5 comments about The Division Bell.

1. This review is a personal tribute for Richard Wright who died this week, for all of us Floyd fans a very sad moment.
   
   Since Wish You Were Here, Wright did not composed music for any album of the band; on Animals and The Wall he just graced the music with his excellent and unique Floydian keyboards; he was not on The Final Cut; on A Momentary Lapse of Reason he was a session musician due to some legal details and just played some here and some there; which leave us with The Division Bell, his major return to full composing status: Cluster One, What Do You Want from Me, Marooned, Wearing the Inside Out, Keep Talking. All of them, not only beautiful and elegant songs, but Floydian.
   
   I'm very amused when I read some reviews that claim that this is 'soft rock', this is a tremendous musical misconception, comparing Pink Floyd with Hall & Oates, just because the playing is 'soft' or not 'hard'. Look again, the only 'soft' aspect in this album perhaps is Nick Mason's 'soft' drum playing, nothing else. This is indeed a dense album, musically, production wise and in the lyrics. Not only the band is playing in full spirit since Animals, but Floyd is there, now with Wright's important contributions: Marooned shares the same status of ANY Floyd ethereal classic, with its haunting piano, keyboards and guitar; Wearing the Inside Out is in the same vein of Summer 68 and Stay, vintage Floyd songs from the pre-Dark Side era
   
   Only for the songs that Wright composed, this album is a must for all Floyd fans; any Roger Waters hardcore fan who thinks he IS Pink Floyd, is missing a whole and huge point of why Pink Floyd is what it is. Marooned won a Grammy for Wright and Gilmour. I rest my case.
   
   Other songs like Poles Apart and High Hopes, would be missing a lot without Wright at piano, keyboard, organ and kurzweil command.
   
   With Wright gone, a imposible to fill gap leaves Pink Floyd without the secret weapon to construct its typical unique and more than excellent music. A Musical Master who will be missed for the rest of our lives, but will live forever in every meloniac, for all ages to come.



2. Musically this product is superior to prior efforts. Concept albums are a throwback to the 70's, and this is an exceptional product about the complexities of relationships.



3. I wonder....
   I really do.
   Who is the advocate for fascism here?
   Look at the horrible cover for this dreadful CD?
   Now I'm gonna ask you again:
   who is the advocate for fascism here?
   Terrible, horrible people, just gross!



4. Come on let's get honest here. Floyd music post Water's is just regular well polished soft rock. Their is no edge to it at all, not that it is bad but it is not what I would call Floyd worthy. But I guess that is what Pink Floyd is now.
   
   Take for example Nick Mason's drumming, it is just a tempo, a beat to keep up with. If you listen to,or watch him perform "Set the Controls..." or "A Saucer Full of Secrets" he was a major player in the sound of Pink Floyd. And really all through every Floyd record to "The Final Cut" Here reduced to that of a session member.
   
   If you listen now to "Shine On You Crazy Diamond" performed live for example on "Pulse" or any of the live shows Gilmour does now or any recordings from live shows of Floyd, post 1983 It is so polished and soft. Easy to listen to, I must admit, and yes still good, but not the hard rocking song with strong guitars, when they first began to play it in 1974. In the live shows from them it is absolutely rockin'and experimental, along with all their music up untill 1983.
   
   Gilmour showed us what he was truely into from his self proclaimed favorite Floyd album "Wish You Were Here" to his self titled solo record to the last two studio albums. It is all just melodic (yet good, I must say)soft rock music but that is all. In no form can you relate this to previous works. No denying what an influence role Waters played in the making of every Floyd album he was associated with.
   
   Please don't get the idea that I am bashing Gilmour or the music he has made. But it is undenyably different from, and inferior to, any thing pre 1983. I know that thier are legions of Floyd fans who will not agree for the sake of loyalty to Floyd as a whole. I am, barring none, the biggest Pink Floyd fan of all, but this is just easy listening, soft rock music. >>>---Zen--->



5. Im the sentimental kind . I remember spring of 1994 , working on a paint crew , and enjoying this excellent album in my truck's stereo before and after work . And , the awesome experience of seeing the band in Ames IA - Cyclone stadium - in June 1994 .
   
   I was 19 , and it brings all sorts of beautiful memories of my hard earned life . Especially that year ( It's like that for most = ) ]
   
   Ive heard hard reviews against this album , as well as positive , constructive views of its atributes . My father took me to my first PF concert in 1988 in Cedar Falls , IA ( our hometown ] . So , my Floyd palate has a strong Gilmourish base . Although years down the road ( at 25 years old ] i discovered , the ' other ' side of The Floyd - Piper .. , Saucerful .., Atom heart .., Obscured by clouds . Basically all of the strong ' progressive ' output from the late 60s and 70 s .
   
   This band has such an incredible catalog . They leave me w out words , really . As i write this , i remember sitting in a lawn area , at the opposite end zone of Cyclone stadium , kicking back on the grass ( it was such an excellent and cheap seat = ) ) and seeing the sunset , the laser lights and ' One of these days ' blasting through the June Iowa night

5 comments about Tommy (1969 Original Concept Album).

1. A clinical and seminal meditation on alienation, popularity-seeking, and the decline of Western man encased in a rock opera about a handicapped boy. Albert Einstein spoke of his own "retarded" youth, being withdrawn from the world, and how that aided him in opening new vistas in science. "Tommy" isn't so fortunate.
   "Amazing Journey" shows the advantage of Tommy's "retardation" yet shadows of "normalcy" lurk. Pete Townshend's medicinal lyrics bring to mind the Christian sentiment that only one with a child's disposition can enter the Kingdom of G-d.
   "Ten years old
   With thoughts as bold as thought can be
   Loving life and becoming wise
   In simplicity
   
   Sickness will surely take the mind
   Where minds can't usually go
   Come on the amazing journey
   And learn all you should know..."
   
   Tommy's infirmities are an opportunity for his family and others to practice compassion. The boy is a living embodiment of "The Other" as found in the ethical philosophy of Emmanuel Levinas. Tommy's line of "See me, feel me, touch me, heal me" (and, Levinas might have added, "...in order for both to be healed.") is the invitation to caring. The invitation is ignored.
   The boy's path to "normalcy" opens when he becomes a "Pinball Wizard." Pinball reflects Tommy's upbringing, being bounced from one relative to another, one bad experience to the next. Townshend is also opening a window into the culture of games and entertainment and how that is held out by the mass media as the most desirable escape from poverty and isolation for Britain's lower classes. Soccer mania would be the real-life equivalent in today's Europe.
   Modern medicine intervenes and, in short order, Tommy is wallowing in celebrity, laziness, and profligacy. Worse, he uses his new circumstances to entice others into the nihilism that Anglo-American capitalism and social democracy abet.
   From "Welcome": "Come to my house, be one of the comfortable people..."
   "I'm Free" gives us a stark picture of how the worst get on top (to borrow a phrase from F.A. Hayek's "The Road to Serfdom") -
   "If I told you what it takes to reach the highest high,
   You'd laugh and say `Nothing's that simple...' `'
   
   Ten years later "Dallas" soap opera villain J.R. Ewing would state it more plainly - "Once you give up integrity the rest is a piece of cake."
   
   "Tommy" was released in 1969, a time of great confusion about man's individual and social responsibilities (things haven't gotten much clearer since). The Who's music penetrates to the reality of an anarchy of ever-increasing individual rights (read: demands) and unchecked government leading to loss of social cohesion amid waning family, school, and neighborhood affections. This, in turn, breeds popularity seeking as the most attractive island in the rising tide of despair. Fellow Brits Pink Floyd would touch on this in "The Wall" a decade after Townshend.
   Is there a better way out? The Who echoes Oswald Spengler in showing that there is. Spengler's "The Decline of the West" (first published in the 1920s; interestingly, the time line of "Tommy" begins around 1921) likened cultures and civilizations to life patterns, calling them "organic." While holding civilization will move in the direction of its destiny, Spengler advised people to discern the direction of movement and contribute positively to it. Townshend and his bandmates did that in "Tommy."
   In reckoning outcomes, the workings of the human body, with its voluntary and involuntary organs, are an apt metaphor. How we consciously react and govern ourselves are the voluntary muscles (thus the importance of individual character). Yet some choices and our surroundings impact us in ways of which we are not aware.
   The final words of "Tommy" remind us of the importance our individual actions have on others and the social fabric. The mountain imagery remind us of the biblical Moses, the servant of G-d; the early Israelites, and the Ten Commandments, holding out hope that the door swings both ways between the great society (not to be confused with LBJ's version) and the sick society.
   "Listening to you I get the music
   Gazing at you I get the heat
   Following you I climb the mountain
   I get excitement at your feet
   Right behind you I see the millions
   On you I see the glory
   From you I get opinions
   From you I get the story."



2. I"ve always been a big Tommy fan. My car now has a 5.1 surround sound system, so I HAD to get this DVD. It is awesome.



3. That was the question that the Who asked as they hit a dry spell going into 1969. It was answered by Pete Townshend in the form of "Tommy", the embodiment of Gospel and Rock Opera. Tommy the main character and central theme throughout the album has a breakthrough as only a deaf, dumb and blind boy can, through pinball. It's his eyes, ears and voice through which he makes contact with the rest of the world. Truly inspiring, it's the platform on which he attains stardom. The rest is history.



4. In their late '60's - early '70's heyday, the Who were an incredible, transcendent band. However, I can't help but feel that studio recordings failed to do justice to their intense, dynamic, and energetic sound (until "Who's Next," that is). In an old edition of the Rolling Stone Record Guide, John Swenson hit the nail on the head: "The early Who albums present one of the most interesting problems posed in rock & roll history. The band was considered at the time to be much better in live performance than on record..." After listening to live renditions of "Tommy" (especially the great "Live at Leeds" deluxe edition), I can't agree more.
   
   First of all, the studio "Tommy" feels padded, perhaps to extend it to double-record length. There are a few forgettable songs (the sequence from "Sensation" to "Tommy's Holiday Camp" comes to mind), a couple of head-scratchers (how does Sonny Boy Williamson's "Eyesight to the Blind" fit in?), and some songs (particularly "Underture") seem over-extended. Second, the production, on the whole, is too tidy and rather flat: we get little of Townshend's roaring electric guitar, and the band, in general, sounds too careful - like they're trying not to color outside the lines. However, all of these flaws go out the window in the live performances from 1969/70. The band trimmed some of the fat (cutting several numbers and shortening others), and, more important, they summoned up a monumental energy and collective spirit that made "Tommy" an overwhelming - and yes, cohesive - listening experience (something that, ironically, the studio record does not accomplish with total success). After hearing and seeing scalding live versions of "Amazing Journey/Sparks" (the Woodstock video footage is incredible), I actually have a hard time listening to the studio version. The same applies to "Pinball Wizard" and "We're Not Gonna Take It." Live, as in so many of the band's peak performances, they throw caution to the wind and play on the brink of total implosion, led by Keith Moon's frantic drumming.
   
   Okay, after all this complaining, why four stars? To be honest, I considered "Tommy" an unquestioned five-star album until I heard these live renditions. Over time, the studio album's flaws became more apparent to me. However, there are some incredible songs here, and it really is the record that took The Who to the proverbial "next level." I actually prefer the studio version of "Christmas" to the live ones (which lack the excited, "chirping" background vocals). "Cousin Kevin" is a great - though disturbing - John Entwistle song that was almost never performed live. "Go to the Mirror!" and "Smash the Mirror" form a powerful central climax, with Daltrey's vocals working superbly. In addition, I do enjoy many of the production touches only possible in the studio, such as Entwistle's horn overdubs and some of the background vocal "choir" effects.
   
   In conclusion, I can't bring myself to give this record fewer than four stars, but if you haven't heard the "Leeds" version yet, please check it out. I must warn you, though: you'll never hear the studio version with the same ears again.



5. Before "Tommy" The Who was just another band like The Beatles who were your typical 60's pop group, once this album hit they evolved from those 3 minute song rockers to the complex, progressive artists driven by Townshend's power lyrics and Daultry's amazing vocals (backed by argubly the greatest drummer and bassist of all-tme). If your trying to get into this band, I would start with "Who's Next" as it showchases their biggest songs but from there you NEED "Tommy" and "Quadrophenia".
   
   This is the album that made The Who memorable and legendary. Buy, listen, and appreciate.

5 comments about Boston.

1. Boston another one of those "stadium rock" bands from the 70s that now a days are long broken up and or not touring and currently realising skimpy hits complimation cds for low prices(8.97, 6.97 or lower) anyways Boston's debut album is probaly there best album and the only one you need of them. Huge success when it came out and is one of those great debut albums that are hard too find but people look whats better, Are You Experienced by The Jimi Hendrix Experience a classic great rock album or Bostons first album. Puh leeze people come on and please comment on this review if you disagree otherwise. These guys had a few hits that are still popular today, "More Than A Feeling", etc. Over all a good album buy today



2. This album could almost be thought of as the soundtrack to America's Bicentennial, not coincidently in that it was released that same year. Any pop cultural review of 1976 would be incomplete without a mention of this powerful, stunning (and even patriotic-feeling!) musical debut from Tom Scholz, Brad Delp, Barry Goudreau, Fran Sheean, and Sib Hashian ---- the boys from Bean-Town.
   
   Every song on here is a classic and this remasterd version of the original album sounds better than ever. Like the opening track, this whole collection of songs really is 'more than a feeling', it's a state of mind that listening to the cd takes you to. It's a natural mood lifter for me ; energizing, optimistic and purist in nature. I consider this debut by Boston to be the quintessential classic rock album of 1976.
   
   The fact that Boston aren't as respected in the world of music as they should be may be borderline criminal, but don't make the mistake of ignoring or disregarding the impact they've had on music. After this debut, virtually ever heavy metal band that followed in the 80's copied some variation of the drums and percussion style that Boston originally designed and patented. Plus, Boston are musical pioneers and there's no doubt many of the young rock bands and musicians on the scene today owe their very existence as artists to Boston.
   
   Besides, how many other bands out there can actually boast a graduate of M.I.T. in their lineup? Yes, that's right, Tom Scholz is a musical genius in the true sense of the word. He designed the first-ever, one-of-a-kind equipment used on this album's recording.
   
   So take note, modern musicians and critics everywhere : even if you don't like Boston, show them the respect they deserve.



3. This album is by far the best work from this band. Granted, it is their first album of the five so far. 'Boston' showcases what makes the record companies stand up and say "That's what I'm talking about!" An album of this quality has everything it takes to beat any test. Songs that keep you listening from beginning to end, there's no skippng tracks here. If you've got an hour to kill, play this, and you won't be disappointed when, in three, you find out you left 'loop' on. All the rest just look pale in comparison to this master work. Don't Look Back Third Stage Walk On Corporate America



4. Boston in my opinion is one of the best bands of all time and their newly remastered first album is no different. With classics Like More Then a Feeling, Peace of Mind, and Rock and Roll Band I find it hard to believe that someone could not enjoy this music. I like how also the cover booklet contains history and facts about Boston.



5. This album is the standard by which all recorded music will be measured. This is flawless.

5 comments about Aqualung.

1. When people talk about progressive rock being dull and dated and pretentious, they surely can't be thinking of Aqualung. Jethro Tull's gospel-weary opus may be full of flute solos and lyrics about man's relationship to God, but it still rocks more righteously than anything Guns `N' Roses ever did. There's not a Moog synthesizer or an extended suite to be found (except for the title track, and it's not really all that extended), and pyrotechnical displays of instrumental prowess are kept to a tasteful minimum. Classical influences share space with strains of blues, folk, and a bit of gospel. The lyrics, even when they become abstract, make sense more often than not, and they're almost always poignant. The band even insists that it isn't a concept album, and sometimes it seems that they might actually be telling the truth! So, if it makes you feel uncomfortable, don't consider Aqualung a prog rock album. Just think of it as a blistering rock `n' roll record that happens to be, well, smart.
   
   And then listen to it. Let that ludicrously good title track smash you in the gut. Listen to Ian Anderson's grizzled sneer, to that insistent guitar riff, to the sudden (and totally cool) tempo changes, to those fantastic lyrics. It's one of the greatest album openers ever, and it isn't even the best song here. That honor probably goes to "Hymn 43," a barnstorming surge of mutant gospel that burns with Biblical fury and melodic intensity. The lyrics are sheer bombastic brilliance, a scathing indictment of opportunistic religious leaders and human selfishness. My personal favorite line on the album has to be "and the unsung Western hero/ he killed an Indian or three/ then he made his name in Hollywood/ to set the white man free/ ah, Jesus save me!" Either that or "if Jesus saves/ well he'd better save himself." Other brilliant songs about organized religions and their failure to bring man closer to God (hey, maybe it really is a concept album!) include "My God" and "Wind Up," and both of them drip with dark genius. "Cross-Eyed Mary" ain't so bad either. I also love "Mother Goose," with its poetic childhood imagery and vaguely Medieval melody (okay, I guess it really is a prog rock album), and "Locomotive Breath," which rules on every level. Just like the rest of the album.



2. Have always loved this recording. Now I enjoy what was once only on vinyl or tape.



3. I've heard a lot of people say how good this album is, but I can't get into it. For the life of me I can't see why it's supposed to be so great. The interlinking song themes are good, as are some of the lyrics, but the music is quite unadventurous and Ian Anderson's voice is gruff and monotonous. I think one difficulty may be the sound quality of this CD reissue - maybe with better sound i would have a different opinion.



4. I started looking for this alblum after seeing Jethro Tull in Mobile, Alabama. They were great! Itunes had a partial album availible but it was missing "My God" which for me was like missing a front tooth. The CD has extra cuts on it including an interview which was interesting. I could do a side be side comparison of the origanal to the CD but I wolud thik the CD has to be cleaner.



5. Terrific album, lousy sound quality. I love this album, but don't understand why Capitol can't spend a few bucks remastering the thing. It sounds like it's from 3rd generation tapes--they could have done a better job recording the vinyl to CD. Very disappointing.

5 comments about Beatles for Sale.

1. The reason this is a difficult album to judge is because it's almost like two different albums: the originals and the covers.
   
   The cover songs - which account for 6 of the 14 tracks - are the weak links. It's not that they're bad - even "Mr. Moonlight" (often derided as the "worst song the Beatles ever recorded") is very listenable - it's just not up to the quality of the Beatles' original songs. But, as it's been said, this album was sort of a rush job, so you can't blame them. Plus, "Beatles for Sale" has the difficult task of following up the hugely popular 100% Lennon/McCartney genius of "A Hard Days Night."
   
   The 8 original songs are what make this album. Uncharactaristically melancholy, almost all of the originals (excluding only "Eight Days a Week" and "Every Little Thing") are about the bad side of relationships. The first three songs are goose-bump raisingly negative, and show a growing maturity in Lennon/McCartney's song-writing, both lyrically and musically. The cluster of origianals at the end of the album are very musically interesting, showing a preview of the sound of their future releases of '65-'66.
   
   I think that the 8 originals on "Beatles for Sale" surpassed anything the Beatles had produced up to that point, and are even a little better than the music on "Help!" ("Help!" seems to be alot more commercial, due to it being written for the movie, but that's another story). Unfortunately, the rush in which this album was recorded prevented it from being as good as it could have been. Instead of a really solid knock-out album, we get a half-baked album, with 8 astounding original songs and 6 so-so covers.
   
   I recommend this album because it has some of the Beatle's best original tunes. But don't expect a consistent album.



2. This album is often regarded as a step down after the classic A HARD DAY'S NIGHT. It is a bit unfair comparison though. First of all, on AHDN the singles ("Can't buy me love" and the title track with their respective B-sides) were included on the album. Second of all, AHDN only has 13 tracks while FOR SALE has 14. If you remove the 2 or 3 weakest tracks on FOR SALE and instead include "I feel fine" and "She's a woman" you would have a more even album for sure.
   And when judging Beatles' albums one often misses the obvious fact that the fab 4 more or less rushed out their music during their whole career. They released 1 or 2 albums every year PLUS a lot of hit-singles that never were included on an album. Who could compete with that today?



3. This starts out with "No Reply", a barn burner of a sweet song. A great version of Buddy Holly's "Words of Love". Who can forget "Babys In Black". The album is heavy on cover songs, which always had me wondering why when The Beatles were the best songwriters then and have not yet been matched.



4. The boys look weary from their success on this album cover. It's their second album for 1964 and it's known for being another rush job. It suffers from the fact that the rapidly growing songwriting talents of John & Paul were stifled in the need to get product out as quickly as possible. For me, the weakest songs on the album are the covers. Even as a kid I was especially bored by "Rock And Roll Music" and the two Carl Perkins songs though I do like Buddy Holly's "Words Of Love". Three of the best songs begin the album. Referred to as the "Lennon trilogy", "No Reply", "I'm A Loser" and "Baby's In Black" are songs that share the darkness in the souls of lovers and show John becoming increasingly self-aware in his lyrical content. Paul's "I'll Follow The Sun" has a lovely and melancholy feel to it. "Every Little Thing" and "What You're Doing" are sweet throwbacks to the love songs the Fabs got famous for in the first place. "I Don't Want To Spoil The Party" is another Lennon song in which the narrator resigns himself to losing love. My favourite song from this album is smack in the middle- "Eight Days A Week". From it's soaring guitar line to the glorious harmonies to the catchy handclaps between 'Hold me,love me! Hold me,love me!', it's pure pop heaven. Get it for the great original songs.



5. Absolutely loved it and I highly recommend that you purchase this CD, especially if you are a BEATLE lover like me!!

5 comments about Pass It Around.

1. I think DF has a great singing voice. i have enjoyed his stuff from the very beginning. I got the live album he did at ABbey road. It was awesome. This one was a little bit of a let down from that. It has his same sound. Which is awesome if you love that sound. But after hearing how awesome he was live I was looking for something a little more.
   
   It was worth the purchase.



2. The album is great listening. With this album, the music is more complex and satisfying. The combination of electic and acoustic is much more expert than most, combining well into a different sound, rather than merely adding an element. As important, some of the lyrics are more mature and about more complicated subjects, than in some past albums. The songs are still those of a person who values happiness, but who is also concerned with the happiness of others. 'Life, Love and Laughter' is imoportant, but so is 'everything in between, and what happens after'. "Too Much Water" shows concern for the contrast between people suffering in poverty and those so much better off. The the listener feel good, but adding this dimension shows the growth of the artist.
   
   The promotional tour for this album will be something to see! I have seen parts of it, and the musicianship and presentation is super. Donavon connects with an audiance as well as anyone, and much better than most. I hope the next album is live, but I look forward to it in any event. this



3. .....Because Donovan will take you far, far away as you are enveloped in his smooth melodies and lyrics.....thoughtful lyrics that you can relate to, and lyrics that will just make you smile and feel good. I can see myself sitting at the beach watching the waves rolling in, listening to his amazing new release and just getting lost in it. Heck, I can almost even see him on his surfboard singing to me as he glides through the water! Especially like Life, Love & Laughter, Come With Me, and Pass It Around. Your Heart has also grown on me, with it's Latin flavor. Just an all around great album...don't miss this one!!!



4. Donavon Frankenreiter, a renowned surfer turned musician, who is hands down as talented on a guitar and mic., as he is on a surfboard, but Donavon's great acoustic styling's and mellow harmonies have always resembled the sounds of his great Friend Jack Johnson. In the making of this album Donavon took the experiences and wisdom gained along the way and evolved as an artist, Donavon put his heart and soul in creating and co-writing this album, in the quest of finding his musical identity. Not taking away his signature sounds of acoustic and electric elements of funky & fresh beats along with honest lyrics of his past recordings, but growing from it and introducing a new approach of delivering it; which in result, is an album filled with soulful melodies, uplifting grooves and some lessons for life.
   Donavon's signature raspy & mellow voice always so full of passion, you can clearly see and feel his love for music. The talent and relationship with in the members of the band harmonizes every song perfectly. From the punchy mariachi horns of "Your Heart" to the pop sensibilities of "Life, Love & Laughter" to the laid-back funk of "Hit the Ground Running" and "Too Much Water"
   Donavon's newfound musical confidence in "Pass it Around" finally breaks away the Jack Johnson redundancy, which has followed his music for the last two albums and introduces us to Donavon's newfound identity. Pass It Around is a testament to Frankenreiter's continuing evolution as an artist.



5. That is the only word I can think of right now to describe Donavon Frankenreiter's latest work, PASS IT AROUND. After the first album, I thought- it can't get any better. Then when he hit us with the wonderful MOVE BY YOURSELF, I thought- surely, it can't get any better. But, alas, this latest release has stunned me again with its beautiful musicianship and cool lyrics, that make you want to sit back and chill and get up and dance all at the same time. Kudos to Donavon and the band, you guys really made some amazing tunes. Thank you! I can't wait to see them performed live on your Fall tour!!!

5 comments about John Barleycorn Must Die.

1. In the telling, Traffic was this great band with two front-men, Steve Winwood and Dave Mason, which fell apart over egos and ambition and then reformed, without Mason, after Winwood's Blind Faith excursion crashed and burned.
   
   In reality, the Winwood-Mason group was really a different band, a fine band, but far less ambitious and innovative than the band that was born on "John Barleycorn Must Die." Losing Dave Mason didn't deplete Traffic; it freed the band from the strictures of its previous incarnation as a generator of hit singles and allowed the fruitful collaboration among Winwood, Chris Wood and Jim Capaldi to reach its full apogee. "John Barleycorn" doesn't sound anything like the Traffic that did songs like "Feelin' Alright" or "Heaven is in Your Mind."
   
   Nor is this version of Traffic -- which continued through the remainder of its career -- a "jam band" in the sense that those words now signify. The compositions on "John Barleycorn..." as well as on subsequent classics like "The Low Spark of High-Heeled Boys" are highly structured. Built into that structure were opportunities to perform solos. Both were multi-instrumentalists, so for some songs that means Winwood soloing on organ, guitar and piano, and Wood on flute and saxophone. Or some combination thereof. Both were virtuosos whose solos had much more to say, musically, than 95 percent of rock instrumentalists. And you couldn't pin them down. Their muse pulled them in many directions: Rock, folk, jazz, R&B and various subgenres. What Capaldi provides here and would blossom later into a signature quality was an incredible suppleness of rhythm. He could lay down a fat groove or a solid 4/4, or he could swing lightly, or he could click away in an ethereal mist. Whatever the song needed. Rhythmic adventurousness was Traffic's foundation beginning with this album.
   
   The only drawback I find to "John Barleycorn..." is a wish they had gone further. Clearly, this group was awaiting an African drummer -- you can almost hear it on some of the tracks. Of course, that drummer arrived in time for the next Traffic album, "Welcome to the Canteen," and is one of the factors in making the next three Traffic albums the unheralded classics that they are.
   
   As for the individual songs -- I can't think of a better suite than the three songs that made up the original Side 1 of this disk: "Glad, "Freedom Rider" and "Empty Pages." Then you've got the wondrous title song, which was the centerpiece of side 2. "Stranger to Himself" is an R&B style tune, in the mode of the previous incarnation's great final single, "Shanghai Noodle Factory/Medicated Goo." It's just a wonderful slab of music that you'll play a long time before getting tired of it.



2. The album itself is fantastic. A genuine classic.
   
   The problem is in the totally crappy re-mastering job. There is audible dropout at the beginning of "Glad" on the left channel, which eventually straightens out after a few seconds, but ruins the song. "Empty Pages" is really bad. It has a wow/flutter effect throughout that might have been in the original recording, but I doubt it. It basically sounds like cassette tapes used to sound when they would get old and worn out, creating a fluttering sound quality.
   
   I suspect the master tapes have gone bad here in spots, but it could just be my system. I listen on headphones, which might make me more sensitive to flaws. But, I think anyone thinking of this purchase might want to test a track via download before investing in the entire CD.



3. This is a truly a masterpiece, and the re-mastered tracks sound great. But one star off for the bonus tracks, especially for the one stuck in the middle. I'm not a big fan of bonus tracks in general; they rarely add to the experience, but at least stick em at the end where they can be properly ignored. The liner notes for the re-issue give a clue to their cluelessness: "Along with Fairport Conventions Liege and Leif, John Barleycorn Must Die stands as a pivotal statement in late 60's/early 70's British folk rock music". Huh? Did the person who wrote that even listen to anything besides the title track???



4. There are old stand-bys in Metamorpho's world like life perservers when the going gets tough and Metamorpho gets moaning. Not that I am ever known to whine people. (I hear laughs! Search the audience! I want names, dates, places on my desk in the morning!). O.K., where was I? Oh yes, there are just great recordings that I rely on to get my fair share of joy and revelry in this poor, old (and sometimes) pathetic world. This is one of them. A pure pop-rock-jazz influenced gem if there ever was one.
   
   Did I not tell you (it seems like leagues ago) that Clapton and Winwood gave a great show with Blind Faith, but the best was yet to come. Well, I already gave you the Layla Lecture (a noted high point in your beloved Seer's career), but now I give you Winwood's triumph, John Barleycorn.
   
   It is magikal, effervescent (sort of like the bubbles that make their way to the top of Metamorpho's champagne glass), creative exhuberent music. This is music with heart and soul. And you will be totally enthralled by the riffs (sometimes keyboard oriented) and the whirlwind (or Winwood?) expertise contained herein. You doubt my word? How bold.
   
   The fact that this music was accomplished by only 3 extraordinary musicians should peak your interest for sure. The sound is the unmistakeable sound of Traffic (sorry Dave Mason) with the inclusion of woodwind instruments. Well, what would you expect with names like Steve Winwood and Chris Wood? Very appropriate, if you ask me.
   
   The sound is hardy, solid, sometimes mixed with soul and jazz kisses. There is really no other album like it. The genius behind Steve's talent is that he was able to go from album to album and make each one a unique entity. Discovering new grooves along the way. This is one of his highest, finest moments. Of that, I have no doubt. (Then again, Seers rarely doubt their intuitions). ;)
   
   This is a classic. Miss it at your peril. From the beginning instrumental of "Glad", you will get on a ride that will last the whole album. Listen to that piano riff with sax people! Are you going to sit there and tell me this is not great stuff? If you do I will vote you off the island! That sax note (the off center one) that Chris Wood hits in "Freedom Rider" is infectuous and will work itself into your brain that you will wait for it to please on subsequent listenings. Believe me, I know.
   
   The opening organ joy riff and following ride on "Empty Pages" continues along this overindulgence avenue. And then Winwood gives you that wonderful, disjointed piano jouney with "Stranger to Himself" including that wirey guitar addition and fuzzy lead guitar. Everything here is so well done. Me, with all my ultimate wisdom, could not help to create a better blend of instruments.
   
   They then take on an olde English folk tune, "John Barleycorn", and this, my people, was sheer genius. They give you rock-pop-jazz and then tone it down to this. Amazingly effective and brilliant! Supposedly, it was a tune against alcohol but, in the end, John Barleycorn won out. As stated in the liner notes "but there are many other interpretations". So kind of Traffic to leave it up to our imaginations! "Every Mother's Son" gives Steve free range on the keyboards while allowing his vocals to reclaim the soul he had with the Spencer Davis Group. This song is not a rave by any means, but it's meter reveals many colours.
   
   In closing, this is one of my treasured and most liked albums in my archives. It is one of the few that I keep under lock and key. Only dragon fire can break the lock (and, believe me people, he is far away in an unused part of my castle!). Anyway, if you like late 60's-early 70's rock music at all, this one should definitely be in any worthwhile collection. If you have it-you know all my words ring true. If you don't have it - take heart, salvation is yet to come with the purchase!
   
   as always, thinking of my vast public -- your own, Metamorpho ;)



5. One of the best pieces of music ever recorded. Not a bad song on the whole CD. Unique ---unlike any others. LOVE "Traffic"

5 comments about Eagles : The Very Best Of (2CD).

1. CD's have a lot of my favorites and I love to listen to it when on road trips. A must for Eagles fans!



2. This was purchased to fill in the missing Eagles songs in my library. Both of us (wife and I) have enjoyed listening to it. Nice.



3. I am very happy with this cd. All of my favorite songs were on the cd and the price was perfect. If you are an eagles fan you need to add this cd to your collection.



4. This is a great CD. Brings back memories of my teenage years. All the great songs you remember from the Eagles.



5. This Eagles CD set has every song title you could or would want to hear unless you are a true aficianado in which case you are not likely to need a "very best of" collection. I wish all collections were this complete.

5 comments about The Essential Bruce Springsteen.

1. This is a great album for getting a taste of the Boss from all eras of his career except the most recent of course seeing as this cd was done in the early 90's.
   It missed a few old favorites, like Growing Up, Seaside Bar Song but it was a good mix, wish it had Something in the Night, and Tougher Than The Rest. The third cd has some not so often heard music on it.
   It is a great addition to your Bruce Springsteen Library



2. Is this complilation Bruce's fault, or the record label's? I mean, I've seen many other collections that are missing songs and figured that the label must be screwing people. Has Bruce pulled a Metallica?
   
   There are a lot of good songs on here, but no My City of Ruin (which was a 9/11 anthem, and which Kevin Smith liked enough to include in the movie Jersey Girl)? No The Rising? In fact, I find it funny that the guys screaming "sell out" aren't even asking about these songs. Those are some of my favorites.



3. I have read most of the reviews on this. The fact that a live "Trapped" was included made this entire collection worth the $30.
   
   Isn't the point of being a music artist and selling music to keep putting out material that you... the fan... will WANT to buy? What would happen if Bruce included ALL of your favorite songs in one box set? What if "Tracks" included everything you all think it should have included? The answer is... There would be no reason for Bruce to put out anything else eccept new albums of new material that you would probaby bash anyway... saying things like "Bruce has lost it.""His music sucks now""Hasn't put out a great album since 'The River'."
   
   All of Bruce's releases are great. I didn't become a HUGE fan of All Things Bruce until I saw him live this year in Dallas. One of the most incredible concerts I have ever seen. And although he doesn't have the voice of an angel... he's no Pavoratti... he does have a distict voice and I could listen to him all day. So bring on more Greatest Hits Collections and box sets... include more rarities... and did someone say the is a 17 minute version of Born In The USA?? Holy crap! Put that on a CD by itself and charge $50 a pop! I'll but it!!



4. this is a great album for what it is and it is a career spanning compilation and as such is meant to include the finest tracks and is meant to give a sampler of an artist work which it does exceptionally well. no it doesn't have all his best tracks and yes everybody has their little probelems,but for those uniniated or just starting out with a minimal springsteen collection its a great starter i guarantee you'll come back too time and again. its just plain great music



5. I bought 'Greatest Hits' when it came out. And I was REALLY disappointed. Why did it start with 'Born To Run'? Where were his early classic albums like 'Greetings From Asbury Park'? Those questions I never could answer. But this set makes up for the below average single disc.
   
   And, unlike the mediocre single disc, THIS IS A CAREER SPANNING RETROSPECTIVE!!! It's about time Bruce release a collection like this! It's simply amazing. It spans 1970-2002, his best period, and other than the omission of the huge radio hit 'Pink Cadillac' and the great album cut 'Ain't Got You,' this set is flawless.
   
   'Blinded By The Light,' 'Born In The USA,' 'Rosalita,' 'Born To Run,' 'Jungleland,' 'Thunder Road,' 'The Rising,' and 'Atlantic City' all appear on this great 2 (limited editions 3) CD set.
   
   This is an awesome Bruce set and it remains the best on the market. A must have for a new or casual Bruce fan. And, Columbia remastered the songs, so the sound quality is awesome!
   
   Highly recommended. ENJOY!!!

5 comments about The Best of Bread.

1. If you could only use one word to describe this collection hits that's it... BRILLIANT.
   
   Put on this CD (slab of vinyl would be even better) and immediately be morphed to a kinder, more gentle time when the soft rock of David Gates and Bread ruled the AM airwaves.
   
   There is some serious baby-making music here, folks!



2. When Bread formed in the late sixties, the band had modest aspirations. They wanted to keep the musical spirit of the sixties alive, and when you listen to some of the folkie tunes like "Daughter" or the minor 'social' rock of "Mother Freedom," you can understand the the pristine mellow hits that the band is best known for was not the only thing Bread was about. Indeed, before David Gates began wrestling with James Griffin over control of the band, Bread had as much in common with The Byrds or even The Eagles than The Carpenters. You'll hear hints of folk, country and protest songs scattered throughout their full length CD's.
   
   But when Gates' Immaculate "Make It With You" topped the charts and "If" became a standard soon after, Bread's place in pop history was cemented in cheese. Without Bread, there would have likely been no England Dan & John Ford Coley or Orleans. Christopher Cross would just be another Texas session man. I mean this in all honestly. Bread were peer only to Karen and Richard Carpenter for their dynamic, immaculate middle of the road chart-toppers during the 70's.
   
   Which makes this expanded and remastered single disc Best Of a true guilty pleasure. You can try as hard as you want, but the catchiness of songs like "Baby I'm-a Want You" and "Sweet Surrender" is inescapable. The band had a solid hand at folk-rock, as the songs here "Trucking" and "Let Your Love Go" attest (and the albums often would contain as non-singles tracks). Gates' voice is also one of the most clear and expressive in the soft-rock world, making such sensitive/hurt lyrics like "Diary" and "Guitar Man" ring honest. The hits will pry their way from your brain if you were listening to radio in that decade.
   
   This could have been a five star set if maybe Gates' solo singles ("Goodbye Girl" or "Clouds") were included. Get the Retrospective 2CD Set if you're a total Bread Head, and you'll find them. But for immaculate production, melodic songwriting that has kept its staying power, and yes, the true beginnings of soft-rock, "The Best of Bread" is totally worth it.



3. I was lucky enough to be exposed to many different types of music growing up. My dad was into the harder rock while my mom was into softer rock. This is the ultimate soft rock/ballad album. After many years of not being able to even find this album, it didn't fail to make me smile as I remembered every one of the songs. It was amazing and I still remembered all the words! The song, Diary, still brings back the mellow memories.



4. I was very pleased with the product that I ordered. It came very quickly and in perfect condition. The CD itself is good with several songs that I remember from years past.



5. I like most of the songs on this album
   I would recommend it for people who love romantic songs.