3 comments about Real Life Permanent Dreams: A Cornucopia of British Psychedlia 1965-1970.

1. Shelling out big bucks for a psych comp is a risky move. I don't particularly object to the song collection or packaging (although there is more duplication than I would like) but the sound quality on the my CD's is horrible in my opinion. Virtually nothing is remastered that I can tell and everything is low and scratchy and there's reverb everywhere. In fact, I don't look forward to listening to this collection at all. If I got a bad batch of discs please let me know but based upon what I received, my cash would have been better spent elsewhere. The new "Insane Times" comp, while containing one fourth of the tracks, is far more enjoyable.



2. The 99 tracks on Real Life Permanent Dreams run the range from Pop to Freakbeat to early Prog. Some are from famous artists (The Kinks, Donovan, Jethro Tull). But, most are obscure although a few appear on similar compilations like Mojo's Acid Drops, Nuggets II and Paisley Pop.
   
   There are a few covers here as well. The Fleur De Lys' Circles is very close to The Who's original. Julie Driscoll's Season Of The Witch is a little different than Donovan's. The covers show how these bands influenced and were influenced by each other.
   
   If you can't get enough authentic sixties Popsike, this set's for you.
   
   [DW]



3. I'm somewhat proud (and embarrassed :)) to have amassed almost 100 compilations on British beat/freakbeat/pop/sike/popsike, alone. These prized discs represent years of feckless and self-indulgent preoccupation (as it undoubtedly appears to the wife) in hunting down these imported hen's teeth which seem to go out of print as fast as they are released. So...to actually find something new that doesn't cover the same soggy, trodden ground and/or presents a fresh perspective with new tracks and artists is a rare and welcome discovery. This collection seems to do that very thing. Yes, it has a few familiar faces and some big names sprinkled in, but they are generally overlooked album cuts or b-sides that lend credence to the period and flow of ideas being passed around musically, like a joint. Not everyone who will buy this box set may be as sophisticated as some of us "chronically obsessive types", but they should enjoy this interesting assemblage on listen-ability alone. On the surface it is reminiscent (albeit much less obvious) of The British Nuggets II box and is divided onto four discs, "Sowing The Seeds", "Plant A Flower Today", Happydaystoytown" and Circus Days Are Here Again" which dance almost chronologically up through the years '65-'70. It comes with a nice glossy booklet that follows track for track, giving one some sense of history, the players and their trajectories. A worthy addition from one of the only big name labels, Castle/Sanctuary, who seem to think it important to continue to invest energy and pounds in this historical genre.

5 comments about The Best of Buddy Miles.

1. I remembered, 'Down by the River,' 'Them Changes,' and, 'We've got to live together.' Just read on CNN that Buddy Miles died.



2. Most of you may know Buddy Miles from the Hendrix's Band of Gypsies. However, at the same time The Jimi Hendrix Experience was cranking out their albums, Buddy Miles put out some gems of his own. If you aren't as old as me (older than dirt), you might have missed out on some of this great cuts including a couple of incredible covers of Neil Young and the Allmans as well as his signature song " Them Changes". Believe it or not I prefer this CD to the the Band of Gypsies even though I love Jimi Hendrix.



3. Some of the cuts on this CD are all-time classics, innovative, catchy and demonstrative of real writing and playing talent. Others are likely to be appealing to Buddy Miles fans more than others. And still others suggest that this "best of" compilation, like too many others, doesn't fully skim the cream. If you want to own 1 sampler of Buddy Miles's work, this CD may be as good as any. Otherwise, dig further into his archives.



4. Buddy Miles is truly one the unsung heros of my generation. Whether he's playing by himself or featured with Santana, Malo or Hendrix, he is one of the greatest drummers in the business. I have been blessed to actually attend one of his shows and his band was tight! He sounded exactly like his recordings. I have loved him always. I miss his music so much. No one can do "Down By The River" the way he did. He had a technique unmatched by no one in the business. I have fond memories of myself, doing the funky chicken and the penguine on the dance floor. I strongly suggest that you purchase this album and try to sit down and listen to it all. I bet you will be out of your seat before he's done! I danced many miles when Buddy was on the stereo.



5. Here is a solid collection from an artist who has contributed mightily to the rock and soul scene - too bad he seems to be considered as only "the guy who did 'Them Changes', then was with Hendrix for a while, then did the 'California Raisins' thing..."
   It's interesting that Buddy is perhaps a more impressive singer than instrumentalist, and this thought does point to two missing ballads which would have brought this review to a *five*, namely, "I Still Love You, Anyway" from the "Them Changes" album, and "Last Words Of Love", from "More Miles Per Gallon". I recall the latter tune as performed on the "In Concert" TV show, circa. '76. He sang it stage front and devastated the audience.

5 comments about Santana Brothers.

1. The most underrated album of the decade! This album, which should have won award after award, is so brilliantly composed, laid out, and executed by the three family members. Santana is in full form. His brother, Jorge, proves that he too is brilliant, and it is shocking that this album did not get more notoriety.
   
   'Transmutations', is a stunning opening track - it's like something off the shelf of the lost Hendrix tapes. With a riveting backbeat and a message from your inner gods, this track is the only one with 'lyrics'. It's ironic to hear the phrase, "Seek only the highest road..." Santana, his brother Jorge, and his cousin Carlos all do that in this album.
   
   Each track comes off smooth, deep, with the same perfect, creative guitar deliverance that you get from Steve Vai's 'Passion & Warfare' instrumental album. To say that there are no lyrics in this album only shows the lack of depth from the listener. The guitar IS the vocals and these Brothers make their 'voices' more beautiful and resounding than you can imagine. This album takes you on a journey through the Mystic, through the Barrio, through the Heights, through the World, and through Your Own Life. It has the flow of Sgt. Pepper's with all of the songs masterfully connected like a string of pearls.
   
   If you've allowed your soul to be absorbed by the passion and energy that the Brothers have created throughout this album, the final track 'Morning in Marin' will choke you up and bring tears to your eyes. The track is possibly the most beautiful guitar instrumental ever created and once again you will wonder how this album has gotten passed the masses without the credit it deserves.
   
   There is literally no weakness on this album. This hidden masterpiece should be brought out at at every gathering and be played without any introduction. Trust me when i tell you that your family and friends will eventually stop and listen. And with confusion infused with great awe, someone will ask you... "Who is this?!"



2. I love Santana's instrumentals but invariably lame vocalists? I beg to differ. Santana's band has always had great vocalists like Greg Walker and Alex Ligertwood, both excellent singers from the Jazz genre. Even Gregg Rolie was pretty good. I find it ironic that the biggest hit featured an inferior vocalist in Rob Thompson,who can't sing a lick compared to the earlier people.



3. This CD Was Released "Well Before It's Time"... Edgy, Spicy, Eclectic, Mystical, and Surreal... Amazing Guitars and Awesome Percussion... Takes You On A Musical Journey From the "Abstract" To "Magnificent Highs and Lusty Lows"... Many "Surprises" Along the Way... Beautifully Pulled Together... Hours and Hours of Musical Enjoyment... I Can't Say Enough About This CD... It's Classic "Santana" (Carlos and Jorge) With Cutting Edge "Hernandez" (Their Nephew Carlos)... If You're Tired of Boring Music, This One Will Wake You Up!!! I Love It When I Find Music Like This!!!



4. IF YOU ARE A SUPERNATURAL FAN, YOU MIGHT NOT LIKE THIS.
   
   This was released in 1994, before Santana would go on a 5 year recording break and then resurrect his career with Supernatural. It is 52 minutes long and the sound quality is excellent. Except for one track, this is an instrumental CD.
   
   The CD features Carlos Santana, his brother Jorge and their nephew Carlos Hernandez. Jorge was in Malo in the seventies. Malo sounded much like Santana, but was more instrumental oriented.
   
   The best stuff on this CD is driven by Jorge Santana. The CD starts out great and ends great. It is powerful, slightly hard latin rock. There is a little discordant jazz mixed in. It is similar to the sound of Caravanserai, Welcome and Borbarella days.
   
   The CD isn't perfect. After the first track, there are several tracks that are almost boring. It is the same kind of music that Santana had been putting out for years and was getting a little tired. It is that soft latin tinged instrumental. It was good at one point, such as on the beginning of Europa, but it is getting a little stale.
   
   Also, Carlos Hernandez is no where close to the talent of the Santana Brothers. He resorts to those cheap guitar tricks of the eighties and nineties, pioneered by Eddie Van Halen, but ruined by every guitar hack to come out of the last part of the century.
   
   This CD came in the midnineties, when Santana was getting back on track. After being a blockbuster pioneering Latin act in the late sixties/early seventies, Santana switched to jazz. I think he was at his creative best, but it became his least popular period. In the late seventies and all through the eighties, Santana moved to pop. Some of the albums during this time were just horrible, athough there were a few that he did as a solo act were OK. In 1990, he started getting back on track with Spirits Dancing in the Dark, the fantastic Malagro and this CD. But, he could not regain his popularity, as the public had forgotten who he was. then, in 1999, he came out with his duet smash, Supernatural. Unfortunately, he tried to repeat the duet formula on his next two CD's and fell flat. In those cases, all of the musicians just phoned in their work.



5. A Blistering Instrumental Rock Performance!
   
   I am a Broadcaster who happens to be a lover of Chicano Music, Chicano Rock, and everything in between. Santana covers all of those Genres and more. In this rare CD, The Santana Brothers give an outstanding performance and surprise you from begining to finish, as they delve deep into experimental riffs as it reminds you of Santanas old school roots. This CD must be heard to be appreciated - Surprise your friends and family with this one - even those who think they know ALL of Carlos Santana's catalog! Hear great, rare music like this and much more at [...]

3 comments about Gold.

1. There is absoulutely no going wrong with this two disc set.Every great Parliament song you could possibly want is included.Any true funk lover must have this set,bottom line.



2. I had The Best of Parliament - Give Up The Funk & Tear The Roof Off (1974 - 1980) [2 cd set] for years and eventually upgraded (IMO) to Funked Up: The Very Best of Parliament and Gold [2 cd set]. The sound quality is amazing on these recordings. Now much more on par with the quality of the music itself.
   
   Same great music but the sound is better than ever. This is the perfect amount of Parliament for the car! And I'm glad I made the upgrade in cd's. While I loved the previous originals, these two albums in their most recent form are the best for me.
   
   Every song from Funked Up - The Very Best of Parliament can be found on Gold in one version or anther. But Gold easily beats Funk Up for sure amount of music. In most cases extended or album tracks are used instead of the singles. You want the original singles? Get Funked Up. It has plenty! And it's condensed down to 1 cd just like Give Up The Funk was. I'm keeping both just to have a wide-variety of singles, album cuts, and sometimes alternate versions.



3. They make a point of not taking themselves too seriously because they know how polished they are - Greg Tate calls Parliament the chrome on a Rolls Royce as compared to the dirt bike fender of Funkadelic.
   Extras include twelve-inch versions of hits and the live "Dr. Funkenstein's Supergroovalistic-Prosifunkstication Medley: Let's Take it to the Stage/Take Your Dead Ass Home (Say Som'n Nasty)." A Funkencyclo-P-Dia is included for the funk-impaired. There's also a vision of a better world, such as "Chocolate City"'s prediction of Muhammad Ali in the White House, Richard Pryor as Minister of Education, and Stevie Wonder as Secretary of Fine Arts....

5 comments about Dick's Picks, Vol. 17: Boston Garden, Boston, MA, 9/25/91.

1. the Boston runs were always fun, and with Bruce Hornsby added to the mix it made the '91 run that much more memorable. he added such a great mix to the band especially in '91. the grateful dead had a sound in '91, and it was defined by the lead changing duo of Garcia and Hornsby. it is very fun to pay attention to.
   
   best DP's out there - in terms of their magical abilities - are 3, 12, 18, and 20.
   
   rock on. we are everywhere.



2. First of all, I agree with the Franklin's Tower review. This Franklin's is one of, if not the best I have heard, ever. I think there may have been a '77 show, I believe at the Swing Auditorium, that had the best Franklin's I have ever heard, but this is the best one that has been released on disc, in my opinion. The first set is really solid. The second set has a strong Terrapin, but there are probably better versions in '77/'78. The third set is quite good too, with a couple covers in there. All around a solid, highly unappreciated pick. Many people complain about there being too much Bruce Hornsby, but I think he does just enough filling in to make this pick good. He doesn't take away from Jerry. I think he actually enriches the performance. Highly recommended!



3. I came across a copy of this pick's Franklin's Tower before I bought the CD. I was shocked to learn that it came from the 90's. Well hello -- 90's; I didn't think I would ever get into the 90s dead.
   
   I play this song over and over. It is infectious -- I play it for my 3 1/2 year old boy, and he starts moving to the music also.
   
   I think the reason why I was shocked to learn it came from the 90s is the rawness of some of the Garcia Guitarisms. He is as beautiful as he ever was -- and than as he creates this wonderful world of easy going sounds, he rips it all apart -- at this moment I am hearing the part; him and Weir take off with their playing.
   
   I have never been to a dead show, but I can only imagine how intense the experience must have been. This song does it for me -- from a musical perspective. It sounds best when it is as loud as you can get it -- makes me want to invest a top of the line sound system.



4. I was very surprised by the low sound quality of these discs. I have bootleg tapes from this period that sound cleaner and more up front. If this disc had better sound I would have given it 3 stars.
   As has already been mentioned, the best part of this set is the filler at the end. "Eyes" is long and well jammed. And the "Samson" is one of the best I've ever heard. These two songs almost make up for an otherwise disapointing Dicks Picks.



5. 90's Dead will always be regarded as so-so. However, it does showcase Bruce Hornsby's ivory prowess, and at times still shines. An excellent Help-Slip-Frank is as good a sampler as any. Although Jerry isn't as prominent as in prior years, Bruce takes up the lead and it does provide another sound for GD. If you are a Jerry-only fan, I guess you will not take to this release. However, as a musical history, it is certainly worth obtaining.

5 comments about The Beatles (The White Album).

1. The Fab Four always respected their record-buying public, and adhered to their own standards as the flagship pop group of the era. Their quality control was tight. They never released a live album, for example, because neither the quality of the performance nor the sound would have been up to snuff. The "Let It Be" tapes sat on the shelf for months because the group weren't happy with them. Parlophone, their U.K. label, didn't put out an entire album of material that had already been previously released until "A Collection of Beatles Oldies" came out in 1966, and the title of that record clearly indicated to buyers what they were getting. Nevertheless, "The Beatles," released in late 1968, clearly reveals a slip in quality from the top rung of the ladder. Many listeners give this the usual 5-star Beatle album rating, but I don't. Though high points abound ("Julia," "While My Guitar Gently Weeps," "Blackbird," "Helter Skelter," et. al.), as the only double album the band released, it contains far too much half-baked screwing around in the studio. Paul McCartney's "Rocky Raccoon" (complete with bogus hillbilly accent) is one of his most overrated tunes, and no one can seriously argue that his "Why Don't We Do It In The Road" is anything approaching a decent song. For his part, John Lennon doesn't escape criticism, either; much of the record is taken up by his tape-recording experimentation ("Revolution 9"), which isn't songwriting, and really isn't that interesting, either, forty years later. The White Album reflects the growing fragmentation of the group; by this time, the individual Beatles were writing and recording separately from the others. Thus, the band's days were already numbered by the time this album came out.



2. If you like the Beatles, this album is a must have -- the music is absolutely fantastic!



3. The Beatles are, without a doubt, my favorite band. By quite a long shot, in fact. But I'm not under the impression their music was infallible by any means, and to me this serves as a rude interruption to the greatest winning streak (which began with Help! and ended with Let It Be) in rock history. Every Beatles album but this released from 1965-1970 deserves 4.5-5 stars. This one... well, it confuses me.
   It's too bad, because it's got its strengths. Even for a Beatles record, it's diverse - the first four tracks alone have them going from surf-rock to psychedelic folk to chamber-pop to pseudo-ska without missing a beat. It's very well arranged and produced. And fourteen of these thirty tracks are among the Beatles' absolute finest songs. "Back in the U.S.S.R." is a funny parody of the Beach Boys, Ray Charles, and Chuck Berry. "Dear Prudence" is lush, trippy, and lovely, with some fine harmonies. "Ob-La-Di, Ob-La-Da" gets maligned a lot, but I think it's fun. "While My Guitar Gently Weeps" is a deep-thinking rock epic, with a legendary guitar solo from George's Eric Clapton. The three-part "Happiness is a Warm Gun" is the best on the record, one part haunting acid rock, one part ear-bursting proto-metal, one part mock doo-wop. "Martha My Dear" shows Paul at his best with a big, over-the-top, sweetly melodic pop song. "Blackbird" is another lovely Paul ballad; the retro "Birthday" is a fine flat-out rocker; "Yer Blues" is a funny blues parody; "Everybody's Got Something to Hide Except for Me and My Monkey" is the group at their most infectious; "Sexy Sadie" has bitter anti-Mariashi lyrics and a fine piano part to match; "Helter Skelter" rocks, an efficient response to the extreme experiments with volume of Hendrix, Jeff Beck and the Who that were occurring in '68; "Revolution 1" isn't as good as "Revolution", but those are some nice horns, and I adore those "shoo-be-doo-wop" harmonies; lastly, "Savoy Truffle" is a funky rocker with a guitar v. sax showdown that probably inspired several Rolling Stones hits. Those fourteen would've definitely kept the album's scope intact, and would've made for the greatest album ever. And even the tossoff goof tracks ("Rocky Raccoon", "Piggies", "Glass Onion"; "Why Don't We Do it in the Road?"; "I'm so Tired") are well-produced, well-written, quirky, and memorable.
   The problem lies in the remaining few songs. "Julia" and "Mother Nature's Son" aren't exactly bad, but they're incredibly blah. And Ringo gets screwed. While he had always got the more "lightweight" songs in the first place, they were always amicable, and some of them were great. Neither of his songs is anywhere close to that. "Don't Pass Me By" (which he wrote) is an awful country hoedown, and "Good Night" (which he didn't right) is so schmaltzy it hurts. Paul's interest in '30s jazz had resulted in two great songs on previous albums ("When I'm Sixty-Four", "Your Mother Should Know") comes back to bite him in the butt on "Honey Pie", which can't decide if it wants to be a straight-faced homage to the genre or a mocking parody - it's a poor song either way you cut the pie. No pun intended. Seriously, I had already forgotten the word "pie" was in the song's title by the time I wrote it. That says a lot about me, doesn't it? And "Wild Honey Pie", the twisted cousin to "Honey Pie" is mindless indulgence. Short, yes, but horrendous. And "I Will" is extremely dull, though it's funny how it comes after "Why Don't We Do It in the Road?" on the tracklist. Of course, Paul's not the only one to blame. John did come up with the record's biggest travesty, the notorious sound collage "Revolution 9", as well as the childish, condescending "Continuing Story of Bungalow Bill"; "Cry Baby Cry", an attempt at Syd Barrett-esque whimsy that fails because it lacks what really made Syd's whimsical songs interesting: the undercurrent of menace and insanity. I think he's responsible for "Good Night", too. George doesn't escape unscathed either, chipping in "Long, Long, Long", which other than the flute is dreary.
   So this had the potential to be great, but ego gets in the way. Hey, maybe it was made big, sprawling, and messy on purpose, so fans could pick out their own favorites! Who knows?



4. As a reviewer wrote on January 12, 2000, why not the MONO mix for this "special" re-release?
   
   The music is 5 stars, but 1 star for the uninspired release.



5. I know all the cliches and all the buzz words and the hows and the whys. I can't add much more to what has been already said by the excellent reviewers except EMI/Capital remaster this mother or else you'll have me to deal with.
   
   
   How can people not like The Beatles? It astounds me.

5 comments about Live.

1. i first bought steppenwolf live as a teenager and remember being disappointed with it. After reading the reviews already posted here, i decided, all these many years later, to give it another shot. I still am disappointed. The music is good, loose, sloppy rock and roll, and 'Monster' is a great cut. I have a hard time believing 'Twisted' was recorded 'live'...maybe it was a rehearsal jam or leftover studio track as the applause leading into it sure sounds 'canned', as does some of the other audience parts. The editing/mixing sounds done on the cheap and having seen steppenwolf live believe this could have been much much better.



2. Close your eyes and it is 40 years ago ... we got high (a lot), we protested and fought back. This music was the anthem. It is one of those albums that you play over and over. I'm too old to fight and getting high would probably kill me but this DC let's me go back for a visit. If you have kids, let them hear the words - so true for today.



3. Steppenwolf Live, Allman Brothers at Fillmore East, and Rare Earth in Concert are the greatest live albums ever made. The previous commenters have about said it all as far as the music is concerned. It will never be matched. If you don't have this CD in your collection, get it now!



4. Steppenwolf have never gotten their Due for releasing some of the Finest Records of the Late Sixties and Early Seventies that still hold up Today as well as they did 40 years ago.
   
   In 1970, the Band released the 2 LP, Live Album, and it's a Stunner!
   With the Crazy Crowd, fully a part of the Show and the Fantastic playing of this Band, this Record is the Blueprint of what every Live Rock Record of the 1970's SHOULD BE. The Chaos and Wild Abandon of those Times can be heard to full effect of this CD.
   
   Of course the Hits are on it; "Born To Be Wild" and "Magic Carpet Ride", but if you only have heard the Studio Versions, listen and see What Steppenwolf can do live. Like Live Concerts of The Doors, Steppenwolf could and did have Riots going on at some of these Shows. The "Monster" LP, had given them lots of Press as a: "Political Rock Band" and that is when the Crazy-Factor went up to Ten, on the Ten Scale.
   
   But the reason "Live" is just so good are the Songs. "Hey Lawdy Mama", "Corina, Corina", "Monster", "The Pusher", "Don't Step On The Grass, Sam"... It's One classic, right after another. The Guitars are Loud, the Organ is all over the place and Jerry's Drums keep everybody in line.
   These Guys had been playing for Years and Years and it shows by just how tight they were on Stage. Songs are way longer than their normal playing time just as you would expect. It is Simple, this Band delivers here and Thank Goodness, that they got it all down on Tape!
   
   If you want to here a Band at the Peak of their Performing Powers that sweats: "Heavy Metal Thunder", this is the one to Purchase.
   
   
   
   



5. My ears are smiiiiiling whenever I can listen to John Kay's distinct,hoarse voice :-)

5 comments about What's Going On.

1. Every word in all these reviews about Marvin's soul and artistry is 100% correct There's another reason to own this fantastic collection and that is the presence of the honorable James Jamerson on the electric bass. His beautiful lines, touch and deep tone are still unequaled to this day. Unlike so many bassists who climb to the high notes for notice, Jamerson always found the deep notes that would grab you in the heart. To be able to hear James recreate the fantastic work he did on What's Going On live in concert is priceless to any one who loves his playing.
   Long live the King of the Fender bass who did some of his most remarkable work with the King of Soul, Marvin Gaye
   (With all respect to Bob Babbitt's great playing on Inner City Blues)



2. Marvin Gaye's classic is still relevant today. His peon to brotherhood, peace, ecology, faith, and hope, is even more relevant in an age where music appeals to hedonism and our prejudices. This is music that raises the soul, opens your heart, and reconnects you to important human values. This should be required listening on the short list of of American culture - Wizard of Oz, Citzen Kane, Huck Finn, etc.... Recorded over 30 years ago, it continues to echo across time for its music and message. Take a break from a lot of forgetable music that masquerades as entertainment and come in for some real content here.



3. many different versions of this CLASSIC album are available....this is the one to get.Bonus tracks , a near complete concert, two different mixes of the actual album.....snatch it up before it goes away.



4. This album was and still is essential to the problems that existed and still do exist in the world to this day. There could not have been a better album recorded from a political and social standpoint. Marvin left the world with a lot to think about when he recorded this masterpiece back in 71. It was a fantastic thing for Motown to do by remastering this classic album. I just wish Marvin was still alive to see how his work influenced a lot of fans as well as artist.



5. Being a resident of the DC/BALTIMORE area, a military veteran, a proud parent,a lifetime music lover,words cannot express how the song "WHAT'S GOING ON" continues to resonate thru out the inner cities of america,MARVIN GAYE is the man!!!he clearly got the message ,and give a gift that is powerful.an alltime soul classic ,that should be in any solid cd collection period......TIMELESS

4 comments about The Collection.

1. Lee Michaels was a great singer, and a great keyboardist, but only a marginal songwriter. He also had a penchant for, as many 1960's artists did, utilizing music to advance social commentary. As a result, he basically drove record company executives, and probably more than a few of his friends and musical associates, crazy. What would you do with a performer who, after all, laments over his career by saying, "I guess I should have tried to make good records all the time"? Well, duhhhh.... But that doesn't mean that Michaels' six studio albums (plus a self-marketed 1981 album titled 'Absolute Lee' not represented here) didn't contain some good tunes, in spite of Lee's apathetic attitude. A number of them are collected here, as Rhino records attempted, in 1992, to glean the finest work from a catalog replete with nearly every style of music imaginable, from rock to gospel to psychedelic to romantic ballad.
   
   Lee Michaels prided himself on his West Coast heritage, and as such made use of session musicians like drummer Johnny Barbata, who also lent his talents to California's finest, such as Crosby, Stills and Nash and The Turtles. In his own eclectic style, however, Lee also drew accompaniment from unlikely backgrounds, such as guitarist Drake Levin, who cut his teeth with the Midwest garage band 'Paul Revere and The Raiders'. Levin showcased his considerable talents on sparse Michaels' productions such as 'Barrel'. Other name performers making appearances on Michaels' releases include Merry Clayton (best known for her vocal work on the Rolling Stones' 'Gimme Shelter'), providing vocal support on '5th', and Larry Knechtel, future member of the band 'Bread', playing bass on 'Recital'. The track selections emphasize Michaels' mid-career efforts such as 'Barrel', which featured only Lee, Levin, and "Frosty" Smith on drums, and '5th', both claiming four tracks out of the eighteen offered. Michaels' debut LP, titled 'Carnival of Life', and his second release, 'Recital' claim three tracks each, while the self-titled 'Lee Michaels' affords the artists' best cover ('Stormy Monday'), and 'Do You Know What I Mean' sound-alike track, 'Heighty Hi' (this being the edited, single version). Lee's last studio album for A & M records, 'Space and First Takes' contributes only one track. Rounding out the collection is the rare b-side to the 1969 anti-war single, 'The War', a worthy rock track driven by a cowbell and funky Motown background singers titled 'Goodbye, Goodbye'. Michaels' affinity for social commentary is most evident on 'The War', taking on would-be Vietnam servicemen with questions like, "how would you like to see a baby burn... could you march on and kill one more"? Michaels seldom minced words. He answers his own question in 'Thumbs', as an advocate of hitchhiking away the draft, and tendering another question... "what are you going for"? The latter song features some ominous guitar sounds along with a funky wah-pedal.
   
   Among the other better tracks are the romping and rolling, all-hands-on-deck opener, 'Hello', which resoundingly heralded Michaels' emergence on vinyl. 'Grocery Soldier' ironically follows 'The War', but tells a slightly tongue-in-cheek tale of a friend of Lee's who was arrested for attempting to shoplift dinner. 'If I Lose You', 'Uummmm My Lady', and even Lee's single Top Ten hit, 'Do You Know What I Mean' show Lee's capability with relationship-based themes, a talent he resisted nurturing. Michaels' abilities with O.P.'s (other peoples...) include his bouncy rendition of 'Can I Get a Witness', his 'The Band' sound-alike version of 'Murder In My Heart (For the Judge)', and his sultry cover of 'Rock Me Baby', featuring delicious lyrics such as "rock me baby like my back ain't got no bone". Such lines were written for voices like Michaels'.
   
   I have a CD of Lee's third album, and owned a vinyl copy of '5th' while in college. The tracks on 'Collection' have been remastered, and the improvement in sound quality is noticeable. On 'Heighty Hi', for instance, Lee's understated organ is brought to life, adding dimension to the track. True to Rhino Records form, the liner notes are informative, well-written, and relevant, and the track listings are detailed, although running times are omitted (all the tracks are in the 3 minute range, however, with the exception of the worthy investment of 5:19 in 'Stormy Monday'). Even Rhino could better itself, however, by including printed lyrics as standard fare on each and every CD. If you're wont to spend serious cash on some of Michaels' rare and out-of-print studio discs, one of his several compilation discs should do the trick. The disc needs a little heavier rock presence to squeeze a '4' out of me, so we'll call it a '3'.



2. 
   Lee Michaels had a Billboard top three hit in 1973 with the song Do You Know What I Mean. That powerful rocker is included here, but this album shows that there was more to the artist than the solitary hit. Unique amongst the rock artists of the time, Michaels gives the organ pride of place in his music. There are also other unusual instruments like harpsichord in the mix.
   
   The music is basically rock, but there are major psychedelic and R&B influences too. Songs that really stand out include the impressive Carnival Of Life with its complex arrangement, the catchy If I Lose You with its lovely pop melody, and the lilting Heighty Hi that reminds me a little of the typical Motown classic of the early 1970s! I also love Stormy Monday with its funky organ and its James Brownesque vocals, which is a real tour de force, the passionate ballad Uummmm My Lady, and the rhythmic Can I Get A Witness.
   
   Of course the hit Do You Know What I Mean still packs a punch and remains his most memorable song. The album concludes with Hold On To Freedom, another strong rock song with a rhythm and blues feel. Lee Michaels was an obscure talent of the late 1960s/early 1970s, but this album proves that his contribution was significant since the music has aged well. The successful blend of different styles definitely sets Michaels apart from his contemporaries.



3. I've owned every one of Lee's albums for going on 30 years now - even the HORRIBLE "Space and First Takes" album. His first 5 were great - each in it's own way. No two were the same, and reflected the attitude that Lee had at the moment. sometimes he wanted to craft a song, sometimes he just laid 'em down.

   I also picked up this collection before the individual albums became available (now I have them, too). While it doesn't have all of my favorites, it does have a lot of them. If you want to hear the development of a decent writer, great keyboardist and vocalist, this would be a good choice.

   Give it a listen and trip back to the late 60's.




4. I purchased this CD soley because of "Do You Know What I Mean". Far and away Lee Michael's best song. After listening to this CD twice, it doesn't sound as dated as some of my other CD's from this era (late 60's early 70's), however that may be because I have never heard any of the others before. It is interesting to read in the linear notes that Lee didn't care so much for "Do You Know What I Mean". He says he wrote the lyric at 5 a.m. one morning and it doesn't mean anything to me. This song is different from most of the others on the CD, but I enjoyed the one song a lot, so took a chance on the others. Probably would not encourage others to purchase it unless they are interested in the music from this era. Is keyboard heavy with drums on background for most of the songs, not the wailing guitar that was dominant at the time.

5 comments about The Very Best of the Easybeats.

1. The lead singer, Steve Wright, deserved international stardom as he was a charismatic, energetic performer who also wrote some of the best pop music of the sixties (Check out his performances on You Tube). All talented musicians, this group is barely known in the USA but deserved to be famous. Excellent.



2. I've been putting together a playlist on my MP3 player of my favorite songs of all time. "Friday On My Mind" had to be among them! These guys were unique in a time when every new band wanted to be The Beatles. They were technically excellent musicians with a great sound! This is a great collection - most of which I'd never heard before. Whether you're into nostalgia or discovering them for the first time, I recommend this to anyone who loves the sound of the '60s!



3. I've always dug The Easybeats, they're one of my favorite bands. This is one of my fravorite CDs, I play it constantly. It has a good mix of stereo album cuts, mono single versions, and an Australian EP cut. The CD cover, and booklet, has some very cool pictures of the group. It doesn't matter if you're home or in your car, when you put this CD on you'll find yourself turning this up, tapping your foot, and singing along to every song. I know, because I do everytime!



4. THE Aussie answer to the beatles , could rant and rave for line after line , but i won't because best way to find out is buy it NOW!!!!



5. What an amazing band. Brother to the AC/DC guys, early straightforward rock that makes you shake it. St. Louis is the jam of life. Rock is what they do, and they do it well. It will make you do the rocking things and rock hard. I am seriously flabbergasted that I am the only person to review this jam. It's a piece of freaking art.