5 comments about Anthology.

1. In recent years a number of live albums have been produced with less than stellar coverage of the bands peak period music recorded in studio decades earlier. This album is the perfect collection of best songs in studio form -- the way they are meant to be heard. I have 7 tracks rated four star, and 2 rated five star. That is remarkable.



2. For me, the "Moody Blues Anthology" is a wonderful double CD, just like "This is The Moody Blues." This compilation is like a condensed version of "Time Traveller" with the addition of "Go Now."
   
   It's nice that this set includes the full versions of "Tuesday Afternoon" and "Nights in White Satin" (with the orchestra, contrary to the shorter mixes featured on "The Best of The Moody Blues"). These are my favorite mixes of the tracks, featuring the "Days of Future Passed" CD mix of "Tuesday Afternoon" and the "Days of Future Passed" vinyl mix of "Nights." It's also nice to see that, on this occasion, "Nights" gives mention to "Late Lament," written by Graeme Edge, on the song list (Previously noted on the "Prelude" and "This is The Moody Blues" CD's).
   
   The "Best of" mix of "Ride My See-Saw" is on here, so there is no cross-fade from the "Departure" track, on "In Search of the Lost Chord" ... This mix begins with the count in. There is just one Ray Thomas track on this release, which is "Legend of a Mind," one of my favorite Ray Thomas compositions (and awesome to listen to through headphones). Then, we get "Voices in the Sky," which should have appeared on the 1985 best of compilation featuring that song title as the name of the album!
   
   Two more Justin Hayward tunes follow from "On The Threshold of a Dream," including, "Lovely to See You" and "Never Comes The Day" ... I love the way the first of the two songs is faded in, because we hear the choir and mellotrons that end out, "In The Beginning," from the original LP, a really cool effect.
   
   Up next are three of my favorites, from "To Our Children's Children's Children," the 'mellotron-driven' "Gypsy," "Candle of Life," and "Watching and Waiting," and from "A Question of Balance," the original LP mix of "Question" appears, along with "Melancholy Man," which are two of the album's highlights.
   
   It was also a treat to hear the single mix of "The Story in Your Eyes," originally from the "Legend of a Band" CD, which is a few seconds longer than the mix heard on "Every Good Boy Deserves Favour."
   
   From "Seventh Sojourn," the two John Lodge classics, "Isn't Life Strange" and "I'm Just a Singer (In a Rock and Roll Band)" end out the first disc. The original version of "Isn't Life Strange" appears here (not the remake on "Legend of a Band"), and "I'm Just a Singer" starts off with the loud, crashing drums, not the cross-fade from "When You're a Free Man," from the original LP. It was also a treat to get one more tune from "Sojourn," Mike Pinder's, "Lost in a Lost World."
   
   Opening up the second disc is Justin Hayward and John Lodge's "Remember Me, My Friend," from "Blue Jays" ... Notice that the opening guitar riff lasts only three bars instead of four ... This is because the opening riff was cross-faded with the synthesizer from "This Morning," as heard on the "Blue Jays" album, so it was edited out.
   
   "Blue Guitar," also makes another appearance on a "Best of" compilation, and it's a nice bridge between the "Blue Jays" track and the material from "Octave."
   
   "Stepping in a Slide Zone" and "Driftwood" appear from "Octave," but because of the length of the CD, both songs are edited down a bit, with the sound effects from the intro to "Slide Zone" missing, and "Driftwood" fading out about a half minute earlier than the full version on "Octave."
   
   Justin Hayward's "Forever Autumn" follows, creating a nice bridge between the timeline of "Octave," and "Long Distance Voyager."
   
   From "Long Distance Voyager," the full length hits, "The Voice" and "Gemini Dream" are heard on this collection (Not the single edits from the "Voices in the Sky" compilation), but there is an edited version of John Lodge's "Talking out of Turn," which I first heard on the earlier CD version of "Voices in the Sky."
   
   Excerpts from "The Present" include, "Blue World" and "Sitting at the Wheel." Once again, as heard on "Time Traveller," the end of "Blue World" is cross-faded with the intro to "Sitting at the Wheel."
   
   From "The Other Side of Life," both the title track and "Your Wildest Dreams" appear ... While I was disappointed that "The Other Side of Life" didn't appear on "The Best of The Moody Blues," I'm glad to see that it is featured in this collection. :)
   
   The pairing of "Sur La Mer's" "I Know You're Out There Somewhere" and "Keys of the Kingdom's" "Say it With Love" were nice, as they are played in the same chord, but a big surprise I've noticed was that the mix of "Bless the Wings That Bring You Back" was taken from the CD single mix of that track ... This mix features the orchestra, and lasts about four minutes instead of five. Until this release, this mix of "Bless The Wings" was very rare, so I'm glad it made a reappearance here.
   
   The final track, "Highway," makes a reappearance here, since the "Time Traveller" Box Set, which debuted this tune ... I'm glad this track received some recognition, once again. :)
   
   There was just one criticism I had on this release ... This was in regard to the edited down versions of "Driftwood" and "Talking out of Turn," which are better suited for the 2 CD set titled "The Singles+" (I'm not big on edited down songs, and those were two fine songs that should be left at their regular length). Since the full length mixes of the songs wouldn't fit the length of the overall CD, I would rather see them replaced by shorter songs like "Veteran Cosmic Rocker" and "This is The Moment." It's a shame that there was only one Ray Thomas composition that appeared on this collection ... At least two of his songs could have been featured, so I think "Veteran Cosmic Rocker" would have been a nice choice, too.
   
   On the whole, this is an excellent double CD compilation for The Moody Blues, with a great selection of songs and outstanding sound quality. The inside of the CD booklet, featuring the two different colored planets behind the track list, made for a visual treat, as well! Thanks for reading! God Bless... :)



3. The only reason this does not get 5 stars is due to sound quality. Yes, it is a great capture of their work. But I was disapponted by the sound quality. It sounds like the original CD releases, and not "remastered" to current standards. I am not saying they need to re-do the mix from the original tapes (although that would be great), but the sound quality is not all there in my opinion. My guess is that there will likely be another more up-to-date collection that will get released sometime in the future that is remastered properly. Until then (whenver "then" may be), buy this one.



4. AFTER ORDERING THIS CD I WAS INFORMED THAT IT WOULD TAKE ALMOST 2 MONTHS TO GET THIS CD. THE WEEK IT WAS DUE TO COME I RECEIVED AN EMAIL STATING THAT IT WAS NO LONGER AVAILABLE AND THE ORDER WAS CANCELLED.



5. The Moody Blues 'Anthology' is a thorough treat for Moody's fans. It contains all that it should, and, even some songs it shouldn't, but it is selective enough for those of us who love being transported by the groups esoteric words and uplifting music. Objectively, they are uneven here. The 'Best of' collection is really the same collection, pared down to one CD and actually has the same basic picture on the disc cover. While the shorter version is better, the longer 'Anthology' is more satisfying.
   
   The Moodies made a successful classical-rock fusion. Before Electric Light Orchestra, Emerson, Lake, and Palmer, and others, they were masters. When they went fast-forward, they couldn't be beat. "Ride My See-Saw," "Story in Your Eyes," and "I'm Just a Singer (in a Rock-and-Roll Band)" are magnificent. The second song is as close to perfection as they get. Lyrically, they can either mesmerize or mystify. At their best, their free-association works; at their worst, they inspire giggles. The quieter songs are also a mixed bag. Either way, they mean to take us to a higher plain. "The Candle of Life" is so beautiful with crystal-clear production that they make other songs sound murky. The lyrics work well, too. In contrast "Lovely to See You" is magnificent musically, but could easily be parodied. What randomness goes into seeing a neighbor, noticing the neighbor will "even the score with your[his/her] eyes," and observing casually the prophecy that "all the empires will turn to sand". For that matter, as grand as "Question" is, the listener is trasported from greed, hate, and war to domestic problems. But, in all fairness, for the abrupt shifts in the Moody's lyrics, the significant other can uplift one from issues of world misery. "Lost in a Lost World," conversely, does well lyrically, but is less engaging musically. "Forever Autumn," on the other hand, gets it all right. It is a beautiful classic with focused lyrics that work. Another highlight is "Legend of a Mind," which is a very intricate tribute to LSD legend, Timothy Leary. While this reviewer prefers to trip vicariously via the music and at a safer harbor (ie drug free), the music comes close to transporting us without the use of dangerous drugs. Musically, it is subjectively even better than their other magnum opus, "Nights in White Satin". "Melancholy Man" is another portrait, although more enigmatic. It is difficult if it is confessional or third-person, but the mysticism seems to get mixed into the cross-hairs of depression. (It seems like an alien who becomes "The Fool on the Hill" if it isn't autobiographical.) Mostly, the editing is sound for the collecion. 'Anthology' wisely leaves behind works from other collections, including the trite "Dear Diary"--even if that one ends on an atomic note. It also leaves plenty of opportunity to collect their original albums.
   
   The first disc is more worthwhile than the second, but, again, for fans, one can't get enough. "The Voice" and "I Know You're out There Somewhere" demonstrate that their legend didn't end after the early seventies. Much of the production is more modern than their earlier work, but not all of it is as good. "Stepping in a Slide Zone" is just like "Driftwood" for the album. Overall, again, "Best Of..." is a five-star representation, but 'Anthology' shows that their catalog deserves elaboration.

5 comments about Ballads & Blues, 1982-1994.

1. Although I am not a big fan of Gary Moore, I own 6 of his albums in my collection.
   My personal opinion, none of his albums is consistent beginning to end.
   This album, compiled from his previous releases includes his best soft Rock songs; great singing, great guitar; if I have to own 1 album for Gary Moore. This is definitely the one.



2. I like Gary's music. I listen to most of his post seventies albums - the hard rockin' ones as well as bluesy ones. But this isn't the best of Gary's blues no way. Only one third of the tracks are bluesy and there's no Texas strut or his fine cover of As the years go passing by, to name a few. And the ballads... they are the worst part of Gary's catalogue in general.Stiry of the blues and Still got the blues are the exception, but mostly Gary sounds too sweet and slick. Get Out in the fields for example. It has the best numbers from here as well as more
   rocking ones. Or buy his studio albums from 1982 onward. Anz of them except for A different Beat, Dark dazs in paradise Scarsand Back to the blues will do (at lest somehat) better.
   So here's the list:
   Corridors of power 3.5 stars
   Victims of the future 4.5 stars
   Run for cover 4 stars
   After the war 4.5 stars
   Wild frontier
   Still got the blues 4 stars
   After hours 3.5 stars
   Blues for Greeny 4 stars
   Power of the blues 5 stars
   Don't Buy this.



3. Gary hits the notes with a rare intesity and emotion, and it gives all the songs an added dimension. Soulful, melodic and powerful compositions, they get you into the 'ballads & blues' mood straight away, if you are already not into it! This will be a worthy addition to any music collection. Go for it. I had bought a cassette of this in my college days about 7 years ago, and the songs have a very special appeal to me 'cos they also gave me hope in my personal life.



4. I was not familiar with Gary Moore until I saw several figure ice dance teams skate to his music - and spent hours attempting to identify the music, which turned out to be Still Got the Blues and Parisienne Walkways. When I discovered this cd and starting playing it, I was overwhelmed with appreciation - not only are these two renditions exceptional, but most of the other music on the cd is just as superb. This is a cd I listen to hours on end - both Gary's voice and the accompaniment penetrate deep into one's soul....and are indeed the musical equivalent of the perfect massage. It is one of my top five favorites....and the best blues music I've ever heard. Highest recommendations!



5. I have to start this review by using my personal view on this type of music, which is "the best blues songs are written and performed by non-blues musicians"; I happen to think that to fully understand the amount of beauty you can insert in a blues song, you have to have a superior control of music theory, composition, arrangement, your instrument (in this case guitar, obviously) and LOADS of heart and passion!
   This is also why I happen to think that Led Zep "Since I've Been Loving You", David Gilmour's "Marooned", Gary Moore's "The Loner", Cinderella's "Long Cold Winter" and Kingdom Come's "What Love Can Be" are the best blues songs ever written.
   This Blues & Ballads CD from Gary Moore is absolutely ubeatable in quality of every single track.... great selection!
   Only one regret; I happen to think he should have included the above mentioned "The Loner" (even a live version would've been cool) in this collection of superior blues taste and melody.

   Gary Moore is on top of my list as far as best blues guitarists (and no, Stevie Ray Vaughan doesn't even compare), followed by David Gilmour and Jimmy Page.
   His passion is really evident in his guitar playing and his soulful singing, and I'm totally unable to point out any particular song in the CD in question, which is totally worth every penny....
   Funny note: even those of you who aren't into the blues will like how Blues & Ballads will create a great classy athmosphere, in your car CD player, driving around with your girlfriend.

5 comments about Broken Arrow.

1. Rock stars have a well known dilemma, whether to repeat the things that brought them success, that fans tend to want more of, and that they're usually good at but can lead to a rut, or to try new things. Neil Young does both in spades, moving between his old styles and all sorts of new experiments. This album falls more into the repeat camp, which is fine with me. He's good at the grunge guitar jams and the other Crazy Horse stuff, and I want more of it.
   
   Such dilemmas and other issues of growing older in the music business may have been on Young's mind as he was turning 50. The chorus of the first song, "Big Time," is "I'm still livin' the dream we had / For me it's not over." It begins with his trip from Ontario to LA to join the big-time music scene there. The album title, Broken Arrow, is the title of one of his early songs for Buffalo Springfield (see here), an experimental piece that deals with stardom and some personal imagery that seems to allude to dreams already lost. "Could you tell that the empty-quivered, / Brown-skinned Indian on the banks / That were crowded and narrow, / Held a broken arrow?" Years later, Young half-explained, "It's an image of being very scared and mixed up. The broken arrow is an Indian sign of peace after losing a war. A broken arrow usually means that somebody has lost a lot." It's an image that he lives with, on his ranch named Broken Arrow. It's hard to say exactly what either song is getting at, but in "Big Time" he speaks of "a gold mine," "the enemy inside of me," "that youthful fountain."
   
   "Loose Change" seems to work in a similar vein, speaking of roads in all directions:
   
   "Too many distractions
   Got to get back home
   Get into something solid
   Get out of the zone
   Some roads bring renewal
   Some roads hide and wait
   Some roads promise everything
   And steal your fuel away."
   
   From there, there's more talk of highways, thinking about living, and the last studio cut (there's a live track tacked on) ends, "I really didn't mean to stay / As long as I have / So I'll be movin' on." Hard to say how much we should read into such things.
   
   Though these cuts have much of the sound of some of his early work, they don't have the same intensity or juice of the best of it, not on the angry, spooky or any other side. And, what probably follows by some musical logic, they seem to me to lack some of the musical edge that some of his best had back when, to be less inspired in their jams, tunes, rambles and so on. No surprise there, as when he made this album Young (it appears) was living a more settled and happier life, relatively speaking, with different challenges. And not too much of a disappointment, because the songs are still very good, have good energy and vibe. I love his overall sound on this album.
   
   The first three tracks each include guitar jams, so they average over eight minutes each. The longest, and most repetitious, is on "Loose Change." If you listen closely, following the shadings of the churning along, it works pretty well, otherwise it can seem tedious. I particularly like "Slip Away," which combines the grungy guitar haze with a dreamy, wistful vocal haze.
   
   "Changing Highways" has some of that country vibe. Catchy, nice beat. Good guitar groove on "Scattered." "This Town" is a chugging trifle, enjoyable enough, with short non-fuzzed guitar solos. "Music Arcade" is Young by himself whispering a simple tune and playing an acoustic guitar. He's good at that, though it's very redundant.
   
   I especially like the last track, an 8-minute live recording of Jimmy Reed's blues "Baby, What You Want Me to Do." Taken from a series of little live shows at bars on the West Coast, this has the basics of a good performance: a great groove, a fine song, and momentum. Even though it is eight minutes long, and has a laid back pace, nothing drags or sags. It has maybe too much of a good thing in the ambiance of the bar, since it appears (by design, probably) to have been recorded from someone's lap in the audience. That makes the chatter and bottle clinking as distinct as the music, which is rather distant, but it still works.
   
   If you like LPs, this one might be worth getting in that format, if you can find it. It has an extra song. And you can actually read the liner notes, which require a microscope for the CD version.
   
   A strong four stars.



2. Old man music - grizzled, abstruse, uncompromised.
   
   Often maddeningly unambitious (the last track is slumming), all the better to stun the senses with strategic bolts of craft mastery, honed 35+ years. Sweet sounds quietly adorn the brighter cuts. "This Town" and "Changing Highways," however granite the chords, are pure saloon hoedowns - exquisite hippie soul. "Slip Away," more a scribble than a song, nevertheless offers the savviest guitar solo, quasiquoting "Norwegian Wood" and coaxing ambiguous spirituality from a thudding miasma. The executive number is "The Big Time," unfurling cosmic measures of consoling vocals and punishing guitars, terrifyingly heartfelt.
   
   Tired, still epic.



3. neil young a lo largo del tiempo nos ha sorprendido por su talento, vehemencia y audacia...tambien es cierto que a veces, en merito a su afan prolifico de permanente busqueda, suele ofrecer material de dificil acceso para el publico. hemos escuchado discos de young adelantados a su tiempo, incomprendidos en su aparicion y venerados luego, pero a mi sincera opinion, este no es el caso.....broken arrow no deja de ser un intento fallido de remontar al grunge. canciones monotonas, desprolijas, inconclusas que se pierden en divagues eternos..sonido atronador por momentos, muy sucio por otros..en fin, no estamos hablando de una obra que merezca mucha atencion....



4. This is actually my favorite Neil Young album (which may say something about me). I love it not for its quantity of great songs or tracks, but for its incredible depth and mystery. The image of American Indians on the cover and the title--a broken arrow, representing peace--indicates an appreciation of history and the fact that human thought and emotion over the ages is all tied together.
   
   These ideas, of course, are recurring themes in Neil Young's work (overcoming generation gaps, imagining life in other times and places, and working through complex and difficult memories). It is music for lonely people, lost souls, or those searching for meaning in a dark world. At certain times, it is almost eerie, as though he is channeling spiritual messages.
   
   Perhaps the final song, his version of "Baby What You Want Me to Do" could really be interpreted in a spiritual way. It could mean that his muse is a higher power that was telling him what to do when writing and performing the music (like the double-meaning of George Harrison's unintentional channeling of "My Sweet Lord...He's So Fine.") Young might have also chosen to do a cover of "Baby..." because the words of being in a state of flux and turmoil echo the lyrics of other tracks such as "Scattered (Let's Think About Livin')."
   
   It is not an album to be listened to at a party or with commotion. Just as one wouldn't want to meditate or read under those circumstances, one probably shouldn't try to connect with this kind of music with distractions. As he says in "Music Arcade" : "Yeah, I'm talking 'bout getting down...Take it easy...There's no one around..."



5. Neil Young put out more albums collectively with Crazy Horse than with anyone else in the nineties. For a while, us younger fans were unaware that Young was associated with anyone else. Although this relationship began in 1969, and has always been a power factory... it was in the nineties where they really harnessed the team, and pumped out the rawest rock and roll of their respective careers. This started in '90 with Ragged Glory, continued with live albums like Weld, and futher touched into the grunge/alternative spike with 94's Sleeps With Angels. After a break in 95 for Youngs most Alternative effort, Mirror Ball, recorded with Pearl Jam in place of the Horse, the team got back together to record BROKEN ARROW. A dive bar rock album, with much grungy-yet-smooth guitar jams. In my ears, one of the bands most perfect albums.
   This one may never go down as a classic, or even as one of Neil Youngs most relevant discs. It in no way takes itself seriously, and was never a huge hitter for Young. However, ten years later, with Youngs Living With War currently on the shelves, some disgruntled fans may need to go back a few years to hear what Neil Young sounds like, when he doesn't have very much to say... just jammin in the garage on some nasty sounding shredders, and cool, serene atmospheres.
   The first three tracks kick. Each one, no less than eight minutes long. The distortion is up in the good old Neil/Horse fashion. BIG TIME and LOOSE CHANGE being more uppaced, and SLIP AWAY being a dream like sequence, but with just as much crunch and distortion.
   The latter half contains a few songs that are just a good time. I saw the tour for this back in '96, and it was one of the best shows I've ever seen. The band were in a groove that summer, and were really showing off the skills. I love the free style intro to THIS TOWN, I love the group effort of CHANGING HIGHWAYS, hell I even like the soft spoken MUSIC ARCADE. This whole thing is great. The final track is a bootleg style cover of an old Jimmy Reed tune, BABY WHAT YOU WANT ME TO DO. It's the icing on the cake for me. A real bar rocker, with the people in the background, and glasses clinking etc. Very cool.

5 comments about Who's Greatest Hits.

1. Not the best collection of Who songs but still not bad. It has most of the hits but is lacking a few major ones. It also features some lesser known yet great songs such as "Relay" and "My Wife". However, you would be better off buying one of the more thorough compilations.



2. How can this be a Greatest Hits album by The Who, if it includes the glaring omission of the single greatest song ever done by The Who, "I Can See For Miles"? I really have to question the sanity of whomever put this compilation together, because this oversight defies any sense of logic whatsoever.........................



3. When it comes to classic rock, who does it better than The Who? Since 1965 they have made some of the finest music out there. This overview isn't your best bet if you want a COMPLETE review of The Who's career, but it's pretty good if you want a slightly different compilation of their music (all featuring Keith Moon on drums).
   
   Positives:
   Several "best of" standards, including Who Are You, Won't Get Fooled Again, Squeeze Box, Love Reign O'er Me and many others are here.
   -UNDERRATED GEMS ARE HERE TOO! The Relay, The Seeker, and My Wife.
   -SOUND QUALITY IS EXCELLENT!
   
   Negatives:
   Where is Baba O'Riley, The Kids Are Alright, Join Together, I'm Free, Slip Kid, I Can See For Miles and Behind Blue Eyes? This purports to be a comprehensive collection of The Who's highlights; they at least should have tried to cover the bases and fill up the disc - ONLY 13 SONGS on this collection!!!???? Think of how much more material could be on here.
   -NOTHING FROM LIVE AT LEEDS! Summertime Blues isn't here, which really stinks. That's a great song.
   
   If you want a quick and dirty summary of Keith Moon-era songs with a few twists, then this is a nice compilation and probably worth the investment. But, if you want a more comprehensive single disc overview, buy "Who's Better Who's Best" and/or "Then And Now!: 1964-2004." The latter of these compilations features the band's first new studio recordings in 22 years.



4. It's offical: there are too many Who compilations on the market. Some work (Meaty Beaty Big and Bouncy, The Ultimate Collection), some don't (the Millennium Collection, My Generation). This one simply doesn't. Why? Read on...
   1. Some of the bare essentials (Baba O'Riley, You Better You Bet, Behind Blue Eyes, Boris the Spider, I Can't Explain, The Real Me, Call Me Lightning, Long Live Rock, I Can See For Miles) are missing.
   2. Also missing are the smorgasboard of great album tracks the Who put out. I'm thinking Go to the Mirror Boy, 1921, the Acid Queen, The Song Is Over, Gettin' In Tune, Going Mobile, Doctor Jimmy and the Punk and the Godfather and Slip Kid.
   3. The record companies insist on putting Who Are You on every who collection including this one. Which is great, except for the song isn't much.
   4. They try to cover the Who's twenty years of making studio albums in thirteen tracks. Genius, Watson!
   Though it's hard to make a Who collection without any good moments, The Ultimate Collection is the way to go if you want to experience Whostory 101.



5. A couple of good songs but the Beatles are far better I mean much better vocals harmony Guitars everything. Also the who were just plane out out of there mind. GodBless

5 comments about Soap Opera.

1. As a long time Kinks fan, it pains me to not recommend one of their albums. Quite frankly, this one is for those who feel the need to have as much of the Kinks' musis as possible. Don't get me wrong, there are some good songs on it, but overall not enough to recommend it. The only song you might recognize is the first track that was used in 2008 for a Converse commercial. That commercial inspired me to finally buy this CD to replace my vinyl version. If you are just discovering the Kinks, wait and get this one later - start with a different one (from the 60s or later 70s or early 80s). If you are well versed in the Kinks music and just want more, then by all means get this and enjoy.



2. "When "Soap Opera" was first released in 1975 the Kinks were my undisputed number one favourite band. Having recently seen the group live twice ( once performing Preservation Act ) I had a hard time waiting for the release of their next album. And as big fans rarely are, I wasn't disappointed when it finally appeared in the local record store. In the beginning I particularly enjoyed the melodic ballads such as "Nine to Five", "You Make it All Worthwhile" and "A Face in the Crowd". It was disappointing, though, that none of the singles taken from the album managed to bring the Kinks back to the top of the charts. Another frustration was that none of my friends seemed to share my enthusiasm with the album, a fact that I could not really understand.
   
   Now, years later, I realize that "Soap Opera" is far from being one of the Kinks' greatest albums, and though most the music still sound great, it's obvious that only few songs work outside the context of the "Soap Opera Story". Actually, my originally least favourite song "Holiday Romance" may be the one track that has such quality. Great melody and a charming humouristic story; I have often imagined Mickey Mouse as the charmer dancing with Lavinia.
   
   The story itself may appear not very interesting today, but there is a great sense of sarcasm and humour in many of the songs, so I still feel well entertained when listening to the album.



3. I bought this to replace my vinyl copy. It's a required piece of listening for anyone wanting to understand how adventuresome a rock act could be if allowed to indulge themselves to their fullest. not exactly Tommy or Quadrphenia, but still a bona fide rock opera, with a story line and a strong vaudville type of presentation.



4. These are some interesting concepts outlined here. I always loved the theatrical side of the Kinks, and this one was one of their best plays. Certainly it's the tightest in terms of storyline.
   
   I never saw it as being truly about a star who changes place with a "nobody" though. To me, it was more the story of a man whose ordinary daily life is so mundane and so humdrum that he invents an exciting fantasy to make it all bearable.
   
   Don't we all?
   
   Anyway, this has everything we've come to expect from Ray and crew, from the giddy fun of "Ducks on the Wall" to the rebellious and anthemic (and slightly panicky) drinking songs (both versions -- "have another drink, it'll make you feel better," and "don't stop and think; have another drink") to the bittersweet and pretty "Underneath the Neon Sign." We sink, with Norman, deeper and deeper into an unescapable lethargy, hating the drudgery of daily life and feeling more and more helpless to do anything but breathe and go on.
   
   This is tragedy at its most Greek: a story of a lively and inventive man who longs for color and excitement but who is instead overpainted in grays. When at last he accepts his life and sees that it has a tender beauty of its own, we can't help but feel a little bit disappointed. We wanted him to break free, if only to prove to us that we might hope to do it ourselves.
   
   Give this one a chance. It's not as great as a lot of Kinks albums, but at that it's still a lot better than just about anything else.



5. This is one of those Kinks records that just went sailing over people's heads. The idea of a rock star gradually becoming a mediocre nobody is the stuff of genius. It's about the oppressive sameness of the masses, and just think about it for a second. What does the expression "keep it real" mean? I can tell you. It means "don't think you're better than the 'hood. Stay undeducated and lame and watch TV and listen to weak rap numbers that denigrate women in a predictable style." Real real.
   
   Ray Davies nailed it all those years ago: We're not a culture of individualists, by any means.. We're all about conformity. He just puts it out there, straight, no chaser. We should ask ourselves: How much have we "settled" over the years? How much has identifiable product overwhelmed the process of choice? To my knowledge, this is the only album that has ever addressed the question.
   
   What Ray Davies does here is illustrate, from his own coast, how the weight of just "fitting in" can crush anyone, even a genius. The moral: Don't fit In! And Ray never did. Melodically as well, this has some of the greatest tunes ever generated. The actual CD closer (not the one on the extended version) has had me in tears.
   
   This is a very, very brilliant album. I wouldn't use the word "silly" for any of it. Ironic, in high Shakespearean style, is more appropriate. It is, in its way, a fully fleshed out version of "I'm not like everybody else," which is hilariously used non-ironically in a commercial these days. Don't they get it? They are ALL like everybody else! That's what the song is about.
   
   Irony 101 for all ad execs. Mandatory. (Oh yeah, and I know folks have noted that "Lust for Life" by Iggy is being used to promote family values. I have lived this long?)
   
   Finally, if the above all sounds daunting....Soap Opera also great fun to listen to. Good singing, good playing, melodies and hooks galore, wit, intelligence, and Ray Davies's voice. And a spectacular foray into the mind of the 20th Century Ape-Man.

5 comments about Power.

1. If you listen to this album without knowing it is Kansas, it's an alright piece of 80's rock. However, it is one of the worst albums Kansas ever made (the two studio efforts that followed are the only ones worse).
   1983's Drastic Measures (which wasn't particularly good either, but had some high points) was the last Kansas album before they disbanded. Walsh reformed the group in 1986 with a different lineup and, glaringly, without Livgren and his songs.
   If you were to make a list of the top 15 best Kansas songs and the bottom 15 worst Kansas songs, very few, if any, Walsh written songs would make the top 15 and, likely, the bottom 15 would be filled with songs he penned. While Walsh did surprisingly well writing for Power, it's still not good enough to recapture the traditional Kansas sound. In other words, the album just doesn't sound like Kansas. And I think the concept of Kansas would have been better off had Walsh and company given their "new" band a different name.
   Finally, the song Three Pretenders is a very low blow to Livgren, Hope and Elefante and completely unnecessary. I can't stand this song at all because Livgren and Hope are so important to the history of Kansas and to stab them in the back like this on an album with the name Kansas on the cover makes me sick.
   Bottom line: not bad for the 80's, not good for Kansas.



2. Kansas for all practical purposes disbanded in 1984. After spending several years in the band Streets, original vocalist / keyboardist Steve Walsh decided to come back to the fold and a new Kansas was born. Original members Walsh, Guitarist Rich Williams, and drummer Phil Eheart were augmented by bassist Billy Greer and legendary guitarist Steve Morse. For me "Power" is one of Kansas most underrated albums. I have always really liked it, and I think it still holds up well today. With Kerry Livgren out of the picture Kansas had definitely become Steve Walsh's band and it is reflected in the overall heavier writing style that Walsh had been using in Streets. Steve Morse absolutely kills on guitar throughout the album and the rest of the band is all in fine form. Most of the songs are short, but they are all well written, and band does throw in a progressive rock bone with the great little instrumental "Musicatto". "All I Wanted" was the single from the album that actually cracked the top 20 and got a lot of MTV airplay. Still, the album did not sell all that well and the second single "Can't Cry Anymore" charted briefly and then dropped out of sight. Speaking of "Cant Cry Anymore" this is another one of those songs that came along at a perfect time in my life. I was going through the breakup of a relationship and could have literally written the lyrics for this one myself. It is a great power ballad that really shows off Walsh's voice. Really, I think every song on this album is good and to me this is a must own Kansas disc, and was a great artistic comeback for the band at the time.



3. This album saw Kansas change there lineup. The addition of Steve Morse gave them one hell of an axeman. Listen to the solo at the end of Track 1, Silouettes in Disguise and you'll see what I mean. Most early Kansas albums had a couple of tracks that were listenable but the remainder of the album would contain songs that were too long and would make the listener lose interest. With this album they only did it once. It is an album that is more mainstream rock with Kansas' edge. I believe this to be their best album, yet when you see any compilation albums, this material is left off. Too bad. Bottom line though...Do yourself a favor and get this album and you won't be disappointed. I wore the cassette out when this was first released in the mid-80's and was pleased to finally see it on CD.



4. However, this is actually an attempt to merge band members from Chicago, and Survivor into Kansas....well that's how I heard it anyway. Kansas is just one of those bands that sound the way they want to sound. I mean I heard some of thier earlier material before "Point Of No Return", and it passed easily as an earlier rendition of the sound on this album. I enjoyed most of this album as it kicks off appropriately with "Silohuettes In Disguise" a fast moving song that just gets the blood flowing, and could be a good way to kick off thier concert. The title cut follows, and from there the direction gets askewed, and then comes the power ballad "All I Wanted". The haunting memories of this song take me back to Monday January 5th, 1987, and I got ridiculed by my mother again. I made a mistake, and she gets all over me for not thinking, and all the while this song's playing on my stereo. It was a bad time for me as I was still out of school with no job, and coming off a horrendous semester in college, so I know I was at a low in the self-esteem department, and I look back, and ask myself: Why didn't I look for a job then?" I just sat there, and took it all in, and now I have to free this from my soul. The long weekends as I had no money, no car, no nothing except sitting in my room. I have many regrets not having done this back then; I ask myself "Why didn't I just face my fear, and take it upon myself to look for work?" I know that it's something I can't do anymore; I have a little boy depending upon me, and I have to deliver. I leave this almost 20 year old memory where it belongs right here. The rest of this album is more of the same, and to me it's about average for the music that was coming out at this time. I will say though it was one of the better albums that came out in 1986, and for me that's saying alot.



5. After the decidedly un-Kansas "Drastic Measures", Kansas called it a day.
   
   For a while, Steve Walsh played side-stage keyboards for Cheap Trick after the split-up of his under-rated band, Streets, who were more straight-ahead rock than Kansas.
   
   When this album came out, I was sceptical since I didn't care much for the final Kansas 1982-83 output.
   
   However, after hearing the album, I was very pleasantly surprised. The songs are written well, former Streets bassist Billy Greer (a Walsh sidekick to this day) slotted nicely into Dave Hope's bass position, and Richard Williams and Phil Ehart were back. A real treat was former Dixie Dregs and current Deep Purple virtuoso Steve Morse on guitar.
   
   There were excellent songs like "Silhouettes In Disguise", "Dust In The Wind" soundalike "Taking In The View" and "Tomb 19". These were more akin to Streets than classic Kansas, however. On the negative side, "All I Wanted" and "Can't Cry Anymore" sounded too slickly tailor-made for mid-80's US radio play. Deduct half a star.
   
   Mostly good to this point. But there was something missing...
   
   NO VIOLIN. Robby Steinhardt was glaringly absent for both "Power" and "In The Spirit Of Things", though David Ragsdale came aboard for live dates and later recording and did an admirable job before Steinhardt rejoined in the late '90s. For a band whose distinctive sound depended so much on the violin/keyboard/guitar interplay, the lack of violin left a definite void. Deduct another half-star.
   
   Don't let that stop you from buying this, though. As I've said, the songs are mostly very good, and without the tension between Walsh and Kerry Livgren, the sound is quite cohesive.
   
   I've seen the band live three times since this reformation, and they've never disappointed. These songs sound even better live than in the studio, as later live discs will attest.

5 comments about Shakedown Street.

1. I associate Shakedown Street with a love interest I had in college, whose favorite song on this album was "Fire on the Mountain." Her favorite song then became one of my favorite Dead songs and years later it's still a favorite. (Funny how those things happen.) Shakedown Street (1978) is the the Grateful Dead's tenth studio album, and is Definitive Dead--essential to any serious rock collection. It is a fusion of rock, funk, blues, reggae, country, and improvisational jam. Produced by Lowell George of Little Feat, the album has a funky Little Feat groove. The album features Garcia and Weir on vocals and guitars, Lesh on bass and vocals, Keith Godchaux on vocals and keyboards, Donna Jean Godchaux on vocals, and Kreutzmann and Hart on percussion. I first experienced this album on vinyl. The remastered CD is worth the upgrade from vinyl, featuring the following setlist:
   
   1. Good Lovin'
   2. France
   3. Shakedown Street
   4. Srengetti
   5. Fire On The Mountain
   6. I Need A Miracle
   7. From The Heart Of Me
   8. Stagger Lee
   9. All New Minglewood Blues
   10. If I Had The World To Give
   
   11. Good Lovin' (studio outtake featuring Lowell George on vocals)
   12. Ollin Arageed (recorded live in Cairo, Egypt, September 16, 1978)
   13. Fire On The Mountain (recorded live in Cairo, September 16, 1978)
   14. Stagger Lee (recorded live in Cairo, Egypt on September 15, 1978)
   15. All New Minglewood (recorded live in New Jersey on November 24, 1978)
   
   G. Merritt



2. This purchase was to replace an old, long-lost copy. I've always liked their studio-produced stuff, much to the chagrin of some more serious aficionados. Every once in a while it's nice to hear a nice crisp rendition than to have to pore over tons of bootlegs to find just the one.



3. I've always had great affection for this album. Their cover of "Good Lovin'" is absolutely irresistible. This album is likely to appear to non-Dead fans to, as it is funkier and tighter than most.



4. Released in 1978, this was the Grateful Dead's tenth studio album and 14th overall. Oringally, it had 10 songs and was just under 39 minutes long. With the bonus tracks, it comes out to 74 minutes.
   
   On the first CD release of this album, the sound quality was mediocre. All of these remastered Grateful Dead CD's have excellent sound. They are recorded in HDCD (24 bit instead of the standard 16) so they sound better than normal CD's. And if you have a CD player that has the HDCD decoder, they sound stunning.
   
   All of the remastered Grateful Dead CD's have bonus material to bring the total playing time up to close to 80 minutes. The bonus material has been very good on some CD's (like Blues for Allah) to disappointing on others (American Beauty).
   
   Except for Ollin Arageed, the bonus material on Shakedown Street is not very good. Ollin Arageed is the best thing on the CD, and one of the best and more unusual tracks by the Grateful Dead. The other tracks are a version Good Lovin' with Lowell George on vocals (which isn't as good as Bob Wier's inspired version), and then a bunch of live songs. The live material is nothing special, just rambling versions of some of the studio songs. Even the 13 minute Fire On the Mountain is nothing special. I have heard much better live versions of this song.
   
   As for the original Shakedown Street was produced by Lowell George of Little Feat (about a year before he died). It kind of goes back to the days of American Beauty and Workingman's Dead (but with more of a seventies flavor). Rumor has it that the Dead were looking for a hit and conformed the music to the sounds of the time. Some say there is a bit of disco flavor in this. But, I don't agree.
   
   Just like most Grateful Dead albums, there are some great songs on this CD (a rollicking version of the Little Rascal's Good Lovin', Shakedown Street, I Need a Miracle, Fire on the Mountain) with a bunch of mediocre songs. Even the great American Beauty album was not consistant throughout.
   
   This is a three to four star CD. I tilt to 3 stars because the bonus material isn't very good.



5. This is an okay record. Basic the band wanted to record another album before their Egypt performances in 1978. So they went into the band's new studio and began recording before they even had enough new songs and unfortunatly, it shows. This album has a much more plays it straight feel than others. This might have had something to do with Terrapin Station's somewhat over the top production. Dispite all this, there's some nice stuff on here. The Good Lovin' that opens this album is quite good. France I've come to like okay although that's probably because it was never played live and thus is kind of a rarity. The best things about this Shakedown Street is the cool little Jerry string bending overdubs and the fact that it's one of the few times I've heard all the vocals onkey. Serengetti is fun but short. Fire On The Mountain turns out in a nice version. I Need A Miracle is a straight up rocker that's actually pretty basic for the Dead. Once again, one of the problems some of the band members had with Terrapin was that it didn't rock out enough. Donna's From The Heart Of Me has a cool hook. Both Stagger Lee and All New Minglewood Blues are no great shakes. From The Heart Of Me was a tune written to be romantic and it's okay. It was only played live three times. Of all the bonus stuff, the best is Ollin Arageed.

4 comments about The Best of Bob Dylan, Vol. 2.

1. Around the same time that Columbia released "The Essential Bob Dylan" in the US, it also released "The Best of Bob Dylan Volume 2" in most overseas markets, a sequel to Volume 1 which was released in 1997.
   
   "The Best of Bob Dylan Volume 2" (17 tracks, 77 min., plus bonus disk) starts off with the 'excuse' that was needed for the release, namely the excellent (and Oscar-winning) "Things Have Changed" from the "Wonder Boys" soundtrack. After that, the remaining 16 tracks provide a chronological overview of Dylan's best known songs not found on Volume 1, and thus form a perfect complement to Volume 1. The highlights are many, including "A Hard Rain's Gonna Fall", "I Want You", "Simple Twist of Faith", "Changing of the Guards" (all of which are missing from "The Essential Bob Dylan"), "Hurricane", "Rainy Day Woman", and so on. The audio quality is superb. So you ask, what more can one expect of a "greatest hits" album? A bonus disk, of course!
   
   The bonus disk (18 min.) provides live tracks of the epic "Highlands" (from "Time Out of Mind"), followed by "Blowing in the Wind". They show Dylan in his element, and I wish there were more official releases of the "Never-Ending Tour".
   
   In all, this is an excellent compilation. Highly recomended!



2. Throughout the years the suits at Columbia, then Sony have tried to make more money of Mr. D by mixing and matching his material, not just in a Greatest Hits compilation, but as a "Best of Import" from Japan, Holland, Sweden, or some other far away place. They tout them as better, different, remastered, a gold version and lots of times they'll build these compilations around a song that hadn't appeared on any other album.

   The current favorite is the wonderful song, "Things have changed," which shows up on five different sets available today.

   "The Best of series Vol. 1 and Vol. 2" Imports are the only one of the 5 sets that you can get separately and, since they couldn't put "Things Have Changed on both CDs, they put "Shelter From The Storm," from the Tom Cruise, Cuba Gooding move "Jerry Maguire" on the first disc. If you were to buy both discs in this set you'd be out over fifty bucks. Of course, there isn't a bad song on the discs, but if you're like me, you already own most of them.

   "The Very Best of Vol. 1 & 2" Swedish version has 33 songs on it, all available elsewhere except, of course "Things Have Changed." The songs are about the same as on the other compilations and this one will set you back thirty-three dollars.

   "The Ultimate Collection," is of course not the ultimate collection, but it is a collection of 33 songs, very similar in scope to the songs in the other collection and built around, "Things Have Changed." This version will shrink you wallet by thirty-nine dollars.

   "The Essential Bob Dylan" double CD set has 30 songs on it and has a nice flow to it. Like the other compilations mentioned here it features "Things Have Changed." You'll have to fork over twenty-one dollars to get this one. It's the most reasonably priced of the bunch, and so it's the only one I'm giving five stars to.

   "The Essential Bob Dylan" Import has six more songs on it and it'll cost you 16 more dollars. That's a lot of money to pay to get those extra six songs.

   Okay after rounding them up and telling you a little about them, I have to say that I'm pretty disappointed in Sony about this group. Unlike "Greatest Hits, Vol. 2" which like these isn't really a Greatest Hits compilation, these CDs cost a whole gang of money and give us only one new song. "GH 2" gave us a half dozen new tunes, so we (not me, cuz I wasn't born yet) didn't feel ripped off when we bought it. Also, the "Biograph" compilation was stuffed with new songs. Ah well, my recommendation would be to buy the American version of "The Essential Bob Dylan" for twenty-one dollars and shine the rest of them on. Five stars for that one, four for the rest.

   Reviewed by Stephanie Sane




3. This collection is worth getting for the new song "Things Have Changed" and the extra live CD! The other songs sound as if they were recorded yesterday. Every Bob Dylan fan should on this!



4. I'm listening to this " the best of Bob Dylan volune 2" over and over again! This CD includes two unreleased live tracks "Highlands" & Blowing in the wind" (I love this live version! )from recent shows! (Limited edition only!)

   I love new song called "Things have Changed" and Oh Mercy outtake "Dignity".

5 comments about Hootie & the Blowfish.

1. just "okay" CD. I like Hootie, and when I was needing to make a sample Amazon purchase I picked this CD, unknown to me at the time. It certainly isn't full of winners. I've listened to it twice and none "stick in my head". The lyrics and beats of the Hootie I'm used to just weren't there.



2. My niece was having trouble finding this CD. Amazon always comes through for me. It arrived in a short period of time and in perfect condition.



3. I own four other albums and all of them are great. When I pop in a Hootie CD I expect to be relaxed by the soothing voice and the familiar sound that accompany one of my all time favorite bands. I buy CD's and keep those CD's on the premise that the entire CD is worth keeping. I am not buying a CD for one or two songs, but the CD as a whole. I just bought this album the other day. Half of the songs had the familiar feel but the rest could go to waste. I am giving it a 2.5, because half the album is great.



4. I have been a H&TB fan ever since cracked rear view. I can admit that there have been some sub-par albums put out. I was very excited the day in 2003 when the self titled CD came out, but I was quite dissapointed when I finally got the chance to listen to it. Musical Chairs had some good hits, but I couldnt listen to it cover-to-cover.
   
   Last week when this CD came out I was hoping for the best and this time I think I got what I wanted. This album is definately more along the lines of Cracked Rear View and Fairweather Johnson.
   
   There are only a few tracks I skip--Free to Everyone and Waltz Into Me. The rest is classic H&TB in my opinion. Hope everyone else enjoys it as much as I do!



5. Don Was was brought in to produce because of "disappointing" sales for the last CD "Musical Chairs". Largely he makes good decisions that take Hootie closest to the sound on their biggest-seller, debut "Cracked Rear View" (major label anyway..I don't want nitpicks from those who have the self-released demo "Kootchypop" and others...).
   
   How great this is to you depends on whether you think "Cracked Rear View" is their best CD or not (I happen to think that honour goes to the sophomore CD "Fairweather Johnson".) The songs are pretty consistently tuneful, but there's not much artistic innovation.
   
   Probably the biggest "stretch" is the reggae-ish tinge on "Little Brother" which works pretty well (despite an ill-advised use of ghetto slang. "flossin'"? C'mon guys..you're too old for that crap..) The rest are trademark Hootie with "Deeper Side", "Innocence" (were Hootie now passe, this would have been the big hit ballad from the disc), crumbing love affair anthem "Space" and the lovely (and modern sounding) "Tears Fall Down", which is probably the other experimental tune because of the loops used on it.
   
   Low points are "The Rain Song", not so much because it's a bad song, but because of the use of backing vocalists Vicki Peterson and Susan Cowsill. I realize it's a cover of a song the pair wrote, but they just don't "mesh" well with Darius' voice. (The songs Darius did with Nancy Griffith worked better..) "Little Darlin'" never finds a compelling hook. Stratchy funk ain't what Hootie does best.."Go and Tell Him (Soup Song)" is another miss.
   
   Bottom Line: It's not their finest work, but it's a good outing. Hootie fans will need it. Those who like melodic pop-rock will probably enjoy it.

5 comments about Preflyte Sessions.

1. The recordings of some of these classics are raw but gives you an idea how songs develope in the recording studio. Fantastic insight.



2. As the author of the Jefferson Airplane book "Take Me To A Circus Tent" I have always made it a priority to hear any material by the great 60's Los Angeles and San Francisco bands.
   
   My mission has never stopped with the normal releases. When I can get a key to a vault and hear a band before they would take off it is fascinating to compare what was to what would be.
   
   Preflyte Sessions aren't throw away tracks. With the vocal ability of the band even in the early stages it is not hard to see why they could take the next giant step.
   
   If you have most of the fine Byrds albums in the collection don't compare this to what you own. Let it stand on its own.
   
   Even those that have heard some of these tunes on unreleased recordings will like the sound quality and how the tracks are put together for Preflyte.
   
   The Byrds should have been more appreciated for being able to handle the personal changes and take on new musical styles and win.
   
   You often here they were a great American band, they were but....
   
   They were a great band period and the msuic has held up very well. When you have a bit of time go back to yesterday and sing along, nobody is in the room but you and the band.
   
   Be well always,
   Craig Fenton
   Author of the Jefferson Airplane book "Take Me To A Circus Tent"



3. Any fan of the Byrds and Gene Clark should have this in their collection . I never had either half of this material when it was released previously by both Rhino and Together, and put off buying it due to spotty reviews. Throw that mess out of your mind and get a copy . The Sundazed label did a great job on the whole package and it's a valuable addition to my collection. The sets have a lot of fascinating stuff , but hearing the original acoustic version of " you Showed Me The Way " by itself is worth it.



4. An awesome collection two disc's that compile the original lp Preflyte plus the 80's collection In The Begining.This is the birth of folk rock.These sessions in 1964 offer acoustic and electric versions of songs that ended up on Mr.Tambourine Man and songs that didn't make their debut in 1965. Also included are solo tracks from David Crosby which show off his remarkable voice.Checkout Get Together which would become a standard by the Youngbloods in the late 60's.The Reason Why a song written by Gene Clark is a neat mix of the Beatles and Bo Diddley.The electric version of You Showed Me and The Airport Song also are great Byrdsongs that never made it on the debut.Tomorrow is along Ways Away and The Only Girl I Adore realy show a Mersey Beat influence which was gone by the time of their first lp.Finaly you can here embryonic versions of Mr.Tambourine Man where Mike Clarke plays a military beat and You Showed Me where Clarke plays drums on cardboard boxes. A must have for all fans of the Byrds and folk rock.



5. For those of us who believe the Byrds in their heyday were and remain the greatest American rock band, this collection is an essential look into how they got there. Four young men find their "voices" as singers, songwriters and harmonists in a 40-track collection that includes little of the "demo-itis" that usually plagues collections of this sort. The band hadn't yet hit their TAMBOURINE MAN through YOUNGER THAN YESTERDAY stride, of course, but the music contained in this collection is better than much of what was being "officially" released in the U.S. at the time. The sound of the Byrds can be heard today in everyone from 16 Horsepower to REM, and anyone interested in the evolution of great American rock music should check this out.