5 comments about Anthology 1.

1. Well, I give 5 stars ONLY and ONLY for Free as a Bird, which stands along with Dear Prudence, Come Together and other great masterpieces... it is just amazing how they managed to create such a great song having just an old tape with Lennon singing!... Also Leave My Kitten Alone deserves some attention... surprising it wasn't on Please Please Me or With THe Beatles... the problem is that without these two songs the Anthology isn't worth a penny, for it is a compilation of early performances, some of them even featuring Pete Best, so if you feel like spending 30$ on some history, go ahead, for those who expect something new and of good quality, better find Free as a bird single and you wouldn't be dissapointed...



2. Takes us back to the early years,with their early hits,and their versions during rehearsals,recording sessions to the master recordings



3. It's not the best thing. there's a lot of fuzzy songs and short speeches it wasn't that good... a lot of short songs



4. First off, this CD gets 5 stars for historic value alone. No, John, Paul, George and Ringo weren't at the height of their abilities then (Ringo wasn't even involved through much of this.) However, these are fairly good, very interesting recordings. I'm not a music theory expert, or anything but I don't see- or hear- what's so out of tune, tempo, and harmony, according to one of the negative reviews. Nothing seems off key, and to a Beatles fan, this stuff is fun, and some of their great wit is present here. No, there earliest, previously unreleased originals are not lyrically or musically great, but not terrible (and 'Youl'll be Mine' is a hoot if you can make out the words.) The recording qaulity is very poor on some of the VERY earliest recordings but, but there old, and the musicanship (is that a word?) still seems pretty good. In fact 'Cry for a Shadow', an early instrumental, is great material. As for the Decca tapes, they're not great, although that could be because of Brian Epstein's selections, of which we hear five here. Still, 'Three Cool Cats' is great fun (with George's lead vocal),as is Searchin', and one would have though Paul's 'Like Dreamers Do' would have sold Decca the group, at least as songwriters. 'Hello Little Girl' and Sheak of Araby' were okay, too. We hear some of Stuart Sutcliff's bass (in very poor qaulity), and some of Pete Best's drums (Ringo was clearly WAY better.) The early sessions with George Martin are interestig, not bad ( the false starts section for 'One of 909' is really fun(ny).) The live cuts (I saw Her Standing There, Roll Over Beethoven, etc.) that end disc one are of course great. I listen to dsic 2 less but great material (an early cut of 'Can't buy Me Love', 'And I Love Her, Eight Days a Week, Hard Day's Night, et al.) abound. Watch also for the Ed Sullivan Show performance of 'All my Loving'. There is also material from the Royal Command performance- priceless.
   
   Of course 'Free as a Bird' is here, and if you love the Beatles, you'll want to own it, although 'Real Love' (on Anthology 2), is a better song. The audio snippets help narrate you through, and are generally interesting and enlightening (same for the liner notes in the booklet), although most of them are of medicore audio qaulity. They don't annoy me, and although absent on later 'Anthologies', create a smooth guide from track to track here (with the notes of course.)
   
   Finally, to the one star reviewer I refered to earlier: I looked up all the people you list as "great guitarists... great drummers"- they are all jazz musicians. Now, I have nothing against jazz, in fact it's a side interest of mine, but comparing the Beatles to jazz is apples to oranges, to use the cliched analogy, for lack of a better one. You can't compare jazz to pop/rock (especially early 60s pop/rock), and in fact, I can't imagine how someone with your tastes, wondered into/got interested in the Beatles, to begin with. In short, the styles, practiced skills, theories, and criteria for good musicians/songs are simply different in these two, very different genres. Sorry you don't like this stuff. I like this and jazz. Make peace with the fact that its apples and oranges, and its the Beatles and your tastes.
   
   (SIDE NOTE: Don't even get me started on the reviewer who prefers the Stones; I'll address that in another review.)
   
   So, sorry for all the ranting. Overall I give Anthology one, 5 stars for historic value alone (the music isn't bad either.) But don't buy if you're not a 'diehard fan' or are just starting a collection!



5. THE BEATLES ANTHOLOGIES ARE A RECORD OF THE DEVELOPMENT OF A LEGENDARY BAND. IF YOU WANT TO KNOW HOW IT WAS DONE HAVE A LISTEN HERE. NOW IF WE COULD ONLY GET SOME EARLY MOZART...

No comments about Genesis Box Set 3 (1970-1975)[12 Disc Set].

5 comments about The Rocky Horror Picture Show (1975 Film).

1. Like the title says this is the closest you can get to the actual movie. If you love Rocky Horror Picture Show then you need this CD!!



2. This may be heresy, but I've always felt the music for this film was far superior to the film itself. I think the experience of the film is better than the film itself. Truth be told, the film is rather boringly directed, clumsily staged, and if it wasn't for the soundtrack, it would have been forgotten about. Luckily, Richard O'Brien's soundtrack is awesome, tuneful, and never gets tiring on the ear. It's justifably a cult item, and while I've listened to the soundtrack more times than I can remember, I've only seen the film once (on VHS). Even the lesser known songs are still great (like Over at the Frankenstein's Place and Eddie). The classics are awesome, with kudos going to Hot Patootie, Bless My Soul and some tune called The Time Warp.
   
   I still would like to see the film in a theater, mainly for the Rocky Horror experience and to sing along with songs I really dig, not because it's a great film. Get the soundtrack, and once in a while, crossdress and see the film in a theater.



3. i love this movie!!! i have the book,the cd,i know all the words..*sigh* i love tim curry<3



4. I've been a die hard Rocky fan for years. I've taken part in many a midnight showing and I've only just now bought an "offical" soundtrack (many a burned copy has passed through these hands) to the film. Not a negative word has passed my lips except for the absence of one key song. "The Sword of Damoclese" is not on this album. Bummer as this is one rockin' song and I had to resort to piracy to complete my perfect soundtrack. Other than that...Fantastic. That's enough of the downers for me. Rock on!!!



5. The CD captures the soul of the actual film to a tee. Everyone is there, the people are the same, the music is excellent. It is a great way to take the Time Warp with you without the TV!

5 comments about The Bootleg Series, Vol. 6: Bob Dylan Live 1964 - Concert at Philharmonic Hall.

1. Well, if you don't have this do yourself a favour and buy it. The package is great with great photos from the show.
   As for Dylan, he is in high spirits and most possibly stoned out of his mind as he laughs, shares jokes, forgets lyrics...
   He is also delivering all songs passionately making this one concert a very special indeed. A mere three months later he was recording Bringing It All Back Home and by doing so he was also a new Dylan.



2. "Play it f***ing... well."
   
   Bob Dylan's Philharmonic concert doesn't have the historical cache of its more contentious Bootleg Series brethren- the 'Royal Albert Hall' recording is the one that everybody talks about- but it's still a performance of incredibly high quality and emotional staying power. Recorded on Halloween of 1964, it captures the bard at the tail end of his tenure as the shining light of the Greenwich folk scene. Within months, Dylan would "go electric," showering the world in sparks of amplified blues and amphetamine poetry. This concert doesn't really foreshadow any of that- even the new lyrical bent explored on tracks such as "Gates Of Eden" and "It's Alright Ma (I'm Only Bleeding)" is precedented on earlier studio recordings such as Another Side Of Bob Dylan.
   
   No, this recording is- thankfully- a moment of pure music, without a trace of academia to spoil the fun. Listening to these two discs, one is wowed by its atmosphere, by its warmth, by its songs. It's the sound of a skilled performer, a young man who has managed to achieve his dream, to make a living doing what he loves. Dylan plays with glee and vigor, dragging out classic after classic and pausing only to a crack a few jokes. There is a noticeable, mutual affection between Dylan and his audience- perhaps this sounds a bit idealistic, but one gets the sense that they worship him and he wants nothing more than to please them. (Insert your thoughts on the irony of that observation in light of the next two or three years of Dylan's career here.)
   
   The set list is a virtual highlights reel. The only huge one that's missing is "Blowing In The Wind," but it's not missed. Not when this album contains such irrepressible gems as that surging, forceful rendition of "The Times They Are-Changin'," or an absolutely gorgeous "It Ain't Me, Babe" (which features Dylan in duet with Joan Baez). Other transcendent moments include otherworldly versions of "Gates Of Eden" and "It's Alright Ma (I'm Only Bleeding)," and an impassioned "Don't Think Twice, It's All Right." I also love it when, at the beginning of "I Don't Believe You (She Acts Like We Never Have Met)," Bob forgets the lyrics and needs to be reminded by the audience. Or the sheer delight that all concerned parties take in the lurid sexuality of "If You Gotta Go, Go Now (Or Else You Gotta Stay All Night)."
   
   The concert does drag here and there- the second half seems a bit anemic at times, and the first half has a couple of mediocre tracks too. But come on. This is waaaay better than any concert that you'll ever put on.



3. Every time I get get a new Dylan album its almost like I am listening to him for the first time. Each album is unique and has its own personality.This will complement your Dylan collection if you haven't purchased it already. I recommend this to any and all Bob Dylan fans.



4. If you, like me, found Dylan early in his career, and liked the folk protest Bobby even better than the later rock and roll Bob, this item should be in your collection. It is the concert I missed, except that the one with Joan Baez I skipped was in Philadelphia, on the same tour. My friends wanted me to go, but I had my first girlfriend in my life and couldn't afford concert and train tickets for both of us, so I passed on it. The romance lasted seven rocky years. My enjoyment of Dylan has been sporadic, but has somewhat endured for 45 years or more. My liking for Joanie went on for nearly 20 years. Many, many times I wished I had gone to Philly even if it had made girlfriend mad. This is recorded quite well, overall, except for the duets with Baez that conclude the concert. Joan was singing along, but a word behind Dylan, and that isn't as effective or affecting as it should have been. Otherwise, this shows listeners who never "knew" the folkie Bob Dylan what the initial buzz of his career was all about. This is a good price, although I found my copy in a used bin at my chain music chain for half the listed price, so I am even more content. But the cost, considering that you get 100 minutes of the young but already legendary singer songwriter, is quite reasonable. Don't be afraid to buy this if you are a fan.



5. This live album catches Bob Dylan on Halloween night 1964, right between Another Side and Bringing It All Back Home, and that is one hell of a time to catch Bob Dylan. He opens with "The Times They Are A-Changin,'" and though the crowd loves it he evidently doesn't. His performance makes the song sound like an unpleasant obligation, as if to say, "Aw man this is so lame, I don't care about that junk anymore, why can't I get out of playing this generation-defining single I recorded earlier this year?" Once that's out of the way he doesn't play "Blowin' in the Wind," which would be a little like if Nirvana had refused to play "Teen Spirit" in 1992. Which come to think of it they may well have done. But anyway Woody Guthrie's heir apparent is well on his way to declining the role and mantle of his former idol. In a 19-song set he plays only six protest songs. Fortunately two of those, "Talkin' John Birch Paranoid Blues" and "Who Killed Davey Moore?" are excellent non-album songs that I don't know where else you can find.
   
   Dylan plays three songs from his then forthcoming Bringing It All Back Home, two of which appear as works in progress. He introduces "Gates of Eden" as "A Sacrilegeous Lullaby in D Minor" and he introduces "It's Alright Ma, I'm Only Bleeding" as "It's Alright Ma, It's Life and Life Only" and then screws up the part about the man who lives in the vault. The crowd's total silence during these songs combined with Dylan's exceptionally slow and clear delivery suggest that the audience had never heard this stuff before. Surprisingly, some people applaud the opening of "Mr. Tambourine Man," though I don't know how they could have recognized the song five months before the album came out. If you're a Dylan fan (and honestly I don't think anyone else could possibly be interested in a 44-year-old double live album titled "The Bootleg Series: Volume 6"), then this set is worth hearing just for the pre-release airings of these songs. They sound like the ink's still wet.
   
   On the slightly weaker second disc, Dylan's girlfriend Joan Baez comes out and joins him for four songs. The almost painfully forceful clarity of Baez's famous voice has often reminded me of staring directly into the sun, but fortunately on this album she's usually a little bashful about turning on her vocal searchlight full power so to speak, and anyway Dylan's generally mic'd a little better than she is. So to my surprise I actually liked the first of their joint songs.
   
   Getting away from his protest folkie persona, the man is jokey, shucksy and, of course, brilliant. He can't say "In all seriousness" without bursting out laughing, and, just after Mr. Zimmerman notes that it's Halloween, he says, "I've got my Bob Dylan mask on." He sounds like a 23-year-old wunderkind having fun and already tired of taking himself seriously. He forgets the words of his own song "I Don't Believe You" and has to ask the audience how the first verse goes. Someone in the crowd asks him what he does for a living, and he replies, "Anything you say! I hope I never have to make a living." When Joan Baez says she's gonna play an early Bob Dylan song, he says, "Go ahead! See if I care!" Overall, this album made me think that Bob Dylan's genius was something that just sort of happened to him and that he wasn't entirely sure what to do with it.
   
   Song by song:
   
   Disc 1
   1 The Times They Are A-Changin' ***
   2 Spanish Harlem Incident ***
   3 Talkin' John Birch Paranoid Blues ***
   4 To Ramona ***
   5 Who Killed Davey Moore? ****
   6 Gates of Eden ***
   7 If You Gotta Go, Go Now (Or Else You Got to Stay All Night) ***
   8 It's Alright, Ma (I'm Only Bleeding) ***
   9 I Don't Believe You (She Acts Like We Never Have Met) ***
   10 Mr. Tambourine Man ***
   11 A Hard Rain's A-Gonna Fall ***
   
   Disc 2
   1 Talkin' World War III Blues ***
   2 Don't Think Twice, It's All Right **
   3 The Lonesome Death of Hattie Carroll ***
   4 Mama, You Been on My Mind (With Joan Baez) ***
   5 Silver Dagger (With Joan Baez) **
   6 With God on Our Side (With Joan Baez) **
   7 It Ain't Me, Babe (With Joan Baez) **
   8 All I Really Want to Do ***

5 comments about Can't Love, Can't Hurt.

1. Dan Layus has amazing vocals. His harmonies with the band are awesome, music for the ears. This album is definitely worth adding to your collection.



2. I saw these guys in concert Saturday night....opening for Counting Crows and Maroon 5. 2 of the Counting Crows were on paternity leave, so Augustana filled in for almost the entire set.
   
   I had seen them 2 years ago, again opening for Counting Crows (and Goo Goo Dolls). I knew these guys could sing and play their instruments. But seeing them alongside seasoned veterans of the industry, not only holding their own, but also teaching them some new tricks.
   
   After Saturday night, I will bow down to them. Their improvement has been nothing short of incredible. Their harmonies make me want to shout to all those who follow to pay attention to how music is supposed to sound. It was one of those concert experiences where you just sit there and say, wow, these guys are really really good. I hope they go far.
   
   I would almost like to see Dan L. and Adam D. hook up on more projects.



3. Augustana don't exactly break new ground with "Can't Love, Can't Hurt," but that's not a bad thing by any stretch. I was not familiar with the band before this record, but upon hearing "Sweet and Low" I took a chance and purchased the CD, and I was not disappointed. The songs are tight, melodic, and filled with memorable hooks. The singing and musicianship are first-rate. It's early to say for sure, but Augustana show signs that they could become a classic mainstream American rock band, a la Tom Petty and the Heartbreakers. Augustana is proof that you don't have to be all emotionally tortured and lyrically obscure to make great music, despite what most music critics seem to think. To quote a line from Roz Doyle on the old "Frasier" sitcom: "Excuse me? For your information, classic rock is both classic and it rocks!" Nuff said. Buy this record.



4. They definitely diversified on this album.
   
   While listening to it I couldn't help but think that if Bob Dylan had a better voice (I love his voice), this is what he would sound like.
   
   There are two incredible songs on this album, a couple all right songs, and the rest aren't so great.
   I was disappointed after hearing "Hey Now" and "Sweet And Low" to discover that the rest of the album didn't hold much else to offer.
   Those are the only truly catchy and memorable songs, at least to me.
   
   An all right album, just nothing to rave about.



5. Can't Love, Can't Hurt is the sound of your typical up-and-coming modern pop-rock stars making the bold leap forward to diversify their sound rather than repeat what made them famous. Made famous by their ubiquitous debut single, "Boston," Augustana was yet another piano-driven rock combo that debuted in 2005 (see: the Fray, Snow Patrol) with yet another distinctive frontman (soulful vocalist Dan Layus).
   
   Despite its cringe-inducing emo title, Can't Love, Can't Hurt shies away from the heavily piano-based songs of their first album and focuses more on plain `ol rock `n roll, the emphasis on chiming guitars and Layus' strong vocals. "Sweet And Low" is built on a chugging riff and a catchy chorus, while "Dust" takes a Ryan Adams-inspired turn into alt-country and features a dirty guitar solo.
   
   Augustana has not forgotten the piano, however, as tunes like "Twenty Years" proudly show, but its new background role mostly benefits the band and expands the album's sonic palette while remaining catchier than most of the Fray's last album.
   
   No amount of instruments, however, can take the limelight of Layus' high-school poetry lyrics, which tend to derail high-powered songs like "Meet You There" with syrupy love won-and-lost tales. Good thing Layus' voice is powerful enough to forgive most emo transgressions.

5 comments about Music from Big Pink.

1. This is one of the most emotive, eclectic and soulful albums ever. Some who have discovered this album in recent years have complained about its (to their ears) 'under-produced' sound and raw edges. As the sleeve note explains, the album was written and recorded in the basement of Big Pink, the house that had played host to the rambling sessions now known as The Basement Tapes. This album is not the gleaming product of a TV talent show; it was not thrown together by a group of businessmen, knowing all about making money and nothing about making music.
   
   The Band were five musicians who were already veterans of The Road. This was their first opportunity to display their collective musical knowledge and virtuosity. The playing and singing throbs with passion and energy.
   
   I return to this album again and again, and I'm always enthralled. Go back to your TV stodge if you can't handle real music by real musicians. You don't deserve this.



2. I really wanted to like this CD because I'm a big fan of Robbie Robertson but I just couldn't. The music is too dated. I bought this CD because I had a flash of nostalgia for The Band. Big mistake. I doubt that I'll ever listen to this again. It's not that it's horrible. It's just really dated, in a bad way, not a good "evokes the era" sort of way. Spend your money on something else, like Rocky Votolato or Amos Lee.



3. originally the backup band for Ronnie Hawkins--the Band set contemporary music on its ear in its day--it is as relevant today as the first day it was released



4. The Band-Music From Big Pink ****
   
   It took a long while to come around to The Band though I'm glad I finally did. See I just didn't get what all the fuss was about. I always loved their work with Bob Dylan but when ever I heard them on their own I was just turned off, so I decided to give it another chance and bought Music From Big Pink. Needless to say it changed my mind. It wasn't the nice soulful vocals, or Robertson's great guitar work. It was the sound of the band as a whole; as they are truly a sum of their parts. But honestly the organ work was what really had me hooked. I don't think I have ever heard a better organ player. Such resonance and heart in his playing.
   
   The album was named after the big pink house where the music was recorded with Bob Dylan, as he wanted to either play on the album or write songs to help the group out, and they kindly declined except for 'I Shall Be Released' which is the weakest track on the album. 'The Weight' is obviously the big single and one of the bands strongest numbers. 'Chest Fever' is dark and haunting. In a class of it's own on an album so great.
   
   Also on this release are eight bonus tracks of outtakes, demos, and other assorted songs. Among them is a smokin' cover of the blues standard 'Key To The Highway.'
   
   Music From A Big Pink is an album that no one should miss out on, and The Band is certainly not a band you want to pass up either.



5. This album literally has no peer. Especially when you consider that it was originally released in 1968. It is emotional, formative, revolutionary, etc.
   
   You can hear the emotions when you listed to Richard Manuel sing about loneliness. Or Garth Hudson putting his all into the organ. Or Levon Helm drawling out his words. Or Robbie Robertson playing a great riff. Or Rick Danko singing in his country-bumpkin voice. It was formative in that it heavily influenced so many musicians, as it has been said--there were a lot of blues musicians walking around England with this LP under their arm. You can see that it is revolutionary when you consider that it truly was counter-countercultural in its revival of folk/country/americana within the framework of popular music. It came just when when people were getting sort of sick of cheezy psychedlia. And The Band "rebelled against the rebellion" by including a picture of them with their "ruralish" families on the album. They were going back to what most countercultural icons were trying to get away from. And the front cover certainly runs counter to the ego-trips that many other musicians were pulling off at the time. If you didn't know: The cover art is a painting by Bob Dylan!
   
   Here are some thoughts on individual tracks: "Tears of Rage" is powerful, patently SLOW and DRAGGING. "To Kingdom Come" is forceful and jumpy. Sometimes it is maligned, but it is one of my favorites. I love the "Tarred and Feathered" part.
   I'm not a huge fan of "In A Station". Its the only track that isn't amazing, in my opinion. I don't think I've ever encountered any other album where only one track was in this category!! "Caledonia Mission" is funky and a great showcase of Rick Danko's talent. If the "The Weight" weren't so overplayed whenever anything remotely close to the band is mentioned, I think we'd find it to be even better than it appears! It really is a fine song! Actually, its more of a "tale" than a song. "We Can Talk" is another one of my favorites. The part that goes something like "I'd rather burn in Canada than freeze down here in the south" is priceless! "Long Black Veil" is great though perhaps not as remarkable as some of the others. "Chest Fever" is funky and just plain odd, in a good way. At the beginning it parodies some classical music (with a great intro by Garth), then it rambles with slightly non-sensical lyrics, but a great progression and rhythm. "Lonesome Suzie" show cases Richard Manuel's great talent (and probably showcases some of his deep personal struggles too). "This Wheel's On Fire" is great. The voicing on this is just priceless. You have to listen to it, I can't put it into words well. "I Shall Be Released" is a quite fitting conclusion to the album.
   
   There is remastering and they've added tracks on this album. The extra tracks are good, though I am a bit of a purist and am sort of iffy about seeing the outtakes on there. But its no big loss. You get the original songs (remastered that is) plus the extras! "Key To The Highway" is my favorite of the extra tracks, though many will probably disagree with me on that one.
   
   If you haven't listened to this album, please do so!! ESPECIALLY if you feel informed about 60's music. So many stereotypes of 1960's music are SHATTERED by this groundbreaking album!! In my opinion, you just can't beat this! Its well worth whatever you have to shell out to get it. It has intelligent, thoughtful, emotional lyrics. It has a distinct, American sound. It is black music, blues music, country music, folk music, gospel music, etc. And yet remains grounded! It is jovial, minimalistic, but heavily spirited. I'll take this over The Beatles, Jimmi Hendrix, The Rolling Stones, The Who, CCR, Cream, Jefferson Airplane, etc. ANY DAY! No comparison!

5 comments about Unplugged.

1. This cd is worthy of its reputation, and is the last great recording by Eric Clapton. "Malted Milk", "Walkin' Blues", "Layla", which he was able to successfully alter to fit an acoustic setting, "Nobody Know You When You're Down & Out", the classic made famous by Bessie Smith and later covered by an aged Scrapper Blackwell, and "Tears In Heaven", are all exceptionally great tracks. "Hey Hey" is not one of Broonzy's better songs, so I'm not sure why Clapton chose to record it. "Old Love" is mediocre, but "Running On Faith" is wonderfully done. This disc would have been even better if Clapton would have performed the material solo, much like the legendary Bluesmen he so greatly admired used to do, day in and day out. However, he has admitted in interviews that he is not a good enough musician to do what his idols did. For those of you who doubt this, simply look up interviews with Eric Clapton done by Guitar Player magazine. This is also the reason that his tribute record to Robert Johnson was not done alone.



2. It's Eric Clapton - intimate and unplugged - playing some great blues and acoustic rock. Does life get any better than that? Everyone needs this CD!



3. eric clapton is and always will be considered as a guitar legend. and this shows it.
   
   a soothing and uncomplicated production in a very intimate atmosphere, "unplugged" has a serene sound that will captivate anyone who has ears for good music. i highly recommend listening to it in a good set of stereo system



4. When you find yourself listening hungrily for the nuances of each individual note, when you find that the performances get better each time you listen to them, when you feel as if there is no bottom to the virtuosity and feeling in a performance, then you know that you've made some little connection with the mind of a genius. I am untutored in guitar technique, regrettably spotty on the history of the blues, but I can tell you that this is simply, modestly, great music.



5. Who knew? Eric Clapton Unplugged (1992) was just going to be a treat for Clapton fans, and a chance to see and hear one of history's greatest guitarists show his stuff on an acoustic guitar. But Clapton and Unplugged made history by winning six Grammy Awards including Album Of The Year, Best Male Rock Vocal Performance, and Best Rock Song (Layla). It turned out to be MTV's proudest moment and grandest achievement.
   
   There's a lot to like on Unplugged, including this cool, laid-back version of Layla. It loses none of it's purpose and has a great guitar solo. The deep and personal Tears In Heaven won three of those Grammy Awards, and the fact that Eric managed to bravely perform the song he wrote about his son, Conor, who had recently died, speaks volumes. The acoustic blues songs, Nobody Loves You When You're Down And Out, Before You Accuse Me, San Francisco Bay Blues, and Robert Johnson's Walkin' Blues and Malted Milk all sound great, too. Two huge standouts on the album are Old Love and Running On Faith. Both are personal, soulful, and include inspired vocal perfomances, fine acoustic guitar work, and excellent slide guitar. Both songs stand along with E.C.'s best work.
   
   Unplugged is really more of a perfect storm, where circumstances came together and fell into place, than a great work of art, but it's still a fine example of how talent, tragedy, and triumph can form an inspiring and wonderful creation. Eric Clapton Unplugged isn't perfect, but it's close.

5 comments about Bob Dylan Live 1975 (The Bootleg Series Volume 5).

1. If you needed any proof other than Blood on the Tracks that Bob was going through a semi-artistic revival during 1975, this album should be your evidence. I wasn't around in 1975, but if I was, I would've definitely caught one of these shows, because this is an awesome album. Even with a few snippets everyone could do without (a reggae-country version of "It Ain't Me Babe," a synthtastic "Just Like a Woman," a sappy "Mama, You've Been on My Mind" and an even sappier "The Water is Wide"), it's still really, really good. In fact, it's my pick for Bob's best live album. It totally rocks, maybe even harder than the electric half of Live 1966 did. And he sounds angrier than he ever has. You thought he was upset on the studio take on "It's a Hard Rain's a-Gonna Fall" or "The Lonesome Death of Hattie Carroll?" Well, shimmy on over and give this a listen. And he even makes "Tonight I'll Be Staying Here with You" from a fantastic country song into a fantastic rock song. And "It Takes a Lot to Laugh, it Takes a Train to Cry" reverts to the blues-boogie mode it was in during its earliest stages, which was cool. They also play two-thirds of Desire (but not "Mozambique!" Or "Joey!" YES!!!). There's a high-energy "Isis," a take on "Romance in Durango" without the kitschy Mariachi trumpet, a version of "Oh, Sister" that's probably the exact same thing as the one found on Hard Rain, a good version of "Hurricane" that is inferior to the studio take because it lacks the dramatic acoustic guitar-bongo duet thing, and takes on "One More Cup of Coffee" and "Sara" that sound exactly like the then-unreleased studio versions and therefore rule. There's also a really good acoustic set! He plays "Tangled up in Blue" and "A Simple Twist of Fate," and in both cases switches up the lyrics, to the point where it changes the meaning of "Simple Twist of Fate". That's cool! And he does "I Shall Be Released" using the Band's lyrics. He doesn't dare mess with "Blowin' in the Wind's" lyrics, though. And Bob also closes the whole thing with a lovely version of "Knockin' on Heaven's Door," with lyrics that are nothing like the original's. All he keeps is the chorus. Awesome! It's a loud, sloppy, spontaneous album in some places, and a soft, thoughtful, spontaneous album in others. Either way, it's fantastic, and everything live Dylan should be. By the way, did you know he was making a film when he was doing the Rolling Thunder tour? It's called Renaldo and Clara, it's supposed to be a mix of drama and concert footage, and it's supposed to suck. Yee-hah! Oh yeah, and everyone from Joan Baez to Mick Ronson to Roger McGuinn shows up somewhere on this album.



2. On May 17th, 1976 I, Liam Aposeur, Chief Editor of Seering Stone Magazine interviewed Metamorpho as part of a series we were running at the time. We invited many well-know luminaries to discuss the greatest musical influences over the last decade. Metamorpho, just back from a spiritual speaking tour of Europe, arrived at our office in New York at about 1 o'clock. It was a balmy,bright spring day. Just right for a balmy personality. He was certainly dressed for the occasion, wearing a white linen outfit with matching seer's hat. I admit, a vision of Colonel Saunders entered my mind, which quickly dissipated when he puffed a magikal cigar circle in my direction. This was an indication that he was ready to proceed.
   
   L: How did your tour go this time Metamorpho?
   M: Pretty well. My guides kept me out of trouble although, dare I say it?
   They tried to get me to party at some bar called The Tabernacle.
   L: I think I've heard of that. Didn't Hemingway frequent that place?
   M: (Laughing) Yes, in-between watching the Bull Fights.(puffing on cigar).
   L: Anyway- today we are here to discuss the musical scene of the past 10
   years.
   M: Yes,Yes. I have reflected extensively on that topic.
   L: And do you have comments for us today?
   M: Yes (adjusting seer's hat). Has to be Bob Dylan. He is an artist who
   is on my wavelength.
   L: Well, you are known as the Seer of a Generation. You do know that?
   M: I ignore that. I am not fond of labels. I don't speak for anyone but
   myself.
   L: Well, people take a liking to what you do. How would you characterize
   what you do.
   M: A circus clown (Laughing)
   L: Not a prophet and visionary of the masses?
   M: No. How about a rodeo cowboy with white make-up?
   L: That sounds like Bob Dylan on last year's Rolling Thunder Revue.
   M: Precisely (flicking a cigar ash).
   L: Do you have a comment about that?
   M: Well- I did go up to Massachusetts one evening to see it. It was
   amazing. He had an entourage of excellent musicians and they played
   alot of his songs alot differently than what we've heard before.
   L: You mean he reinvented his classics?
   M: (looking to the sky for spiritual energy) Oh no. I don't think with
   an artist like Dylan you could say that.
   L: How so?
   M: Well, with any creative process that change is a universal law.
   Recreating music is what most people want. Dylan has, and always will,
   do what he wants. That is what makes him so special. He's just like me
   in many ways.
   L: What about the message in the music?
   M: Certainly injustice is a theme as in "Hattie Carroll" and "Hurricane".
   Also odes to women like "Sara" and "Just Like a Woman".
   L: Anything else?
   M: (furrows his brow) Yes. With Dylan you get so much. Desolation, deep
   emotion, the ache for celebration, the struggle within the soul to be
   free. And , of course (bordering on haughtiness) all told with the goal
   of eternal truth.
   L: But, back to the sound? How did it all sound to you?
   M: Well- alot of the songs he did had a different meter and some almost
   approaching a waltz I'd say. Many had a country feel to them with
   slide guitar. That is most interesting. There were parts of the sound
   I didn't expect and, yet, it was a novel and pleasurable experience.
   L: How so?
   M: You hear, all of a sudden, with new ears.
   L: That may anger some devout fans.
   M: Dylan doesn't care. Why should he? Besides, the songs he did were very
   crafty in their arrangement.
   L: Didn't he do any just acoustic songs?
   M: Oh yes (peering into the air and laughing- remembering the experience)
   He was most effective with "Baby Blue" and "Love Minus Zero". So well
   done. Even his duets with Joan Baez had a much different flavor to them
   than that totally acoustic concert in 1964.
   L: With some of the same songs - aren't they similar?
   M: Not at all. That is what makes the Rolling Thunder Revue so special, in
   my humble opinion.
   L: It's a shame we all couldn't hear this concert.... just to judge for
   ourselves.
   M: Well, (remembering) I do recall a Columbia sound crew there with some
   recording equipment.
   L: Do you think Bob will release this concert soon? Now you've got me
   excited!
   M: Hmmmmm.... (snuffs out cigar stub)...I don't know. I have done serious
   refection on this, and I did come to a prediction.
   L: What? What? Share the prophecy with us! Please Metamorpho?
   M: Well....ok....since that was a delicious, well-earned fawning - I must
   say....
   L: And.....?
   M: (grinning ear to ear-or seer to seer?) We might see a release this
   year.
   L: Wonderful!!!!!
   M: But, if I were Columbia, you know what I'd do?
   L: What?
   M: Oh....wait about 3 decades to release it. Could you imagine the demand
   then?
   L: (shrieks and begins to sob). And so we conclude "sniff" our inteview.
   M: (offering a white linen hankerchief)..... here.



3. This is probably one of the best live albums I have had the pleasure to own. Live unrehearsed just playing music for people.



4. These discs have been in my cd player since I purchased them a month ago. Dylan's painted face allows him to be more diverse. It has songs that feature just Dylan and his guitar and others with his stellar band. For any Dylan fan interested in the bootleg series, this is a great starting point. I have several others in teh bootleg series, but few are as fun as this one. He just rocks!



5. Some of you are not going to like this review, but buyers will need some candor here. Dylan really is great, and his often great work in the 1970s is generally underappreciated. But this live set is not the place to learn to love Dylan. If you're curious about this title, my recommendation is go pick up his studio recordings of the mid- to late-1970s, beginning with the remastered titles. These are lovely, sometimes heartbreaking, sometimes groovy, and often superb. If you already have these, then, if you choose to get this title, you might set your expectations a little lower.
   
   The main problem with Live 1975, as a reviewer below notes, is the singing--or, as one might better say, the bellowing. Dylan has one of rock's great voices and in his studio recordings, including his studio recordings of the 1970s, he sings with astounding emotional authority (where does he get that, one wonders--how does anyone get that?!). In these Live 1975 tracks, however, Dylan is out of voice, bellowing either to be heard or else to "voluminate" in lieu of giving a more emotionally nuanced vocal performance. This is not an uncommon failing of concert recordings, but the present case is quite pronounced and I agree with the reviewer below that it seriously taints the enjoyment of these disks.
   
   I may as well go on to note that the sound of the band is quite dense here. I think it's not a performance problem or an engineering problem, but one of arrangement: there are too many instruments crowding the middle range, so it sounds a bit like an undifferentiated wall of sound. Again, rather characteristic of the 1970s live sound, but rarely the case with Dylan's studio recordings.
   
   In short, if you're curious about Dylan in the 1970s, there are better places to look. My favorite of the Live albums is the 1964 one.

5 comments about No Direction Home: The Soundtrack (The Bootleg Series Vol. 7).

1. Before I heard this album, I viewed Dylan as over rated and I did not understand what all the fuss was about. The main song I had heard before this was rainy day women with it's horrable lyrics "everybody must get stoned".
   
   But this album made me realize what a genius, word smith Dylan really was. Many of the songs on it are the best versions including: Don't Think Twice, Blowing in the Wind, Chimes of Freedom, Hard rain and so forth. This is a MUST have Dylan compilation and it stands as my favorite!



2. I would disagree with anyone who says this isn't just for serious Dylan fans. I am one, and there's still a lot here I wouldn't want to listen to very often....a lot of the songs are alternate takes where he seems to be working out the melody or instrumentation or lyrics for a particular song, & while they're interesting as insights into his creative process, it also becomes clear after listening a few times that these versions got rejected b/c they're just not as good as the ones that were released. If you're looking for alternate takes on Dylan tunes, you're better off with some of the many live recordings - I'd pick bootleg 4, 5 & 6 over this, and the Concert for Kampuchea set.



3. I changed my e-mail so I can't get on to update last review. It's still me, Nadia. Other than this version of Leopard Skin Pillbox Hat that I love so much I really want to emphasize that there are lots of gems in this 2 album collection. If you still haven't heard Masters of War, I highly suggest hearing it in this live version because the first time I heard it was on this collection and then I heard it later on in his regular album. But this is FAR SUPERIOR. It is indeed so powerful--both in the tune--his guitar, and also the words are so powerful and he does it all by himself!!!! He had courage to stand up against conformity and sing his deepest thoughts--at such a young age. Certainly we should have more Bob Dylans floating around. I was so moved at hearing Masters of War for the first time ever from this live performance, tears rolled from my eyes, it is so powerful and wonderful!! When the Ship Comes In is one of my very favorites. Read the lyrics to this song! The tune and lyrics together make this a VERY POWERFUL song. This young Bob Dylan is so bursting with talent it is truly unbelievable. Maggie's Farm and Tombstone Blues are stepped up versions and everyone is having a blast playing them. You will definitely like these versions. Do not stop with this Bootleg Series #7--I suggest Bootleg Series 1-3, which is also a MUST BUY and a few other first albums--see my other reviews for the entire little collection I recommend if you are just starting out with Bob Dylan. So much talent in such a young man!! I find that truly amazing.



4. This is a fun Bob Dylan experience with some insights, especially Bob on camera. Get the DVD as well - they come in a package.



5. This was an absolutely TREMENDOUS CD.
   Especially recommended on Side 2 are "She Belongs to Me" ("She's an artist, She Don't look Back") and a Devestating Version of "Desolation Row".
   On Side 1 are "When my Ship comes in" (In the Video Baez tells how Dylan is upset that they won't let him in a Hotel because of his "Scruffy appearance", then as Baez tells it "So he wrote 'When My Ship comes In' He can't get a Hotel Room, so he writes when my Ship comes In"!!!)
   Also on Side 1 is a "Catch Lightning in a Bottle" version of "Chimes of Freedom.
   AND if you like this CD, check out Baez's performance on YOUTUBE of "Diamonds and Rust"; Then go to the 1992 Dylan Tribute where the Clancy Brothers (and for this performance only Tommy Makem) do "When My Ship Comes In". You can't go wrong on any of these.

5 comments about Anthology 3.

1. The Fab Four had the tightest quality control in the business, as this final installment of "The Beatles Anthology" demonstrates. It covers, roughly, the period from the White Album sessions to the end of the group, including material that would be released as early solo efforts by Paul McCartney and George Harrison. There's a reason why "What's The New Mary Jane" was never foisted on the public--it's awful. The group respected its audience.
   This collection, however, is nevertheless indispensible for Beatlephiles and rock historians alike, as it also reveals the most important group in music at work in the studio during its last phases developing songs we all know and love.



2. As usual, the Great TALENT of the "BEATLES" is very evident in this CD,as well as all the other anthologies. It is especially interesting because there are unreleased versions of their hits while the FAB 4 were rehearsing during their recording sessions.



3. This is a great set of songs. It is really cool to hear how the recording of the songs progressed prior to the final takes which were on the studio releases.
   
   Having heard the songs for a longer period of time, since I first purchased this set, my opinion has only gotten better of this Anthology 3. If you are a Beatles fan, you should most definitely purchase this release.



4. The Beatles need no introduction when it comes to the elite of Rock/Pop music. When trying to "rank" the greatest artists of the Rock/Pop era, there is no doubt that the quartet from England ranks number one on just about every list. Going even further, the Beatles might be the top act in the history of modern music - among any genre. Some quarter-century after their breakup, the Beatles began to consider their place in history. This impetus played a key role in the release of the three volume, "Beatles Anthology" CD set and corresponding television documentary. One of the main attractions of this project was that it would bring the three surviving Beatles together for the first time since the famous breakup. Paul McCartney, George Harrison, and Ringo Starr would collaborate together on two unfinished John Lennon songs: "Free as a Bird" and "Real Love" - creating a "virtual" reunion among the four band members. This three volume set would not be an ordinary greatest hits collection - it would provide a historical retrospective to the band through rare and unreleased material. , "Beatles Anthology 3" covers the latter years of the Beatles focusing on the last three albums: "The White Album", "Abbey Road", and "Let It Be".
   
   As mentioned, this CD serves as a historical retrospective to the band. One of the strengths of "Beatles Anthology Volume 1" was that there was material that was prefaced with spoken words by the likes of Lennon, McCartney, and Brian Epstein. These spoken words helped set the stage for the material to follow. Unfortunately like "Beatles Volume Anthology 2", "Beatles Anthology 3" does not have any spoken words with the exception of some comments that are on the demo cuts.
   
   There is no doubt that Beatles fans will enjoy the content of Volume 3 but when you put it up against the content in the first two volumes, it does fall a little short. Like the first two volumes, Volume 3 does contain a 42 page booklet that helps to supplement the listening experience. This collection should not be confused with a traditional "Greatest Hits Collection". Instead of studio cuts, this collection consists of outtakes, demos, and rarities that construct a terrific listening experience.
   
   Here are 10 things to look for - in no particular order:
   
   1) This is the only volume of the three volume Anthology collection that does not contain an original song. (The original song "Free as a Bird" is found on Volume 1 while "Real Love" is found on Volume 2.)
   
   2) Like Volume 1 and 2, George Martin does a masterful job at providing continuity and fusion to the collection. While he didn't actually produce every individual cut, he did produce each of the three volumes of the Anthology collection as a whole.
   
   3) For the most part the first disc of Volume 3 revolves around "The White Album" and the associated recording sessions. The second disc revolves around the "Let It Be" and "Abbey Road" albums. As many know, "Let It Be" was the final Beatles album to be released, but it was shelved and "Abbey Road" would actually be released before it. I found it amazing how much material did not make it on to "The White Album".
   
   4) Much of the material could easily be mistaken for "Beatles Unplugged". Many are acoustic guitar cuts that were used as demos. While a lot of the material on Disc 1 falls into this category, there is some material on Disc 2 that also falls into the "unplugged" category. Most interesting was George Harrison's solo demo of "Something".
   
   5) Like the previous two Anthology volumes, there are also some covers. Volume 1 would contain the most covers, but Volume 3 includes a three song medley ("Rip It Up", "Shake Rattle, and Roll", "Blue Suede Shoes"), "Mailman Bring Me No Blues", and "Ain't She Sweet". These are "throwbacks" to the Beatles' early days (as evidenced on Volume 1). I personally liked the cover of "Ain't She Sweet". "Come and Get It" is included, but this was an original McCartney composition later made famous by Badfinger.
   
   6) This volume reflects a period where the Beatles were doing more songs as "narratives" and began to introduce "characters" in their songs. These "characters" provided a great avenue for the Beatles. Some of the more popular characters we hear about on Volume 3 include "Maxwell Edison", "Polythene Pam", "Mr. Mustard", "Desmond and Molly Jones", "Sexy Sadie", "Jude", "Rocky Raccoon", and "Mary Jane".
   
   7) There aren't as many alternate takes as I would have liked to have seen. "Glass Onion" is the only song we are given multiple takes on. Volume 2 did a much better at the multiple outtakes in showing how the song developed.
   
   8) Despite the fact that this was the time the Beatles were coming apart at the scenes, you wouldn't seem to know it from these cuts. There are plenty of examples of the members laughing and joking around.
   
   9) There is a shorter and stripped down version of "Hey Jude". It isn't as good as the final product, but it still is interesting to hear. I'd also put "Something" in the same category.
   
   10) While some of the material on this version is unfinished or interrupted by spoken words, it is what adds to the charm of the collection. I heard a disc-jockey in "New York" so impressed with this collection as he said "...and this is the junk!" It's amazing how stuff that didn't make it through editing could sound so good, but in this case it works.
   
   This is a good collection. However, when you compare this to Volumes 1 and 2, it just isn't as strong overall. This is not a knock on Volume 3 - just a testament to how strong Volumes 1 and 2 are. Overall, this is still a very good collection and one Beatles fans will surely want in their collection. Highly recommended.



5. This is remarkable. The third and final volume of the Anthology series reveals more previously unheard music from the greatest band of all time. This collection may prove to be the most interesting to casual fans. The first volume shared a lot of home recordings and live stuff that really only hardcore collectors would want. The second volume, while definately having value to hardcore fans, focuses again on live performances and studio cuts that the casual listener might not see the need for. On this third set, however, we hear many acoustic demos and outtakes that are more than listenable for the average fan. The material is late enough and all studio produced that it is quite good quality that all fans can equally enjoy it. And the beauty is, there is still enough to keep us die hard fans happy, too. The following are my personal favorites:
   
   *Helter Skelter - nice bluesy mix.
   *While My Guitar Gently Weeps - George on acoustic, very nice.
   *The Long and Winding Road - stringless.
   *Maxwell's Silver Hammer - Paul screws up third verse, fantastic.
   *Something - again, George only on acoustic, and with alternate lyrics.
   
   This is a beautiful set with something for everyone.