5 comments about The Very Best of (Curtis Mayfield).

1. Isaac Hayes' untimely passage took me on an Old School Reunion. What better counterpoint to Hayes' voice than Curtis Mayfield's falsetto. As usual, Rhino did an excellent job gathering Mayfield's best and making the collection sound great.
   
   Curtis Mayfield left us years ago, in 1999 at the age of 47. He was one of the first R&B musicians to inject social messages into his music. Those messages are still valid today.
   
   Favorites:
   
   "Freddie's Dead" all time favorite. I had that 45 and I swear I must have worn the grooves off the single.
   
   "Don't Worry" is a protest song that is worthy of hearing today. I hadn't heard it back in the day, but it's well worth a listen and more than a passing thought to the message today.
   
   "Superfly" which is the song I used to love to listen to back to back with "Shaft."
   
   Rebecca Kyle, August 2008



2. This is a great compilation but someone mentioned that the so-called "Diamond in the Back" isn't included. Well, that's because that is NOT a Mayfield song. It is actually called "Be Thankful For What You Got" by William DeVaughn and came out in 1974. It's a common misconception out there, so I figured I'd clear up any confusion. Yes, it's a very good song, but is not Mayfield's. That is all. Enjoy this Best Of.



3. From the moment, he sang with `The Impressions', it was clear that singer "Curtis Mayfield", wasn't your average soul/R&B Singer. His vocals were seemingly effortlessly able to move from a Soft warm tone, to a gritty and ominous mood to the next. And along with being an accomplished guitarist (Something not usually associated with Soul/R&B singers), an accomplished singer / songwriter and a producer of some note. He remained a hugely talented individual, and one that although most people will undoubtedly know him for his exceptional "Superfly" soundtrack (and possibly his debut "Curtis" studio album), an artist that truly deserves something of a current re-evaluation of his musical output.
   
   Firstly, it's important to note that this `Rhino' label release focuses squarely on his solo output, so those looking for something that includes his work with the Impressions, will need to look elsewhere. But as is the way with `Rhino's' releases, you get a very concise and excellently compiled album, that skilfully manages to includes the hits, but also include any possibly overlooked gems, that only a true interest in the artists work can bring. So have `Rhino' somehow managed to squeeze an impressive song catalogue into the 16 tracks that make up this collection???. Well...yes they have!!!, and remarkably they've pulled it off in such a truly impressive manner....so what you get are the well known classics, such as the gritty and urban grooves of "Freddie's Dead", "Superfly", & "Pusherman".. from his definitive Blaxploitation soundtrack "Superfly"...all moody funk, stinging brass and horn sections, dark psychedelic soul & cautionary R&B. And the mood changes with the inclusion of material from his "Curtis" album, with tracks such as: "(Don't Worry) If There's A Hell Below We're All Going To Go", "The Makings of You" & "Move on Up", that take the more subtle intimacy and lush arrangements, and progressive Soul of that album, and make for a varied listening experience. And here's why `Rhino' always generally impress me, by including tracks that maybe the causal listener (such as myself), probably won't be overly familiar with, and include them in their compilations so we can appreciate the inclusion of tracks such like : "Do Do Wap is Strong in Here", "Between you Baby and Me" & "Do be Down", which may well be required listening for those that are real fans of Mayfield's work. But for anyone fairly new to Curtis' work, or hasn't been following his career, these are like undiscovered musical nuggets of gold. And it yet again (in my eyes) establishes the `Rhino' label as one of the most consistently superb compilers of Soul or R&B artists.
   
   Personally speaking...I wished that this could have been stretched out into a double-CD editon, as several of his essential cuts from "Superfly", and his "Curtis" studio album, didn't quite make the cut, and even some of his instrumentals literally begged to be included, and whilst I'm on the subject, why no material from his seminal "Curtis Live" album??....but again this is merely nitpicking at what has been created, to be a reasonably priced, one CD compilation of Mayfield's work, and even the die-hard fans that will probably head for the Double-disk Anthology (which includes his work with `The Impressions') will probably sneer. Even they would agree, that is probably the most perfectly complied single disk compilation of one of Soul/R&B finest singer/songwriters.



4. Best collection of the late, great Curtis Mayfield, of his solo work. God rest your soul !!



5. Good compilation of grooves, but its missing what was in my mind mayfield's best joint " diamond in the back". Anyway, its worth pickin up if u feel the funk. Curtis was the original gangsta in the music industry. When i was growin up in Watts in the late 70's he was big on the block like crack rock. He sung about real issues for ghetto youth and we all overstood what he was about. Curtis, along with Marvin Gaye and Willie Hutch, Made me feel proud to be black in the 70's.

5 comments about Cold Heat: Heavy Funk Rarities 1968-1974, Vol. 1.

1. I`ve been looking forward gettin` my hands on this compilation for a looong time. I`m a HUGE fan of James Brown and Fela, and hoped for some real nasty funk, but even though the tail on this alligator is moving a lot, the musicians just doesn`t look in on the groove. I think they are a little too eager to please, and their butter ain`t hot enough to melt the cheese! I think "Go for your self" by Kenny Smith & The Loveliters is the standout track here. Fantastic! Man, I like those rolling drums! 3 stars is maybe a bit harsh, you will find some funky drummers and tight bassplayers here, but compared to a compilation like "New Orleans Funk" this just doesn`t measure up. The sound quality is also rather poor on some cuts.



2. Lately I've started to look for early funk recordings that I had never heard of. Cold Heat seemed like a great collection.
   
   On first listen though, this wasn't as groovin' as I had hoped for. It could be that the lo-budget production quality of the tracks got in the way or maybe the material itself was off. It's useful to hear the influences of the day. Psychedelic rock meets soul blues and early funk. And I did like that it was mostly instrumental. It seems like this stuff was best experienced live, and didn't translate that well in the studio.



3. When I popped this Cold Heat: Heavy Funk Rarities CD in my stereo, I thought "I bet this will be weak"..I love all kinds of music and 70's funk ranks up there with Joy Division in my book. WOW! was I surprised,this CD blew my head off! These are some of the tightest arrangements I have ever heard in my life... "Drugs Ain't Cool" is by far the best 2:45 funk instrumental I have heard. This entire CD is great.I can't say anymore,except just buy it!



4. Many eons ago, hard funk troupes roamed the land, supplying supertight musicianship and sinister grooves to underfunkdafied peoples. These are the cats you can totally imagine getting on up while opening local shows for James Brown or playing in seedy clubs with the early Funkadelic. Many record companies and producers are now collecting mega-rare singles by these forgotten funkateers. This particular compilation is not the definitive overview of rare underground funk from the golden age, but it's definitely a worthy sampler that could turn the knowledgeable funk fan into a serious crate-digging collector. It's surely just the tip of the iceberg, but the nasty funk herein offers a bootyshakin' taste of what was once an unheralded but oozing scene.
   
   There are a few glimpses of real ambition and innovation here, particularly from Amnesty and Kashmere Stage Band (if their track "Scorpio" wasn't the theme song to a righteous blaxploitation flick, it should've been). Many of the acts here clearly embody, and sometimes outright imitate, the key influences on the early heavy funk -Lil' Javier & the Fabulous Jades aren't even trying to NOT sound like JB, L.A. Carnival try way too hard to sing like the Temptations, and Leon Mitchison supplies Superfly's twin brother in "Street Scene." But otherwise, like the best of no-nonsense early fongk, most of the tracks here deliver insistent grooves with no messing around. Faves include "The Stretch" by Detroit Sex MacHines and "Slipping into Darkness" by Dayton Sidewinders (in both these cases, the song titles and band names couldn't be more accurate). And there is a real collector's find in the Aristocrats, the members of whom should be tracked down and convinced to deliver that righteous groove once again (but sadly, slammin' foxy singer Linda Blakely is no longer with us). The rare hard funk collected here is surely outrageous, but you'll soon ask yourself how much is still out there and ready for worship. [~doomsdayer520~]



5. want some heavy funk from other sources other than Issac Hayes, James Brown and all the other big names? Check THIS cd out.

5 comments about The Byrds Untitled.

1. The Byrds "Untitled" has been, is now , and will always be in my top 5 favorite albums of all time. It holds up, sounds as fresh today as it did nearly 40 years ago. Quality music. Can't go wrong with this one.



2. This album needs a review like Huckleberry Finn needs a re-write.
   
   It's like a joke that has to be explained; -if you don't get it on your own, you never truly will.



3. This was the period when I saw the Byrds most often. The concert material sounds great, and I do wish Clarence White got the props he still deserves. The studio material was the great bonus here. Who would have thought that so much great material was left unreleased for so long. Simply the Byrds at a great period in their history.



4. First of all, I have all of the Byrds albulms and this is my favorite. The live albulm is decent but nothing too spectacular apart from "Lover of the Bayou" and "Positively 4th Street". The studio part is the real deal. Here we have my favorite Byrd's lineup with Clarence White on guitar and some lovely original Roger McGuinn compositions that were missing on the previous 2 albulms. This reissue is now doubled in length with extensive alternate takes and extra live tracks as if the original LP wasn't enough. Most casual listeners know the Byrds from the mid 60s lineup with David Crosby but to me this is the Byrd's albulm to get. If you are not familiar with this lineup (and you wouldn't be if you listen to contemporary FM radio), prepare yourself for a more mellow sounding Byrds with Country influences blended with McGuinn's twelve string guitar and harmonies a little more ragged then what you hear on "Turn, Turn, Turn". To me this takes "Sweetheart of the Rodeo" Byrds and combines it with "Notorious Byrd Brothers" Byrds but gives you the best of both. If you like this albulm check out "Ballad of the Easy Rider" as well. Essential.



5. As I have already written a full review of the first disc in this two CD set (the first disc encompassing the original double vinyl album released as 'Untitled' in 1970), this review will primarily be devoted to the 14 track second disc, titled 'Unissued', consisting entirely of previously unreleased studio and live tracks. It should be stated however, since I have lived a period of time with both recordings, that the remastered version of 'Untitled' stands in bold contrast to the original CD version. There are moments where the superior fidelity of the remastering becomes clear, such as in the opening bars of 'Nashville West', which on the original CD sounded as though a mixing problem had completely skewed and lost most everything save the bass and drums. A similar observation can be made in comparing Clarence White's innovative guitar lines on 'Mr. Tambourine Man', which sounded muddled on the original CD, but sound fully integrated into the mix on the remaster.
   
   As if these improvements were not reason enough to invest in the remastered version, a full complement of studio and live recordings have been added to the package on a bonus disc. This second disc reverses the sequence of 'Untitled', first offering alternate and unreleased studio tracks, and then a series of live recordings drawn from the same concerts that provided the live tracks for 'Untitled'. While 'Untitled' failed to reveal the source of these live recordings, thanks to the extensive liner notes offered in 'Unissued' we now know they were made in early 1970 at the Felt Forum in New York, and at the Fillmore East.
   
   The second disc opens with four alternate versions of three songs found on 'Untitled', and they are worthy of inclusion. 'All the Things' and 'Yesterday's Train' are also found on 'Untitled', but I actually find the alternate takes to be superior, sounding more genuine and accessible. 'Lover of the Bayou' appears on 'Untitled' as a live track, so the studio version, with it's echo-chambered vocal and harmonica is a completely different experience. The final alternate is a version of 'Kathleen's Song', a worthy ballad that made its first debut on 'Byrdmaniax', released as the follow-up to 'Untitled' in 1971. Two previously unreleased recordings follow, an energized instrumental titled 'White's Lightning Pt. 2', and a faithful and sincere version of George Lowell's 'Willin', which along with the two opening live tracks form the sequence most devoted to The Byrds version of country music.
   
   To my ear the real treats are yet to come in the form of the live tracks, which open with a version of the finest number from 1968's 'Sweetheart of the Rodeo' disc, 'You Ain't Goin' Nowhere', followed by 'Old Blue' from 1969's 'Dr. Byrds & Mr. Hyde', and completing the country segment of the show. The final segment, consisting of more pop and rock oriented fare, leads off with a cover of Bob Dylan's 'It's Alright Ma (I'm Only Bleeding') from 1965's 'Bringing It All Back Home', although a Roger McGuinn studio version also appears on the 1969 soundtrack of the 'Ballad of Easy Rider' flick. 'Ballad of Easy Rider' follows, also from the flick, and from The Byrds 1969 disc entitled 'Easy Rider'. The opening bars to this memorable song are deservedly well-received by the audience.
   
   The remaining tracks are collected from diverse sources. 'My Back Pages' is of course a throwback to the original Byrds last studio album, 'Younger Than Yesterday', from 1967. Many believe this to be one of their finest recordings, and the live version here certainly does it justice. A live version of 'Take a Whiff' is next, the original appearing on 'Untitled'. McGuinn himself once stated that there were a few too many whiffs in the song for himself, so offering two versions of the same track in this package probably overdoes it. The last two recordings are gems, however. 'Jesus Is Just Alright' appeared first on 1969's 'Easy Rider', and although the song was immortalized by The Doobie Brothers, The Byrds take on it is thoroughly enjoyable as well. The closing track, 'This Wheel's On Fire', was offered by The Byrds as a studio track on 'Dr. Byrds...', and this fleet version provides a crescendo, and lends an exclamation point to the live set. As if all of this were not enough, there is a 'hidden track' offered on disc two, a brief and vibrant a capella version of 'Amazing Grace'.
   
   This double-disc set serves as the textbook on how to expand and repackage decades old material. 'Untitled' was a fine double disc in its first manifestation, but the inclusion of additional live and studio tracks, as well as detailed liner notes, really gives the work a sense of completeness, even if more material may lie in the vault. The only noticable way this could have been expanded further would have been through inclusion of printed lyrics, but given the number of tracks offered here, that may have proved too cumbersome. Columbia is to be commended for it's efforts, and rewarded by fans of The Byrds through their purchase of this outstanding production.

5 comments about Feelin' Alright: The Definitive Collection.

1. It is a pleasure listening to the music that meant so much to my circle of friends "back in the day".
   Traffic was one of those bands that played a major supporting role in the days of Vietnam, demonstrations and turmoil.



2. does not contain Light up or leave me alone, which was disappointing, but most of the good stuff is on here. definitely worth a listen.



3. All the best music and very fast shipment. What more could we want?



4. THE BAND: The main players consisted of Steve Winwood (lead vocals, piano, organ, guitar, bass guitar, percussion), Jim Capaldi (drums, percussion, vocals), and Chris Wood (flute, sax, organ, percussion, vocals). Additional members included Rick Grech (bass guitar), Jim Gordon (drums & percussion), and on-again off-again Dave Mason (guitar, mellotron, sitar, bass guitar, vocals).
   
   THE DISC: (2000) 15 tracks clocking in at approximately 77 minutes. Included with the disc is a 14-page booklet containing song titles/credits, pictures of all album covers, what songs came from which albums, and 10 pages of pictures and history of the band and its members. Digitally remastered sound. Label - Island Records.
   
   ALBUM REPRESENTATION: "Mr. Fantasy" (1968: 4 songs), "Traffic" (1968: 4), "Last Exit" (1969: 1), "John Barleycorn Must Die" (1970: 4), "The Low Spark Of High-Heeled Boys" (1971: 2). *No songs from "Welcome To The Canteen" (1971-Live), "Shoot Out At The Fantasy Factory" (1973), "On The Road" (1973-Live), "Where The Eagles Fly" (1974).
   
   COMMENTS: I got into Traffic way after the fact. However, I remember so many of these tunes from the classic rock radio stations growing up outside NYC. Especially the best songs on this disc... ""Dear Mr. Fantasy", "Glad", "Freedom Rider", "Empty Pages" and the ultra cool 11+ minute "Low Spark Of High-Heeled Boys". With that being said, I'm sitting on the fence regarding "Feelin' Alright". The songs chosen here spot are on accurate - the best songs were chosen from each of the albums represented. But, Island Records skipped anything from their last 4 albums. So, as good as the songs here happen to be, it's not an adequate sampling at all. Traffic's sound was simply different. They were cool in a jazzy/fusion/spacy/pop kind of way. I don't recall too many bands like them at the time. They certainly were not like The Beatles or Rolling Stones. Not even close to Jimi Hendrix or anyone else at Woodstock. (Some) Traffic is necessary in your music collection. Over the years several compilations have hit the stores trying to adequately capture the best schmattering of songs. As for a single disc 'best of', this one is good... BUT it only covers a fraction of their catalog. For a more detailed mix, I'd go with the hard to find "Smiling Phases" (1991) with 2-discs and 26 tracks... and something from each of their studio albums. Looking for a single studio album - I'd first go with "John Barleycorn" (simply a great album, and backed up by the liner notes indicating this is/was Traffic's best selling album in the U.S. by a wide margin), followed by "Low Spark" and/or "Mr. Fantasy".



5. For a penny less, you can get every song on "Feelin's Alright" AND ELEVEN MORE SONGS from the compilation Smiling Phases. Sure, this one disc compilation contains *great music* but what shmoe would buy it when you can get more music on 2-CDs for less money???? Perhaps another reviewer can fill me in on the "logic" of buying this over Smiling Phases because I don't see it.
   
   EDIT - Sept 07 -
   Not sure how often Amazon fiddles with prices, but today at least, "Feeling Alright" is almost 10 dollars while "Smiling Phases" is almost 17. Those prices are more in line with the number of songs on each disc. And if "Feelin Alright" truly does have a noticeably better sound due to remastering, it might even be the better deal right now.

5 comments about Caravanserai.

1. First bought this album early 70's when first release on cassette, then had my car stolen and lost forever....now why I decide to buy again..maybe living in Spain and chillin I dont know but WHAT A CLASS ALBUM..its over 30 years old but absolutely magnificent...we've all heard the usual quality songs from Carlos but all these tracks aren't on his "best of" which makes it even better for me.....jazz blues awesome licks...truly memorable.....



2. Jazz ideas had already been creeping into Santana's music on tracks like "Incident at Neshabur" and "Toussaint L'Overture", but Caravanserai boldly moved deep into jazz-rock territory. The upbeat and catchy Latin rock of the band's first 3 albums was replaced by a more meditative, abstract and instrumentally-focused style influenced by Miles Davis's early electric bands and Chick Corea's Return to Forever.
   
   Most of the band's original members are still here (Gregg Rolie, Mike Shrieve, Chepito Areas) but their roles have changed dramatically. Mike Shrieve suddenly steps up in the compositional department and his drumming really improves. Check out his Elvin Jones-isms on "Waves Within". Gregg Rolie sticks to keyboards (lots of electric piano) and the remaining vocals are pleasantly inconsequential. Guests make a big difference -- Tom Rutley's acoustic bass is a nice touch on many of the tunes, and future keyboardist Tom Coster makes his first appearance on a Santana album. Carlos and Neil Schon play off each other really well. The tunes range all over the map, from the epic "Every Step of the Way" (the guitar riff that ends the intro is awesome) to serious funk ("Look Up") to percussion duets ("Future Primitive").
   
   The influence of Latin music is still here in a big way with the gentle Jobim cover "Stone Flower" and the grooving instrumental "La Fuente del Ritmo", but people expecting the Classic Santana will be disappointed. Nevertheless this is one of Santana's best albums, right up there with Abraxas; whereas their later jazz-rock efforts were often mixed bags, it works here in a big way.
   
   [This review is based on the original CD version, which has an identical tracklist; I would assume the 2003 reissue has better sound.]



3. I can understand why some people thought this was where Santana fell apart as a group; I mean after all they were looking for the next "Evil Ways", or "Black Magic Woman". However, this was the answer Santana wanted to give to the changing world around them. It did cause Gregg Rolie, and Neal Schon to depart, and form Journey, but in a way it caused Carlos to mature as a musician. Side 1 of this is a perfect album side right from "Eternal Caravans of Recreation" To "All The Love In The Universe". "Eternal" is a thing of beauty right from the get go of the crickets chirping to the music that would bring it out to the end. I grew up listening to my grandparents record collection in which there was alot of precussion music, and hearing "Eternal" reminded me of this, "Waves Within" is a underwater dream, "Look Up" is a remainder of the early incarnation of Santana, "Just In Time" is another remainder, "Song Of The Wind" is peace like a river, "All The Love" is a fusion classic, as well as the song that ends the album on side 2 which is "Every Step Of The Way". It does fall apart a bit on "Future Primative", and "La Fuente Del Ritmo", but they're both o.k., the weakest song on here is "Stone Flower". Santana would break the mold, and in the same stroke reinvent Latin Rock with this. Unfortunately, the critics weren't open minded enough to catch on. Like I said I can understand why some say this is where Santana fell apart as a group, but then again those who left the group had another path to follow, and weren't open to what Carlos was wanting to say.



4. 
   It's not given much credit, but In a Silent Way was a downright revolutionary album, in a way more influential than Bitches Brew. So what does that have to do with Santana? I am convinced it was Carlos' chief influence when he went in the studio to record this one. Sure, the Davis influence was always clear in Santana's music, but it always took a back chair to that of Jimi Hendrix and Tito Puente. But here, it dominates: this is a jazz record through and through, and one that obviously wasn't too successful, seeing that it contained no obvious singles. But I don't mind that. I mean, "Open Invitation" was an obvious single, wasn't it? This is one of Santana's finest achievements, partially because it's just him exploring whatever territory he wants to, rather than just giving the people what they want. And partially because the arrangements are varied enough to keep you interested ("Look Up" is funky; "Just in Time to See the Sun" is a pretty good fusion track), the two lengthy suites are ambitious and worthwhile, filled with enough changes, riffs, and paradigm shifts to keep your attention (the Hendrixian funk meets progressive Latin-jazz fused with Yes-like harmonies "All the Love of the Universe", with some sweet organ playing; "Every Step of the Way", which especially recalls Miles in its lengthy, shimmering intro), Santana's playing is often beautiful ("Song of the Wind"), and if you get bored with all that, the percussive, propulsive "La Fuente Del Ritmo" should wake you up.. Some of it does step into Drabtopia, like the Bitches Brew-esque "Future Primitive" and the Latin folk "Stone Flower". But those form a small minority, making this a Santana essential.



5. Man has always used music to help him journey to places outside of himself.
   
   Using techniques as varied as shamanic drumming to Tibetan throat singing, realms of reality beyond the confines of our material reality have been accessible for tens of thousands of years.
   
   Save for a few exceptional people, Western man lost his ability to see behind the shadows of reality around the time René Descartes said "I think, therefore I am" when materialistic dualism and scientific rationalism were born.
   
   Yet, while music in Western culture has seldom sought to re-capture the transcendental vibrational essence of more primitive times, I've been fortunate to discover a few moments of recorded music over the years that truly touched my soul.
   
   So it is with "Caravanserai". The first track, "Eternal Caravan of Reincarnation", and the last track, "Every Step of the Way", come about as close as I've ever experienced to a sense of true ecstacy.
   
   When I first heard this seminal album in its pristine vinyl state way back in the early 70's, I was just at the beginning of a adult life; a life that held a sense of adventure and happiness promised to the Baby Boom generation by parents whose own lives were colored by Depression and War.
   
   Now, some thirty-five years later, I've reached late middle age and many of those youthful promises have faded or disappeared altogether for my fellow "Boomers" and myself.
   
   Then I heard a brief excerpt from this album and immediately ordered the CD. When I first listened to it, I was disappointed that the musical fluidity that had marked the album had been chopped up into individual tracks for the CD.
   
   Still, the joy I felt listening to the two tracks above was what I wanted to rediscover, and the sense of creative joy that bubbled up and was expressed through the artists on those tracks once again delightfully sent me on those caravan dreams; just as they did so very long ago.

5 comments about Live / Dead.

1. You can play me any album that opens with a 23 minute 19 second live version of Dark Star. Live/Dead hits the spot; scratches that 40-year old itch; tells it like it was back when it really was. Makes you wish you could've been there or could go back again. Well, you can at least go visit for a while when you're listening to this album.



2. just bought this to replace my 30 year old vinyl. only comment is that the sound quality for some of the vocals was noticably more like the dead were singing in a tunnel. odd!



3. I am a big fan of Psychedelic Music of the late 60s. So that being said you know where I am coming from. I am also not a country / folk fan. I'm a Rock & Roll Fan. So that being said I love the Dead from 1965 to 1969 and after that its hit and or miss.
   I like some of there later songs and some of there live jams.
   This is an Awesome !!! CD if you are into 60s Psych music.
   I consider this the Deads best Album right with Aoxomoxoa then Anthem of the Sun then Live Dead in that order there best four Albums.
   My reaction to Workingman's Dead and American Beauty (Both great Albums if you like that type of music) is this a Rock band? Where are the electric Guitars?
   Sorry I love the Deads early Rock Music.



4. I'll keep this simple -- the Dead had their great performances and had their so-so performances. But this is one of the great ones.
   It's madness to say that Cream or Country Joe and the Fish (or whoever) were better at this. The Dead were in the vanguard, period.
   
   With regard to the Allman Brothers, the Allman Brothers and the Dead were obviously influenced by each other. The Allman Brothers were gods when it came to jams, but after Duane and Berry died, it couldn't be the same. It really wasn't until Greg broke through with "I'm No Angel" and the subsequent Columbia albums that he started to get his groove back with some outstanding new songs and players all the way to this day.
   
   I urge anyone who thinks that the Allman Brothers were out front to pick up "Two From the Vault", recorded August 23-24, 1968 by the Grateful Dead. Listen to "The Eleven", and you will get a preview of what the Allman Brothers were doing two years later in 1970-1971 (often opening for the Dead) with "Mountain Jam" and "In Memory of Elizabeth Reed" at Fillmore East as well as on Dickey Betts' "Blue Sky" on Eat a Peach in 1972.
   
   Duane and Jerry were on a very similar wavelength. But the Dead were formed first and were literally playing Allman Brothers music before there even was an "Allman Brothers." That's just historical fact, but I'm not saying that the Allman Brothers didn't do it better for that brief period of time when they were literally on fire with Duane out front. Live/Dead is belongs in the collection of every Allman Brothers fan and Fillmore East belongs in the collection of every Deadhead, and today's shallow, computer-created teenage bands could learn a hell of a lot from both.
   
   Peace, rock on and don't forget the folk, country and blues/r&b roots of our music!



5. Many years ago during the early 70's, I was introduced to the Grateful Dead and as the years went on I bought most of their albums and attended around 25 (not that many in the world of Deadheads) concerts. Although my interest has periodically waxed and waned through the decades, I consider myself to be a Deadhead for life. My interest went on another upswing when I got an Ipod as a gift and started loading some of my music onto it. Of course I included some Grateful Dead songs leading me to happily see that their music ages well and sounds better than ever. I could have said the same thing throughout the eighties and nineties. They truly are a band for the ages and not an embarrassment from my late adolescence. The best part of my latest reunion with their music is rediscovering the "Live Dead" album. This album does not neatly fit any specific definition. One can call it acid rock, but with is a heavy element of jazz, blues, and even what is now called new age. The music on Live Dead is powerful and throbbing, but at the same time it is mellow with a mystical, playful, and sentimental sense that transports the listener to another world. It starts with "Dark Star" which has a mysterious and probing air. Dark Star is the least accessible piece, but brings the most reward to those who take the time to study it. "Saint Stephen" follows and is like a gently revving engine that tells a whimsical and enchanting fairytale. Next is "The Eleven." It showcases the Dead at full blast in an accelerating and exuberant session that leaves the listener breathless. The remainder of the collection does not seem to be up at the same level, but perhaps I simply need to give it another chance to produce a similar enchantment. "Live Dead" is quintessential Grateful Dead for one to cherish for life.

3 comments about Days of Future Passed.

1. Well, I was never crazy about the 1997 remasters of the "core 7" period of the Moody Blues music. I listened to the original cd releases next to the '97 remasters, and really found little difference. Now, with the 2008 new remastered classics, the difference is clear! The sound is truly crisp and has a sonic clarity like never before (at least on cd.) I've read all the arguments about the "quad" versions picked for remaster here, but overall, I cannot complain about this new sound. I wish the "Peak Hour" track didn't have the analog crackling after the lyrics are over (at its end.) But, DOFP is a recording that is over 40 years old. Actually, it holds up rather well, all things considered! I love the Moody Blues, and I am so happy that I found a cd version of DOFP that I thoroughly enjoy.



2. This is an amazing masterpiece of progressive (or symphonic) rock - or whatever you choose. Well balanced, accomplished and well ahead of time. Perhaps the best album of the genre - when the Beatles were flirting with an orchestra, when John Lord desperately tried to bring together his group (Deep Purple) and the orchestra - and still they didn't sound as one thing - and Procol Harum was getting ready to play with Edmonton Orchestra - the Moody Blues did it. And they are still shining over and above. Highly, highly recommended



3. This is a classic album, the music doesn't feel dated and is a plesure to hear from time to time.
   The quality of the recording is very godd, so I think this CD is a good buy.

5 comments about The Present.

1. My review is prejudiced by the fact that I'm a Moody Blues fan, as well as many others during that time frame. Excellent album.



2. An intermediate quality album by the prolific group, I still think it a necessary addition of supporters of The Moody Blues.



3. I had never heard of this cd, came across it browsing your site. There was fast shipping and the product got here still sealed.



4. 3.5 stars
   
   This was a follow-up to their #1 album, Long Distance Voyager, and I think these guys climbed such heights with LDV that they set themselves up to fail on this one. At least, that was my initial impression. If memory serves correctly, I gave this a try a couple of times when it was initially released, and then set it aside and started listening to LDV again.
   
   With the iPod revolution, I've started listening to some of my older music again, and I thought I'd give this another shot. What I discovered was that *I* had been expecting The Moody Blues to produce another LDV, and so was disappointed to get The Present. That was most unfortunate, because while The Present doesn't stand up head-to-head with LDV, there's a lot of worthy music here.
   
   I'll admit, though, that I still found Blue World and Meet Me Halfway lacking and disappointing - bland music that doesn't really go anywhere. I'd always loved Sitting at the Wheel from the first time I heard it, and found that to be the same again. With different lyrics, it might have been a bigger hit for them. What I discovered was that Going Nowhere, It's Cold Outside of Your Heart, and Sorry (and perhaps I Am) were very notable songs. In fact, I've listened to Sorry by itself about eight times in the last two weeks alone.
   
   The lesson, if there is one, is this: don't expect your favorite bands to give you exactly what they gave you before. You might miss out on some good music.
   
   That said, many bands, when they release an album that becomes their "biggest hit ever" do try and duplicate that success. I think that Journey did it (unsuccessfully) - every song they released from Frontiers had a parallel on Escape.
   
   I'm glad I gave this another go.



5. I bought this album the day it came out in 1983. It wasn't the same as Long Distance Voyager, but there were similarities. Four songs on the first side, six on the second, last part of the album belonged to Ray Thomas. My friends told me after I heard the first single that'd I'd be disappointed- that was Sitting at the Wheel. I still think it's a great song and if you can find the 7 and a half minute "dance" mix, get it, because it shows how the Moodies music could be with the times and yet still be so much better. And the opening track is a great Hayward tune that unfortunately we'll never get to hear in concert.
   
   My favorite tracks are Meet Me Halfway-- a great Hayward/Lodge contribution, Going Nowhere, Running Water and the two Thomas' tunes I Am and Sorry. Sorry sounds like something written by a man on the verge of divorce and I AM has the retro-mysticism that made the Moodies famous. The Lodge section Hole in the World and Under My Feet are nice additions to this album as well. The only down side to this album is the Hayward song "It's Cold Outside of Your Heart." I'm a huge Justin Hayward fan- I have all his solo albums, including some bootleg stuff, but there are times when he'll write a tune that just doesn't have it. Not that it isn't presented well.
   
   My understanding is that the group boycots all these songs from their concerts because of production issues- things being added and/or subtracted without their consent or knowledge. Which is too bad-- it would be nice to hear the brilliant harmonies of Hayward/Lodge on Meet Me Half Way live.
   
   The average music fan out there may not appreciate this album, but Moodies fans will be quite fond of this. I know I certainly am.

5 comments about Love Is the Song We Sing: San Francisco Nuggets 1965-1970.

1. This box set is devoted to the San Francisco rock music scene of the second half of the 1960s. It comes in a hardcover book filled with lots of information, plus beautiful photographs of the performers. The four CDs feature music by performers both well known (Grateful Dead, Jefferson Airplane) and obscure (Public Nuisance, The Ace of Cups). The vast majority of the songs featured here will be unknown to most listeners. Not every song is great, but most of them are quite enjoyable. This set is well worth getting for fans of '60s rock music.



2. Rhino Records does it again. This 4 C.D. box set captures the San Fransisco, West Coast Sound of the mid to late sixties. If you lived in the Bay Area at that time, I highly recommend this box set. I was living in Hawaii at the time and i remember a lot of these tunes, which i haven't heard since that time. I feel that they could have added another disc of the really commercial stuff that we are all familiar with, but i guess with licensing problems and such. The folks who will appreciate this set the most will be the baby boomers. You know the sole suvivors of that great time in music.



3. MAGNIFICA OBRA DE RHINO..COMO NOS TIENE ACOSTUMBRADOS...INSTANTANEA DEL LUGAR EXACTO DONDE EMPIEZA TODO...SEMILLAS QUE GERMINARON EN EL SUBCONSCIENTE DE TODA UNA GENERACION...POLEN QUE AL FINAL FLORECIO EN UNAS POCAS MACETAS PERO QUE EN DETERMINADO MOMENTO ALCANZO LA SENSIBILIDAD SUFICIENTE PARA CAMBIAR EL NEGOCIO DE LA MUSICA POLPULAR PARA SIEMPRE..ACA ESTAN TODOS...DESED IGNOTOS HASTA ESTRELLAS....HERMOSO LIBRO PLAGADO DE FOTOS, HISTORIAS Y TODO LO QUE NECESITAS SABER SOBRE ESTA MUSICA HERMOSA, IRREPETIBLE!!!!!!! MUY MUY RECOMENDABLE.



4. I was immediately attracted to this collection. I was a big fan of the first two Nuggets sets, both for their eclectic track selection and detailed scholarship ( especially when so little was known about some of the more obscure groups.) Even more exciting was the fact that it was the story of the San Francisco music scene; the place where I spent my childhood and the music I listened to. Could they really get this right, I sure hoped so.
   
   Like many great scenes, some of the most definite expressions of this cultural earthquake came early. The Beau Brummels were really the first great San Francisco band. They took the Folk-Rock style so ubiquitious in the mid 60s and fused it with the energy of the English Invasion, very much as their counterparts the Byrds did in Southern California. They were not alone, with other bands like the Mojo Men, the We Five, and the Vejtables bringing a local presence to AM radio, to mix with Motown and Liverpool. The first disc really captures this moment, when the elements combined to bring the message of folk music, the electricity of the Beatles and the awareness of generational change together. Something was definitely happening and even Mr Jones knew it. The Dead were still a bar band named the Warlocks and their great "Can't Come Down" gives you a glimpse of their unique power, before they discovered 30 minute jams. Perhaps the most psychedelic band at this point in time were Country Joe and the Fish whose magnificent original version of "Section 43" is here along with the pre-Grace Airplane led by Marty Balin.
   
   Disc 2 brings us the wider scene, the groups on the penninsula and other parts of the Bay Area that contributed to the tapestry. Most of these groups never found the recognition beyond a fine single or an impossible to find album, and this dic is a great treasure trove for even the most hardcore collectors. The momentum is building, the revolution is almost here.
   
   We arrive at the Haight on disc 3, begining with the best recorded moment by the legendary Charlatans, "Alabama Bound." Moby Grape, Quicksilver Messenger Service, Big Brother and the Holding Company, the Airplane and Dead in their glory; so much was happening all at once. But we also had the Mystery trend, Serpent Power, Blue Cheer and Sly and the Family Stone. It was not a monolitic sound so much as a diverse embarrassment of riches, elements of R&B, Folk, Pop, Acid Rock and outright weirdness all going on on the same stage and echoing in the ears and often-expanded minds of the locals and runaways that populated the streets.
   
   The final disc covers the aftermath of the explosion, with bands like Santana, It's a Beautiful Day and the Sons of Champlin getting their moment in the fog, if you will. Of all the discs, this one is the most familiar in terms of track selection, the energy diminishes despite the greatness of individual efforts. The Summer is over kids, back to real life.
   
   The packaging is really singular in the history of cd packaging, not a booklet, a bonafide book. Great and previously unseen photos along with the complete backstory on everyone, famous and one-hit wonders alike. I do agree the discs are best removed and stored in jewel cases. This is time travel to a glorious past and history of a turbulant era as well. There is certainly tragedy and wistful sadness here as well as joy and love, but that is what makes it great art as well as cherished memories. They got it right.



5. The book style packaging for this set is wonderful for it's high quality and content. This is the best book/box set I've ever seen except for the CD storage. Rhino is now packaging all of their sets with the CDs tightly packaged in cardboard such that they must be damaged to be removed and then there's no way to put them back for storage without further damage. People need to start complaining directly to Rhino about this. The music on this set is wonderful but it's mostly well known material unlike some of the nugget sets. It would have been nice to see a little more lesser known tracks mixed in. If not for the CD packaging this would be the nicest box set I own.

5 comments about Barrett.

1. Last week (at this writing), some of us were gathered at a friend's house for a cookout, and when the topic of conversation went to music, someone mentioned Syd Barrett, and a guy I have known for many years said, with a lot of venom in his voice, "Syd Barrett was a complete waste," I felt the need to defend him. Sadly, many people feel this way. But, on the good side, he still has a lot of fans and supporters, myself included.
   
   In my review of "The Madcap Laughs," I rated it with four stars. This wasn't necessarily due to it having a piecemeal format; that is fine, I did so because of the disjointed way the second half goes. It sort of falls apart. And the version of "Dark Globe," was simply shrieked, as opposed to the superior version included on "Opel." "If It's In You?" Imagine the Gong Show panelists "gang gonging" him; it isn't difficult to picture. Roger Waters and David Gilmour said it was a nightmare doing that record ("Madcap," that is).
   
   "Barrett," the one with with the insects on the cover, was also an allegedly frustrating experience to record, but the results were a lot more even and professional sounding. First, there is a consistent line-up here. Humble Pie's drummer, Jerry Shirley, also on some of the "Madcap" sessions, plays most of the drum parts on this. Rick Wright plays all of the piano and organ this time, and one-man-band David Gilmour plays bass, as well as uncredited guitar, keyboards, and does some drumming as well. It must have been strange, doing sessions with several members of the band that fired you at the peak of your success. But, with the exception of Floyd drummer Nick Mason, they all have nothing but kind things to say about him. And if you ever have the opportunity to watch any Mason interviews, you'll notice he becomes strangely quiet when talking about Syd Barrett. I personally think he didn't like him very much, as a musician or as a friend. If I am wrong, I'll stand corrected, though I doubt I am.
   
   "Baby Lemonade" starts it off, with an arpeggiated guitar solo provided by David Gilmour, and via overdubs, he doubles on bass. Barrett sings two-part harmony with himself with the overdubs, and as with almost all of Barrett's material, it has a certain innocence to it. Same with "Love Song," a pleasant no-frills song about a girl he knew and liked; he could tell the simplest stories, the kind you could tell to a little kid, but with an adult sophistication. It's hard to believe this is the same mind which came up with "Arnold Layne," the infamous cross-dresser song. Of course, this child-like delivery is offset with "Dominoes," somber and bleak-sounding, with a backward guitar solo and double-tracked drums. One track plays foreward, as the other plays backward. A better-known performance which uses this trick is Jimi Hendrix's "Are You Experienced?" If you haven't heard "Dominoes" before, it has the same kind of production. Of course, it's a different piece altogether, but you get the idea.
   
   "It Is Obvious" is just a basic two-chord song, similar in mood to "Love Song," in it's just him delivering a somewhat catchy melody with the back-up band accompanying him, which leads into "Rats." It's everything one would picture. A one-chord, cacaphoneous jumble while the lead vocal provides a recitation of what sounds like coffee house beatnik poetry. As Frank Zappa would say, it has "No Commercial Potential." This is geared to the more hard-core fans of Barrett's work, and myself, I think it's great.
   
   "Maise" is a gloomy blues number, Barrett droning the lyrics in a lower-register voice about "...bad luck, the bride of a bull..." to a minor key jam which sounds like it could be used in a cheap, really bad B movie. But he brings us back up a little with "Gigolo Aunt," one of his "hits," per se. When he is good, he is very good, as this, and the next number, "Waving My Arms In The Air" show. In "Waving..." he gives a very wise, sage-like message: "You shouldn't try to be what you can't be." This segues into "I Never Lied To You." There is an honesty in his more accesible lyrics I feel a lot of people miss. He had a very simple approach to life, however much he complicated it himself.
   
   "Wined And Dined" is another good example of his simple approach to things: "...Wined and dined, oh it seemed just like a dream. Girl was so kind; kind of love I'd never seen..." He really was a poet of the highest calibre.
   
   "Wolfpack" gives us a look at the more frantic approach to his work. Interesting is his double-band approach to this. In one channel, you have the band playing it acoustically, with piano and acoustic guitar and Barrett singing melody, and in the other, the band is playing electric instruments, organ and some interesting Fender Telecaster abuse(I say this jokingly) with Barrett singing a histrionic, higher version of the same lyrics. This is overlooked creative genius.
   
   "Barrett" winds down with "Effervescing Elephant," a return to the child-like approach he often used in his writing. Once again, it is a silly song that young child and seasoned adult can appreciate equally.
   
   Syd Barrett may be gone, but his legacy WILL live on, even if some folks look at him as a "waste." He was, and still is, a VERY important figure in contemporary music. I don't care what anyone says, I think he was great.



2. One of Syd Barrett's solo efforts, this CD is a good one. However, I do prefer The Madcap Laughs over this CD...



3. This is another one of those albums I'd recorded on reel to reel tape back in the 70's. I've always liked early Pink Floyd, especially the Barrett years and after he left, up until Meddle. After listening to this, I remember why. This isn't heavy music, what I usually listen to, but it is just weird enough to keep me interested.
   
   Could care less about the lyrics. They make as much sense to me as any other articulated vocal noises. That is not what's weird. The weirdness factor to me comes in with the song titles and the odd timing. As another reviewer noted, it seems Syd's backing musicians had to really struggle sometimes to play along with him. It shows on some songs. However, it actually works.
   
   My favorites are Maisie with that low-pitched growly voice, of course, Baby Lemonade, and Wined And Dined.
   
   Yeah, this is a boon for Syd fans. I'm not a hard-core fan, but I still always liked him and this is a good example of why. He goes from the spacey psychedelic Floyd to a spacey plain old Barrett. Recommended.



4. Pink Floyd co-founder Syd Barrett released his second and, turned out to be, final solo album of new material Barrett in November of 1970 in the UK.
   The album wasn't released in the US until 1974 on the double album called Syd Barrett alongside its predecessor The Madcap Laughs).
   Barrett was produced by Syd's former Pink Floyd bandmates and close friends David Gilmour (whom also played bass guitar and some additional guitar on the album and additional drums) and Rick Wright (whom also plays keyboards on the album) and also featuring Jerry Shirley of Humble Pie on drums.
   The album was more focused than its predecessor The Madcap Laughs but more difficult to record but the results were better IMHO.
   The album kicks off with the majestic "Baby Lemonade", which is possibly Barrett's finest solo track. "Love Song" is a great song too as is "Dominoes" (which David Gilmour performed at his Royal Festival Hall concerts in 2002 in London and recently on his 2006 On an Island solo tour), the funny "Rats", the epic "Gigolo Aunt" and the closing "Effervescing Elephant" which is a funny song that can bring anyone out of a bad mood.
   The other tracks "It is Obvious", "Maisie", "Waving My Arms in the Air", "Would I Lie to You" and "Wolfpack" are excellent gems though some didn't like those tracks as much as the first tracks I mentioned.
   The album was unfortunately Syd's last album of new material released (a rarities album was released in 1988 and he passed away in 2006). Syd slowly went crazy and then recluse after an ill-fated attempts at comebacks in 1972 and 1974 and then retired and sadly died quietly in 2006.
   Highly recommended!



5. This album is one of my favorites. The music can be so calm and chill and it feels as though you are sitting inside Syd's mind and flying around. The lyrics are so simple-yet they have so much meaning and this can be seen just by listening to songs such as Wined and Dined, Dominoes, Gigolo Aunt, I Never Lied to You, and more. The sounds themselves are eccentric but relaxing or classic-feeling. The genre is rock of course, but Barret combines many other such as folk and blues. Listen to this album and feel Syd Barrett. The songs are so odd, it's almost comforting on any day and for any mood. You kind of grow with them and adjust each one to your preferences of listening. I guarantee there is a song for you on this album, much the entire album could be for you. Listen to it-you won't regret it. Plus, he's nothing like you've ever heard of in that he is so unique, but still so simple!