but to chime in that although devoted Who fans will consume just about anything the band does, this is a Who album you can readily ignore unless you have the rest of their catalog. A couple of decent songs here, with the rest of the album filler. I eventually sent my copy to the used bins.