5 comments about A Salty Dog.

1. There has never been an album like A SALTY DOG.
   There never will be again.
   Don't die without hearing this>



2. In my humble opinion, this was Procol Harum's best album ever. I love it. Definitely has stood the test of time. When anyone new hears it, they always ask, "Who IS that?" Doesn't get much better than this!



3. This album paints a picture of the Sea that transports me to another place every time I listen. It does what art is supposed to do, move your senses, stir your feelings. I can't think of another themed-style rock recording that does this better than this one. It's true that you need "listen" to the music (not a party album, for sure) but this is a blend of immensely talented musicians peaking, guided by one of the greatest rock poets this side of Dylan, so please, PAY ATTENTION! Grab a pair of headphones, relax, and enjoy the artistry of one of the greatest albums in all rock history! If you needed to get one Procol Harum record, this is the one...



4. 1969's "A Salty Dog" is Procol Harum's masterpiece. The music here is simply wonderful, with the band's trademark blend of rock, blues, & classical worked to majestic perfection. The title track is unquestionably one of the most hauntingly beautiful songs ever written, with passionate vocals from keyboardist Gary Brooker. "The Milk Of Human Kindness" is great piano-rock, "Too Much Between Us" is a lovely acoustic number, "The Devil Came From Kansas" is a memorable Harum song with a strong, marching feel, and "Boredom" is just plain fun, with fine vocals from organist Matthew Fisher. "Juicy John Pink" is excellent dirty blues, "Wreck Of The Hesperus" is a powerful dramatic number, and "All This And More" is sharp, melodic pop/rock. Guitarist Robin Trower steps up to the microphone with gusto on the great slow rocker, "Crucifixion Land," and Fisher returns to the mike on the winning, whimsical finale, "Pilgrim's Progress." The songwriting, with lyrics by Keith Reid, and the band's performances are all outstanding. Procol Harum have many brilliant albums to their credit, but "A Salty Dog" is the one that moves me the most. It's a gorgeous Harum classic.



5. At the time, I knew Gary Brooker was never going to top this album and/or song (A Salty Dog). Sadly, I was correct. Album purchase is worth it JUST for title song, not to mention Wreck of the Hesperus and Pilgrim's Progress.

5 comments about BBC Sessions.

1. This is my favorite Hendrix live album for the same reason that Electric Ladyland is my favorite Hendrix studio album: it shows off his range better than any others. I'll grant that's not exactly a fair thing to say, because it's a compilation spanning his entire career, but as it turns out that career was quite a diverse one, so that's okay. This runs the gamut - Hendrix blues ("Catfish Blues", which served for the basis of the "Voodoo Chile" jam; "Hear My Train a Comin'", "Hoochie Coochie Man", "Hey Joe", "Hound Dog", featuring a bunch of real dogs, a manic "Killin' Floor"), funk-rock ("Little Miss Lover"; the instrumental "Driving South"), ear busting acid-rock ("Foxey Lady"; a stripped-down "Burning of the Midnight Lamp"; "Purple Haze"; "Fire"; "Love or Confusion"; "Spanish Castle Magic"), and even a few covers of contemporary covers - the famous snippet from "Sunshine of Your Love"; a fine cover of "Day Tripper"; and, best of them all, Dylan's obscure b-side "Can I Please Crawl Out Your Window?". There's even a brief set with Stevie Wonder, who guests on his own hit "I Was Made to Love Her", and jams with Hendrix on the aptly-titled instrumental "Jammin'" I prefer the blues tracks greatly - "Catfish Blues", "Hoochie Coochie Man", "Hear My Train a-Comin'" and "Killin' Floor" are probably the album's best four songs, more or less in that order. But just about everything is great - I really like the underproduced "Burning of the Midnight Lamp"; while "Foxey Lady", "Fire" and "Stone Free" are as invigorating as ever. Plus I'll always love Mitch's drumming on "Little Miss Lover". And the Stevie Wonder set is fantastic, merging two of the most fantastic musical talents of the 20th century. So I have little to no complaints about the music itself. Okay, so "Purple Haze" is disappointing. I don't think Jimi ever recorded a truly excellent live version of that song, because part of its greatness is in its trippy production, production he couldn't really recreate live. Instead, my main problem here is with the layout, so to speak. A couple songs are presented in multiple takes, and while I really enjoy "Hey Joe", "Driving South", "Foxey Lady" and "Hear My Train a-Comin'", multiple versions of the same songs that differ only superficially are both redundant and exhausting. Even with that little gripe, this is still an essential addition to the Hendrix catalog.



2. Well I've had the Ryko collection for years but I didn't hesitate too long before deciding to buy this. This is the complete version and well worth the price of admission. All great stuff recorded before the Monterey concert, which broke him in America. All the genius is there in spades. A must have!!



3. Jimi Hendrix first became a hit in Europe before he was noticed in the U.S. The BBC radio in England had a policy of airing a specific amount of live music broadcasts. This gave Jimi, along with Noel Reading and Mitch Mitchell, an opportunity to perform live in the BBC studios. Thus, this recording combines the best of a studio recording and a live recording by having the band perform live in the studio. The result is an amazing recording.
   
   First of all, the quality of the recording is fantastic, especially considering the technology back then. The sound is crisp and clean. Second, the band is having a lot of fun playing and it comes through in the performances. Third, because they performed live to tape, there are no overdubs, studio effects etc. so you get to hear the band in its purest form. I own many Hendrix albums, but this is the one I listen to most often because the performance are so fresh sounding. Highly reccomended!
   
   Before the Hendrix family got the rights to Jimi's recordings, select songs from the BBC studio recordings were previously released on a single CD, called Radio One. However, this recording contains the complete sessions, including all songs and the DJ chatter, and so is a better, more complete recording than Radio One. The BBC Sessions also contains a very informative booklet. Get it, its worth it.



4. Never heard this before, just great stuff. How is it this guy's leftover tapes are just mind bogglingly good compared to others' pinnacle albums. If you like blues, you'll love this....



5. these are pre-canned radio shows with the ever unbearable alexis korner talking on top of the songs as wow cool groovy DJ "intro". the old Radio One was a real live in studio show that was GREAT. THese are mostly studio released cuts from the first and second album mixed with DJ chatter and one HEndrix interview with a phoney, well let's hear that song now shall we intro to the recorded album version! As one who has been seriously burned by repackaged Hendrix stuff in the past, and as a loong time fan (I remember when he lived and died) it takes alot for me NOT to recommend all things Hendrix, but I cannot recommend this. Find the actual LIVE RAdio One recording, not these packaged cut and pasted radio shows

5 comments about The Best of Eric Burdon & the Animals, 1966-1968.

1. I was a little disappointed that "House of the Rising Sun" was omitted from the included tracks, since that was probably their biggest hit, but I guess that is my fault for not paying closer attention to the song list.
   
   Other than that, I am satisfied, and was surpised at how fast I received the shipment.



2. I'm glad to see that the world's music can still be available at the click of a mouse. Eric Burton's music was by far outstanding back in the day. This CD was reproduced perfectly and probably better than what we listened to on the radio. Don't hesitate to purchased this CD. It "Won't Let You Down".



3. Many people have written to your reknown Seer and have asked me to abnegate my reviews because, as they say, I am old and brittle and the stress is just too much. What, with wayward guides, a sea serpent and a dragon (not to mention random entities making an appearance), they feel that my well-being is at risk. Well, they are right (that, or jealous), but my writing goes on even despite the dubious situations in my life. I will continue. After all, I have my honor and integrity on the line here. Besides, everyone must know the great sacrifice I make in order to bring you more reviewing treats. The public is always first and foremost in my mind. (!!). That said-I will proceed. No No, thank me later --please?
   
   This selection is a follow-up to my Animals review that I just published. This is what came after for Eric Burdon. He revised the Animal personnel and put his name up front. I think I would have done the same thing at the time. How does Metamorpho and the Animals sound to you? O.K., O.K., come back into the room. Can't a Seer kid anymore? Anyway, this c.d. explores his recordings from 1966-1968. And you can see an evolution here. Mind you, evolution and progress are two different things. Don't misquote me. I have future primaries to consider, after all.
   
   This, quite frankly, is a hit or miss collection for me. I think Eric Burdon is at his best when he sticks to gritty songs that make his gruff vocals shine through. For the first six songs on this c.d., Eric sticks to his strengths and, in some ways, some of these songs more than measure up to what he had done earlier. Three of the six are stand-outs in my opinion; "Don't Bring Me Down" (a rockin' plea to his love to respond to him in kind. Pay attention to that subliminal Stones "Satisfaction" riff within), "Inside Looking Out" (a concentrated, sharp, elevation of vocals to total intensity- amazingly raw),and "When I Was Young" ( a perfect picture of bad boy Eric done with incredible composition - you can hear the badness- the sexual tension created. A prime cut).
   
   From that point on, sad to say, we tread lightly on the ice. Somewhere, along the line, Eric got involved in the hippie, free love syndrome and it shows. These are snippets from an era long gone and, as such, feel very stilted and dated today. Then again, you could look at it with curiosity and marvel at it's time capsule qualities. It's your choice entirely.
   
   "Sandoz" is horrible. His voice croaks and the band tries to be relevent and exhibit opium den, meditation excess. It's embarassing but don't rest - there is more! "San Franciscan Nights" is not too bad once you get past the hokey speak/intro. The tune itself is not bad. But Eric, giving homage to the Hell's Angels in San Francisco simply because love abounds is a little risky, don't you think? O.K., this was before Mick and Altamont- so you get a pass. This time!
   
   "Good Times" has Eric regretting his bad habits. You know this is definitely downsliding now. "Anything" is Eric's heartfelt Sinatra ballad. Please Eric- stop! I am feeling ill. Just when you thought you were safe, he brings out the echo, the sitar, and embarasses you, me and Ravi Shankar with "Winds of Change". My tears are staining this page as we speak.
   
   All is not lost because, even though he has faux sitar on "Monterey" it at least moves. He sets the mood well and mentions alot of people who performed there that most people alive today do not remember. It doesn't matter. Alot of major groups and, at least, an event worth reminiscenting about. (No! I'm not getting into Woodstock here - and you can't make me!).
   
   You can easily forget the rest except for "Sky Pilot", which is still an interesting piece today. Eric's anti-war statement was so long that they had to divide it up as part A and part B when released as a single. Yet, the experiment of extensive war plane sounds in the middle still serve as a sonically brave venture (with marching sounds of bagpipes too boot!). A one of a kind cut for sure.
   
   My natural tendency is to always be kind and give a 5 star review if I can. With this one there were issues I had to consider. The musical content - in and of itself- wasn't up to high standards for the reasons I explained. The other issue is that, in a day and age where digital technology can clean up the most glaring imperfections in the past, you have little or no effort towards that degree in this release. Sound quality- abysmal. Still listenable? Yes. But abysmal.
   
   Now, let me go dry my tears in a river of salt. This review was most heart wrentching for me and maybe they are right. Maybe I should walk away from reviewing because of the stress. I was going to retire some time ago (remember the picture of me in the headlines being rushed into a waiting cab?). You don't? Hmmmmmm..... maybe my fame needs more spruceing up. Well..........o.k., you convinced me to still write reviews. See you on the next one!
   
   was that a scream I heard? ---- Metamorpho



4. I was expecting a re-master collection of songs. The recording of this CD sounds like how I first listened to this music, thru a 2 inch speaker on a portable transistor AM radio. There is some attempt to create stereo sound on a few of the songs. Too bad, the music is great! Eric Burdon was great with the Animals. Almost makes me miss the sixties and all that went with it!



5. eric burdon is often overlooked for his contributions to 60's music. this is your opportunity to experience some of that magic!

5 comments about Steppenwolf Gold.

1. Loved John Kay and Steppenwolf back in the day and when I heard a song recently, I decided to pick up a CD. This is one group I thought I'd 'outgrown' and thus had not migrated their music from well-loved and battle-scarred vinyl to CD. I wasn't sure what I'd think when I started listening.
   
   I still love the group. John Kay's gritty voice still gives me chills. Oh yes, my favorites: "Pusher", "Don't Step on the Grass, Sam", "Monster", "Snowblind Friend".
   
   The sound's surprisingly good and this is a great big honking collection for a little $$$$.
   
   Rebecca Kyle, July 2008



2. Why 5 stars? Because every song on these 2 cd's is great. You get the
   hits like "Born to be Wild", "The Pusher", "Magic Carpet Ride", etc. but also some great cuts from their albums like "Power Play", "Move Over", "Who Needs Ya", "Tenderness", and some of my all time favorites "Desperation", "Don't Step on the Grass, Sam", and "The Ostrich". I am a long time fan of the band, and feel that they were very underrated in their time. Listen to the lyrics, they are just as revelent now as they were back then. Even John Kay's solo stuff that is included packs a punch. John does a very great blues version of the classic country song "I'm Movin On". Definitely more than worth the price.



3. This is probably the best Steppenwolf compilation package you're gonna find and it is well worth the cost. I had owned this for less than a week when a friend asked to borrow it. I haven't seen the Wolf in concert since 1970 but this is like reliving it all again. John Kay, if you're reading this, thanks for the memories! Long live Steppenwolf!



4. As you can see from this release's dull artwork and naff title, on the outside, this reissue has all the imagination and aesthetic appeal of a cold hamburger on a Monday morning. It's the kind of compilation you'd probably ignore in the rack of your local music emporium. "Gold" for God's sake!! So why review it - and should you give it the time of day? Because of what's contained on the "inside".
   
   I've had various compilations throughout the years in order to have Steppenwolf tracks in my collection - both British and American issues - and some like 'The Beat Goes On' British 2CD set of the first two albums - are excellent. But they are all rendered redundant by this fantastic 2CD anthology. The difference lies in the STUNNING RE-MASTERED SOUND engineered by ERICK LABSON. This is way better than anything else previously issued and the sheer numbers of tracks also make it seriously great value for money. LABSON is one of those great unsung heroes of CD re-issues. Working on the huge and varied Universal catalogue, he has a monumental 800+ credits to his name for Engineering, Mastering, Restoration and Digital Remastering stretching back to the early Nineties. So he knows his way around a master tape or two. His exceptional tape work is behind the following generic titled series you've probably seen across Amazon's vast store (most are from the Universal catalogue):
   
   "20th Century Masters The Millennium Collection"
   "Blues Classics Remastered & Revisited"
   "Chess 50th Anniversary Collection"
   "The Definitive Collection"
   "Gold"
   "Rock `N' Roll 50th Anniversary Edition"
   
   His mastering/re-mastering ROCK credits include: The Who's "My Generation Deluxe Edition", Neil Diamond's "Play Me: The Complete Uni Studio Recordings", Joni Mitchell's "The Beginning Of Survival", Wishbone Ash's "Argus" and Three Dog Night's "The Complete Hit Singles" - and as anyone who owns these will know, they are all exceptional in their sound quality - and thorough in their presentation.
   
   Back to "Gold". The set covers the first and better part of Steppenwolf's output from 1968 to 1974. For the uninitiated and prospective buyer, the albums are listed below and then after the discography, what track is from what album:
   
   1. Steppenwolf (1968)
   2. Steppenwolf The Second (1969)
   3. At Your Birthday Party (1969)
   4. Monster (1970)
   5. Steppenwolf Live (1970)
   6. Steppenwolf 7 ((1970)
   7. For Ladies Only (1971)
   8. Forgotten Songs & Unsung Heroes (John Kay Solo LP, 1972)
   9. My Sportin' Life (John Kay Solo LP, 1973)
   10. Slow Flux (1974)
   
   DISC 1
   1. Born To Be Wild (Steppenwolf)
   2. Sookie Sookie (Steppenwolf)
   3. Everybody's Next One (Steppenwolf)
   4. Your Wall's Too High (Steppenwolf)
   5. Desperation (Steppenwolf)
   6. The Pusher (Steppenwolf)
   7. The Ostrich (Steppenwolf)
   8. Take What You Need (Steppenwolf)
   9. Magic Carpet Ride (Steppenwolf The Second)
   10. Don't Step On The Grass Sam (Steppenwolf The Second)
   11. Tighten Up Your Wug (Steppenwolf The Second)
   12. It's Never Too Late (Steppenwolf The Second)
   13. Jupiter's Child (At Your Birthday Party)
   14. Rock Me (At Your Birthday Party)
   15. Monster: Suicide/America Medley (Monster)
   
   DISC 2
   1. Move Over (Monster)
   2. Power Play (Monster)
   3. Hey Lawdy Mama (1970 7" single)
   4. Snow Blind Friend (Steppenwolf 7)
   5. Who Needs Ya (Steppenwolf 7)
   6. Renegade (Steppenwolf 7)
   7. Foggy Mental Breakdown (Steppenwolf 7)
   8. Hippo Stomp (Steppenwolf 7)
   9. Screaming Night Hog (1970 7" single)
   10. For Ladies Only (For Ladies Only)
   11. Tenderness (For Ladies Only)
   12. Ride With Me (For Ladies Only)
   13. I'm Movin' On (John Kay solo - Forgotten Songs & Unsung Heroes)
   14. My Sportin' Life (John Kay solo - My Sportin' Life)
   15. Drift Away (John Kay solo - My Sportin' Life)
   16. Straight Shooting Woman (Slow Flux)
   
   Fans will note that 8 out of the 11 tracks on their Dunhill 1968 debut LP are on Disc 1, 4 from the 2nd album too and a hunk off of '7' - all great news. The sound quality is glorious. If you can't play them through Media Player, then go to the iTunes Store and click a 25 second listen to "Sookie Sookie" and "Everybody's Next One" and you'll hear what I mean - just stunning! It would be a fan's dream if Labson could get to do "extended versions" of their 1st two classic albums "Steppenwolf" and "Steppenwolf The Second" - both of which deserve to be given as much status as anything that rocked out of the late sixties. I do wish Steppenwolf weren't forever attached to 'that' song - solely - almost as if it's all they ever did!
   
   With regard to the "Gold" series in general: each title usually consists of 2CDs, each is digitally remastered from the original tapes and each is a comprehensive anthology with many titles properly remastered for the first time anywhere. Some of the labels covered are ABC/Brunswick/Cadet/Checker/Chess/Coral/Duke/Dunhill/MCA/Mercury/Verve/Vogue - and many more besides under the Universal umbrella. They began to appear in 2004 and are on-going into 2007. There are huge numbers of artists in the series right across the musical spectrum - here's some of interest: Aerosmith, The Allman Brothers, Joan Armatrading, Louis Armstrong, Asia, Burt Bacharach & Friends, Chuck Berry, James Brown, The Carpenters, Cinderella, Cream, Neil Diamond, Ella Fitzgerald, Connie Francis, Marvin Gaye, Buddy Holly, Etta James, Tom Jones, B.B. King, Kiss, Patti LaBelle, The Mamas & Papas, Bob Marley & The Wailers, The Moody Blues, The Neville Brothers, Olivia Newton-John, The Oak Ridge Boys, Parliament, Poco, The Righteous Brothers, Rush, Scorpions, Squeeze, The Statler Brothers, Cat Stevens, Rod Stewart, Sublime, Supremes, Tears For Fears, Traffic, Velvet Underground and Whitesnake.
   
   On the down side, because of commercial limitations and a crowded marketplace, for some artists here, the "gold" series is probably all we music lovers are going to get in terms of their work presented to us in top sound quality. The naff artwork and unimaginative presentation in general, hasn't and doesn't help. This series seems to have come out and gone away - ignored by a public awash with such titled compilations. Which is a damn shame, because the quality of the material, the huge number of tracks on each - and above all, the simply brilliant sound-quality, means that they're all languishing unloved, unnoticed and unused in digital purgatory somewhere near you.
   
   For a few dollars/handful of pound coins, you can acquire this great Steppenwolf 2CD set - and be like me - start searching second-hand vinyl stores again for good copies of their original LPs - because you've just rediscovered how bloody good they were and still are!
   
   I can't recommended this 2CD retro enough. Buy with the utmost confidence and enjoy!!



5. This is real rock! This is how a real rock group should sound. Listen to learn from the best.

5 comments about In Concert.

1. Of the earlier live albums, this is the best release to get as it culls all of Absolutely Live, all of Alive She Cried, and a couple of other tracks (from Live at the Hollywood Bowl and American Prayer) onto two discs.
   
   The first disc and one track from the second are taken from Absolutely Live, which was producer Paul Rothchild's amazing sonic mock-up of a complete Doors show. Edited together from a number of shows recording in '69 and '70, it sounds like a single Doors show but apparently has "about 2,000 edits", according to Rothchild himself.
   
   The sound quality on all of the material is excellent, particularly the AB tracks. The album runs nearly the full range of Doors material, including a full live version of Celebration of the Lizard, an amazing The End, a stonking Who Do You Love, Break On Through, and plenty more, including memorable poetry from Morrison and in-between chatting and audience banter. It all opens with the house announcer's warning from the fire marshall...
   
   The Doors have been releasing a lot of excellent live material over the past decade on the Bright Midnight Records label, including most of the Absolutely Live material uncut and complete with no overdubs or trickery. Since Rothchild claimed it was difficult to get a complete take of a Doors fan (good enough for the demands of an official live LP), he resorted to the AB method. The full shows are still pretty amazing---the band was only human, anyway.
   
   This is still recommended--specifically to more casual fans who may not want to buy all of the Bright Midnight shows or may not be as obsessed with complete shows or tapes. The song selection is excellent, just a wealth of choice material.



2. The Doors' In Concert shows the band in top form whether they're a loose jamming blues band or if they're performing theater. The first disc mostly contains music that was originally released as Absolutely Live in 1970. While Jim Morrison obviously sounds inebriated on the bluesy numbers ("Who Do You Love", "Build Me a Woman", "Alabama Song", etc), his ragged performance actually adds to the proceedings. The version of "When The Music's Over'' is very good as Robby Krieger's guitar cuts like a buzzsaw through Ray Manzarek's organ lines while John Densmore's sudden stops and starts add a lot of drama. "Celebration of the Lizard" is pure theater as the band's performance bounces from a whisper to a scream throughout under Morrison's poetic tour de force. A rousing version of "Soul Kitchen" closes Disc 1.
   
   Much of the music on Disc 2 was released as 1983's Alive, She Cried and 1987's Live at the Hollywood Bowl. Here the band plays it a little more straight. While Jim does some nonsensical rambling on "Roadhouse Blues", this song along with "Love Me Two Times" and "You Make Me Real" don't vary much from the originals. "Texas Radio and the Big Beat" provides an intro to "Love Me Two Times" while Jim rattles off poetry during "Light My Fire" and "Moonlight Drive." Also included are a wicked version of "Unknown Soldier" and a studio remake of Them's "Gloria" that is better than the original. The closing version of "The End" is killer, adding even more drama to the original. All told, In Concert is a great live compilation from the Doors, a band that sounded like no other.



3. Like that other great, dead rock star Jimi Hendrix, Jim Morrison has had his legacy grow beyond even the mythic status it was when he was alive. Like Hendrix, Jimbo created an image that became a crippling anchor around his neck. Doomed by his own vanity and the trappings of success, he died too young and left behind a scattershot collection of writings, recordings, and other works that have been ravenously picked over, packaged, and re-packaged for the greed and notoriety of the remaining band members. The recent deluge of live concerts, some so embarrassing one wonders just how far greed will go given the appetite of the Morrison faithful, and the senseless re-mastering of their studio catalog to the exclusion of the originals (all of which are "currently unavailable" on Amazon) demonstrate that there is no limit to the manner in which a seemingly limited body of work can be parsed and re-treaded ad nauseum to keep the money train rolling. I often wonder what Hendrix, Morrison, et al would think of the handiwork of those whom they left behind. I'm guessing they'd be ashamed and angry and they'd have every right to be.
   And so, The Doors In Concert...as many reviews have stated, this is a combination platter of Alive She Cried and Absolutely Live with two extra cuts tacked on from the Hollywood Bowl concert. Absolutely Live is worth the price on it's own and the addition of the posthumous release Alive She Cried, a well done compilation of songs from various shows over the years, makes owning this comprehensive live document worth the extra few bucks. You get it all, Jim's audience manipulation, the tight blues and jazz vibe of the musicians, and the poetry. The songs provide a solid argument that Jim's best "poetry" was lyrics. Hearing his writings, particularly the complete Celebration of the Lizard piece, sung and set to music and delivered in Morrison's deep croon is truly the way it should be experienced. Reading his poetry without the music and the baritone delivery, as can be done via his poetry collections, only highlights the pretension and disconnected inconsistencies of his writings. The death obsessed macabre rambling in the live version of The End that closes disc two is neither brilliant nor deep, it's just silly and juvenile. Hey, I'm in my twenties and fascinated by death...don the black clothing and light some patchouli quick before I become self-aware. Honestly, I think Morrison himself, had he shook off his puerile need to drink himself to death and made it to his sixtieth birthday would be exceedingly embarrassed at his own overly dramatic and painfully overzealous tripe.
   If it sounds like I'm knocking the group, I'm not at all. I love the Doors - the band - and I think Morrison was a great front man. This is a great live album well worth five stars and the price tag. But let's face it, as a poet Jim Morrison was one helluva great lead singer.



4. A good live album, full of energy, that, sadly, I misplaced along the way. But for those of us who didn't get to hear The Doors live, this strikes me as a great substitute.



5. Excelente disco doble, la calidad del audio es impresionante, pareciera una grabacion actual, definitivamente una buena recopilacion de las canciones de The Doors en diferentes conciertos, imprescindible para fanaticos de Doors

5 comments about Parade: Music from the Motion Picture "Under the Cherry Moon".

1. This is one of Prince's richest and most colorful releases. He covers an awful lot of ground stylistically in a pretty short amount of time, so there's little consistency in tone and sound, and that ends up being both an asset AND a weakness on this album. The good thing though is that even the weakest material isn't so much bad as it is just really, really mediocre, so the album still ends up making for a pretty solid listen throughout (some people think "Venus De Milo" and "Do U Lie?" are really bad, I just think they're painfully mediocre--well, I guess "Do U Lie?" is pretty bad, but it has at least one major redeeming quality). There's a lot of airy instrumentation and the focus primarily is on bright, bold and colorful chords (that's one thing that's fairly consistent about the album). Prince really piles it on with the multilayered arrangements on many of the tracks, with rich horn sections being key and multipart harmony also frequently playing a significant part. He starts things off with the full blown orchestration of "Christopher Tracy's Parade" which features an absolutely magnificent multipart harmony with him, Wendy, Lisa, and Wendy's sister Susannah (who shows up a lot on many of the multipart harmonies throughout the album from what I've read). He gives a strong nod to Caribbean music here too in part of the horn section and I think this marks the first time that Prince delved into that area. He keeps it up on the next track too; a Caribbean style steel drum turns up on "New Position" (much of this album has a real celebratory feel, and what better way to express "celebratory" than to focus on parades and spending time in the Caribbean Islands :). "New Position" is a solid, bare, stripped down Funk number. Wendy, who seems to have really stepped into the forefront on this album, actually sings the lead on "I Wonder U"; it isn't as strong as the first two songs, but it at least still has a great groove going for it. The ballad "Under the Cherry Moon", with its obvious nod to traditional French music, (the movie was based in France so this soundtrack is sprinkled with both subtle and not so subtle French references throughout) is solid if unremarkable. The Funk track that follows it though is outstanding; "Girl and Boys" is a fully layered Funk number with a clever reference to the French theme in the chorus. He then goes from doing a little too much (the somewhat cluttered "Life Can Be So Nice") to doing a little too little (the flowery but borderline insipid instrumental piece "Venus De Milo"). The next track "Mountains" is another solid, fully layered Funk number (an interesting note about this track is that the music was actually written by Wendy and Lisa while the lyrics were penned by Prince). I don't know if Prince was trying to make up for the fact that "Mountains" is built primarily on a single chord or what, but there are constant changes in key on the follow up, the faux-early-French music schmaltz-fest "Do U Lie?". This song isn't exactly stellar, but being able to listen to Prince go through almost his entire vocal range in under 3 minutes makes listening to it worth it. I don't know too many people who aren't familiar with "Kiss", but this stripped down Funk number with the butt-kicking both lead and rhythm guitar work fully deserves to be the big hit that it is. "Anotherloverholenyohead" is just phenomenal. The arrangement is just brilliant and the chord progressions, especially in the second verse are just absolutely incredible. There's a multipart harmony with Wendy and Lisa singing the countermelody towards the end of the 2nd verse that just blows me away every time. Then he ends the album off on a really high note with the slow, affecting ballad "Sometimes It Snows In April". This album was a tough one to rate; it sags a great deal in the middle but even the weaker material usually has at least a few interesting ideas, and even the weaker moments don't really detract from it being a generally solid listen all throughout. So, even with the weaker material, I still think this is essential listening: it really helps in giving you an understanding of Prince's breadth as a composer, even when the results of his experiments aren't exactly staggering. All of the material here isn't great, but when it's good, it's *really* good ("Christopher Tracy's Parade", "Girls & Boys", "Kiss", "Anotherloverholenyohead", "Sometimes it Snows in April"..."Mountains" is really strong too), and even the weak material still at least has something interesting going on. So, taking the time to dig into this one should prove to be well-worth it.



2. Prince-Parade ***1/2
   
   This is rare of a Prince album released in the 1980's. almost everyone of his albums from that decade broke new ground musically one way or another and this one really fails to do so, which is really disappointing. Parade is the soundtrack to Prince's second film "Under A Cherry Moon" which was meant to be a romantic comedy but came off as awkward and flopped horribly. They album however didn't flop because of the hit single 'Kiss' but with out that this album would have flopped easily.
   
   The musicianship here is average, and for Prince that is, well, sad. He is easily one of the most talented musicians in history and here he just seems not to be trying. 'I Wonder U' is a awful song lyrically and vocally but musically I think it is great. The weird southern fried funk thing he does somehow works and sounds amazing. 'New Position' has potential but falls short. The slow grooveless piano driven 'Under The Cherry Moon' however is a breath of fresh air. 'Girls And Boys' should be a classic. 'Kiss' was the big hit and is one of Prince's all time great songs, especially since it is yet another groove without the essential goove instrument...bass. 'Kiss' especially stands out on this album because of the mediocrity it is surrounded by. The album closes with 'Sometimes It Snows In April' which is among if not the very best song that Prince has ever written, it is especially stunning when done live, and is the perfect song to close the album. The rest of the album is hit or miss and not very memorable making this album a disappointment.
   
   Every song on parade had the potential to be a great song but I think Prince's focus was more on the film then on the album making the music suffer. It is not a total waste however, it is fun once and a while, and is worth owning for 'Kiss' but since you can get that on any hit collection this album is worth owning for 'Sometimes It Snows In April' as to my knowledge this is the only place it is available.



3. After Purple Rain broke Prince big, he made his first of many decisions that baffled fans and critics alike: he abandoned his signature funk-rock sound and put on a trippy sheen. This resulted in the "whimsical" personal displayed on Around the World in a Day. Then he filmed the infamous, widely panned vanity project Under the Cherry Moon (which I've never seen), and put this out as its soundtrack. It sure is a weird one - it opens with a good four part suite ("Christopher Tracy's Parade", "New Position", "I Wonder U", "Under the Cherry Moon") that has elements of jazz, R&B, psychedelia and experimental music, but not funk, and even the funky "Girls and Boys" has an endearingly eccentric arrangement, including a retro bari sax and a quacking keyboard. "Life Can Be So Nice" seems like a pop song, but it's oddly built on flute, ocarina and harpsichord. The loopy "Mountains" also has a lot of Prince's eccentricity, and it was one weird choice for a single. Sadly, there's also some soundtracky stuff, like the gloppy instrumental "Venus de Milo" and the flat-out incompetent "Do U Lie", with an awful accordion. But after that comes one of his best tunes, the enthusiastic no-bass funk of "Kiss", one of the few songs with Prince's infamous hypersexual lyrics and an awesome wah-wah guitar solo. And he keeps the hot streak up with the even funkier "Anotherloverholenyohead", with a really long title that rules (I like really long one word-titles that are pretty much a bunch of words sqgluiashed - yes, "sqgluiashed", I couldn't make up my mind between "squashed", "squished" and "glushed", so I just sqgluiashed the three words together), a fantastic piano hook, and slap bass. I love slap bass. It can make any song good all by itself. I bet that if even the Eagles made a song with a slap bass in it, it would be good just because of the slap bass. Then again, the Eagles have no sense of funk, because they have no sense of groove or sense of humor or sense of how to make even remotely worthwhile music. The Eagles aside, the album closes with one of Prince's loveliest acoustic ballads, "Sometimes it Snows in April", concerning death and the afterlife. There's a lot to like about this album, but it also marks the first time in Prince history when he didn't shake things up and put out an album that had nothing to do with what came before it. In short, this is Prince getting set in his ways, and you'll get the same mileage out of this as you will out of Around the World in a Day. But he would quickly get out of this semi-rut, forget about genre barriers entirely, and put out the double-album that everyone but me considers his defining artistic statement.



4. Usually when an album does not follow the success of a landmark album, the expectations for the second follow-up are not high. Not was the case when Prince would prepare to release his 1986"Parade" album. Prince was less than one year from his "Around the World in a Day" album which was the follow-up to his landmark album "Purple Rain". "Around the World in a Day" would go in a completely different direction from "Purple Rain" - abandoning the Rock-infused style of "Purple Rain" in favor of a psychedelic sound on "Around the World in a Day". This sound might have disappointed some of the expanded fan base that Prince acquired during the success of "Purple Rain", but it would add a whole new element to both Prince's music and the "Minneapolis Sound". However with the case of "Parade", things were different because "Parade" was going to represent the soundtrack for Prince's follow-up film to "Purple Rain" - "Under the Cherry Moon". Many fans of that film were also hoping for a film with the energy and intensity of "Purple Rain". Unfortunately even many loyal Prince fans would be disappointed with the follow-up film. However, while musically Prince did not re-create "Purple Rain", he would once again continue to refine the "Minneapolis Sound" and keep his legacy moving forward.
   
   The "Minneapolis Sound" contained a mixture of Funk, Pop, R&B, and Rock. Prince was largely responsible for being a contributing architect to this sound movement. As mentioned for 1985's "Around the World in a Day", Prince would add a psychedelic element to the "Minneapolis Sound". On "Parade", Prince would continue to explore the psychedelic element as well as focus around a Funk element. The one new element he would add is a "European influence" - this would be because "Parade" served as a soundtrack for "Under the Cherry Moon" which would take place in France.
   
   Here is a song by song synopsis of the nine tracks of "Around the World in a Day". Most of the songs seem to follow a loose segue from one to another, but the first four songs are near continuous and tightly coupled.
   
   "Christopher Tracy's Parade": This song is best described as psychedelic music meeting marching band. I loved this track and was surprised that this didn't get any radio airplay. This song is named after the lead character in "Under the Cherry Moon" John L. Nelson - Prince's father is a co-songwriter on this track and once again proves he is a worthy songwriter.
   
   "New Position": This song proves this isn't "Purple Rain". This song takes a little while to get used to. I would describe this song as Funk with some Caribbean percussion.
   
   "I Wonder U": This song begins with a quasi "live setting". The beginning also almost sounds like 2000's hip-hop, but quickly this song takes on the psychedelic feel of "Around the World in a Day". Not my favorite track, but the song does have an interesting sound.
   
   "Under the Cherry Moon": This is another song co-written by John L. Nelson. This is the title of the movie from which the music from this film comes from. This is the first song with a strong "European Sound" (this almost has an Eastern European sound). This is a slow track and like "New Position", this song is going to take a few listens to get used to.
   
   "Girls and Boys": This is classic "Minneapolis Sound" funk. Prince effectively uses Sheila E, Wendy Melvoin, Susannah Melvoin, and Lisa Coleman to provide female vocals. When Prince collaborates with other vocalists, it usually works very well. This song is no exception.
   
   "Life Can Be So Nice": A terrific mix of psychedelic sound and Funk. This song "flew under the radar" in terms of recognition. I particularly like the use of the percussion on this track. This song also has a perfect segue as it flows from "Girls and Boys".
   
   "Venus de Milo": The opening piano sequence reminds me of Tears For Fears' "I Believe", but this quickly flows into a very classical sounding instrumental that is dominated by piano. This song is pure instrumental and once again shows the European influence that is present on this album.
   
   "Mountains": This song flows very nicely from the classical "Venus de Milo" and back into a good mix of psychedelic music and Funk. While this song garnered radio airplay, I'm surprised it didn't climb to number one. The harmonies of this song are simply outstanding. I also like the horn work on this song.
   
   "Do U Lie": This is perhaps the most European sounding song of the whole collection - and in particular the most French sounding song. This song also takes a few listens to grow on you.
   
   "Kiss": This would become a number one song. This song is near a cappella and has become a fan favorite. However, I just don't like it. I feel Prince has many songs which are better than this one.
   
   "Anotherloverholenyohead": This song has a perfect hand-off and transition from "Kiss". It almost starts out like Jody Watley's "Looking for a New Lover". It quickly becomes classic Funk-infused "Minneapolis Sound". This was a single and I'm surprised it didn't have greater success.
   
   "Sometimes It Snows in April": This is a very soft and sad song. It is not one to listen to while you are depressed. It contrasts the positive sounds heard on the opening "Christopher Tracy's Parade". I think this song wraps up the CD perfectly.
   
   There are no lyrics in my liner notes on this collection. This would turn out to be the last album Prince would do with his band - the Revolution. Overall, while Prince doesn't try to recreate "Purple Rain", he does succeed in continuing to refine and solidify the "Minneapolis Sound". While still not as strong an album as "Purple Rain", I do think this is stronger than "Around the World in a Day". Definitely worth checking out.



5. The intrigue of this soundtrack is that it shows Prince's range. Due to the blandness of the film, I think this CD is often overlooked for its merit. It widely swings from bare soulful depths (Sometimes it Snows...) to fun ensemble pieces (Christopher Tracy...) through the more established sound of Prince, between. The music from this release did not get much attention, but in terms of observing Prince's development as an artist, you can't overlook where this phase of his sound led him in later productions. It was a turnkey era in his career.

5 comments about Heaven Is in Your Mind.

1. This CD was a great purchase for me since it brings together all the songs on the two vinyl versions I own, plus offers rarities like "Here We Go 'Round the Mulberry Bush." Some may be put off by Dave Mason's attempt at psych, but these are more than outweighed by all the great songs this album has to offer. And it just doesn't get much better than Steve Winwood's vocals on "Heaven is in Your Mind", "Smiling Phases", and of course "Dear Mr. Fantasy."
   
   If I were to pick one Traffic album for the fable Desert Island it would have to be Low Spark, but this one isn't far behind.



2. After being the teenaged frontman for the R&B-based Spencer Davis Group, Steve Winwood launced his eclectic follow-up, Traffic, with this auspicious debut -- originally titled Dear Mr. Fantasy in UK. To hear the opening, sitar-laden "Paper Sun" when your ears were expecting "Gimme Some Lovin', Phase 2" was a jarring revelation at the time -- and still is.
   
   With a couple of so-so exceptions, Traffic's catalog is consistently high-quality and underrated, even with all the accolades and popularity the group enjoyed. But Heaven Is In Your Mind is still the best -- even better than their self-titled second album, John Barleycorn Must Die, or Low Spark Of High-Heeled Boys.
   
   Dave Mason came and left before the release of the album (then rejoined for the second LP and left again), but the trio of Winwood, Jim Capaldi and Chris Wood were the true nucleus. Contrary to some revisionists' perspective, they were not the fathers of progressive rock or anything other subgenre; this is way too wide-ranging and far-reaching to pigeonhole. There's psychedelica, folk, R&B, jazz, and what would later be dubbed "world music," way ahead of its time.
   
   Although he's invariably thought of as a singer and keyboard player, Winwood is also a killer guitarist and handles most the lead work here. There are several classics, but the obvious highpoint is "Dear Mr. Fantasy" -- the song that stole the show when Winwood played Clapton's Crossroads Festival in Chicago in '07.
   
   I can't recommend this enough.



3. This remastered issue of Traffic's first American lp with the necessary material from other issues of the period is the one to have: great sound, great sequencing, and material that still sounds fresh after a long, long time. I wish that Traffic had been able to surpass their first two lp's. They didn't, but at least we have this wonderful record.



4. When it comes to pure excellent songwriting and top notch musicianship, "Heaven Is In Your Mind" is Traffic's finest hour. The brilliant songwriting skills were firmly swinging smoothly on this album. It's just a wonderful pop album that sadly will probably be forgotten as the years pass and people choose to remember the Beatles, Stones and Who instead. Traffic didn't release a lot of music, but what they have is sure worth the time and money. An album you must own for your pop record collection.



5. Although there is no doubt that you're hearing the typical Traffic sound, the music on this CD is anything but. This is Traffic in their best form and is a great addition to any collection for serious Traffic-lovers.

5 comments about 24 Nights.

1. The premise of Eric Clapton's live double compact disc, `24 Nights,' to quote Derek Taylor's liner notes, was an undertaking "to celebrate his (Clapton's) music at the Royal Albert Hall over 24 nights with first a four-piece band and then a nine-piece and then a batch of blues giants and finally a mighty orchestra..." For any fan of rock, but especially for fans of Eric Clapton, there is lot to like about `24 Nights.'
   
   Recorded live in 1990 and 1991 at about the same time as Clapton's studio release, `Journeyman,' `24 Nights' includes classics such as `Badge,' `White Room,' and `Sunshine of Your Love' recorded with the four-piece band, blues standards `Have You Ever Loved A Woman' and `Hoodoo Man' with the blues band, `Pretending' and `Bad Love' with the more contemporary nine-piece band, and `Bell Bottom Blues' with the National Philharmonic Orchestra.
   
   As one would expect, many of the musicians with whom Clapton surrounds himself are legends in their own right. The various line-ups feature such Phil Collins, Buddy Guy, Robert Cray, Jimmy Vaughn, and Johnnie Johnson. There are quite a few names familiar to the fans of "Eric Clapton and His Band" releases and tours, including Greg Phillinganes, Nathan East, and Ray Cooper. Even Jamie Oldaker, who was a part of Clapton's bands during the 1970's and early 1980's on the studio release `Backless,' among others, is the percussionist for the `24 Nights' blues band.
   
   Each of the bands produce a sound that combines both Clapton's blues and "Cream-y" roots as well as Clapton's mature and confident style reminiscent of the more recent Clapton releases. The `Sunshine of Your Love' track is the Clapton/Bruce/Baker edition on steroids. The energetic `Pretending' and `Bad Love' jump right through the speakers, while the version of `Wonderful Tonight' featuring vocalist Kitty Kissoon is literally erotic.
   
   The only criticism for `24 Nights' is relates to the collaboration with the orchestra. While other rock band/orchestra associations really seemed to have clicked, Clapton's effort just misses the mark. On the `Bell Bottom Blues' track, in particular, the band and the orchestra seem to be about a half or quarter note off, although `Edge of Darkness' is fairly powerful and quite a bit more on. Maybe it just took a while for the band and the symphony to warm to one another.
   
   In all, `24 Nights' is bottled lightning. Clapton's guitar riffs shoot right out from the tracks and, with the exception of the symphony tracks, the music and the musicians are tight. `24 Nights' provides just about any music fan with a great listen, while dedicated Clapton fans will appreciate both the classic style as well as the experience and the maturity of a true rock legend.



2. 24 Nights is a concert that was recorded over the period of 9 evenings at the Royal Albert Hall in London.
   During the couse of the 24 evenings he uses essentially 2 bands and a band with an orchestra.
   The fist installment is his current band at the time.
   They do songs from his latest CD. The songs include, Pretending, Bad Love, Old Love, and Wonderful Tonight.
   The second phase is a blues phase with Robert Cray and Buddy Guy playing guitar with Chuck Berrys piano player Johnny Johnson.
   The Blues tracks in my mind are the best on the CD.
   Clapton does Watch Yourself, Worried Life Blues and Voodoo Man, as well as Have You Ever Loved A Woman.
   The third phase is with an orchestra that includes Bell Bottom Blues, Hard Times and Edge of Darkness.
   The version of Wonderful Tonight is haunting. He slows the song down and with Katie Kasssons vocals the song is outstanding.
   If you like Blues or if you like EC you need to get this one.



3. Solid and powerful music. The live recording quality is A+. A reminder that EC still has it. Make it part of your collection.



4. I love live Clapton releases. This is a good release but I feel the songs are rushed and bland compared to other "live" versions. I cannot stomach the end of "Wonderful Tonight", especially if you ever seen the video of it, sounds like a cat in heat...but there are highlights including the songs released during this time period "Pretending", "Bad Love", and a nice version of "Bell Bottom Blues"....maybe this was the 24th night, I just feel the energy had left the building.



5. This is an excellent compilation taken from 24 night run at London's Royal Albert Hall in 1990. This is a great CD for hardcore Clapton fans or for the unfamiliar music lover. The sound quality is top notch and the whole band is in fine form.

   Disc one- Badge is a great opener with a cathcy little piano riff that will bring a smile to your face and get your head boppin. White Room and Sunshine kick as usual although a little more soloing from Clapton and few other insturments would of been appreciated. A fun Watch Yourself and interesting Edge round out an overall solid disc that you will leave in your player for a long while

   Disc two- Pretending is my favorite song on the whole album and this song prooves that Clapton hasn't lost contrary to what some of his fans think. He still has the ability and the drive/energy, he just displays less often which is a little unfortuante. Both Bad and Old Love are good follow ups and the rest finish suit nicely.

   Bottom Line: a great two disc set. If you are new to Clapton than go with Crossroads 2 instead but if you don't want shell out a 50 than you might want to consider 24 nights although there are decent Clapton offerings for the rookies that might be better.

5 comments about A Whiter Shade of Pale.

1. This ia a great album that deserved to be put on CD a lot sooner. The original album artwork is a plus. Any fan of Procol Harum needs to have this in their collection.



2. "A Whiter Shade Of Pale" (1967) was a remarkable debut, standing tall even in an era that produced many striking - and classic - debuts. For awhile Procol Harum, with their two keyboard lineup and restrained, trenchant guitar work, were seen as a British equivalent to The Band, though the latter group's star has more or less continued to shine on brightly since its breakup while Procol has been somewhat forgotton aside from their classic debut single. Which is unfortunate, for Procol Harum's influence on other bands is undeniable, from Pete Townshend's comment that 'In Held 'Twas I' inspired "Tommy" to the music's obvious impact on later 'prog' rockers such as Genesis. For a real treat, check out Alex Chilton's stunning Memphis-inflected interpretation of 'A Whiter Shade Of Pale' from the Box Tops' "The Letter/Neon Rainbow" (reissued by Sundazed).
   Procol and The Band shared a close timeline (1967 to 1977, or '78 in The Band's case), and yet like The Band Procol Harum had been around for several years in other incarnations. Gary Brooker was leading The Paramounts by 1962, a popular r & b band (featuring other future PH members) much admired by their peers (including The Rolling Stones, a relationship that led to Gary Brooker's involvement with Bill Wyman's post-Stones project The Rhythm Kings some 35 years later). Procol Harum sublimated their love of r& b and soul music, making it one more ingredient in a fresh and original musicasl sensibility that, (sorry) like The Band's on "Big Pink", seemed to have appeared all but fully formed when their first record was issued. With the great B.J. Wilson not yet fully integrated into the band this debut has never been among my top 3 favorite PH albums, but the originality of the songs, sense of style, and confidence are already quite evident.
   Procol Harum's catalog has been reissued on CD since the late '90s. Repertoire's editions are noteable for their elegant digipaks that more or less faithfully reproduce the original artwork and include notes by Chris Welch. However, if you are considering investing in the Procol Harum catalog the Westside label issued superbly mastered editions of the first four albums during 1997 - 99. These generally have more bonus tracks than the Repertoires, as well as interesting notes (Henry Scott-Irvine) and memorabilia. Since this is the Repertoire edition, I'll mention the bonus tracks on the Westside label's CD of "Procol Harum":
   'A Whiter Shade Of Pale (single version)'
   'Lime Street Blues'
   'Homburg' (single version)
   'Salad Days (early alternate version)'
   'Mabel (early undubbed version)'
   'Cerdes (early alternate version)'
   'Something Following Me (early alternate version)'
   'Magdalene (My Regal Zonophone) (original version)'
   'Quite Rightly So (early alternate version)'
   'Shine On Brightly (early alternate version)'
   All tracks, again, are in mono excepting three of the bonus alternates.



3. this is one of the most perfect cds i have ever heard, as far as debuts go, it is second only to the Velvet Underground and Nico. Where has Procol Harum been my whole life? I never heard about them until rolling stone mag celebrated the 40 year anniversary of the summer of love on amazon by listing the 40 essential albums from 1967. this is one of the best cds i have ever listened to, every note is perfect, why weren't these guys more famous?



4. The year of 1967 was an incredible year for music. You had Disraeli Gears, Sgt. Peppers, The Doors, and many other amazing albums. Oh and you also get "A Whiter Shade of Pale" released by Procol Harum. Procol Harum is one of those forgotten bands of the 60's, lost in the big names of the Beatles, Stones, and The Who. But they should not be forgotten and what better way to commemorate them by picking up "A Whiter Shade of Pale" which happens to be one of the finest albums, dare i say, ever made.
   
   It starts off with the classic song "A Whiter Shade of Pale" which sounds like church with all the organs played beautifully by Matthew Fisher. And those lyrics, simply majestic, Keith Reid ( who wrote all of Procol's material ) is one of the finest lyricist of all time. His words are pure poetry.
   
   After the majestic "A Whiter Shade of Pale" we dive into the rest of the album which is also incredibly good and not just filler as some people tend to think. "Conquistador" is probably the second best track behind the opener. I also love the bass on that song. "She Wandered Through the Garden Fence" is alot of fun to listen to with lyrics that are really catchy. "Something Following Me" is more serious in tone but the lyrics once again are incredible as is the arrangement. "Mabel" is definetly a nod to Bob Dylan, "Cerdes ( Outside the Gates ) is probably the darkest song on the album but still magnificent. "A Christmas Camel" has a tone very similiar to Bob Dylan's "Ballad of a Thin Man". If there were any throwaways on this album it would be the next three "Kaleidoscope", "Salad Days", and "Good Captain Clack" but none of these songs are terrible and still manage to be listenable. The album closes on the instrumental "Repent Walpurgis" which is eerie but magnificent.
   
   But that's not all. You also get 4 bonus songs which include two okay ones ( Limestreet Blues and Monseigneur Armand ) and two fantastic ones ( Homburg and Seem To Have The Blues All The Time.) The latter of the two includes my favorite lyric of the album "Well I owed a lot of money/I was weak and easily led/I tried to rob a bank/ The cashier shot me dead".
   
   You may have not heard of this album, this group, or even the title song but if you like classic rock or just good music in general. Give this band a try. They might suprise you.



5. Ketih Reid, Procol Harum's lyricist, labels this album the best the group produced, and who am I to disagree? Listening to the album tonight, almost four decades since I was enthralled by the album as a teenager, I am amazed at its durable quality. I listen to only a few rock albums of my youth, but none more than this one. The combination of stunningly vivid and eloquent lyrics, fabulous keyboard and lead guitar playing, and wonderful variations on great themes from classical music make this album one of my favorites of all time. Thirty-nine years on, this album thrills me very time I listen to it.

5 comments about Harry Nilsson - Greatest Hits.

1. Just recently I purchased "Harry Nilsson - Greatest Hits". I purchased it because I had been looking for a certain song of his and upon review of this CD I saw it was on there. Back when I was in Jr. High School a movie came out, "Son of Dracula". Myself and a couple of friends went to see it at the local movie theatre. Well I just fell in love with the title song, "Daybreak". Unfortunately I could never find it until just recently. I had always looked for Harry Nilsson records/CD's in the local music stores but didn't have any luck finding what I wanted. Then a friend told me about Amazon.com. I launched a search and was very pleased at what I saw. I purchased this CD of his and after listening to it a few times I have to say I think it's good and well worth the money. I am only sorry I didn't know about this site before now. I will be purchasing more CD's and DVD's now that I know where to look first!



2. Very good album for someone who wants a collection in order to know by first time this artist.



3. I've always been a fan of Nilsson since I first heard "Everybody's Talking" back in '69 and then I read that The Beatles were his biggest fans. Nilsson was a singer's singer, he could sing so well and had a great voice range. He also had a quirky sense of humor. This CD captures all his finest works in one CD. There are a couple of songs from the Nillson Shmeilsson CD that aren't here that I also enjoyed, but these 20 songs are all great. Along with Eveybody's Talkin', these feature the best songs off all his albums, My favorites: Everybody's Talkin', Me and My Arrow, Coconut, The Moonbeam Song, My Old Desk, Cuddly Toy etc. Actually there isn't a bad cut on this CD. If you want the cream of Nilsson, this is the one to own. The sound is also superb.



4. I mainly brought it for the song from Midnight Cowboy, but all the songs brought back many good memories. Excellent collection. I would definitely recommend to my friends. I also thought the price was right.



5. This cd is a wonderful introduction for anyone who has heard of Harry Nilsson but never listened to him. There is not a weak song on the entire disc, but then again, Harry didn't have a lot of weak songs anyway!
   
   If you only know the hits, I strongly recommend that you search out all of his albums (many are hard to find, having yet to be released in the US on cd but available as imports), I guarantee you will not be let down.
   
   I only wish that there were more songs on here from his later period, his last album for RCA, "Knnillssonn" is my favorite but there is not a single song from it here. Maybe a Volume 2 is in order....?
   
   As for the two people who left negative reviews; one was upset that they received a used and scratched cd but made no mention of the actual music. The other review was based solely on ONE song that the reviewer heard on the radio and didn't like.