No comments about Altered States.

5 comments about Maggot Brain (180 gram vinyl).

1. There are few bands who would take the creative chances like Funkadelic did on its 1971 album. The band's second release highlights guitarist Eddie Hazel in songs that are more avant-garde and heavy-metal in nature, with doses of psychedelia and funky grooves.
   
   Hazel's searing work on Maggot Brain is brilliant and arguably the finest solo put down in the studio during that guitar-laden decade in rock, with Back in Our Minds & Super Stupid equally outstanding.
   
   Wars of Armageddon is one fine politically-charged song, while You and Your Folks, Me and My Folks, takes aim at racism in that George Clinton kind of way. The themes in both songs unfortunately resonate as strongly in news stories today as they did in the 1970s.
   
   Can You Get to That is the gateway to the R&B and gospel influences that will mostly dominate future releases, while Bernie Worrell's keyboards drive Hit It and Quit It.
   
   What was setting the stage for the P Funk mythology - through the freedom of funk and Mother Earth - became one of the more influential releases for metal, punk and the rock/avant-garde movement led by Brian Eno & Robert Fripp (Frippertronics).
   
   It may not be Funkadelic at its funkiest, but it is the band stretching the boundaries of sound in one amazing album.



2. Okay, WTF? Seriously though, that has got to be the coolest opening line in history. And it opens arguably the coolest guitar solo in history. For ten minutes, Eddie Hazel blows Jimi Hendrix, Eric Clapton, Duane Allman, Santana, Jimmy Page, and every other guitar hero you've had off the map. He also puts stooges like Joe Walsh and Ritchie Blackmore in their places. He gets rage, joy, tenderness, sadness, and much more outta that thing... damn...
   1. Maggot Brain: 1000000/10. Have I mentined it's the best guitar solo EVER?
   2. Can You Get to That: 10/10. Always liked this number, a catchy little soulful thing with great harmonies.
   3. Hit It and Quit It: 10/10. Eddie Hazel strikes back, adding in ashort-but-sweet guitar solo. Good song otherwise.
   4. You and Your Folks, Me and My Folks: 10/10. George Clinton's Everyday People, a statement on racism made in the way only he could make.
   5. Super Stupid: 8/10. The lyrics need a bit of work, but Hazel rocks out.
   6. Back in Our Minds: 6.5/10. Good message, but only an average song.
   7. Wars of Armageddon: ...okay then/10. A ten minute freakout a la Free Your Mind and Your Ass Will Follow. It's weird, all right, but a good type of weird.



3. Parliament/Funkadelic set the tone with this album. I did not hear it until my adult years and This by far is a great CD.
   
   If you have an ear to ear, you know that "Mother Earth" has been used and humanity is the one that "stuck it to her" and then left her. Parliament/Funkadelic was and still is very deep! The music alone sets you in a groove that you have to experience for yourself! They let you know in "Can You Get To That" what is what in that day and time and in some respects, still applies.Enough of the psyco mumbo jumbo, this album is hot!! This set the tone for what was to come next. Eddie Hazel is magnificent on Maggot Brain and as far as I am concerned Jimi could have learned a thing or two from Eddie! These two styles are not such a comparison as many people write---Eddie, Tawl, Billy and Tiki were in a class all by themselves not to mention Bernie "Da Vincci" Worrell--The Woo-Man himself took music to another level. "So sit back and dig while they do it to your earhole"......



4. this album is great. if you like heavy rock, psychedelic music, thought provoking lyrics, musical diversity, george clinton, and craziness... go get this cd! oh yeah... the song Wars of Armageddon rules. it has more sound effects than a spike jones compilation.



5. I am telling you this now: BUY THIS FREAKIN' CD!!!! The title track is worth the purchasing of the whole thing. With George Clinton's acid-fried visions of the future year 2035 and Eddie Hazel's mind-blowing guitar work your in for one hell of a ride on the plane of psychedelic audiovisions. Funkadelic has changed my perspective on life and will probably change yours if really get what they are saying. Required for any and every hardcore rocker!

5 comments about Fifth Dimension.

1. In 1966, The Byrds certainly were ahead of their time. After their folk-rock masterpiece "Mr. Tambourine Man", and the almost religious acceptance of "Turn, Turn, Turn", what could they do but EXPERIMENT? And this they did. "Eight Miles High", a classic among rock classics, was too good to ignore and practically beyond criticism, but the other tracks on "Fifth Dimension" were viewed with skepticism even by me, an avid Byrd-watcher. It's not that I disliked the other tracks, but they didn't continue the Byrds' traditional sound. I realize now, of course, that this was the whole point.
   
   The album includes a variety of styles. The title song "5D", is hard to classify musically. The best I can come up with is to call it a cross between a swaying old pub drinking song and a Dylanesque ballad, like "Lay Down Your Weary Tune". The lyrics are more definable: abstract, spiritual, very mid-60's. "Wild Mountain Thyme" and "John Riley" are string-laden ballads from the old school of folk. "Mr. Spaceman", with its country leanings, sounded odd at the time, but 6 months later The Lovin' Spoonful had a big hit with "Nashville Cats" and nobody thought a thing of it. The prevailing sound on the album, McGuinn and Crosby harmonies with heavily punctuated, erratic psychedelic guitar, is evident on "Eight Miles High", "Hey Joe", "I See You", "What's Happening", "I Know My Rider", "Psychodrama City" and "Why". "Hey Joe" may not be as impressive as the Jimi Hendrix version which appeared a year later, but it does rock, and David Crosby's vocal is a major turn-on. (I think he was underrated as a Byrd member.) "I See You" describes a mysterious, elusive woman. This theme was revisited in 1967 in "My Eyes Have Seen You" from The Doors' "Strange Days" album. Shift gears again to "I Come and Stand at Every Door"' a lament sung by a victim of Hiroshima who can't get any older than 7, but can't rest either. And the chant-like "Lear Jet Song" is for me a commercial for the arrival of the modern age. Goodbye, apple pie; hello, mind expansion.
   
   Two of the bonus tracks strike me as especially interesting. "Eight Miles High" has a lot of the sharp edges smoothed down. Thank goodness The Byrds decided to push the boundaries and go with the "spikier" version. "Psychodrama City", once you get to the vocal, reminds me to some extent of a "talkin' blues" number. The only track that seems irrelevant is the instrumental version of "John Riley", but don't pass over it, because following it is an interview with Jim McGuinn and David Crosby that is definitely worth listening to.
   
   I always felt that The Byrds were exceptional. For a while, just a little while, I liked them better than The Beatles. But they didn't last. They imploded. I'm just glad that I discovered this CD. The improved, remastered sound and my own more open mind have combined to let me love it, finally.



2. I personally feel that the Byrds represent the best of the 60's and certainly are the most important American band from that era. I am a huge fan of the early Byrds, so I cannot give any pre "Rodeo" Byrds work less than a four star. I do agree with an earlier review that stated that this is not their best. I personally feel that "Younger Than Yesterday", "Tamborine Man", and "Notorious" are their supreame creations. However, any CD with "Eight Miles High" on it is worth having. If you are a novice Byrds fan, go for the boxed set but you could not possibly be disappointed in this one.



3. The Byrds' third album sees the group expanding their sound, augmenting the chiming folk-rock of their first two records with dreamier textures, poetic lyrics, and elements of everything from American jazz to Indian raga. As a result, Fifth Dimension is one of the early forerunners to the psychedelic movement, a collection of artful, experimental pop songs. To be sure, it's a bold musical statement, and it makes for some great songs: "Eight Miles High," with its Coltrane-esque guitar solos and hypnotic vocals, is one of the greatest singles of the 60s. The dreamy, ethereal title track is also a highlight, as well as the two-chord rush of "I See You." "Wild Mountain Thyme" and "John Riley" are beautiful reinterpretations of old folk ballads, while the group's version of "Hey Joe" is suitably rockin'.
   
   Unfortunately, there's a bit too much filler here: "Captain Soul" is an ultra-generic R&B instrumental with an incredibly annoying lead guitar, while "Mr. Spaceman" is a cheesy tale of alien abduction set to a rockabilly beat that's only catchy for the first thirty seconds or so. "What's Happening?!?!" and "I Come And Stand At Every Door" are offbeat tunes that haven't aged very well (although the latter song has a pretty soulful vocal). "2-4-2 Fox Trot (The Lear Jet Song)" (which consists of an audio recording from the cockpit of an airplane playing in one stereo channel while the band cranks out a faceless jam in the other) is simply worthless.
   
   So, it's a pretty good early album from the early days of psychedelia, with a few too many uninspiring tracks.



4. of the byrds albums released in their great 1965-1968 period, this one i consider the least essential. "wild mountain thyme," and "john riley" are excellent pieces of orchestrated folk/pop, "mr spaceman" is wonderful, a great melody played with that byrds jangling guitar sound, and, of course, there is "eight miles high." all fine. but, "i come and stand at every door" sounds badly dated, aged poorly like cheap wine. "2-4-2 fox trot" is an unsuccessful piece of psychedelia. and the rest is on the mediocre side. this is a must for byrds fanatics (who will simply want the entire discography of the band), but not the place to start for the novice. this was a great group, and they did better work elsewhere. check out "mr tambourine man," "younger than yesterday," or "the notorious byrd brothers" first. after hearing those three great albums you may very well end up at "fifth dimension" sooner or later. a confirmed byrd nut.



5. Other reviewers have covered the ground here, but I wanted to add a few points. First, the opening track, "5D" is one of their best, a Dylan-inspired but utterly original composition that holds up remarkably well and sounds fresh every time I hear it. Of course any Byrds album with "Mr. Spaceman" and "Eight Miles High" is a winner, despite the internal strife afflicting the band at that time. Crosby's paranoia is starting to emerge, sweetly wrapped as it is in his lilting, beautiful tenor. While the Byrds never really recovered from Gene's departure, they both still managed to make a ton of great music afterward.
   
   "Lear Jet" is a trip, highlighting McGuinn's fascination with gadgets, the future, technology and such. Interestingly, the Byrds' versions of "Hey Joe" and "I Know You Rider" sound ok but a bit pale and limp compared to the workouts Hendrix and the Dead turn in on these classics later. In all, satisfying and top-of-their-game Byrds, creativity and personality flowering in every direction.

2 comments about Be With.

1. Koushik is on Peanut Butter Wolf's "Stones Throw" label. That said, it's hard to expect anything less than a 3.5 from the musician of such a reputable label, given the quality of his peers: Madlib, Dudley Perkins, Milosh, etc. Koushik, somehow, manages to roll with the best of the label's offerings despite lacking the notoriety that some of the aforementioned artists have.
   
   "Be With" is a real charmer. Coming in at less than half an hour in length, it's amazing that it can be as memorable and consistently awesome as it is, especially with 15 tracks on the album. Due to the length of the overall album (which is a combination of two LPs), most of the tracks are about two minutes in length. Part of me wishes that they could be longer but another part of me is happy that they aren't since they would then have the potential to get repetitive. It's difficult to classify Koushik into any particular genre, really. He's been considered hip hop by some, due to his beats, but I think "chill" (for those of you who call that a genre) would be more fitting.
   
   Several tracks on the album, while having a hip hop or breakbeat foundation, are softer and more endearing than most hip hop or breakbeats tend to be. He's much like DJ Shadow in this regard and "Endtroducing" could easily be a cousin of "Be With" in tone and mood. Koushik makes the beats even more charming and playful by including singing on several of the tracks. For several electronic musicians, the inclusion of singing has the capacity to degrade the quality of some of the music itself. Koushik is not one of them. His singing, which constantly sounds like it's filtered through a cloud to make it even more softer and less intrusive than it would be to begin with, blends astonishingly well with the organic sound of the track's drums, flutes, and guitar strings. It reminds me of the scene in Hitchcock's "Vertigo" where the main character is walking through the graveyard and the entire scene is filmed through white pantyhose. The result is a mis en scene drenched in a soft glow and ethereal atmosphere. The album, equally ethereal, sounds like one giant collage of harmonies juxtaposed with a perfect result regardless of which order you listen to any of the songs.
   
   "Be With" is perfect spring music. Much like Dj Shadow's "Endtroducing" or Daedelus's "Invention", I can listen to it either passively or actively and enjoy it just as much either way. But of course, I wouldn't expect anything less from a Stones Throw musician. While less than 30 minutes, the album is easily worth twice as much as most LPs in quality. The album is a perfect example of the adage that "Less Is More".



2. hello. so i just recieved my copy of koushik's "be with" today from amazon.com. what a day! its like i always say, "there are days, and there are DAYS!" "be with" is a quality album, having listened to it twice in a row (it is well short). i would say it sounds like manitoba (with the singing aspect of up in flames) and rjd2 mixed and matched and blended just so. maybe a pinch of dj shadow's drum programming on occasion. only a pinch though. i would say i'm happy with it. a good intro to hopefully a quality artist! peace.

1 comments about Then & Now...The Best of the Monkees.

1. This was a compilation of Monkees songs released in 1986. It is a well chosen collection of some of their best songs. There were also three new songs recorded for the CD. "That Was Then, This is Now" actually became their comeback hit, as well as their last hit. If you can find a cheap used copy of this CD, it's worth getting.

5 comments about Classic Tracks and Rarities: An Anthology.

1. not knowing that much about harum and reading all these great reviews i thought 36 tracks for $10 + $3 s&h, why not. when i listened to disc one i thought i should of spent my money elsewhere.disc two was different. i listen to disc two quite a lot. disc one: 2 stars. disc two: 4 stars for a total of 3 stars.IN THE WEE SMALL HOURS OF SIXPENCE sounds a lot like the kinks' WHEN I TURN OFF THE LIVING ROOM LIGHT. ABOUT TO DIE sounds a whole lot like e.l.o.'s MAMA. the vocals on MONSIEUR ARMAND sound a like a dave davies solo album track backed by the kinks some where around 1967 or so.



2. What Nathaniel Hawthorne and Herman Melville were to the unbridled optimism of nineteenth century American literature, Procol Harum was to the delirious idealism of flower power hippie-dom that bloomed ever so briefly in the late `60s and early `70s. They were the fly in the ointment, the ash in the soup, the reminder that even the sunniest day is followed by night.
   
   It seems particularly appropriate that they traveled under a curse throughout their career. The song that gave them a career in the first place, A Whiter Shade Of Pale, also destroyed their career, causing the public to marginalize everything that came later and dismiss them as a "one-hit wonder." This was the public's loss; Procol Harum was one of the most sophisticated, intelligent, original groups to emerge from a decade overflowing with musical talent.
   
   I had the pleasure of seeing them perform and their intensity was hair-raising. Not only did they burn the house down, they played with the discipline of a string quartet. Procol Harum's frequently plaintive sound, the combination of Gary Brooker on piano and Matthew Fisher on organ, topped off by Brooker's vocals, was instantly recognizable. But more important still was the band's secret weapon, lyricist Keith Reid. Reid's lyrics, at times so vivid they seemed carved out of his own flesh, were invariably smart, compelling, and piercing.
   
   This superb and reasonably priced 2-CD anthology travels far and wide through Procol Harum's first four albums, including A Salty Dog, widely considered their high water mark. There are also many bonus features to delight the connoisseur including previously unreleased singles and alternate takes. Too many highlights to mention but a few gems do jump to mind: Wish Me Well, Juicy John Pink, A Salty Dog, Pilgrims Progress, Your Own Choice, Homburg, and A Christmas Camel. The world of rock is replete with hacks and poseurs; these guys were artists of the first order. Repent Walpurgis.



3. procol harum will always been remembered for that one hit
   that sum up everything for any love bird's yes you know that song "whiter shade of pale" that organ based song that has swamped procol harum ever since..it's such a classic yet procol harum went and made some of the finest and hillarous tunes my 19 year old ears have had the pleasure to hear and nowdays in the charts it's mostly pretentious c*** so it's why i've gone back to the good old years when rock and roll meant something than other of makin' a quick buck it had a message a beat and a sound that can't be heard today
   procol harum made that sound and they made it damn good NO excellent
   either going from that hit single i won't mention it again
   lime street blues[fantastic lyrics great solo]
   hombug[beautiful piano]
   seem to have the blues[mostly all the time]
   etc...
   so let me put the record start procol harum weren't just a one hit wonder for the love birds to get their clinches on the disco floor
   they made classic songs alright



4. Let's face it - Procol Harum is not for everyone. However, if you like them, then this CD seems to be a good value.
   
   It has nearly all of "A Salty Dog", so it is worth the price right there. Plus much of "Shine On Brightly", and with "A Whiter Shade of Pale" and "Conquistador", this compilation covers all the bases - except one ----->> Devil Came From Kansas (the missing millimeter).
   
   Sound quality is a little harsh as it is late 60's-to 1970 music for the most part. However, Robin Trower had his strat moaning, Gary Brooker and Matthew Fisher had the keyboards going, BJ Wilson was banging the drums and the various singers were belting it out some great lyrics - though no one had a really great voice.
   
   The 2-disc set includes a booklet of liner notes on the represented albums and included songs. At one point it refers to Procol Harem of 1968 as "expanding upon their symphonically influenced bombastic rock style", and the fantastic 1969 album "A Salty Dog" as "combining a synthesis of high-energy blues and grand classical-inspired influences..." Yeah, whatever :-)
   
   A possibly better choice is another inexpensive 2-disk option called "The First Four", which is the complete first 4 albums. The trade off is that though it has the complete "A Salty Dog" album (with "Devil Came from Kansas"), "A Whiter Shade of Pale" is not included as it was released as a single, and only subsequently re-released in the USA on the original album (re-titled "A Whiter Shade of Pale"). However, the fourth album ("Home") is rather lackluster.
   
   Some great music.



5. Having long since decided that the "30th Anniversary" box was a little more than I wanted (both in terms of quantity and price), I went out and bought the expanded version of "Procol Harum...," and figured I'd eventually have to do likewise with the following three albums. Then I stumbled upon this release, couldn't believe the low price, figured there must be a catch--but ordered it anyway. I'm here to tell you all: Ain't no trick here, just treats! Surprisingly, though the band's terrific debut album's widely considered one of their best, a full five of its tracks are not represented on this collection in any form, so having that album is still advisable. Otherwise, the "Shine On Brightly," "A Salty Dog" and "Home" albums are all majority-represented here, along with a handful of rarities; B-sides and previously unissued out-takes. A few notes not pointed out by previous reviewers that you may be interested in: First, the stereo version of "A Whiter Shade Of Pale" is NOT the same version as the classic single; a completely different take. On its downside, the drumming's not nearly as powerful or fill-driven, but on the upside, this one goes on a good minute-and-a-half longer than the single version. Second: The alternate versions of "Conquistador" and "She Wandered Through The Garden Fence" are both in true stereo, and are actually very close to the album versions: Therefore, much moreso than with "Whiter Shade," these tracks provide a pretty good blueprint for how the first album would sound were it ever mixed to stereo. Outside all that, just a few of my personal favorite tracks are the outstanding single "Homburg," the fairly psychedelic "Shine On Brightly," the moody ballad "Too Much Between Us," and the delightfully morbid "The Dead Man's Dream" (cosmic coincidence, perhaps, that that song and Bloodrock's masterpiece "D.O.a. came out at almost the exact same time.) In fact, listening to that and several other songs on this collection, it occurs to me that Keith Reed had a penchant for dark, foreboding and sometimes diabolical lyrics--enough to make Jim Morrison sound like a minstrel boy. Anyhow, if you're looking for a great collection of early, golden-era Procol--and great bang for your buck, this is the collection you want--in which case, I urge you to click that Add To Shopping Cart button today!

3 comments about In Yo' Face!: The History of Funk, Vol. 2.

1. "Funk" is when r&b essentially splintered into three camps in the late 1960's ... pop r&b (most Motown), soul (the Philly Sound plus others) and funk (James Brown, Stax, Southern musicians, etc ... eventually all over). Obviously I'm generalizing here as most great musicians could easily traverse from soul to funk and pop - sometimes in some song :-)
   
   But this collection is obviously meant to give you a basic over-view of the best of FUNK ... and it mostly succeds. like many of Rhino's best packages - if you have 2,000 CD's, you probably already have all the tracks and more importantly, all the ones they could not license and keep the costs reasonable ... so you will still need some James Brown, some Tower of Power, and dozens more (I mean, who can live with a library of only 2 Earth, Wind & Fire songs?)... though you will have all the WILD CHERRY you will need ... is there a compilation of the 1970's that PLAY THAT FUNKY MUSIC is not on?
   
   For beginners of casuals fans of Funk, this is a nice beginning but that's all it is ... I'm not sure any set can be comprehensive ... well, any set less than 20 volumes and need to include Motown, Atlantic, Philly, Stax, and a couple dozen other labels ...
   
   You can't go wrong with any in the series as there are at least several MUST HAVE gems on each one but strangely, Volume 1 is the weakest of the set. You can actually pick up that one last if just can't do without it or better yet, skip it and pick up the 20 CD's you really need from James Brown, Sly & Family Stone, Parliment and of course later, Prince.
   
   The sound quality is excellent - great job on remastering so these will replace a lot of weaker digital transfers.



2. If you were piqued by the first volume of this series, you'd overdose on the better selection of music here. If you are a serious funk/ol skool maven, you'd be more likely to say "Thats better." This CD has more of the type of funk that is enjoyable and less filler.
   There is some there to be sure. I have nothing at all against Tina Turner, but Ike is someone I could do without. The liner notes in the series is what makes this series good. I'd be willing to bet you'd find some nuggets of info that you didn't know (Check the reason behind Average White Band's name) This is clearly better than its predecssor and one to obtain if possible



3. This series of CDs are great. A friend of mine picked one up in the shop and we all laughed at him -- until he put it on. Now every one of my friends owns the whole set. Yeah, its a bit of a history lesson but more importantly, the songs are so damn funky and fun! My favourites are Vol. 2 and 4 but they're all funky!

2 comments about Pour L Amour Des Chiens.

1. As Viv would say WUNDERBAR! The Bonzos do sound older, but like fine wine better. I
   love their take on GARY NEUMAN
   Get it before it's gone.



2. I near flipped when I saw ye olde Bonzo's had reformed with of course unfortunately minus their late effervescent lead crooner Mr. Stanshall but NEVERTHELESS....that would STILL be approximately 90% of the rest of the boys, so, I quickly ordered this import CD from overseas.
   The packaging for this new recording is rather elaborate. The cd comes in its own jacket along with an additional DVD featuring performances from the recently held live shows the B's held in London that have been issued on DVD but the songs on THIS dvd are not on THAT dvd. (hope you got that) And both of these splendid disc's come enclosed in a handsome black shiny box within which ALSO includes a spiffy multi-colored booklet containing words of wisdom, informative song anecdotes and smashing photo's!
   and the music...
   Loved this! True in spirit and execution to the memory of our beloved Bonzo's. Only thing missing of course is the great one, Vivian, now crooning lovingly to his old Victrola up in the big blue.
   Complete with adverts,clarinet, tuba, banjo, songs of heartbreak, singing saw, spoon solo, nimble piano and a pinch of french for good measure.
   Put on your headphones and listen to this all the way through.
   It flows together seamlessly with no air between songs. doesn't it.
   With pause instructions at disc's mid-way point to simulate the turning over of your old black plastic as in those farflung days.
   Blithering musicanship.
   Stark vocals. Lunacy. Great songs.
   Exquisite readings/narration/great fun.
   Gently sentimental/roaringly half-cocked.
   Memory lane revisited with modern day plot points referenced.
   
   Good to the last 'arf'
   
   colorful accompanying booklet filled with a bounty of ephemera...um, I mean, information, excellent photo's, song background...a really special package inside and out.

5 comments about Missing Links, Vol. 3.

1. While die hard fans will feel compelled to buy it regardless of reviews, this particular Cd follows the feel of the previous volumes: mixed bag. To be sure there are the gems( Love to Love, Propinquity, How Insensitive is beautifully covered here, Tear the Top Right Off My Head...) but a few of these songs were unreleased for a reason. So while they may not have pop appeal, they will be treasures to the dedicated followers of the Pre Fab Four.
   The problem here is price. Granted this final edition of the series is out of print,and, therefore, rather highly priced,.... shopping around will not help matters. I have found it listed several places at bargain prices but always out of stock or indefinitely back ordered. My two cents: if you simply must have this album becuase you're a Monkees collector, get it now. It's getting a little harder to come by each time I go hunt it up online.



2. I think I listen to this cd at least once a week. I love it! And, with all the great Mike songs on this I'm in heaven!
   I'd give it 10 stars if the ratings allowed.



3. This cd was the last release of the Missing Links collections. Although I don't think it's quite as good as volume two, there are some great rarities on here. Any Monkees fan will definitely enjoy this one. Here is my review of the songs:
   
   1. "(Theme From) The Monkees" - This is the version of this song that was used as the intro to the tv show. It's cool to see this released, because this version had never been on an album before. 9/10
   
   2. "Kellogg's Jingle" - You can hear this song in many of the Monkees episodes, right after the intro. Just a short jingle, but it's pretty cool.
   
   3. "We'll Be Back In A Minute" - Just another short jingle type song. It was apparently used on reruns of the Monkees tv show.
   
   4. "Through The Looking Glass" - Here is the first full song of the cd. This is a very good version of this Boyce/Hart song. I think it's just as good if not better than the version used on Instant Replay. 8/10
   
   5. "Propinquity (I've Just Begun To Care)" - Yet another solid unreleased Mike song (the Missing Links cd's are filled with them). Has that classic Mike country sound, and I believe he used this song on one of his solo albums. 8/10
   
   6. "Penny Music" - Ouch! is all I could say to describe this song. Has sort of a catchy tune, but Davy's voice just sounds very off. 3/10
   
   7. "Tear The Top Right Off My Head" - This is a very good Peter song. You could actually hear Micky and Peter perform part of this in the "Hitting The High Seas" Monkees episode. It's one of my favorites on the cd, and Peter just always gives it his all. 9/10
   
   8. "Little Red Rider" - Another great unreleased Mike song, and another one that I think he used in his solo career. Good work by Mike. 9/10
   
   9. "You're So Good" - I usually always like Micky songs, but this one just isn't very good. It doesn't even sound like a typical Monkees song, kind of odd. 4/10
   
   10. "Look Down" - I find this to be one of the better songs on the cd. Good performance by Davy, and maybe if re-recorded, I could see it having been on an album. 8/10
   
   11. "Hollywood" - Ok song, not one of my favorite Mike ones. I'm usually a fan of the Mike country/country-rock stuff, but this one's a little too much country for me. 6/10
   
   12. "Midnight Train" - Decent Miky song, that is slightly different from the version used on Changes. You could hear a lot of Micky's sister in this version. Another song that's not really typical Monkees style, but it's ok. 6/10
   
   13. "She Hangs Out" - This is a good Davy song, but I don't like this version even close to as much as the album version. It's just a little too slow for me. 6/10
   
   14. "Shake 'Em Up" - This song has almost the same style as "You're So Good". It just doesn't sound very good, and it's really odd. 3/10
   
   15. "Circle Sky" - This version isn't quite as good as the live version, but it's better than the album version. It's very similar to the album version, except Mike's vocals are actually audible. Great rockin' Mike song though. 8/10
   
   16. "Steam Engine" - It has a pretty catchy chorus...I usually find myself singing along with it. But altogether, it's kind of an average song I could live without. 6/10
   
   17. "Love To Love" - This is an obvious Neil Diamond song, which sounds very similar to the other one's he wrote for the Monkees. It's probably the best song on this cd, and easily could have been used on one of their albums. 10/10
   
   18. "She'll Be There" - It doesn't sound like this song was finished to me, but it has good lyrics, and great vocals from Micky. I think a finished recording could have been album quality. 8/10
   
   19. "How Insensitive" - Might be my least favorite Mike song. It's another one that's just a little too country, and I'm not a fan of the vocals. 5/10
   
   20. "Merry Go Round" - Another solid Peter song, that has a very addictive sound to it. 8/10
   
   21. "Angel Band" - See "How Insensitive". 5/10
   
   22. "Zor and Zam" - This was the version used on the tv show...it's a great song, but the album version is a little more intense, and a little better I think. 8/10
   
   23. "We'll Be Back In A Minute" - Just a slightly different version from the song above.
   
   24. "Tema Dei Monkees" - Simply (Theme From) The Monkees in Italian. Kind of neat.
   
   As you could see, it's not the best cd, but it is a nice collection to have, with many quality songs.



4. This is the third CD in the collection of Monkees rarities. It's a solid collection. It features previously unreleased songs and alternate versions of previously released songs. Lots of good songs, especially the ones by Michael Nesmith. I also like "Tear the Top Right Off My Head" and "Steam Engine" a lot. There are a few somewhat weak songs, but not too many. This CD is a real treat for Monkeemaniacs.



5. This was the third compilation of Monkees rarities and oddities. I guess you would expect that a third compilation of rarities from a band that released 9 albums and whose recording career spanned only 4 years, would be squeezing the lemon too much. This is in fact not the case. Like most Monkees albums this CD contains a great variety of musical styles, and the quality of the song-writing is also pretty uneven. But since Monkees fans are known for having quite different musical preferences, there is bound to be new favorites for everyone on this collection too.
   
   The sound and recording quality on the vast majority of these tracks levels their original albums, and it's impressing that they could manage to record so much quality material over such a short period of time. Quite many of these songs would have fitted nicely into the original albums, and a good handful of them would have improved the general impression of those albums.
   
   My favorite here is the 1967 recording "Love to Love", a song which easily could have been a hit-record . It's a Neil Diamond song sung by Davy Jones, which due to some controversy ( some people wanted a Jones solo-career ) was not originally released on any of the official albums or singles. Great that it finally sees the light of day, in a superb sound quality.
   
   Other great tracks are the two alternate versions of "Through the Looking Glass" and "She Hangs Out".
   
   Peter Tork's "Tear the Top Right off My Head" is a good example of his fine song-writing abilities.
   
   "Propinquity" is a country flavoured tune written by Michael Nesmith that would have been a fine addition to one of the latter day Monkees albums.

5 comments about American Beauty (DVD-Audio Surround Sound).

1. What makes this masterpiece speak for itself is the main ingredient none other than the tight harmonies flowing throughout this entire recording,infested with strong lyrics,a prime example,Attics Of My Life,flowing like a fine wine remenisant of the classic Beatles,Sun king,and classic is as classic does in Jerry Garcia's signature tune,Ripple,and other notable tunes such as,Sugar Magnolia,and Operator,the instrumentation is subdued on this album leaving the vocals standing out painting a visual in the listeners mind. This Grateful Dead remastered classic is essential,containing sixteen tracks,ten of the original 1970 album,the last six are live versions of,Truckin,Friend Of The Devil,Til The Morning Comes,also including a single version of Truckin'. An American beauty.



2. The Grateful Dead were a band in transition at the beginning of the 1970's. The San Francisco dream was pretty much dead and over with. The Summer of Love had spun into Altamont. The bikers the Dead had fashioned themselves after had turned a Stones concert into the close of an era. When the Dead released Workingman's Dead, it was a tighter album compositional than the earlier albums, and showed the band's (particularly Jerry Garcia) love for roots and bluegress. Gone were the psychedelic jams, in were discipline and a subdued recognitiion of how much was different. "Workingman's Dead" was a great album by a band that struggled to translate their ideas to tape.
   
   But the follow-up, released the same year, was a masterstroke. Opening with Phil Lesh (and longtime Dead-writer Robert Hunter's) composition "Box of Rain" and closing with a statement of purpose "Truckin'," this was the Grateful Dead saying goodbye to California and hello to American Roots music. Augmenting the band with members of The New Riders of the Purple Sage, "American Beauty" features nary a Garcia guitar lead, but plenty of his Pedal Steel. It also contains two more Dead classics, Gracia's philosophical "Ripple" and Bob Weir's "Sugar Magnolia."
   
   It's not just for those classic songs that "American Beauty: became a classic, but for the fact that The Dead were folding all sorts of styles into the mix. There's gospel, harmonies they'd picked up from their friends Crosby, Stills & Nash, David Grisman's mandolins, and the immortal line "What a long strange trip it's been." It helped to make the album a mixed metaphor: the trip was far from over, yet the path from 1967's Grateful Dead to now was indeed wide ranging. If one looks closely at the etched glass of the cover art, you can read it both as "American Beauty" or "American Reality." The Dead had arrived at a crossroads, and as Garcia sang on "Ripple":
   
   "If my words did glow with the gold of sunshine
   And my tunes were played on the harp unstrung,
   Would you hear my voice come through the music,
   Would you hold it near as it were your own?"
   
   The band made it plain on "Workingman's Dead" and "American Beauty." They'd left the 60's behind, even if the spirit would stay with them in a beautiful reality. The music would never be as spaced as side long blues-workouts of Chuck Berry, but from this moment on, they were masters of their own reality.



3. One of the most aptly titled recordings in the rock canon, this is the Dead's studio masterpiece. Inspired by American folk and country music and by the sophisticated vocal harmonies that Crosby, Stills and Nash were producing at the time, Garcia and company crafted 10 tracks that are polished, warmly engaging, and uniquely American. This isn't their most progressive work, or their most explosive, but it's probably their most accessible. From the exquisite melancholy of Phil Lesh's "Box of Rain", the bluegrassy "Friend of the Devil", and the exuberant "Sugar Magnolia", to the beautifully harmonized "Attics of My Life" and the traveling beat of Bob Weir's "Truckin'" the Dead staked claim to a sound that remained uniquely theirs for the rest of their career. A genuine American classic.



4. AMERICAN BEAUTY is the best Grateful Dead album ever. Adding more electricity to the folk-rock/country-rock style of WORKINGMAN'S DEAD, the album includes such great songs as "Box Of Rain", "Sugar Magnolia", and "Friend Of The Devil", but as a whole, the quality never really slacks off. This album is a must-own for ANY serious rock fan, regardless of whether or not they're a Deadhead.



5. "American Beauty" is one of the definitive Grateful Dead albums, of that there can be no question. Following "Workingman's Dead", this album continues the direction the band took with blues, country, and folk-styled original songs. To say the album is good is to say that air is essential for life. It's a fantastic milestone in American music. Most of the album will grab you, with tracks like "Operator" and arguably "Candy Man" being the weakest. The strongest track on this album in my opinion is "Ripple", as I understand it, a song that more or less became Jerry Garcia's theme song. It's a deeply spiritual track, and one that I love dearly. You'll almost certainly have heard "Friend of the Devil", "Sugar Magnolia", and "Truckin'" on any good rock radio station, so there should be some familiar territory to cover on this album. Consider this album essential Grateful Dead.