5 comments about Bonnie Raitt - Road Tested.

1. Let us take a trip down memory lane to the Boston Common in the summer of that fateful year, 1968. A bunch of us were sitting (on the ground, no less) fairly far back in that locale and then suddenly a woman's voice came booming through the air. Moreover, she was playing not the female de rigueur acoustic guitar but an electric one. Just like the guys! That, my friends was my introduction to Bonnie Raitt and she has been rockin', bluesin' and folkin' ever since. This San Francisco concert from 1995 brings all those musical forms together. For Bonnie Raitt fans, or just the casual blues/folk/rock fan this is a treat. When I occasionally call back memories of the 1960's and say that that was a time when men (and women) played Rock `n' Roll for keeps it is Bonnie that I have in mind as one of the women. She does not fail us here.
   
   Honestly though, after that early introduction to Bonnie on that long ago summer day mentioned above I did not follow her career that closely for a time although I knew she learned here craft later at the feet of Mississippi Fred McDowell and would catch her at various Cambridge night spots (read bars). However, this concert brings all that back. Not only that but the added attractions of Jackson Browne and the legendary blues singer Ruth Brown (a favorite of mine from way back) round out a very nice concert. What's good here: John Prine's Angel From Montgomery; Never Make Your Move Too Soon (with Brown); Chris Smither's Love Me Like A Man and Rock Steady. Nice stuff, well performed with her band and guest artists.



2. bonnie raitt is excellent. i've been listening to her for 33 years. since about the time she first hit the music scene. yep you can always tell an old hippie but ya cant tell him much-the dvd has most of whats on the cd. maybe all i never checked. but it's great and especially good w/ surround sound. (pass the popcorn) i think you'll enjoy it. i like it even more than the live at montreaux dvd



3. You get a lot for your money here: about an hour and three-quarters of Bonnie Raitt songs, her hits and otherwise. Just about every song is a winner because her voice fits her blues- rock material extremely well and her band is outstanding. She comments at one point about her band being the "best" their is, and she may not be far off.
   
   There is so much music here I often break this up into a couple of viewings, but no matter where I pick this back up in the concert, it's a good starting point because it's simply one good song after another. You'd except a dud here or there, but it's just not the case.
   
   The first part of the concert has more upbeat songs, so it you want a 45-minute fast-moving mini-concert, the first nine songs will do well. It's a good workout disc, too! Later on, Raitt goes through several slow songs in a row and the tape ends with the slow-but-dramatic "Angel From Montgomery."
   
   Guests include Bruce Hornsby, Jackson Browne, Bryan Adams, Kim Wilson and the old blues couple Ruth and Charles Brown. All of them are excellent, as well.
   
   The only thing missing in this DVD is more colorful camera-work. That would have really made this a spectacular concert disc. Hey, the the music is the main attraction here anyway, so I am not complaining. I used to own this on VHS but acquired the DVD because of the better sound.
   
   Obviously, this is very highly recommended.



4. This concert shows Bonnie's versatility as a performer, from her brand of country-rock to blues to pure vocalist. Also appearing are Bruce Hornsby and Jackson Browne.



5. Thing to being there! Audio is great! Video is well planned with plenty of different angles and shots. If you like Bonnie R, then buy this DVD.

5 comments about Rock 'n Soul, Pt. 1.

1. THIS CD IS JUST PERFECT. AS A FAN OF THE GROUP I LOVE THE CD; AND, I WILL USE YOUR COMPANY AGAIN IN THE FUTURE.



2. Well, I suppose the truth should finally be known to my loyal fans. Yes. Before I became the erudite Seer you all know and love today, I had to actually work for a living. Horrible. Absolutely horrible. And, as anyone who knows me well, I am really not good at this sort of thing. My very best qualities (meditation and reflection) were not appreciated by the people in charge. No. They actually wanted me to DO SOMETHING for them. Can you imagine the cruelty in this? I bet you all can. ;)
   
   Anyway, 20 years ago, I decided that, since I am a lover of music (what is that- an audiophile?) I would sell audio equipment. I actually loved this job. I could be chatty and friendly to customers (like I am on these pages) plus listen to music all day. Perfect! The management had an issue with the time I chatted with one customer. I didn't think 4 hours was extreme in the least. Do you?
   
   So, the manager, pesky Sheola, tried to be the despot but failed way short. His requests were met with laughter. Never let them tell you laughter has no power. It is very good in emergencies. But, he had his revenge, believe me. For every customer that came in, he played this selection as a demo, over and over, every single day, for a year and a half. I was going mad. Mad I tell you. Not only that, but the Seer Wars started in this time. The evil Suzabella and Robehr Sedivekkian's dastardly plot was coming to fruition. I looked around frantically for a bridge to jump off of. Lucky for me none were available. And you too. Could you imagine a world without my wisdom? (Is that laughter I hear?).
   
   The good news now is that I can finally listen to this after 20 years. Either it's a sign that my mental health is improving or the Seer Wars are gearing up again. I will reflect and get back to you on this.
   
   O.K. now we'll get to Hall and Oates. Everytime I think of them I think of a truck delivery to horses. (Haul in Oats). But, maybe that's just me. I am giving this 5 stars (despite my trials and built in resistence). Why, you may ask? Because I feel like it, O.K.? No, seriously, it has a generous selection of all their hits that it can't be ignored.
   
   Hall and Oates began in the 70's searching for the right sound. Although talented, they really didn't hit upon great success until later on in the decade. There are a number of reasons for this. Certainly disco was big and working against them. You also must consider punk music and the growing popularity of rock (the Eagles and Lynard Skynard for example). However, finally, their own brand of rock and soul started to make an impact.
   
   I think the strength of this selection is that these songs are so very listenable. It is contemporary pop/soul, but nothing here will stress you out and the local pharmacy will wonder about the sudden decline in aspirin sales. Let them wonder. "Sara Smile" is such an easy groove to experience. A sad cheering up is what it is. The easiness continues with "She's Gone". Unfortunately, the ache of a break-up is evident. I have always liked the line "I need a drink and a quick decision". That has become Metamorpho's creed, after all.
   
   "Rich Girl" is a plea that money is no equivalent for love. She can certainly rely on the old man's money, but in love, it won't get her too far. From this point on, Hall and Oates, in my opinion, get further into the pop realm with "Kiss On My List", "You Make My Dreams", "Private Eyes" and "I Can't Go for That". Still, though, these are all singable, listenable, and likable.
   
   Their sound starts to grow somewhat with the inclusion of two "newer" songs for this collection, "Say It Isn't So" and "Adult Education". You can almost hear more instruments and production. Nevertheless, they both add and fit into all the songs here. You will find that they pretty much stay on topic of a "One On One" relationship, the tug of war (and love) of male and female bonds. But, I wouldn't relax if I were you. No. They also give you the danceable "Maneater". This reminds your Seer of a Medusa, or, most likely Suzabella. True charm has no limit, I suppose.
   
   After this, they produced the super-charged "Big Bam Boom" c.d., which is one of my favorites and which I recommend as an extension of everything here. Slowly, their sound fell out of favor, and nothing after this measured up to the success on this c.d. Regardless, they are talented and should be revisited every so often. As an aside: you don't have to wait 20 years like I did. This may be one of the extremely rare times that I tell you not to use me as an example. ;)
   
   Anyway, I've got to go. There is a blip on my radar. It could be a Blue Jay flying through or the evil Suzabella with her worn out Lady Godiva routine. Must check it out.
   
   Rock and Gall Pt. 1 - Metamorpho



3. Hall and oates are the biggest selling duo in rock history an probably one of the guiltiest pleasures in rock history as well. Their hits were pop masterpieces and they are as vibrant today as they were in 1982. in fact, most people confess to having some Hall and Oates on the Mp3 or Ipod players. More power to them. In case your player dies, you should have this CD as a backup!



4. I have this CD and I love it. I always loved Hall and Oates and this is their best. I bought this copy from Amazon for my brother in law for Christmas.



5. I normally don't listen to much music like them, yet they have a number of great songs on this Best of... LP.

5 comments about Twenty.

1. I first heard him this summer at Clapton's Crossroads Festival and I was drawn in by "Poor Johnny." Immediately when he started singing, I found myself closing my eyes and listening. His voice is light, but smooth and he shows a definite talent in his vocal range.
   
   One knock on Cray is that his approach to the Memphis blues is linear and one-dimensional. And to a certain extent, I agree. But on the other side, his laid-back, down tempo angle is deep. His skills on guitar are automatic. He's a friend of Clapton's! This record more than holds its own in my blues collection that includes Clapton and SRV.



2. Having heard Robert Cray's work from the very beginning with both the "Who's Been Talking" and "Strong Persuader" albums, I rediscovered the guy after a long break when I picked up the "Time Will Tell" album and I was struck by the change in musical direction from what I had remembered was on the first two albums that I'd heard before but I wasn't disappointed as I thought Cray still sounded very good and his trademark vocals and competent blues guitar playing was still pretty much in evidence. I also like the way Sanctuary packaged the cds in cardboard design as I don't like jewel sleeves and there is no faulting the sound quality as the mastering is very good too. "Twenty" continues upon the themes introduced by "Time Will Tell" but it's very obvious that the latter is still the superior album. Although this is not a bad album by any stretch of the imagination, I was left feeling that Robert was coasting on this one and that there was nothing really new to go "wow" about here. Content quality-wise, this is nowhere near "Strong Persuader" and is certainly not better than "Time Will Tell". Still, an average Cray album is still better than much of what's out there at the moment.



3. Ok, I want to write this review in regards to Robert who to me has the most wonderful voice ever! I say this because as a guitar player He makes you realize just how good he can be and versatile in his playing, But its his voice that blows me away every album he does he gets just better! This album is different and he shows this on "my Last Regret". It makes me want to sip some whiskey at an all night blues club and groove until the sunsets! It brings back the originality of blues and what it is to play blues. Hes a master and all his albums have gems on them. this is no exception, its a great album and if you like Robert(and his band) or blues remember hes been around a long time and keeps pushing out killer albums. Poor Johnny and Twenty about a soldier in iraq is very appropriate. and sad because im a veteran and have felt used up and wondered where do i go from here.. and have had trouble dealing with my life after the army!. I can serve my country and fight but cant get a job at a wal-mart here!. promises they dont keep anymore is so true ! This is a true album and one of Roberts and his bands best! he really thought about these songs!Him and his ole Fender!im a fan of his for life!he soothes me!and cools me! from "i know you will"! hes just cool!



4. More of the same from Mr. Cray & Company. Noteworthy that the album is strong all the way through; not the usual front-load & then drop-off you get from most artists. Twenty, his "protest song" is effective because it's not pedantic, but in Robert's usual "slice of life" style. They even throw in a waltz time. Read some of the other reviews here as well. We're pretty much all saying the same thing.



5. Like Van, or the Stones, Robert Cray has a formula that works for him. I am a huge fan and have been since day 1. I like the silky, smooth vocals and Stax/soul feel to his brand of blues. He does however need to branch out a little. Maybe back to some Chicago blues or swing a little but he has sounded a tad 'repeated' on the last few discs. I'd like to see his voice highlighted more (EX. "Don't Break This Ring"...from 'A Shame and a Sin', incredible) and his guitar work put to the forefront. Yes, a little repepitive but 'already done' Cray is better than most stuff out there. Love to hear a live album from him!! Check yourself back into the 'Done We Wrong' motel lyrically, leave the political musings to others. Don't get me wrong, a great disc, but no new charted waters musically.

5 comments about A Jagged Era.

1. Jermaine Dupri introduced us to Jagged Edge in 1998. Their debut, "A Jagged Era" had a decent amount of success, propelled by their first and only single from this album, the amazing track, "Gotta Be." After this album, they become much more popular with this like "Promise", "Let's Get Married", "Where the Party At" and "What's it Like?" They were out around the same time as Dru Hill and 112, and, personally, I preferred Dru Hill and 112 over them, but these gentlemen are remotely talented nonetheless. They each have good singing voices, but their best attribute is definitely their unified harmony.
   
   This album is ten tracks long; it's definitely just a decent disc. There is no groundbreaking material, no truly profound lyrics and Jermaine Dupri does nothing new as far as the production is concerned. However, there are a few good moments that may compel you to press the rewind button. In short, the best songs here are "Gotta Be", "Funny How" and "The Rest of our Lives." Each of these songs are about love and the men of Jagged Edge do a great job with their vocal synchronicity. Many people who are in love can relate to the words in "Gotta Be." This song is just a testament to your lover that you just have to be the one they love. It's pretty deep, especially if you have been in love. This is one of their best songs to date. "Funny How" has great melody from beginning to end. The guitar and drum really compliment each other here, also. "Addicted to Your Love" sounds a little like Erykah Badu's hit, "Bag Lady", but this song came out first, so apparently Badu has been listening to her share of Jagged Edge CDs. This song is about a woman who makes a man feel so great that he is simply addicted to her.
   
   Jagged Edge needs to work on making their albums better. They need less filler. I recommend this album to fans of the group, but to hear JE at their best, invest in "Jagged Little Thrill." Neither are masterpieces, but that album has something for all R&B fans. 3 stars.
   
   Mikeisha's Top 5
   
   "Gotta Be"
   "Funny How"
   "The Rest of our Lives"
   "The Way That You Talk"
   "Slow Motion"



2. A Jagged Era, is Laced With Bangin' Beats, and Smooth Harmonies, That Grip You, And Don't Let Go. The Lyrics Are Run-of-the-Mill sometimes, But it Still Beats 97% of that "Hip-Hop".
   
   Anyway, this CD is Pretty Decent, and Worth Buying. It's Soothing, Sexy and Lulling. You Don't Wanna Miss This, And Of Course, Jagged Edge, Rarely Ever Disappoints.
   
   4 stars.



3. This is just a great and unappreciated album. Most people don't even know this album exsists. They did not sell many records on this one. But the records that they did sell earned them lots of fans. This is an album that shows how JE was before they hit it big time. The production is a little rough, but it has a good sound to it. The perfect way to describe this album is calm. There is not a whole lot of up beat tracks and the few tracks that are, are good. This album really shows lots of emotion. The single "I Gotta Be" which got a fair amount of airplay, is a showcase of vintage JE. They sound so good together on this album. They just blend perfectly. And they have not made an album like this one since this one. Its not a perfect album, but it beats most of there other stuff, pending on their new album Baby Makin Project which comes out tomorrow. Another stand out track is "Funny How" which everyone can relate to in some way or another, its a more slow song but it has a heartfelt meaning to it. And then there is the other classic "Wensday Lover" which is another great JE baby maker. But this album is where the JE legacy began, and it is could be their best album yet.
   
   
   Grade:
   B+



4. This cd is one of the best of Jagged Edge and made me a fan. I enjoy the whole cd and listen to every song. I love their voices and the lyrics. Even if you don't know who Jagged Edge is, after listening to this cd you'll become a fan.



5. I really like JE's music, so I decided to get their debut album. It's not that bad and I did like "I Gotta Be"(the best song), "Wednesday Lover", "The Way That You Talk" and "The Rest of Our Lives". There were a few things that irritated me about this album. Since this CD is mostly slow ballads, it was so annoying to hear Lil Kim or whoever it was and Busta Rhymes rapping on some tracks. And then on the track "Slow Motion", I was thinking why did JE do a twist to Tupac's "Hail Marry" towards the end of the song. That was totally unneccessary and made the song worse.
   
   This was a beginning for JE and they definately improved in the R&B game. If it wasn't for the annoying voices of Lil Kim and Busta Rhymes that was so unneeded, this CD would have been perfect.

5 comments about Power of Soul: A Tribute to Jimi Hendrix.

1. SRV and Double Trouble's Little Wing/3rd Stone from the Sun Cover is worth the price of the disc alone...I'd never heard this version; I got chills and tears to remember the loss of a legend, and of a legend's legend.



2. I found this is a very remarkable tribute album, with some astonishing guitar playing by some of the most worldwide renowned axes. If I had to try one rendition, I think my choice were "The Wind Cries Mary", credited to Sting, but shining thanks to the stellar participation of John McLaughlin. Anyway, that's not the only one, as the CD as a whole is really well done and enjoyable. One of the best tribute albums to the genius of Jimi Hendrix, and one of the best overall, period.



3. And you will believe that Prince can rule.
   
   Only thing wrong with his Purple House is he pull his punches on the punch line. The joke was Jimi would, after getting out of three months of prison, and more for bad behavior, and finding his baby gone, go visit her sister instead. Good joke. You don't know is it a tribal thing, just go to her sister, or his way of getting back for cutting out on him after only three months.
   
   Of course the deeper joke is that he might have gotten three months in prison (plus ten percent for bad behavior) because he was caught with his baby's sister, so of course not only does he lose his baby but also probably down the road her sister as well. Deeply of course this theme of loss of home echoes the early loss of his mother, but that's behind a lot of the Hendrix opus. So altering the lyrics from "her sister" to "somebody" just looses the whole juice.
   
   Prince, the little man who did Dirty Minds and Come and the rest, all of a sudden as a Jehovah Witness after counselling has to change this great punchline from "her sister" to "Somebody". How white is that? Okay, so it is a dactyl like Her sister, but it loses the jimi juice.
   
   Otherwise Prince delivers better than most of the rest of the musicians on these disks. And good to hear him play straight blues guitar, and do it royal, burning blues guitar, BIG, as it should, with the real LARRY GRAHAM on bass. Come one, admit it. He kills it. Hear it again. Best thing he EVER did.
   
   And make sure you get a copy with the bonus disk NOT mentioned anywhere on the cover, just to get Seal's version of Wind Cries Mary. He's that skinny guy with a scar who used to sing Touched by a Rose on the Leno show, and he does this song, a little bit Las Vegas loungey, heavy on piano, but hey NONE of these covers will match the originals. Nothing can ever come close to the two track originals. But Seal hits it, in the heart, deep, though, except for the same lyric thing. He changes a crucial possessive pronoun from the plural to the singular. That killed it, in a bad way. But he pulls it off. Listen to it with someone you love, and an English major to explain the poetic images, which are strong, and the color symbolism. The footprints dressed in red are right out of the march to Valley Forge.
   
   There is much to praise here, and especially the late great Stevie Ray Vaughn. I only wish the Iceman Albert Collins live versions of Third Stone I used to hear in clubs got recorded; it's the only thing that can touch Stevie Ray, who really wipes out Little Wing as well in front of a live audience. He does it right, all the way, no stops, no holds barred. He kills it. Hear it, at least once, cause that might be all you can take. Of course Johnny Winter's old band backs him up. Johnny was a friend of Jimi's when Johnny first hit NYC.
   
   And Chaka Khan, the only woman really featured here, really did not need a back up lead guitar trying to find a space on Little Wing. She wipes him off the planet. Maybe that's why it's the only young white guitarist on the block, put up against CHAKA KHAN who kills him in a steel cage slap down. Chaka Khan. Just cut her loose and she gets over. Chaka Khan is an enormous natural force, like Godzilla's mom. Like Jimi. This is American music. Step back.
   
   The Sting song sounds like he's a young kid without that worn out trademark hollow strained sting voice yet, backing up John McLaughlin, the one you always wanted to have heard recorded with Hendrix, aside frmo Nine to the Universe, but who here is okay and efficient but not all that great really, except for some trademark McLaughlin Inner RIsing Flame runs. But you won't find better sounds, even among McLaughlin's own records.
   
   In a lot of these cuts, you're hearing the best work ever from these artists, including the Artist Formerly and presently Known as Prince. Or I just miss the original still, long years, long many years, far more than he ever lived among us.
   
   I always regretted Mr. Jimi wasn't around to play with Stanley Clarke, the piccollo bassist who would finally have matched Jimi's demands and talent, with all due respect to Mr. Billy Cox, who did a far better job (and for no money ever) as COMPOSER and bass player than ever admitted. But here on Spanish Castle Magic Stanley remains invisible, and Carlos Santana, who during his Lost Period after the death of Jimi tried to tour with Buddy Miles and recorded together, here only does a cover band version with Stanley of Spanish Castle. It would have been better to let Stanley and Carlos rip and fly on Six Turned out to Be Nine, and lose the living color vocalist, please bury him into the mix! As it is we get a competent, professional, uninspired cover band playing a Hendrix tune, not Carlos and Stanley burning down the house.
   
   And check out the great job by Nils Rogers, of Chic and many other great things you never heard, including as Producer for Aretha Franklin.
   
   Eric Clapton, a close friend of Mr. Jimi, who in the movie talks about getting stuck with a left handed strat he had bought for Jimi only to find him dead, kills Midnight Lamp. He does it. He delivers, from the heart, from the real deep heart. Best Clapton you are ever going to find, because he does Hendrix note for note. After all, Layla was all Dwayne Allman and keyboards, wasn't it now. This Midnight Lamp really does it and desserves a few listens before digging out the original, whose mix Hendrix never liked, as muddy, as the Warner engineers mixed out the room effects as always. I heard excellent one bootleg version done in Sweden, but that vinyl is long dead.
   
   Hear Clapton again. It really is all heart, deep throated heart. And real guitar, not mechanical technique. Makes you think where did he get all that pain from, and then you remember his baby boy somehow walked out of a high rise Manhattan window while under the care (or not) of a some nanny. That'll do it. Clapton really does touch the almighty here.
   
   Clapton hits it, but the only one cut you will play over and over again, is Bootzilla. Like in the early eighties, when you'd slip a P-Funk Knee Deep 45 on the turntable and leave the changer arm up for it to replay all night long, just to be able to ARISE in the morning and face the horror and terror of the Reagan regime, so will you set the CD player to REPEAT for this one cut. It delivers. The music critics back then in the eighties and late seventies tried to compare his new voice to the groovy, humanist mumbling of Jimi, ("The name's Bootsy, baby")and you can almost hear that here, but it is so smooth, so high (for a space bass player and yes that trademark Space Bass squirms to life here with the hook in the second movement while the guys are mumbling who's gonna play what), so benevolent, so loving and kind, and yet with an air of menace hidden buried somewhere deep beneath. After all he is singing "gonna shoot down some of your airplanes, baby" Chicka chicka Boom Boom. With such a kind and courteous air. It kills. And thanks bootsy for making those lines intelligible for the first time. Now I get the joke about "don't want your nose to grow". I always figured it was "don't want nobody to know." but it's a black Cherokee thang, I hope we understand, some kind of underground revolutionary shuffling thing with some hidden thought of a mighty weapon that we Irish can feel after our own centuries of Penal Laws and slavery to the same masters. Of course then he pays back by going only half intelligible on the whole jellyfish thing that's really good- really great lyrics and a warning - cause sometimes the wind ain't right. But Bootsilla makes it clear why this tune was often called Paper Airplanes in the studio while fooling around with it.
   
   Sometimes the wind ain't right. Makes you remember how much Jimi's lyrics leaned on his training as a paratrooper, all the sky stuff and flying and everything else. Last thing a paratrooper might do before jumping off a plane in the pre-computer, pre-high tech chute days, is kiss the sky and say good-bye, gonna die now. And when the wind ain't right, you might wind up hanging by your chute from a tree, a great target for any sniper. That's where Jimi came from, too.
   
   With George Clinton producing, this is the best cut on the whole set, and rewards repeated listening. Old George does it in his usual symphonic manner, with about six separate movements, well structured, starting with a really a strong guitar intro to establish the theme, a funk declaration of Jimi, then a women's chorus to get things rolling, then a buddy miles style fatback drum to get cranking after a little discussion over the squirmy guitar hook of Power of Soul, and then just cranking and cranking like fifty great people wandered into the same room and thought sometimes about the same song and sometimes not, all feeling like you just wandered into someone's real nice house rent party that's really blowing the roof off the sucker and with real southern soul food on the stove steaming but things might get kind of hairy around sun up when folks get tired and cranky but for now it's just a party, baby, with real talented people idly contributing some noise. HEar it again and again and you too will see. This is free soul music. Ain't nothing but a party.
   
   And George is the only one to work in Buddy Miles slamming fat back drum stylings - just sit back and slam it on time everytime, with a power driver break. It kills, and sounds like that original. Too bad Jimi's manager/damager fired Mr. Buddy. Jimi had some good fun there for once, after all. Got to go hear it some more. Got more to tell you but I just want to hear it again. Music to sleep on.
   
   Reminds me of some folks I once knew and loved. Funds from this disk go to the American Negro College Fund. Wish some could go to Billy Cox and Buddy Miles, Jimi's best band, too briefly. Black was not yet commercial enough. A lot of things were not possible to take for granted back then. Hard to believe Mr. Jimi's been dead much longer now than he was ever alive, but he's living. He's living, if you can call that living. I know that you will. Hear it again.
   
   (But I went back to listen to those original four shows from the Fillmore New Year's Eve 1970, and Bootsy got the words not only wrong but GLORIOUSLY wrong. Letting the nose grow indicates pride and arrogance, by the way, not lies, at least among Southern Black folk. Jimi is singing something else again, and says Shoot down those airplanes, especially the ones that are flying too low, to bring people back "UP" to Earth, back up to him, to get them back into reality, but not as the Boot says about carressing. Jimi gave up that kind of talk back with the first album, and in 1970 is trying to write some songs with another kind of message, traumatized as he was with the death of Martin Luther King, Jr. And so we find Message to Love and Earth Blues as well in that concert, and jimi saying these were some songs that weren't finished yet, that they were working on, but his manager fired Buddy Miles and kept Jimi touring before they could get finished. Oh well. These concerts by the way Jimi did not know were being recorded, and he never would have approved their recording, as he was basically trying out some songs with his friends, not in final form but fulfilling a contract to show up. He really never would have approved the reason they were recorded: to be given to Ed Chalpin, who'd made him sign years earlier an exclusive contract on a cocktail napkin for a dollar years earlier and this was Warner's way of making him go away. Jimi died the day he was to face the same issue with Chalpin in the London courts. Instead of which some incompetent British ambulance attendents choked him to death. "hey, he isn't coughing anymore")
   
   Got to hear some more. Make me stand up my weary bones one more time again. Let me find the originals, most lost forever. That kid singing like falling asleep over May this be love is okay, but not as good as Jimi. And anything with Sheldon Reynolds on it, well, turn the other way for awhile. The thing with Maurice White is interesting for about the first chorus, then it goes south. Let's play Stevie Ray one more time instead. Rip it up. Can you hear that? I knew that you could.
   
   They should have had the Stevie Raye Voodoo Chile Revisited instead of this weak EWF imitation; that has to be a strong declaration of power, not saccharine. And notice nobody had the bones to stand up and play Machine Gun, Hear my train a-Comin', 6 wuz 9, Up from the skies, Belly Button Window, Earth Blues, etc.
   
   This is American music, baby. Step up.



4. The other reviewers have covered the quality of this tribute - it has to be the best of the many that have been attempted. Jimi's legacy to rock music and his impact is still growing (listen to the guitar work on the new Chili Pepper's lp for instance). Unfortunately - the poser Prince is on this tribute cd. FYI - ladies and gentlemen - many, many years ago - around the time Purple Rain was released, I saw an interview with Prince on TV. In that interview he proclaimed to the interviewer and the world, and I quote, "I'm a better guitarist than Jimi Hendrix EVER was....". Now the only response I had at that time (once my dropped jaw left the floor and returned to it's normal position) was to walk over to my coffee table, pick up my copy of the Purple Rain LP, and smash it to bits against the corner of the table. It felt good. I gather when Prince cashed his check for his egotistical contribution of "Purple House" he neglected to mention his previous comments about Jimi. Prince - what a poser and a fraud and a has been that never was. Jimi was the best
   EJH



5. I don't generally buy various artist tribute CDs, but the disk was on half-price and the lineup of artists covering Jimi was too good to pass up. I'm especially impressed that this is a multiracial, multinational, and multigenerational cast, which really makes up Jimi's fanbase. Two complaints: I know Prince's thing is Purple, but change the title of the song to Purple House--sorry, it just loses something there. And, I'd really have loved to see Angelique Kidjo on this CD doing her version of "VooDoo Child."

3 comments about Last Man Standing: Original Motion Picture Soundtrack.

1. Thematically poor it may well be but this is a great CD. Elmer Bernstein was hired originally to do the score and altho his music was impressive it just didn't fit the tone of the movie. Ry Cooder has hit the mark with his score .The opening music is the most distant and morbid I have ever heard. It's great and really makes us feel was Bruce Willis is feeling in the movie. So far away and distant this score almost becomes tragic in places. Track 13 is a classic and 20 and 24 create a VERY downbeat tone. This is an unmissable CD.



2. If you've reached this space, you've obiously seen the movie. If you haven't, go see it right away! A bit matcho it is, yes, but Bruce Willis does a great job at playing tough, and my the actors in this movie are all great. So heck, go see it!

   Ok, I am going to talk to those of you who have seen the movie. Did you like the background music in the movie, and thought to yourself: "Wow, that music is wonderful, I have to have it."

   Well think no more about it then. The creators of this soundtrack CD has obviously done their homework. Almost ever background tune you heard in the movie, IS ON THIS CD. That means a lot of quality guitar mood music, taken of course from Last man Standing. Great music for romantic occasions, relaxing, and daydreaming.

   Some would-be soundtracks get neglected, and released just for that extra buck. But if all soundtracks / scores were this great, I would have no trouble hitting the "buy" button of the movies were I thought the background music ruled!




3. Thematically poor it may well be but this is a great CD. The opening music is the most distant and morbid I have ever heard. It's great. Track 13 is a classic and 20 and 24 create a VERY downbeat tone. This is an unmissable CD.

5 comments about One Night with You: The Best of Love, Vol. 2.

1. I ordered this cd one morning after hearing one of Luther's songs on the radio. The amazing career of Luther Vandross (1951-2005) "the King of the quiet storm" spans most of my life, and if my life were a movie, his music would most definitely be part of the soundtrack. This cd contains a lot of the hits that made Luther a superstar and a household name, and are too numerous to name here. My favorite track on this cd, (and I have many) is "The Best Things In Life Are Free" a duet that he performed with Pop-Princess Janet Jackson back in 1992, and was part of the motion picture soundtrack for the Damon Wayans vehicle, "Mo' Money" while the film was forgettable, the soundtrack wasn't, and Luther's track was not only a hit, but a bonafide chart topping, double platinum selling single as well! Mo' money indeed! However, this song appears in a re-mixed version on this particular disk, complete with a bouncing, rollicking Disco beat, lush orchestration, top-notch production values, and of course Luther's trademark, that beautifully melodic, flexible soaring tenor. This version caused me to love this song even more, I'd recommend this disc to anyone based on the strength of that song alone, but of course that isn't necessary, for this is Luther Vandross, a beautiful soul who made beautiful music, and who, at the time of his untimely passing, left behind an astonishingly prodigious body of work. Romantic, smooth, and always unforgettable.



2. This was the second time that I bought this CD. My husband "borrowed" the first one for an extended time. One Night with You has slow songs and a few upbeat ones as well. I thoroughly enjoy this CD.



3. IT HAS BEEN JUST OVER A YEAR NOW SINCE THE DEATH OF THE GREAT
   LUTHER VANDROSS.BUT THIS CD REMINDS ME EVERY TIME I PLAY IT HOW HE WAS ONE OF THE BEST SINGER'S OF R&B WHO EVER LIVED.
   THIS CD MAKES ME REALIZE THAT AS LONG AS THE MUSIC PLAY'S THE MEMORIES WILL NEVER FADE.THE SONG'S ON THIS CD I HAVE HAD SOME GREAT MEMORIES TO;ALONG WITH MILLION'S OF HIS OTHER FAN'S.
   LUTHER VANDROSS MAY NOW BE GONE BUT HIS MUSIC WILL BE FOREVER.
   MAY HE REST IN PEACE (ROME,NEW YORK).



4. These days, the music industry seems to be more about gloss, rather than the elegance of someone and the most important thing of them all, the voice. Yet, it is also sad that within that voice, this past year we've lost some great soulful singers like Lou Rawls, Barry White, Marvin Gaye, and recently Luther Vandross. It is very sad though because this July marks one year ago, that the world lost one of the most gifted singers ever in not just R&B, but the world of music in total. Yet, his era with Sony cmae to an end in the 90's and he brought out some great songs to match. This collection sums the second half of it.
   
   One Night With You: The Best Of Love Volume 2 is a well-rendered reflection of Luther Vandross, and the era that he had made in the 90's with his career. The album was re-released as part of SonyBMG's The Hits series, and the songs sound great. The album includes classics like Power Of Love / Love Power, Don't Want To Be A Fool, his remake of Lionel Richie & Diana Ross' Endless Love with Mariah Carey, and Always And Forever. Whiele the collection does deliver nicely, there still were a couple of tracks that weren't highlighted like Going In Circles, and other great tracks.
   
   Despite a few flaws, One Night With You: The Best Of Love Volume 2 is a good reflection of Luther's era in the 90's for die hard fans, but it still could've benn better for new fans of the belated, elequent singer. For those, I would recommend the 2003 Essential Luther Vandross collection instead, from the soulful man with the power of love.
   
   Album Cover: A
   
   Songs: B-
   
   Price: B
   
   Remastering: B 1/2+
   
   Overall: B 1/2-



5. SOULFUL! SENDS CHILLS DOWN YOUR SPINE! EXCELLENT! LOVE THIS CD.
   THERE IS NO ONE LIKE LUTHER.

5 comments about Jazz.

1. This is a Ry classic, I owned a 1/2 speed master on LP and it was great; the USA CD release never did this recording justice. UNTIL now. Re-mastering is great and now I can really enjoy this recording again.
   
   I also ordered Bop Till You Drop and I am hoping for Borderline, and Crossroads to be re-mastered.
   
   Great music, great sound! You cannot go wrong buying this import. Look for a great Rhino 2-CD set to be released shortly. This will be a great over view of this man's vast career.
   
   Phil



2. This is definitely not jazz and the title is thus misleading but, to be fair, at the 20s, the era from which Cooder takes inspiration for this album, the word "jazz" had quite a different (not only wider) meaning.
   
   Bix Beiderbecke, for instance, had a "dayjob" in the slick orchestra of Paul Whiteman; that orchestra is nowdays not considered as a jazz orchestra, but Whiteman was at the time known as "The King of Jazz", which nowdays sounds downright ridiculous...
   
   However, although this is a nice ecclectic piece of popular music, I think that "Nobody" and some other songs are a bit overblown; neither pastiche nor independent musical construct...



3. Okay, this is either sheer perversity or the people who remastered this Cooder series had burned out the treble circuitry on the board by the time they got to Jazz. Instead of the usual extreme treble increase, Jazz has had a major cut, leaving it dull and lifeless and with no high end to speak of. The gold standard here is the Mobile Fidelity LP, which IS a little warmer and smoother than the domestic CD, but the vinyl is still very clear and detailed. The old CD isn't bad, but it sounds brittle compared to the MFSL album. It's still much better than this Japanese mini-LP-sleeve version, though.



4. Saw Ry Cooder on the PBS station with Buena Vista Social Club, bought this album expecting something I didn't get. I set it aside for months and listened again, still didn't like it. I guess I just don't get Ry Cooder, I read he was eclectic, I guess I'm not in to eclectic. I wanted something I could get into and this ain't it.



5. Yes, Ry is a wonderful guitar player. And, yes, the material is well chosen. Yes. Yes. Yes to all the other reviews. But let's give a hand to the arranger, as well. Within the first few notes after placing the 12" LP of Jazz on my turntable many years ago, I was scrambling to find who did the arranging!
   
   Imagine my surprise when it turned out to be Joseph Byrd who was the leader of the 60s rock groups, The United States of America and Joe Byrd and the Field Hippies (The American Metaphysical Circus). (He was also put out a great synthsizer album on John Fahey's Takoma label.) Joe Byrd and Ry Cooder make magic together out of their deep love for the mongrel musical cultural that has taken the world by storm over that last 100 years! It is a high point of our popular music.
   
   One note of caution, if are looking for a historically accurate recreation of classic Jazz, look elsewhere! That sort of thing has nothing to do with the real spirit of Jazz that you will find here! Enjoy!

5 comments about Chapter 1: Love, Pain & Forgiveness.

1. Syleena Johnson's debut album came out about 6 or 7 years ago now, and I still love to play this CD all the time. Her voice is unlike anything I have ever heard in today's radio friendly world of hip-hop and r&b. Buy it..Love it!



2. This debut by Syleena Johnson is a breath of fresh air to the r&b scene. The tone of her voice reminds me of a smoothed out version of Millie Jackson. It's also admirable that she co-wrote all of the skits & songs except for the R Kelly produced, I AM YOUR WOMAN. I think that today's r&b listeners are too used to rhythmic pop/hip hop tracks passing as soul/r&b so artists like Syleena get ignored because she's not a singer who relies on rappers or hard beats to make tracks. Syleena can be compared to Blu Cantrell in that they're both young women with powerful vocal ability who don't garner a lot of mainstream attention because their songs cater more to the old school version of r&b, which is a real shame.
   
   The great thing about this album is that she had a focused story that she wanted to tell through the songs and was successful - they all deal with love, the pain caused by the loss of love and forgiveness to rebuild the love. I agree with a lot of reviewers in that even a few of the mediocre songs are listenable because of her beautiful voice.
   
   The standout tracks to me are:
   
   YOU SAID - beautiful duet with Liberty City
   
   HE'S GONNA DO YOU IN - bluesy, jazz influenced track, she sounds terrific
   
   ONE DAY - georgeous ballad
   
   I AM YOUR WOMAN - melodic track
   
   YOU GOT ME SPINNIN - love the musical production
   
   I'm not sure if Syleena would benefit from working with stronger songwriters if HER vision for HER songs would get lost in the translation of working with others. I mean as fans, we could say that we wish she'd do trendier or more upbeat songs to get airplay but if those types of songs would compromise her artistry then maybe she's fine doing her own thing and becoming a stronger songwriter in her own right.



3. Following a chained storyline this CD features many interludes that tend to detract the listener from where it really shines and that is her voice.
   
   Powerful and deep her voice shines above and carries what would be a mediocre CD at best. Syleena really shines with such gems as I Am Your Woman and Baby I'm So Confused and really bring allow you to forgive the slow interludes.
   
   A good first attempt by a fantastic voice.



4. That wonderful Alto voice that sometimes reminds me of Angela Bofill and a soulful rasp that reminds me of Billie Holiday. The album is solid but I really wish that she would get better material because the voice deserves better.
   The important thing is that she can sang. One of those Church singers but with lots of control.
   If you miss real singers, then you gonna like this.



5. This woman has an amazing voice.Her reaspy alto..she can sing to ma all day and i still wouldn't get tired of listening.This is an album which is average.Her voice is on point but some of the songs are mediocre.The songs..
   
   I Am Your Woman (first video i remember when i first saw her on Midnight Love..i though she could sang...influenced me to buy the album)
   
   Hit On Me (Second video i've seen.This is when i went to buy the album.The message and words are powerful and she sings it with such force.One of the best songs on this CD)
   
   Everybody Wants Something, He's Gonna Do You In, and You Said other good songs...average album but her voice makes up for it...
   
   OVERALL GRADE 79/100 = C+

5 comments about All the Way.

1. I knew I had a problem with Etta when I realized I had bought two copies of "Blues to the Bone". It didn't surprise me one bit when the 2003 Grammys awarded it "Best Blues Album of the Year."
   
   I'm not precisely sure why Ms. James is doing a covers CD. To me, that's the mark of a performer's descent and Etta seems to have only recently just hit her stride. Then again, she's done a sweet job on most of these songs.
   
   Well, and if she's going to do covers, why not do the best? Most folks generally think of Ms. James singing jazz and blues, but she takes on John Lennon's "Imagine" and does a respectable job with understated unpreachy delivery and instrumentation.
   
   I've heard "I Believe I can Fly" from weddings to MUZAK and 'underplayed' is probably moderate for my feeling about the song. If I hear it coming on the radio, the channel gets switched, but Etta's version doesn't generate hyperglycemia. She sings the song with the assurance of someone who's paid her dues and honestly does believe in herself.
   
   Prior to this, only Richard Thompson ("Kiss") could cover Prince and make me even want to listen. Ms. James takes "Purple Rain" and breathes a bit of new life.
   
   Now--if you're used to Ms. James singing the blues, you may only want a few of the selections. Listen to the samples and decide before you buy this CD. Not all of it may be for you, but it's definitely worth a listen.



2. I wanted this CD quite badly and was somewhat disappointed. I have been an Etta James fan for over 40 years. Her voice is much deeper and throaty, but the selections of songs just weren't to my liking. Hope her next one is better. One great review is how great she looks.



3. Only Etta would take on a diverse song selection like this, now some of the arrangements are a little simple but they work, Etta's voice is still strong and she brings her unique approach to each of the songs... 'Calling You'(which has never been a favorite of mine) Etta makes it work, just listen to Etta mimic a trumpet and then ends the song on a funny note, "Purple Rain" a tough choice is turned into slow blues number, "Stop On By", "Strung Out", "Holding Back The Years" are the best cuts on here, "Somewhere" is good but ends to soon. I hope Etta sticks with this direction but on the next cd have the arrangements more R&B\Soulful.



4. Etta never fails to deliver in the vocals. Gutteral bombast, sweet soul, gospel, blues, the lady is a living legend. But this album, like the last album "produced" by her son, is a nightmare. Chessy arrangments, tinkly bass, poor sound all around. She is a fierce mother and I'm sure she thinks her kids know best, but there is a reason why labels pair vocalists with the right producer. Should Etta get the chance to work with a fresh ear at the deck, she wouldn't need the novelty of some of the song choices.
   PS - 200lbs lighter and she remains the best live performer; blues, R/B, soul, whatever, in the world.



5. Since my youth I have had an ear for roots music, whether I was conscious of that fact or not. The original of that interest first centered on the blues, then early rock and roll and later, with the folk revival of the early 1960's, folk music. I have often wondered about the source of this interest. I am, and have always been a city boy, and an Eastern city boy at that. Nevertheless, over time I have come to appreciate many more forms of roots music than in my youth. The subject of the following review is an example.
   
   In my youth I gave Etta James' music short shrift because to be honest I did not like the so-called 'bubble gum' music genre that I believed she represented. In retrospect I do not think I was wrong to reject her early offerings, having replayed her early work recently. What got me interested in Etta was hearing her do The Jealous Kind and I'd Rather Be Blind at the Newport Folk Festival years ago. These songs reflect a more bluesy, gospelly tradition that my tastes can appreciate. The selections here while not exactly in that same vain do come close, especially Purple Rain. These are mainly covers that are tastefully done and reflect both her powerful voice and range of interests. You may not like all the selections but there are more than enough to keep you interested.