5 comments about Three of a Perfect Pair: 30th Anniversary.

1. I liked reading some of the blasting reviews listed for this record. Wow..it seems like some people only want music to be on their terms. I'm glad these people don't live next to me. This is my favorite Crimson effort from the eighties. A Hark back to the Lark time of an age bygone. It is truly an astounding work with little rules or even pleasing melody to generate it's sound. The second side is a bit messy and acidy...thank you Robert. The first side is barley carrying any radio freindly material...thank you again Robert!. If you like the 2 pedacesors to this reord(Discipline and Beat) You're probably not going to like this one so save your money. If your a do or die Crimson fan like myself. Buy it. It's a great record period. Chaotic..weird and induced. My kinda Fripp!



2. The CK musicians, as I've read, are not completely positive about this album. But I find it to be the most thematically cohesive, musically rich and technically proficient of all of them. It is as textured and layered as Discipline, but more varied.



3. Three of a perfect pair is a masterpiece. If your a KC fan then you need no convensing. For those unfamiliar first of all, all members have played with many different types of artist. From David Bowie to Nine Inch Nails and the list goes on. Robert Fripp is an amazing guitarist with a style that is unmistakable. This album was the third studio album with singer Adrian Belew. His style is very different, but is very good. "Sleepless" & "Nuages" are my favorite tracks. A must for all music enthusiasts.



4. This album is good enough to sway the naysayers of KC into followers of Fripp, Levin, Bruford and Belew. This agile group of talent join together once again under the Crimson flag and produce grand hits like "Three Of A Perfect Pair", "Model Man", and the monster of a song "Sleepless". Other great songs include the oriental flavored "Man With An Open Heart" and the beautiful soundscapes of "Nuages", the aptly named "Industry" and "Larks Tongue In Aspic Part III" which rocks out like only King Crimson can. This team has established a very unique sound and latched onto a "groove" all their own. I have to admit that once Adrian Belew joined this band they got my attention. He brings great guitar work, smart lyrics and strong pop mechanics to the group. Fripp continues to marvel me with his incredible fingers and Bruford is one of the all time best drummers the world has ever known. Tony Levin is just flat out a giant on the bass guitar and he also plays a stick which often paints different emotions similar to a cello. That's just good math my friends. This is one great album! Note - I rarely give 5 stars. - Ciao



5. Not as kick-@$$ as "Discipline", but a darn good album nonetheless.
   
   As you probably know by now, this album consists of one part quirky new-wave prog and one part weird industrial soundscapes, plus (on this particular edition) some bonus tracks. The accessible stuff is pretty well done. "Three of A Perfect Pair", "Model Man", "Sleepless", "Man With an Open Heart", all good.
   
   Then, "Nuages", etc., a pretty boring instrumental. Now onto the good stuff.
   
   "Industry", while cool, is too long for a song that just sort of sits there and makes noise. The drums (with all apologies to the god-like Mr. Bruford) are boring and overall the rhythm section plods along to dull soundscapes. "Dig Me" is much better. Cacophonous, nearly free-jazzish music accompanies lyrics about a junked car during the verses and then there is a catchy chorus stuck in between. "No Warning" is like "Dig Me" but without lyrics or a chorus, just cacophonous craziness. "Larks Tongues In Aspic Part III" sounded to me sort of like they blended ideas from the first two parts together and then blended those ideas with their new approach to music to make something quite good, but not as good as the first two installments (you know how sequels are).
   
   Bonus tracks: "The King Crimson Barber Shop" is a funny novelty, "Industrial Zone A" and "B" were probably outtakes from the industrial side and are decent, the "Sleepless" remixes are pretty good.
   
   Overall, a worthwhile purchase. Not as good as "Discipline", same quality as "Beat" (yeah, I liked "Beat" too! Ha-ha!).

5 comments about The Crazy World of Arthur Brown.

1. I HAVE BEEN LOOKING FOT THR TRACK FIRE FOR 3 YEARS AND IT HAS BROUGHT BACK LOTS OF MEMORIES. MY SON AND HIS FRIEND HAVE BENN LISTINING ALSO.



2. Those stories about him climbing the scaffolds at concerts are TRUE. He did that at Central Park, where he performed the Fire suite. Yeah, crazy, but fascinating. I am lucky to have the LP, which is a well-edited piece. The CD has some narrative, extra bits, but to me they detract from the compression and excitement of the original edit. Less was more for this bunch.
   
   The organ sound that dominates sounds dated as does the string writing. But the whole piece was out of that Desiderata era and I would not change a bit of it.



3. "Fire" was my introduction to Arthur Brown and his music. He was and is a most enigmatic person. Outrageous costumes and stage acts, an "outre" persona, and before his time.



4. I'm no music critic, but I know what I like. I've liked (loved) THE CRAZY WORLD OF ARTHUR BROWN since it first came out. Anyone with the slightest interest in this album should read every post in this series of reviews. They contain the quintessence of the Arthur Brown phenomenon. For all these past 40 years I've merely loved the music itself, without really getting into the intricacies of the work. These reviews have brought me to another level of understanding the man and his music. Thanks guys. As to my rating of this album, I can't promise that you'll love it, but I assure you that once you've heard it you'll never forget it.



5. I'm a sucker for those electric organs sometimes. Especially when they are recorded way over the top and mildly distorted, over fractured sixties pop that deals mainly with issues such as burning in hell. I don't know much about Arthur Brown besides this album, but I do know that this is an album worth owning... especially if you like freak out music, this is the definition. Crazy World Of Arthur Brown.
   
   I like the fact that the first half of the album is presented in both mono and stereo. Although, I usually skip the mono side, the songs have a different quality to them on mono, in some ways, it actually makes songs like the hit song FIRE sound even weirder (???)
   
   ok, but heres the deal, the stereo versions are jammed with intricate details. This is a brilliant recording. Arthur Brown was out of his mind, but this recording is brilliant. A horror show production made for record. The only song I have absolutely no idea about is SPONTANEOUS APPLE COMBUSTION which seems to be the culmination of all things bizarre coming to a climactic hilt, and then sort of goes into some almost normal stuff like REST CURE and I'VE GOT MONEY... which almost sound like pop songs. Browns version of I PUT A SPELL ON YOU has gotta be my favorite version of the tune, drenched heavily in Hammond that shakes the speakers and the other stuff is worth it too. He only starts rambling off weird poetry once or twice, the rest of this thing jams.
   
   You're gonna BURN!

5 comments about Them Changes.

1. the album cover says it all because if you have ever listen to Buddy Miles playing and singing then you know he brought a change and he could Groove and was versatile on so much. if you have his work with Jimi Hendrix on the Band of Gypsys Project then you know the cat was truly Bad. this collection has so much musical stylings and yet Buddy Miles keeps it downhome and never loses the pocket of Groove. his voice booms and is as commanding as was his drumming skills. He was something else and hasn't gotten his full due.



2. I first bought the LP back in the 70's (and still have it) and was blown away by it's funkiness. The only problem with the original album was the sound quality. The horns especially were over modulated to the point of hurtin' the ear drums! Even Buddy's voice sounded scratchy on a few cuts but the sound on the cd is so clear without any sound quality loss at all! So after years of searching I found it on Amazon and it was worth the wait!!



3. I was shocked when my search for the Buddy Miles "Them Changes" album actually came back with a remastered CD. The quality is really good for an overseas version and the songs just can't get any better...



4. The CD was Excellent, sound was out of this world, and the shipment was very fast.



5. Go ahead, but with caution, when a parent is reminiscent upon their own rock history. For years I've heard my mom talk about "the Buddy Miles concert." The other day I grabbed this and a copy for dear old mom, put it on in the car and tempted the windows to burst. If you listen to the title track you will have either heard it, think you have heard it before, or wish you had heard it sooner. Subject matter goes from loving a woman, to shooting one, but there's no denying the groove, the horns, the funk, the soul, the rock. Former drummer for Hendrix, on "Electric Ladyland" in Band of Gypsy's, and before that even with Wilson Pickett, the man is no foreigner to an overdriven guitar or a battery of brass. He wields both with knowledge and intensity which will render your public shame helpless as you rock your car at stoplights and all point between. What to do with one's body in the presence of such funk is the common foreign language experience for the rhythmically challenged everywhere. But I will struggle with the lapbelt as often as this disc is in the tray.

5 comments about The Present.

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



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



3. 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.



4. 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. Contrary to what I had been led to believe, this is a very good album, much to my surprise and delight. I won't go so far as to call it the best thing the Moody Blues have ever done, but it is very, very good indeed. The Moodies were in fine form on every level and the more I listen to it the more I appreciate it. Why it wasn't more successful or popular is beyond anything I can figure out. IMO, 9 out of the albums 10 tracks are outstanding songs. At least 5 of these should have literally burned up the charts when this album came out. 'The Present' is just as good as 'Long Distance Voyager'. In doing my review, I am going to very briefly give my take on each song, along with a yes or no vote.
   
   1 Blue World- NO. I have honestly tried to like it. It just doesn't touch me, something very rare in a Justin Hayward song.
   2 Meet Me Halfway- YES. Vintage Hayward & Lodge harmony- sooo good.
   3 Sitting At The Wheel- YES. Rockin' Johnny in a feel-good song.
   4 Going Nowhere- YES. Great vocal by the fabulous Ray Thomas- 'nuff said.
   5 Hole In The World- YES. Lovely and clever instrumental by Lodge.
   6 Under My Feet- YES. Very good, "under"-appreciated song by John Lodge.
   7 It's Cold Outside Of Your Heart- YES. Hayward got to me real good.
   8 Running Water- YES. J. Hayward struck again- hard this time.
   9 I Am- YES. Ray's glorious voice again. Lovely song w/ Messianic theme.
   10 Sorry- YES. I'm "sorry" it had to end as Ray Thomas was magnificent!
   
   The Present is truly a great piece of work from The Moody Blues, that for some reason was either disliked or simply ignored. Only God knows why.

5 comments about Game, Dames and Guitar Thangs.

1. An all-too-rare cult classic. Fans of Hazel's work with Funkadelic should know that this is in a similar vein: trippy funk-rock with a lot of Hazel's guitar. The dark "Frantic Moment" is especially in this style. And Hazel cranks up the distortion knob on the entertaining "So Goes the Story," playing a solo that's a lot like his work on Standing on the Verge of Getting it On. The two sixties rock covers are also very, very good. Eddie takes on the Beatles' "I Want You (She's so Heavy)" and the Mamas and the Papas' "California Dreamin'" into a slow, stoned haze, and turns both of them into showcases for his awesome guitar playing. "I Want You" especially benefits from this, and although the Beatles are my favorite band and Abbey Road is my favorite album ever, this is my pick for the best version of the song. Just because his many solos are so good. He pulls out all the stops, and does some of his most imaginative playing this side of "Maggot Brain." His version of Bootsy Collins' "Physical Love" is just a vehicle for his guitar playing, so it's good that his solo there is excellent. Sadly, the last two tracks are disappointing. "What About It?" isn't very exciting compared to the rest of the material, and there's an annoying reprise of "California Dreamin'". Still, fans of the P should get this if they can find it.



2. Eddie Hazel-Game, Dames, & Guitar Thangs *****
   
   When I first bought this I put it in the stereo the second I got home, and I loved it so much I cancelled my plans for the rest of the day and listened to the album over and over and over again. As a guitar player and someone who the first thing he notices is the guitar in the song, I was absolutely amazed by this and still am. I can't believe how a guitar player as great as Hazel was didn't get the recognition he deserves. I'm not gonna compare him to Hendrix because the only comparison I can think of is that they are both black so that would be a little silly.
   
   But as a whole the album, Game, Dames, & Guitar Thangs is simply breathtaking. With a majority of the album being written by the great George Clinton (Hazel's partner in Parliament and Funkadelic) with the exception of two covers. 'California Dreamin' starts off the album, which is a Mama's & Papa's cover and while it isn't as great as the original it is a great vehicle for Eddie's guitar acrobatics. 'Frantic Moment' is one of the most stellar guitar grooves of all time, released in the time of the guitar God it would make most of them blush. 'So Goes The Story' is a weird and funky groove, and while yes it is strange it is classic Hazel. The Beatles cover 'I Want You (She's So Heavy)' is in my opinion a major improvement upon the original, and once again a perfect vehicle for his playing. 'Physical Love' would make Steve Vai and Joe Satriani scratch their heads, and 'What About It?' is the only track less than amazing, and yet it is still very enjoyable. However the 'California Dreamin (Reprise)' is slightly pointless other than to bookend the album.
   
   It's a shame that Hazels fantastic musicianship has gone largely unknown much like Game, Dames, & Guitar Thangs has. But with the help of his Funkadelic band mates Hazel created one of the greatest unsung albums of all time, it's just to bad he quit music not to long after this due to his loss of control to substance abuse, which later killed him...at least we have this. Highly recommended.



3. If you like/love funk, GET THIS WHILE IT'S STILL IN PRINT!!!!
   
   Eddie is the absolute GODFATHER of Funk/Rock guitar!!! Bow down before the "Bookend" of Jimi Hendrix. I think it was George Clinton that said Jimi and Eddie were talking about working together... MAN, that would have been a killer collaboration!!!



4. Had been searching for his music for years, was exicited about finding it on line and really enjoy it.



5. Nobody plays guitar anymore. At least we have performances like this on disc. Reminds me of Prince when I saw the induction in the Hall of Fame. He played George Harrison's 'While My Guitar Gently Weeps' with other named musicians. When Prince played his solo, you could see the incredulous looks on the faces of these men that let you know that they knew they were in the presence of greatness. If Eddie had survived, who knows where he might be musically.

5 comments about Live at Monterey.

1. This high energy concert was given by Jimi in 1967, The Experience stole the show, Pete Townsend was so Jealous it was obvious. Jimi Hendrix pulled all the stops and he won the attention of the Rock Fans from that point to his death. No collection is complete without this CD, once you listen to the first song you will know what I am saying, Jimi burns everyone with this act, literally.



2. 5 Tributes 5 Orignal Songs. That was Monterey pop for you right there. Jimi Hendrix played 5 tributes and 5 orignal songs... Though the greatest peformance on here, "Wild Thing", is a tribute Jimi Hendrix litterlay made that song his own and in the end lighting the guitar on fire was classic never had been done before. The sound quaility on here is stunning and it sounds like the actual concert live right in front of your eyes... All the songs on here sound great and this was music that was tottaly different back than. Some other key live tracks on here are, wild thing, hey joe, like a rolling stone, really bassicly every live track on here is just great. This is a perfect album with no flaws whatsoever. Great timeless concert buy today!



3. When Jimi Hendrix walked onto the stage at Monterey he was relatively unknown in the United States. When he walked off the stage, popular music had been completely transformed. The American debut of the Jimi Hendrix Experience at Monterey isn't just the most exciting live rock concert ever recorded; it's also one of the most significant moments in the history of modern American music. Hendrix took the music world completely by storm and turned it on its head. His influence today is greater than ever, 41 years after the fact. Days after the mind-boggling "set the guitar on fire" stunt, Hendrix was a household word.
   
   The set kicks off fast and hard with Killing Floor, one wonders how Mitch Mitchell (drums) could keep up without injuring himself. Next up, Foxey Lady, soon to be a standard. The treatment of Bob Dylan's beautiful ballad, Like A Rolling Stone, is compelling and soulful. Rock Me Baby is simply beyond belief; it throws off heat like a jet engine. A hard-edged version of Hey Joe comes next; it's blues all right, but psychedelic blues. By the time Hendrix gets to Can You See Me? it's clear that he and his cronies are all settled down and solidly in the groove, this one speeds past like a bullet. The Wind Cries Mary is handled gently and carefully, it's a great song and provides a welcome break from the mayhem.
   
   Purple Haze has never sounded ruder, more demented, and incoherent - it is riveting. If you have any imagination at all, think about what this music must have sounded like to people who'd been nursed on The Platters, The Four Freshmen, and The Beach Boys. We are now completely accustomed to the influence Hendrix has had and it's easy to forget that when this was recorded what Hendrix was doing wasn't merely new, it was earth shattering. As to the closer, Wild Thing, I remember the Troggs version, sort of a frat house crowd pleaser. Hendrix takes it into the stratosphere; in many ways it's the highlight of the performance. Burning the guitar was theatrical genius, really, after you've just invaded the greatest nation on earth and conquered it in one night, what else is there to do?



4. June 18, 1967.
   
   On that date, at The Monterey International Pop Festival, the Jimi Hendrix Experience exploded onto the American music scene through an incredible, historic performance.
   
   By taking the visual aspect of the art of music to new heights, this was Hendrix setting a course which redefined rock and electric guitar as a lead instrument through the driving force in a power trio.
   
   Introduced by the Brian Jones, Hendrix launched the set with a rapid-fire romp of Howling Wolf's Killing Floor. But it is the ever-changing moods in the numbers - The Wind Cries Mary, Foxey Lady, Rock Me Baby, Like A Rolling Stone - which shows the genius of Hendrix.
   
   In 43 minutes, Hendrix began a revolution in sound that still sounds fresh some 40 years later. This is one of a handful of essential live releases and a sonic reminder of the vision of a true artist.



5. 
   I'm always interested in having the best audio version of any recording. Therefore, when this new version was released, I picked it up and compared it to another, older edition.
   
   The previously released version was the fourth and final disc of the Rhino Monterey Pop Box, released in 1992.
   
   Upon A/B comparison, I was very surprised and dismayed to find the new disc does not have the clarity of the Box CD. The drums & cymbals especially sound muffled.
   
   From a historical standpoint, it's interesting to hear the small snippets of Hendrix' conversation in between songs that do not appear on the Box disc, and yes, the new CD packaging & photos are excellent.
   
   However, it's no fun, after listening to the Box CD for the past 16 years, hearing a recording that sounds that has less clarity.
   
   I haven't heard the other previous Monterey Pop editions, which were released after the Box, but I sure can't recommend this one.

5 comments about Safe as Milk.

1. Really revolutionary considering it was released in 1967, not as experimental and chaotic as later work but might be a good intro for Beefheart novices.



2. This CD is worth the price - for the photos alone - of a time long gone. As everyone says, this is a must -have CB album.



3. These guys really hit the right notes with me. This album is so folk oriented, yet so blues-rockful at the same time, it's perfect. I'm a huge fan of the unconventional blues (i.e. Black Sabbath and The Stooges). It was actually their song, 'Yellow Brick Road,' which I heard on a 60's net radio station that attracted me to them in the first place. Captian Beefheart speaks about the nitty-gritty* of love with compassion, in his *gritty-throat voice. The musicians in this band are so under-rated, and yet so talented... why hasn't anyone ever told us about these guys before? Overall, yes, I agree with the reviews, this should be one of the best rock albums ever, especially for being a blues/folk album coming out of the psychedelic ear. Admist many of the bands of the late 60s and early 70s experimenting with similar sounds, Captian Beefheart and his Magical Band craftily make 'Blues' and 'Rock' completely an American thing.



4. Firstly I have to state that this is not just one of my all-time favourite Beefheart albums, it is one of my all-time favourite albums full-stop.
   
   It has got it all, strange yet very easy to like, and with repeated listening it grows and grows. I never tire of hearing it.
   Why was I going to give four stars, not five?
   Well one reviewer says that a plus-point with this release is that it is 70+mins long whereas the original is 34 mins long.
   Well the extra material added here adds NOTHING to the original. Worse it actually takes up valuable time you could spend listening to something worthwhile (like the proper album for example).
   If you read the notes that come with the album they actually tell you that the tracks here belong with the "Mirror Man" LP and were tacked on to this album for no other reason than that there wasn't enough space on that CD for the material (clearly they realised that a double CD of (mostly) mediocre improvised pieces was not going to sell) so they, no doubt, figured that sticking an, apparent multitude, of 'previously unreleased bonus material' on the end of an established masterpiece might persuade some long-time lovers of the album to buy it again (yes I feel like a mug).
   
   Here's the justification: The Captain recorded studio tracks at this time with the intention of producing a double LP which was to feature live material recorded later. For reasons unknown this didn't happen. So in adding this material, the suggestion is that it is somehow honouring the artist's original intent.
   Phooey! The reason they didn't go ahead with the 'original concept' is that someone realised it would be a dreadful mistake. The material added here sounds completely out of keeping with the rest of the album, but does sound very much in keeping with the recordings on "Mirror Man" (a very much inferior album). Oh and let's not forget these are the rejects from THAT album.
   
   As for the much-vaunted re-mastering, when played back-to-back this version does sound superior, on a first listen, to the previous CD version. That is until you realise that it is mostly due to the effect of ramping up the volume (as is the case with a lot of re-mastering jobs) a process that may actually reduce the dynamic range of the material, when the playing volume is adjusted to compensate there is no discernible improvement(or reduction) in quality.
   
   In spite of the above I am forced to wholeheartedly recommend the album (unless you own or can obtain the earlier CD version in which case you can rest easy) as it is one of the greats. I would, however, suggest you familiarise yourself with the first twelve tracks and treat the interlopers present after them with extreme caution.
   
   There is no way I could ever give less than five stars to any version of this album.



5. Captain Beefheart's debut is a glorious mess of fractured Delta Blues, lopsided garage rock, and mind-expanding pop, a wonderfully offbeat record that still sounds fantastically original today. Every song resonates with the kind of wonky creativity and out-of-whack musicality that makes some albums an utter joy to listen to. Indeed, Safe as Milk sounds dazzling and fantastic on the first play and only gets better with each additional listen (fun fact: for a while, this was John Lennon's favorite album). The Cap'n certainly has the appropriate raw materials: A wonderfully deranged approach to songwriting, a deep love of blues and rock, some neat harmonica skills, and, most importantly, a monstrous bellow of a voice that rings with both deep emotion and sly humor. The guy sounds like an avant-garde Howlin' Wolf, a ragged maverick with a set of pipes that can match the afformentioned Chicago Blues legend for sheer throat-shredding catharsis. And how about that band! The Magic Band may very well be one of the sturdiest and most universally capable groups ever assembled, able to play rock, blues, country, soul, or pop with equal aplomb, to seamlessly combine them, or to turn stylistic corners on a dime.
   
   The songs are almost uniformly fantastic- "Sure 'Nuff 'N Yes I Do" opens the record with a cheeky, affectionate slice of ramblin' country blues, picking up a galloping drumbeat on the way. "Plastic Factory" takes a different approach to the same genre, but its every bit as awesome: It boasts a mean, gritty guitar riff, some stuttering harmonicas, and one of Beefheart delivering some surreally bemused lyrics in a rough, hoarse bellow. "Zig-Zag Wanderer" and the acidic "Dropout Boogie" are rough, blistering garage rockers that could have sat quite comfortably on the Nuggets box. The latter, with its goonish backing vocals and razor-sharp fuzz guitar line, is particularly nasty. "Electricity," with its wailing guitars, acid-tinged melodies, pulverizing vocals, rabble-rousing chorus, and touches of psychotic psychedlia, is an all-out stunner, as is the primal percussion showcase that is "Abba Zaba." "Call on Me" and "I'm Glad" are fantastic soul songs- the latter is a genuinly affecting ballad with a deeply emotional vocal. "Where There's Woman" is quiet and tension-filled, with a creeping guitar line and echoes of percussion. Album closer "Autumn's Child" manages to sound like both earnest, otherworldly baroque-psychedlia and some of Frank Zappa's spacier numbers.
   
   Put simply, Safe as Milk is an astounding album, an odd and engaging joy from start to finnish. You can play it from now until the day yoou die, and still find something to love each time you hear it. If you like music that's both original and accessible, you can't go wrong with this. Hey, if you listen to it enough, you may even be ready to experiance Trout Mask Replica! But that's another story...

5 comments about Billboard Top Rock & Roll Hits: 1969.

1. great cd - I played it at my parents 50th wedding anniversary party and everyone loved it.



2. This CD has a great selection of ten songs that were really big in 1969. The sound is great; and there are great photos of some of the groups represented on this CD. The liner notes lack any extensive essay; but who cares? You'll be transported back in time to 1969 with some great rock nostalgia. My only gripe is that this CD series limits the CD tracks to ten.
   
   Another reviewer writes that Tommy James & The Shondells shouldn't have been picked twice since there was only room for ten songs on this CD. I think he has a good point; but I liked both "Crimson And Clover" and "Crystal Blue Persuasion" anyway. They are somewhat laid back, quasi-psychedelic songs that you can still hear occasionally on certain radio stations playing '60s music.
   
   There are several different types of songs on this CD; and that's really a great plus! "Na Na Hey Hey Kiss Him Goodbye" has an awesome beat and is still sometimes played at sports events. "Sugar, Sugar" by The Archies represents that bubblegum type of '60s song that is very catchy even if it's not the greatest music ever written. "Build Me Up Buttercup" has a terrific, almost triumphant sounding musical arrangement this is completely infectious; and "Aquarius/Let The Sunshine In" has a certain dramatic element to it that starts the CD off on a very strong note.
   
   In short, if you have to pick just one CD to cover the year 1969, this is a great choice. It's not as comprehensive as I would like it to be because Rhino limited the "Billboard Rock & Roll" series to ten songs each. I recommend this CD for fans of music from the late '60s and people who just want to know a little bit more about some of the great hits put out in 1969.



3. This series of discs are a nice addition to anyones 60s library. I don't know if I am the only one who's noticed but the 1969 disc has changed. I bought mine originally back in the early 1990's. Some of the songs on my edition are different. I bought mine at one of those record store chains back then. My tracks are 1. Aquarius/Let the Sun Shine In (5th Dimension), 2. Sugar, Sugar (The Archies), 3. Dizzy (Tommy Roe), 4. I can't get next to you (The Temptations), 5. Crimson and Clover (Tommy James and the Shondells, 6. Na Na Hey Hey Kiss Him Goodbye (Steam), 7. Hair (The Cowsills), 8. Build me up Buttercup (The Foundations), 9. Time of the Season (The Zombies), and 10. Get Together (The Youngbloods). As you can see there are some different songs on mine. I don't know what happened but perhaps on the first editions of these CD's they had some of the chart information wrong and thats why they changed. Who knows. At any rate I would recommend buying these CD's. They make a wonderful collection.



4. This CD with the top pop hits of 1969 set the mood for our work on a 1969 Porsche 912. It's a lot of fun.



5. My mom loves this music, and when she introduced it to me, I really liked it, too. The best songs on here are Dizzy, Sugar Sugar, and Build Me Up Buttercup. Now my goal is to collect the whole 60's billboard series.

5 comments about Gold.

1. Look! This is obviously an extraordinary compilation, but I'd just like to throw my 2 cents of negativity in here. I really, really miss the studio version of Spoonful. The live version included here is good (and long) but the sound produced in that studio was spot on. Oh well, so close to perfection!



2. Some live tracks just lack the quality to merit listening. Cream is an exception. All the live tracks are good to excellent. Toad remains my favorite. Traintime is an omission on this album, otherwise if you like Cream, you will like this.



3. GOLD is the best anthology of Cream available. It eliminates the trifling "Wrapping Paper", which marred THE VERY BEST OF CREAM, and gets straight to "I Feel Free", which is the true beginning of the band's incredible legacy. Disc One, which is devoted entirely to studio material, is consistent from soup to nuts, featuring such outstanding songs as "N.S.U.", "Strange Brew", "Sunshine Of Your Love", "Tales Of Brave Ulysses", "White Room", "Politician", and other heavy blues-rock classics which paved the way for the style that is today called heavy metal; the only lighthearted cut on this disc is the annoying "Anyone For Tennis", but that's made up for by the twenty other studio cuts here. Disc Two, on the other hand, which is all live material, is more of a mixed bag. Three songs here- "Crossroads", "Sunshine Of Your Love", and "I'm So Glad"- are incredible, but the rest do not hold up as well as the studio songs. Nevertheless, this anthology is a must-own for anyone serious about rock music.



4. I WOULD HAVE GIVEN IT 5 STARS BUT FOR THE LACK OF THE STUDIO "SPOONFUL". THE VERSION THAT IS INCLUDED IS FROM "WHEELS OF FIRE" AND IS AT TIMES BLOATED AND OVER WROUGHT. HOW CAN ONE HAVE A CREAM BEST OF COLLECTION WITHOUT THE STUDIO VERSION OF "SPOONFUL"??????
   SHAMEY-SHAME!



5. Though they were only together for only three years, Cream accomplished more than most bands could in a lifetime. Consisting of rock legend Eric Clapton on guitar as well as the amazinf Ginger Baker on drums and Jack Bruce on bass, Cream were and still are amazing.
   
   This 2 cd, 29 song collection is an ideal Cream compilation. One disc containing classic studio recordings such as "Born Under A Bad Sign" and the immortal classics "Sunshine Of Your Love" and "White Room", and a second disc a sweltering live performance. The sound quality, packaging and liner notes are excellent, and this is overall the ideal Cream collection.

5 comments about Crown of Creation.

1. I can easily agree with all the praise for this album; it's been my faovrite JA album since hearing it in 1970. Just thought I would mention this one thing: If you ever get the chance to buy the MFSL issue of this CD, BUY IT INSTANTLY!!!! I found this one at a record shop about 5 years ago and almost had to change my underwear when I saw it. And it was better than I had imagined. This is one CD I'm going to take to my grave.



2. Another of the albums that became a turning point in my life. The other reviews state everything about the album I could say. Let me just second the reviewer Pearl Drummer and say that Jack Casady is absolutely the BEST BASSIST ever, before or since (and completely underrated). His playing on the title track is so dense and complex that I never tire of hearing it. I wish I knew enough about engineering to separate it out so I could listen to it alone.



3. After the more experimental and overtly psychedelic After Bathing at Baxter's Crown of Creation marks a return to the shorter songs and more "commercial" (remember, everything is relative) sound of Surrealistic Pillow. It is my favourite Airplane record.
   
   This LP is a perfect mix of eccentric slower-paced songs (Lather, Triad), plaintive Marty Balin (In Time, Shared a Little Joke), inspired Kaukonen (Star Track) and classic Airplane (Crown of Creation, Pooneil Corners). The only throwaway is the irritating Chushingura. And it is only1:16 in length. The remixed sound is a revelation. The newfound clarity and crispness really does enable us to fully appreciate the individual musical talents of the band. The bonus tracks on this re-release are eminently forgettable. No, they are more than that - they are positively annoying! However, on the basis of the songs from the original LP this is a five star effort.



4. Yes. I saw the review that Guido wrote and, needless to say, I was metamortified! Let me say people, it is very difficult having a guide that is a party animal. When we did talk, he admitted that he was very drunk at the time and that since my reviews had achieved a certain fame, he felt very left out. He apologized (which was feigned), promised never to do it again (an excuse designed to make me leave), and offered vast amounts of help in the future (never once moving from his comfortable barstool). I suggested counseling for him. He was not happy with that. But since I could do no more, I just let things be. Eventually I learned from my other guides that he blames me totally for ALL of his problems! We are talking about a serious case of denial here people! However, I have decided to let his review stand and be a testimony to my good heart and fair-minded forgiveness. The faithful will certainly appreciate and be awed by my irreverent behavior and follow all my reviews forthwith. Yes. And I have learned to lock my laptop when I'm away!
   But, let's get to this fine psychedelic classic that beloved Airplane offered many Seer moons ago.
   Well- it certainly seems like the Airplane wanted to make a huge IMPACT on us with this album. Why else put them in the atom bomb? (By and by-one of Metamorpho's favorite covers of all time!). But it seems that-with "Crown of Creation" they reeled in more control after the uncontrollable "Baxters". However, they moved the creativity forward and, in this, achieved a great mix of songs. And what is so moving in that is the fact that each composition is a totally unique entity. Never one sounding the same as another-they achieved artistic integrity. And that is due to the immense talent of all the individuals.
   We begin with "Lather"- Grace Slick's ode to getting older. Not a rocker-it moves on insistently with a lullaby. How appropriate! But what totally makes this song are the "extras". The little effects they throw in to make the song so rich. The typewriter in the background; the cannon shot from a tank; the seagulls circling on a beach, the sound of Lather's hand; Jorma's "child crying", and Hari Kari as a game to play. This song is so classic and satisfying that they needn't have done more. But they did.
   "In Time" is a psychedelic sexual fantasy. And Kantner does a good job on this. But here, and elsewhere, begins Grace's extended background vocal "glue" that binds the whole thing together. She is most noted for the Marty and Grace yin and yang, push and pull, of vocals. And, herein, lies alot of the reason that their sound was most alluring.
   Ah. Then they do David Crosby's amazing "Triad". Grace's "come to me" vocals are exactly right for the message. Crosby, more or less, got kicked out of The Byrds for this. In Airplane's hands, they "fly" with it. Rebels will try "something new-if you're crazy too". And they do it so well.
   Jorma's writing shines on "Star Track". And his lead is amazing. Ultimately, it is about not taking the world so seriously. "Push the world on by with your hand", or else you'll be like a rat in a cage-running to please the "establishment" and ruining yourself in the process. We then get to Marty's excellent "Share a Little Joke". This is a favorite of Metamorpho's. It is the exhubance of moving towards happiness. "The world around you, never catches up with you". But the joke is one from within. Pay close attention to Marty's vocals, especially the rise to the break-then the lead-and the drum beat back to the vocals again. Intense and wonderful, it provides the exclamation point to the song. (!!!!!!!!)
   After Spencer's psychedelic aural auditory assault of "Chushingura" we then settle back to the tunes. And, just as a note here. In many groups of the time, I think it unusual that the drummer would have been given his own time to create. But, with the Airplane, they were willing to try it and with sometimes, amazing effect. That's creativity folks!
   "If You Feel" is a Marty excursion of sorts. Again, it is about the freedom to do as you feel. Whatever brings you joy. But to overanalyze it is a mistake. The words don't have to make sense if the feeling is what you're after-and this holds true for this song.
   "Crown of Creation" is the cornerstone and namesake of this album, and in it,makes a clear cut line into the generation gap. It is not one of my favorites-but one of Airplane's essential tunes for their legacy. But, interestingly enough, we become exposed to their concept of "change" in this song and how it "changes" with outlook and perspective. (I will get into this with Grace's "Greasy Heart). But, for now, it relates that if their is no change-within yourself-you will become a "fossil of our time". Meaning the older generation. Life is change. How very true.
   "Ice Cream Phoenix" seems like a drug trip and one designed around many questions. But the major one is that if the world is apocalyptic-how we still go on-love-and leave-and not feel sad about it. An ode-again- of moving towards happiness.
   Ah. We then get to Slick's tease of "Greasy Heart". A jaunty tune for sure. Nitty and gritty and real life- Grace's lyrics here are out in left field. Mechanical but moving. But now the "don't ever change people" comes into play. Interestingly enough-she says change in "Crown of Creation" but "don't change" here. But, in a strange way-it does make sense. Compared to an older generation one must change-or rather-not to follow in the same footsteps. But here she is saying that once you decide to change, do not decide to change-especially for the ones who are important to you. It is confusing-but perhaps- that when you do change decide not to change back. Now that I've confused you (and myself) in the process, I'll just move along.
   In "House at Pooneil Corners" we have the apocalpse Airplane style. Listen to the music. It's disjointed-downright disturbing-set in a meter to grate on you. But, it is totally consistent with the theme. Again, an Airplane genius that shines through.
   The extra tracks are interesting. And some from other releases and out-takes. But, the main body of work stands on the sheer, intriguing talent of this band.
   In closing- I would be remiss if I didn't mention the incredible contribution of Jack Cassidy. Innovative and fresh bass lines that, when you listen, are all over the fret board. At first you may think his bass riffs make no sense- but they all do! Again- he uses the bass as part AND apart from what is going on elsewhere. And this, people, is years before Chris Squire from Yes. Jack Cassidy created it. Chris Squire ran with it. But that is the chain of influences so prevailent in music. Always happens-always will.
   In closing- I did this review because: A) I love the music and B) I wanted to show Guido that there is still a spark of life in this old Seer. Now that it's all over- I may saunter over to The Fishnet to share a beer with that wayward guide. Don't worry-I'll leave early. Metamorpho needs his sleep in order to proffer his well-heralded reflections!
   To all- A good night and a great life. Keep moving on!
   Your own-----Metamorpho



5. I start out by saying I was a huge Jefferson Airplane fan and saw them live twice. One of the better Bay Area's bands, and one of the best live shows ever.
   
   Regretably, this album does not hold up well to modern standards. "Lather" is a wierd drug induced anti-war child becomes man theme without a melody or discernable beat. "Triad" is a nice song, better sampled by the Byrds in one of their outtake CD's currently available.
   
   "If You Feel" is a nice Marty Balin song, which is throwback to the 1st two Jefferson Airplane albums, and a precursor to his excellent singing and songwriting career.
   
   "Greasy Heart" is an excellent example of Grace Slick and Paul Kanter singing duets.
   
   Other than these two tracks, which are five star songs, the album simply doesn't translate well into this milenium.