5 comments about Old Friends.

1. Boy, I have not bought S & G record for years. But, this one is it!! What great sound, they were right in front of me. All, the oldies.



2. Item arrived earlier than expected. Perfect condition. However, bad packing. The box arrived almost opened. One could have easily taken the CD out of the box.



3. There seems to be as many "best-of" albums as their are actual studio albums, but in this case I am pleased. This is what a box-set SHOULD be - a collection of ALL of their greatest songs with various oddities and never-heard-before releases.
   
   If you are new to Simon and Garfunkel, then you could buy this box-set and forgo every other release - it really is that complete.



4. I had Collected works in tape format and it made me a fan of Simon & Garfunkel's music. It has been quite some time I was thinking of upgrading my Simon & garfunkel collection to CD format. I had the following options :-
   
   1) Getting 3 CD Collected Works which has all 5 albums entirely and tracks are ordered like original albums.
   2) Getting each album separately or getting best 3 of their 5 studio albums.
   3) Getting Old friends which have most of the studio album tracks (42 out of 57 or something) but the tracks are not in order, but with some previously unreleased tracks.
   4) Getting Complete Columbia Recordings, which has all 5 studio albums with bonus tracks.
   
   None of the above options are bad really. I do not think "Collected works" will be available except from used music store. If you want some tracks which were not there in their studio albums then get "Old Friends" or "Complete Columbia Recordings". Even the single albums are now available with bonus tracks, so you can individually get them too but if you want most of the tracks from the albums but also want to hear some bonus tracks but do not want to spend much, get this.
   
   There is nothing new that can be said about the music, its great music as you expect from world's best folk-rock duo. The collection starts wonderfully with a demo version of "Bleaker Street", the version is better than the original version to me. After that you get the remastered version of the known studio tracks and good live or demo or alternate versions of tracks. I like the 5 subsequent tracks from a live show in CD #2.
   
   To sum up...evergreen music with remastered sound and the package also comes with a good booklet. Still if you a pure album collector you have to go for the other options. I am quite strictly album listener but still I do not regret buying this because I have all the albums in tape format and it is still good to listen the tracks in some other order than usual. This is one of the few compilation in my Cd collection. Essential buy!!!



5. This box set is fantastic throughout, and is perhaps the most played folder on my iPod. Living in New York, the music always seems appropriate as the soundtrack to live, be it the famed titled from "The Graduate" to the hits that were made familiar to me with the Concert in Central Park disc. Must own for any collection.

5 comments about British Invasion: 1963-1967.

1. I've longed for a great compilation of British Invasion tunes - from '63 - '67 or thereabouts. I found it in this compilation. I love the mixture from the more rebellious to the simple pop sound that came over to give us all something to stretch even higher from. Great, simply great tunes. I could listen to these for the rest of my life, and hey - I plan to do just that.



2. There are some good songs here, but the third CD is basically a waste. Also, it sounds like some of these selections are not the versions that were played on the radio back then. Some of them are the hit versions, but others do not sound quite right. The third CD should have contained bigger well-known hits from that time, but it just seems to be filler and nothing I care to listened to again.



3. When will someone put only really quality songs on a retrospective CD? This is like every other "history of..." CD I have ever bought: you pay for a bunch of songs to get the few that really matter. A "British Invasion" CD without any of the Beatles early chart-toppers? Kind of silly, really. But I bought it for the few songs I had to have to cover this important era in rock history, and the sound quality did NOT disappoint.



4. This definitive 60s british collection brought back all the memories of growing up in the 60s, which I did. 54 great tunes -- remastered bringing out all of the wonderful music of a simplier time, and a few production defects you can't hear on vinyl.
   
   I loved it and would highly recommend buying this 3-CD collection.
   
   Bruce from Tallahassee



5. This is an excellent compilation of all the top British artists of the 60's and 70's. Great for anyone who appreciates that music era

5 comments about Collected Works.

1. If you are old enough to remember Simon and Garfunkel being together, you cannot go wrong with this. It is the kind of collection where virtually every song brings back memories (there are about half a dozen songs on three disks that I did NOT put on my IPOD). I loaned my first copy out and it never came back, so I bought another. If you are a fan, this is a must have.



2. What can I really say about this collection? I grew up on this music. I loved it as a small child and have only grown to love it more, as years go by. My love for Simon and Garfunkel is kind of like the love I have for my 60 year old Coach bag. Yep, you guessed it, the word is TIMELESS.
   
   My one criticism about the recording quality within this set, is that the volume travels considerably from song to song, meaning that sometimes you have to turn up the volume to hear well, other times it is WAY TOO LOUD. I think that the song to song volume could have been regulated better.
   
   I've lost my harmonica, Albert!



3. So many memories with the listening to of these songs. Hard to name a favorite, but standouts for me have always been (Scarborough Fair, April Come She Will, El Condor Pasa(If I Could), Bookends Theme, The Sounds Of Silence, At The Zoo, The Boxer) to name but a small few. All five original albums, from 1964 to 1970 in one. A real musical bargain.



4. It sure is a lovefest here with all the 5 star reviews. And the fact that I'm giving this just 3 stars will be blasphemous to many who read this. Have you ever noticed how most of the 5 star reviews are by the hardcore fans, written for other hardcore fans who already own all this. But I press on: Why do you think that Simon And Garfunkel's original Greatest Hits LP is one of the best (and best selling) greatest hits albums? And why do you think, in the cd age, that their record company has released a bunch of other "Best Of" compilations? I mean do you really need a 2 cd best-of compilation when you can buy their whole output on 3 cd's? The truthful answer to these questions is that their best songs are amazing and timeless, BUT many of their other songs are mediocre and dated. My experience with S&G is as follows. I absolutely love the Greatest Hits cd, to the point where I wanted more so I bought an expanded best of cd. I also really liked that, although some of the new (to me) songs were not as good. Then I bought this 3 cd set of their whole output and was largely disappointed. Yes, there were a few new songs that I really liked, but also quite a lot of things that are not that good. They are 35 years old and don't hold up to their best work. Amidst all the unequivocal endorsements I offer a little advice. If you are not a huge fan you probably don't need all this,and worse, won't like it.



5. Are you a big S&G fan? I know I am...an hugely avid one in fact. Well then my advice to you is NOT to buy some silly compilation with only the big hits and a few "unreleased extras " *cough-oldfriendsboxset-cough*. This is a great resource, a good solid 3-disc set with ALL FIVE complete S&G albums. Think of it as a CONSOLIDATION of all three in a more affordable format. (It's also great if you have all their albums on your old LPs and you want to switch over to CD but not break the proverbial bank.) Obviously, this set contains all the hits, as well as all the album tunes, many of which are dazzlingly unappreciated. The best part of this set is that it includes the least-known album "Wednesday Morning 3AM," which is a beautifully simple, accoustic, and earnest album. (Without being painfully earnest--it's great music too!) SO, if you're looking for the definitve S&G resource, start here with this set of ALL the ALBUMS. Maybe later someone will give you some "unreleased stuff" for your birthday or something if you really pine for it.

5 comments about Epitaph, Vols. 1-2.

1. "Welcome to the mausoleum of your dreams", the postmodernist cover art of King Crimson's "Epitaph" silently proclaims.
   
   Inside are the relics of a live band not enough people got to hear during its brief, flaring existence in 1969.
   
   King Crimson in its first incarnation was a band of mythic proportions, conceived out of several directions: rock and roll, classicism, avant garde jazz, and the circus of lyricist Peter Sinfield's imagination, aswim with Greek gods, devilish ceremonies and pure whimsy.
   
   But, what kind of a band were they when they performed live? This two-disc package provides a partial answer. Here are my conclusions:
   
   1. King Crimson in 1969 could faithfully deliver powerful versions of well-rehearsed material from its only recorded album, "In the Court of the Crimson King". Audiences certainly would not have been disappointed on that account. However, when the band attempted to perform material in progress, or resorted to other obscurities to fill out a live show, the results could be erratic. The band hadn't developed much of a repertoire, and some of the arrangements were clunky, as with the nascent "A Man, A City" (which later emerged whole as "Pictures of a City" as part of Fripp's reconstituted Crimson in 1970). The first version lurches around like Frankenstein prowling in a spookhouse. It sounds cartoonish compared with the finished version. Then there's "Get Your Bearings" ( a Donovan song) and "Drop In". On these, Crimson sounds like a group of British kids trying to play beatnik.
   
   2. Still, the band definitely was trying very hard to break into new territory. In the spirit of the times, they were young musicians who simply didn't know what they couldn't do, or weren't allowed to do. They pushed hard, especially in the furious instrumental breaks of songs like "21st Century Schizoid Man", and even in these less than ideal recordings, the realization comes through that this was a band working without a net. Their determination to experiment and to push themselves to the limit remains refreshingly bracing even when one listens today, nearly four decades later.
   
   3. Individually, Michael Giles (drummer) was the best musician in the group. On the evidence of these tapes, he could have played with anybody.
   Ian McDonald was an exceptional flautist, a powerful keyboardist on the mellotron, but not that great of a sax player. He was game, but he wasn't in the league of most jazz saxophonists. Greg Lake could sing regally, and he was strong on the bass guitar... but when he tried to be a showman, and injected soulful yelps to his singing, he just sounded silly. Robert Fripp, as a guitarist, was a work in progress. Sometimes brilliant, sometimes lackadaisical, he could comp along with anything, but at times didn't seem to know where he was going with his solos.
   
   4. This was part of the charm of the group...all of the musicians were trying to play beyond their capabilities. (After all, its the only way an artist grows.) Fripp would probably be the first to say that he wasn't in the same league with John McLaughlin, or Larry Coryell, or other pioneering guitarists of the time. In his defense, he really wasn't trying to be a guitar hero, or rock god, like Hendrix, Page, Clapton, Beck et al. Fripp likes to say that "musicians grow up in public", and this was the case with him. He didn't spring from the head of Zeus fully formed, and had to work really hard to become a virtuoso. He always seemed to be a guitarist working in a laboratory--and one always had to wonder how he might have grown if the laboratory had been Miles Davis'--as it was briefly for McLaughlin.
   
   It was really a tribute to Fripp that he could pick himself up after this band fractured, and continue to "expand on the myth", continuing to make beautifully crafted studio albums that at least bore the name "King Crimson", and continued the pioneering vision. Forever after, though, it was Fripp's band, with Fripp dominating in his peculiar passive-aggressive way, no matter how much he might try to deny it.



2. It was 1969 and Crimson was touring the USA for the first (and last) time with this lineup. A great historical document of one of rocks most exploratory bands. The discs start off with some BBC live recordings but most of the 2 disc set is in the USA. A must have for Crimson fans, the only complaint is the mediocre sound quality. It's funny, because if you go to the "wolfgangs vaults" website, you can hear some of this material in almost crystal clear sound! Too bad, but it's still exciting to see more and more early Crimson live recordings making their way to the light of day.



3. Words fail me, but I will try, and please forgive me if this goes on longer than may seem necessary.
   
   One can read about what it was like to be there when history is being made, but it's never quite the same as actually having witnessed it for yourself. Anyone who is even remotely interested in King Crimson, Robert Fripp, 1970's Art Rock (now called Prog Rock in an attempt to deflate it's meaningfulness by people who don't like it), the end of the Flower Power era and the onset of the Age of Aquarius simply *MUST* pick up this box set to compensate yourself for having missed out on being there, or as an at-times tearful walk down memory lane for those who were. As Mr. Fripp himself points out in his (as usual) highly detailed, insightful and endearingly stuffy liner notes, the recordings contained on this box set or the first King Crimson album "In The Court of the Crimson King" (or "ITCOTCK" for short), cannot come close to encapsulating the sheer power, majesty, and awe-inspiring terror that was King Crimson circa 1969. They were the perfect band for the end of that decade and it is a shame they did not continue as a unit beyond that legendary final show at the Filmore West -- recreated on this box set in it's completion for the first time ever -- but fate is often beyond the control of those who are destined to live it.
   
   To sum up, those Crimson fans who may even be familiar with this band's work from "ITCOTKC" (and the followup "In the Wake of Poseidon") may very well not be prepared for what they will hear on the 2 CDs of music contained in the box set for the first time. There are reasons:
   
   First, the recordings themselves were very primatively made at a time when the technology to record live music was not up to speed with the complexity of what was being played. The live impact of the sound is for the most part lost to time, and what was captured on tape & resurrected for this release is but a pale shadow of what it probably sounded like in person. One needs to listen to this actively with their imagination switched on to compensate for the technology's inability to represent what was going on when the band was playing -- and that doesn't even touch on the visual aspects of the performances. Don't bother with anything less than headphones either until the majesty of the live recordings becomes apparent. On anything less than a high-end speaker system it will sound tinny and harsh, but in the middle of your skull it will sound like the doors of Hell have opened up and guess who's playing the main stage?
   
   With that apology or admission made, the second aspect of it that more casual Crimson fans may not be prepared for is how utterly overwhelming the performances are, especially the versions "Epitaph" which the set was so correctly named after. On the studio album it is a sweeping, post-Beatles pean to the disillusionment and confusion sweeping the world at the end of the 1960's when nothing of value seemed to have any worth; An idealistic conclusion that only a 23 year old bohemian could arrive at, and succinctly summed up in the song's inarguably timeless lyrics. Then you stop and realize: These were 20 year old lads playing this stuff. Live. With no overdubs, no correction passes to cover over bummer notes, and in front of live paying audiences. It was unprecedented stuff, and after hearing the three versions of the song (one a BBC demo with some double tracking but still very live) you will wonder not only how the heck they came up with it, but why they even bothered with the LP version at all. They are also Greg Lake's finest collective performance as a vocalist: I cannot imagine anyone else singing the song while keeping a straight face.
   
   I still remember sitting in my room as a likewise idealistic 20 year old, head wedged between the speakers and mouth agog with awe at how forcefully put their communal disillusionment was. But hearing "Epitaph" performed live on this box set is like looking straight into the Abyss by comparison. Here is the soundtrack for the Apocalypse, circa 1969. The modern day equivalent does not exist (or at least I have never heard the likes) and it is only by placing one's mind in the context of the live recordings with other humans present that the sheer brilliance of the composition finally becomes clear. This was a band fighting against entropy, determined to succeed or take the whole ship of humanity down with them. The LP version of the song always had the power to move me to tears at times, but the 3 live cuts on this box set are utterly gut wrenching. Nearly forty years later we are still doomed as a species, and only King Crimson from 1969 was able to put their fingers on the reason why with this composition. It will demand to be heard again and again. Then again for good measure.
   
   The third "hurdle" that modern day consumers familiar with the Crimson legacy will have to clear is the instrumentation itself. Robert Fripp plays some bummer notes, Ian MacDonald's flute solos sometimes crack & his mellotron developes a nasty case of hiccouphs, Greg Lake forgets his lyrics & makes up new ones or loses his breath, and there are contributions by the audience members in the form of conversations at a couple of breaks. In other words, these are human beings, not "gods" or saints or saviors. Fallible 20 - 27 year old blokes who had been trying to break into the pop music scene for a collective decade plus of frustration, commercial defeats and triumphant failures of the likes that have never been seen, especially when considering where they all ended up in good time. Modern day listeners who perhaps are displeased by the nature of the recordings need to remind themselves that what is being performed had never existed before even as a genre: This is beyond the scale of anything that The Beatles, Hendrix, Miles Davis or any of the great innovators of the age had ever attempted.
   
   And again, it is all being done live, by just four musicians and one off-stage roadie/light show/sound board operator. The collective group's liner note contributions provide exhaustively fascinating detail of how the complete (or not) performances are often composites made from more than one source recordings digitally edited together to create a closer approximation to what was going on at the shows, and for that matter the CDs are a marvel of modern day sound engineering that was not possible until 1997, which is already almost a decade ago. That the music is still relevant now seems prophetic, leading me to the conclusion that this release was an act of destiny. In spite of all the carelessness, indifference and logistical obstacles, these performances were meant to be heard again thirty-seven years later, contemplated over, debated and argued about, then listened to again for good measure. It is not happy music or party music, but to paraphrase a published review of Crimson from 1970 or so, you get the impression from listening to the band that if Wagner or Beethoven had been alive at the time they would have been in King Crimson.
   
   Which leads me to my favorite aspect of the collection, which is hearing the great Bob Fripp play as an equal amongst peers who at times shame his musicianship. Especially drummer Michael Giles -- his influence on Art Rock or Prog Rock cannot be overlooked, and these live recordings speak more as to why than the LP tracks he contributed while a member of the group. When people discuss the great percussion of the Art Rock years you usually hear names like Neal Pert or Bill Bruford, both of whom owe a great debt to Giles for making the role so much more than a mere "drummer" who keeps time. Ian MacDonald also comes off far more impressively than one might expect for the keyboardist from Foreigner, and only after hearing these live recordings does one realize what a soul wrenching body blow his decision to leave the band must have been to Fripp, Greg Lake, and Peter Sinfield. The band was as much his as it was Fripp's, maybe even more, but MacDonald was brilliant enough to know that his work in the band would eventually have led to a musical confrontation between the two. You can sort of hear it during the live performances of Holst's "Mars: God of War" with Fripp bending his power chord strings to wail like a crazed soprano over MacDonald's abyss-spanning mellotron waftings. They were not merely competing with each other but the whole of the Cosmos, and the only consolation that might be found in MacDonald's departure from the band is the commercial success he found with Foreigner, a band that I will always be repulsed by & which could not be more different in philosophy that Fripp's vision of King Crimson. Fripp may have won that battle but MacDonald torched the ship before bailing overboard, and as history has written the resulting wreckage was not pretty, but is powerfully summed up by these live recordings.
   
   As for the tracks themselves, the BBC demos are probably the most traditionally appealing -- the BBC version of "In The Court of the Crimson King" is especially evocative of what the band probably would have been like in person. It is not the disjointed, freaky trip anthem as heard on the LP of the same name, but a powerful statement about the era that was so ahead of it's time that I have had people ask me if I was playing something by Oasis. The concert renditioning of the song is somewhat less satisfactory but like hearing Queen play a tape of "Bohemian Rhapsody" at a concert & bookend it with live portions it sort of re-inforces how that song was really a studio or rehearsal room creation. Fortunately the audience was forgiving enough to refrain from making too many comments so the humanizing aspect of the performance -- that means the near awfulness of it -- cannot be overlooked. But the live shows more than compensate for any discomfort caused by the band's collective humanity with the jaw-dropping "Travel Weary Capricorn" and "Mars: God of War" cover which absolutely no other band could have pulled off without looking completely ridiculous. Who in their right mind would cover Holst in the era of Jimmy Hendrix?? and yet it was the perfect choice. The two versions of "Mars" featured on the CDs are also remarkably different, once you get to know them well enough, and one of my favorite moments from the collection is the admonition for the audience to stick around for gospel/soul band The Chambers Brothers, whom Crimson was serving as an opening act for. The absurdity of the juxtaposition is priceless.
   
   And to a degree that is why this collection is so important: It helps to demonstrate how absurdly appropriate King Crimson was in 1969, especially when compared to contemporary pop acts who were basically just putting audiences through the paces with tried & true formulas. Happy soul bands or trippy flower power pop with four chord chart topper hits that maybe lasted four minutes, if even. Popular music in 1969 was still oriented around the 45rpm single and just as mass marketed, packaged, artlessly produced and disposably mundane for the most part as it is today. So into all of that bubblegum and hooka smoke, here comes King Crimson with 12 minute versions of a classical music piece that culminate with an aural approximation of the universe imploding unto itself and obliterating all life, hope, peace and sanity. No wonder they were so huge: They were exactly what this stupid, nasty, God-forsaken world deserved in 1969 -- a feat that Fripp managed to pull off again in 1981 with "Discipline" and, to a lesser degree, in 1973 with "Larks Tongues In Aspic", both of which also do not come any closer to accurately representing the bands who released those records than "ITCOTKC" represented The 1969 Band, which is how I refer to it today after falling in love with this box set. It was a very special, horrible and magical moment in our collective cultural history which will never be repeated, for better or worse, and the only way to really get a fleeting glimpse of what that band was truly capable of is from these recordings.
   
   And remember: HEADPHONES. This material is perfect for the iPod generation to close themselves off with and has dominated my players for years. Imagine, forgive, and enjoy, even though it may burn into your very soul.



4. First, truly powerful performances from three different venues (bbc, fillmores east and west) on these two discs.
   If you're considering purchasing this or 3&4, choose this first (completists will want all four, but the sound quality of three and four is pretty weak in comparison to 1&2... great performances, though).
   Highly recommened.



5. Very worth while 2-CD release that more or less allows the listener to check out live snippets from four(4)gigs that King Crimson had played while out on tour of the UK and the U.S. in the later half of 1969.Two solid hours of well played progressive art rock.The four track segment from the BBC Radio Sessions is nice,giving us a decent live version of "21st Century Schizoid Man" and a great alternatve version of "In The Court Of The Crimson King" plus a couple of tracks that didn't make it on the band's timeless debut lp,"Get Thy Bearings" and "Epitaph".Speaking of which,the rest of the disc has other tracks as such,"A Man,A City"(which is actually quite good) and "Travel Weary Capricorn".Happened to notice that Greg Lake's vocals are as incredable as ever and so is Ian McDonald's flute work.Sound quality through out 'Epitaph,Vol.1-2' is pretty decent.This 2-CD gem is recommended for King Crimson completists and archive music connoisseurs(like myself)ONLY.

5 comments about Great Cyndi Lauper.

1. The name Cyndi Lauper brings music lyrics to my mind . I listened in the 80's and she never left me . My recent purchase has made me very happy since i have been trying to get this 3 cd set for quite a while. Anyways I will treasure this forever. Vol 1. Has many of her classics with 15 songs altogether. Vol 2 Features Change of Heart, I Drove All night and You Dont Know , along with 12 other songs. Vol. 3 has 14 songs and a few are: Witness, I'll Kiss You and I Dont Want To Be Your Friend. If you are a Cyndi Lauper fan from day 1 this is a good choice of variety to have in 1 set. 44 songs of Cyndi truly amazing.



2. I LOVE CYNDI LAUPER HER SHES SO UNUSAL ALBUM WAS ME & MY SISTERS FIRST ALBUM ALONG WITH THE GO GOS BEAUTY & THE BEAT!! CYNDI HAS SUCH A AMAZING VOICE AND SHE IS SO GREAT IN CONCERT!! MIKE & DAVID



3. For anyone who is nostalgic....
   this album is a great collection of Cyndi's work! Great buy at a great price!



4. Three discs of Cyndi Lauper, she of the flashy, thrift-shop style and powerful-pop vocals. It's crammed full of album tracks, hit singles, and several rare cuts (the B-side "Cold", the hard to find "The World Is Stone", and of course "Hole In My Heart", one of Lauper's best songs which never appeared on any of her albums). Still, the packaging is bare-bones, and the sequencing of the songs is all over the map (which keeps the listener on his toes as to what selection might be coming next, but is rather terrible in terms of Lauper's musical history). And couldn't they find a better photo of La Lauper herself? The one image they've got is something you might find on the internet after everything else about Cyndi has been considered.



5. THIS IS THE BEST {CYNDI LAUPER} COLLECTION TO DATE.
   THIS COVERS THE DECADES OF BOTH THE 80'S & 90'S.
   THEY ARE ALL THE ORIGINAL STUDIO VERSION SONG'S.
   IS HAS ALL OF HER #1 HITS, RARE SONGS & B~SIDES.
   THIS IS A 3/DISC BOX~SET THAT IS THE PRICE OF 1 REGULAR
   GREATEST HITS CD!
   THE SOUND IS GREAT FOR SONGS THAT ARE 20+ YEARS OLD.
   THIS SHOWS WHY {CYNDI LAUPER} WAS A PERSON WHO RULED THE
   RADIO AIR~WAVES & MTV IN THE 80'S.
   {CYNDI LAUPER} STILL SINGS THESE SONGS IN CONCERTS.I HAVE SEEN HER 3 TIMES IN THE PAST FEW YEARS.AND SHE STILL GIVES 100% UNLIKE
   MADONNA & PRINCE WHO WANT TO FORGET THE 80'S.YOU ARE LUCKY IF THEY SING ONE OR TWO SONGS FROM THE 1980'S.
   {CYNDI LAUPER} WILL KEEP THE HITS ON THIS BOX~SET GOING
   UNTIL SHE DECIDES TO RETIRE.
   I BOUGHT HER FIRST ALBUM IN 1984 & I BOUGHT THIS BOX~SET IN 2004
   20+ YEARS AND I AM NOT TIRED OF THE SONG'S YET.
   AND THIS BOX~SET TUNED ME INTO SONGS THAT I MISSED IN THE 1990'S.
   AND I AM GLAD I FOUND THEM ON THIS SET.
   [CYNDI LAUPER THE BEST THE 1980'S GAVE US]!!!
   PICK UP THIS SET AND FIND OUT WHAT YOU MAY HAVE MISSED IN THE DECADES PAST.
   YOU WILL BECOME A FAN ALL OVER AGAIN WITH THIS SET;IF YOU ARE NOT
   ALREADY.PUT THESE CD'S IN THE OLD CD PLAYER AND TURN THE VOLUME ON MAX;AND JUST REMEMBER:AS LONG AS THE MUSIC PLAYS THE MEMORYS WILL NEVER FADE.
   {TONY~TONI~TON`E}/ROME,NEW YORK:HOME OF WOODSTOCK 1999/

5 comments about Slade Box.

1. Nice compellation of one of the influential Glam rock bands of the 70s. Look through the song listing to see how many of these cuts were later covered by the Hair bands of the 80s. Pay particular attention to the covers, especially "Move Over", "Born to Be Wild", and "Darling Be Home Soon".



2. This is the definitive compilation of Slade, a great British rock band that never made it big in the US.
   
   With an incredible 84 tracks divided into four CD's, it has it all: all of their numer one hits (in the UK), a lot of greta B-sides and all of the stronger songs in each album; The quality of the booklet is flawless, as also is the text.
   
   YOu can't go wrong: it has ballads, rocking songs, keyboards, acustic guitars, displaying all the quality of thisphenomenal quartet that only now begin to get the praise they deserve.



3. I've loved Slade since I first heard the "Slayed?" album when I was a kid in the 70's. This box is GREAT! Lots of cool tracks and photos. I can't wait for the rest of the reissues!



4. Some stats: For those somewhat aware of SLADE's output over the years covered, here's a breakdown of just what years are covered.
   
   CD-1 (75:07)...1969-1974, 23 tracks...1969 (3 trks), 1970(4), 1971(2), 1972(8), 1973(5), 1974(1).
   
   CD-2 (77:14)...1974-1977, 21 tracks...1974 (9trks), 1975(3), 1976(4), 1977(5).
   
   CD-3 (75:47)...1978-1983, 21 tracks...1978 (3trks), 1979(5), 1981(10), 1983(3).
   
   CD-4 (75:52)...1983-1991, 19 tracks...1983 (3trks), 1984(2), 1985(5), 1987(6), 1988(1), 1991(2).
   
   I purchased this box without any prior listening knowledge of SLADE's music. I was only aware that they were virtually unknown in the States but massively popular in the UK.
   
   I spent alot of time on the All Music Guide (AMG) site checking this group out and found that every album worth mentioning (well represented), as well as any key track recommended there, has been included within this box.
   The remastered music sounds terrific and I have'nt found a dull song in the bunch (all four cds ROCK, none of that bloated box syndrome where after the second cd it's a downhill slide). The liner notes speak volumes; on the group, the individual members, and the whole rock scene, especially the rollicking 1970's.
   
   The 4 cds are housed in a sturdy longbox, however for whatever reasons the designers never stapled the 72 page booklet to it. Instead, its attached to the box proper with some fine string(?). I suspect shortly this will detach itself. The upside is that the booklet remains one piece (no loose pages,etc)...and functions well enough as, a, er... 'booklet'.
   
   This box set has all the tracks you'll ever need without having to purchase the individual albums. 5+ stars!



5. This is really a nice box set. The sound is crisp(unlike last year's 2-disc collection), the book is great & all the charting singles are here. I also like the fact that the full-length version of "Run Runaway" was used instead of the single edit. Of course, this is probably more Slade than most people need, but better too much than not enough! Even though this is an import, you can find it for a good price if you shop around.

5 comments about 3 for 1 Box Set.

1. As the author of the Jefferson Airplane book "Take Me To A Circus Tent" and a former radio disc-jockey, I am often asked to write and or discuss various recordings from the 60's and 70's.
   
   Since this package encompasses the first three releases I am repeating the reviews from the first two recordings and finishing with a review of the third album. Thank you.
   
   It's not uncommon that a rock and roll band has a history that is forgotten about. Many times, it is for the proper reasons. Deep Purple's first incarnation "Mark I" had three terrific records. If they never created another note, they could be proud to have composed such great material.
   
   While to most of the musical universe Deep Purple is "Mark 2" featuring the intense and strong vocals of Ian Gillian and Roger Glover on bass, the prior story begins in 1968. Rod Evans (One of the most underrated singers of the era) and Nick Simper (Bass) may not be household names but were very much a part of the foundation.
   
   "Shades Of" isn't "In Rock." That is not a swipe in the least. It is only a warning to those that are looking for the more metal and improvisational side of the band. What the initial album consists of is terrific material and well-blended rock with Ritchie Blackmore already way ahead of the curve and only to get better.
   
   "And The Address" opens with a tasty riff that you don't forget. It's a solid choice to lay down the landscape of what will follow.
   
   "Hush" is indeed the cover of the Joe South tune. Purple may very well have the definitive version. It is still played on rock radio to this day.
   
   "One More Rainy Day" features a well-crafted sound by Jon Lord on the keyboards. Evans vocal feel is superlative.
   
   "Prelude"/"Happiness"/"I'm So Glad" covers the musical spectrum in a bit over seven minutes. "I'm So Glad" is the timeless tune written by Skip James that was made famous by the incredible Cream version. Purple chooses not to intensify it to that degree but finds a perfect direction using a mid-tempo arrangement and first rate drumming from Ian Paice.
   
   "Mandrake Root" is Purple's first journey into the land of improvisation. As they explore uncharted waters, the band jells well. Jon Lord's keyboards are mixed high giving a memorable performance.
   
   "Help!" needs no introduction. The Beatles classic (Lennon/McCartney) is slowed down to a totally different and unique arrangement. The vocals are heartfelt and the results are pleasant!
   
   "Love Help Me" pays homage to the psychedelic sounds of the 60's Although it may be the least known song on the record it clearly belongs.
   
   "Hey Joe" closes the festivities. There is debate if Billy Roberts wrote the song but never a question how endless versions from Hendrix to Purple will live forever. This rendition isn't full of fire but it packs enough of a punch to get the job done.
   
   Make sure to purchase the remaster with the five bonus tracks because "Shadows" is strong enough to have been included on the original disc.
   
   
   Enjoy the music and be well,
   Craig Fenton
   Author of the Jefferson Airplane book "Take Me To A Circus Tent"
   
   
   As the author of the Jefferson Airplane book "Take Me To A Circus Tent" and a former radio disc-jockey, I am often asked to write and or discuss various recordings from the 60's and 70's.
   
   "The Book of Taliesyn" brought Deep Purple closer to the appearance of the famed and great "Mark II" line-up. Ian Gillan and Roger Glover would raise the bar even higher. Before they become part of the fold, there is the tremendous second album and the self-titled third.
   
   "Listen, Learn, Read On" leads off the second Purple release. Possibly, by design the record starts with the shortest tune and ends with their epic cover of a Motown classic. "Listen, Learn, Read On" Features a terrific and varied vocal by Rod Evans along with a perfect guitar solo by Blackmore. Ritchie already is finding his way and it isn't only the ability to excel with his leads and fills but the perfect tone to coincide with the song.
   
   "Hard Road" also known as "Wring That Neck" is the perfect instrumental. Blackmore is tasty with a timeless riff supported by Ian Paice's drumming and Jon Lord's in your face but not over the top keyboards.
   
   "Kentucky Woman" is a wonderful cover to the Neil Diamond hit. Purple does a well-rounded interpretation and deserves credit for not only pulling off a well-respected interpretation but also being open-minded in their selection of non-group recordings.
   
   "Exposition"/"We Can Work It Out" gives us two for the price of one. Starting with their own composition of high energy- merging into a slower cover of the Beatles legendary song. This is the second Beatles selection ("Help" was recorded on the first LP) they pulled off well.
   
   "The Shield" one of the best efforts from the Purple "Mark I" line-up is also contains a superlative singing job by Rod Evans. The lyrics are intense and the clarity and conviction only further engrave them in your mind.
   
   "Anthem" with a mid-evil keyboard sound and a Blackmore guitar that enhances the dark mood is the most overlooked composition on the record but not any lesser.
   
   "River Deep Mountain High" has been interpreted by performers from all musical avenues. The tune partially written by record producer Phil Spector has been enjoyed not only by Motown fans (Four Tops, Supremes, and Ike & Tina Turner) but also by those having purchased records by the Animals, Harry Nilsson, and Bob Seger. Deep Purple's ten minute journey is the most adventurous of all the renditions. It could have been easily too long if they were anything less. With the Blackmore/Lord combination, it takes on a life of its own. Never is there a passage you call superfluous. A climatic ending to a great production.
   
   Make sure to please get the remastered version with the five bonus tracks lead by "Playground." Between Blackmore's aggression, Lord's perfect keyboard, and some terrific nuances by Ian Paice it is a must listen!
   
   
   Enjoy the music and be well,
   Craig Fenton
   
   
   Deep Purple's self-titled third release would bring an end to an amazing chapter of the band. Ritchie Blackmore, John Lord, and Ian Paice were looking to move into heavier rock territory as well as explore a mixture of classical music with the combination of an orchestra and Purple on stage (Concerto For Group & Orchestra). Rod Evans (Vocals) and Nick Simper (Bass) would not be part of the most famous of Dee Purple line-ups called "Mark II."
   
   They still had the business at hand, to record one more record with the initial players. Coming off two tremendous efforts "Shades Of" and "Book Of Taliesyn" this wouldn't be the easiest of tasks.
   
   Purple left no doubt from the opening track "Chasing Shadows" that the album would be off to a grandiose start. Between Evan's excellent vocal and the Blackmore guitar this was the perfect tune to begin the eight song journey (Not counting the bonus tracks).
   
   "Blind" pays homage to the psychedelic vocals of years past. These aren't lyrics thrown together to help create rhymes. They are intense.
   
   "Lalena" is the Donovan tune. Purple's interpretation is stellar. Never has the tune sounded so good as it does on the remaster. Jon Lord's keyboards put you in the recording studio.
   
   "Fault Line" is Blackmore's time to shine. Between the excellent choice of notes and the effect on the guitar, it is an adventurous ride.
   
   "The Painter" musically has the listener thinking of an updated "Hush." The lyrics are deeper here and this one deserves to be repeated on the CD player.
   
   "Why Didn't Rosemary" mixes some blues and fifties style rock and roll modernized for the Purple sounds of 69.
   
   "Bird Has Flown" is an exploration to uncharted waters. It is one step closer to the longer improvisational sounds Purple would achieve next year. At almost twelve minutes make sure to hold on for the ride."
   
   "April" the ending and longest track on the album is haunting, brilliant, and Blackmore has passages that are mesmerizing. If his playing peaked here he would still be in the higher echelon of musicians. Each time we thought Ritchie couldn't raise the bar he would shatter it.
   
   Make sure the CD has the five bonus tracks including the single "Emmaretta."
   
   Enjoy the music and be well,
   Craig Fenton
   Author of the Jefferson Airplane book "Take Me To A Circus Tent"



2. What a bargain, for the price of one cd, you'll get Deep Purple's first three albums which all sound great and have a cool booklet included to top it off. You'll get the summer of '68 top 30 debut "Shades Of Deep Purple", the late 68's "Book Of Taliesyn" and '69's "Deep Purple". This is the original version of the band with organist Jon Lord, guitarist Ritchie Blackmore, drummer Ian Paice, singer Rod Evans and bassist Nic Simper. Highly underrated version of this legendary band.



3. The year: 1968. The country: England. The Band: Deep Purple. The musicians: Ritchie Blackmore on guitar, Jon Lord on Keyboards (Hammond B3, to be precise), Ian Paice on drums, Nick Simper on bass and Rod Evans on vocals. Nick and Rod who? You might ask. For casual rock fans, these names mean little to nothing, probably little more than a footnote on the archives of RN'R. But for true DP diehards and rock scholars, those names are essential to understand the original equation that brought Deep Purple to life. Indeed, without Evans and Simper, no Mk I, no Mk II (and therefore no In Rock, no Fireball, no Machine Head, etc...well, you get the idea...), Mk III, Mk IV...simply put, no Deep Purple (saga). These 5 men came together thanks to the vision and efforts of businessman and manager Tony Edwards, who was originally working to form a band around drummer Chris Curtis (hence their original name, Roundabout). Why do I bring this up? Who cares about business history when reviewing a CD? Well understanding is everything, and in this case, understanding the context in which the band was formed and in which it worked will shed additional light over their early musical output: basically the band came together as a business venture first, musical project second. They already had a tour of Scandinavia booked before recording a single piece of music. They already had an American record deal without ever stepping into a recording studio as a band. With that in mind, the band had to come up with a set list for the tour and songs for a record in no time. And come up with songs they did: they worked out some fascinating arrangements of some cover tunes, added a few originals and off they went.
   
   Shades of Deep Purple (***1/2), their first record, became an instant hit in America thanks to the success of first single "Hush" (a cover of a Joe South tune). The record also featured new takes on classics such as "Hey Joe" (made very famous at the time by a certain Jimmy Hendrix), "Help" (The Beatles, receiving high praise from McCartney himself), and "I'm so glad" (also covered by Cream). On the original material front, Shades starts off with the powerful instrumental (how bold is that??? How many bands start their debut album with an instrumental?) "And the address", which can sound a little awkward for newcomers, but is a great track nevertheless; next is the slightly psychedelic "One more rainy day", the potent (and mostly instrumental) "Mandrake root" which would occasionally pop up in the band's set list well into the 70's, and the fast and rollicking "Love help me". Overall: it's pretty darn good, especially for a first album written, arranged and recorded in a matter of days, but the truth is that I prefer Cream's version of "I'm so glad" and, while I'm not a Beatles fan, I prefer the original "Help". This is by far the poppiest, more radio friendly of the 3 albums.
   
   Conceived in equally frantic circumstances, The Book of Taliesyn (****) nevertheless showed an incredible evolution. Indeed, wanting to capitalize the success of the first album released in the U.S in July '68, their label asked for a NEW album to promote for their tour in...October!!! So once more, the band was shoved into the studio and asked to deliver. Without the luxury of time, the band followed the same format of their first record: covers of Neil Diamond's "Kentucky Woman" (their second hit, not a smash, but a hit nevertheless), the Beatles "We can work it out" and Ike and Tina's "River Deep, Mountain High"; original rockers such as "Listen, Learn Read on", "Wring that neck" (another instrumental), and much more ambitious numbers (featuring string arrangements, among other novelties) "The Shield" and "Anthem". These songs, along with the more sophisticated arrangements of the covers, started to suggest a very personal and very new direction. Their identity wasn't quite defined yet, but they were on to something big. And it is a lot of fun to picture guitarist Ritchie Blackmore playing some of these softer songs with such restraint, coming from the man that would eventually grace us with hard rocking masterpieces such as "Burn", "Highway Star", "Kill the King" and so many others. This record is the one that shows the band's early progressive leanings the clearest.
   
   Deep Purple (*****), the third album from this inaugural lineup, is without a doubt the strongest of the trilogy of albums from Mk I. Unfortunately, it is also the last: recorded in early 1969 but released after the reshuffle that saw Simper and Evans be replaced by Roger Glover and Ian Gillan respectively, this record very much went virtually unnoticed, both in England/Europe (where the band had so far failed to gain a truly strong following) and America, where its distribution was greatly compromised with the demise of their American record label, Tetragrammatron.
   
   This remastered edition allows us to confirm the fact that the band was now closer than ever before to gaining a true identity of its own: the record was filled with original material and only one cover (of Donovan's "Lalena"...mesmerizing), and it showed a confidence and a power that wasn't quite there with the previous albums: indeed, opener "Chasing Shadows" is a powerful number where the drums and bass really steal the spotlight; "Blind" is a slower number with an amazing work courtesy of Jon Lord; "The Painter" is a truly great number, with Ritchie really pulling all the stops with his playing; "Why didn't Rosemary" forecasts some of the music the band would do on later records; "Bird has flown" is a number where the band shines as a whole, and epic "April" is a true crown jewel, symphonic and intricate, schizophrenic and captivating all at the same time. And Rod Evans gives probably his best performances ever. And the record also showcases, for the first time, the dueling organ/guitar breaks that became a Purple trademark. This is the most hard rocking album of the set.
   
   All in all, this set is truly awesome: it has been painstakingly remastered for the clearest, loudest sound, and it is a true joy to listen to. There is a lot to like here, and the remastering alone is well worth the price of the set. But as if that wasn't enough, all the CD's have additional songs: BBC sessions, TV appearances, B-sides, and outtakes that make the package even more attractive and that are worth paying for (some of my favorites are "Emmaretta", "Hey Bop-A-Rebop", and "Shadows", "It's all Over", etc).
   
   Sure, these are not the records that turned the band into the rock institution that it eventually became, but rather the stepping stones for that. This set IS NOT for the casual fan, though. And it would be cheaper to get the single disks (released stateside by Spitfire Records) than this package. If you enjoyed "Hush" and "Kentucky Woman", I'd recommend you to get "The Early Years", which is a remastered, single disc "best of" of sorts of this early period of the band, and then dig into this. You can't go wrong with any of these CD's and you're guaranteed to find a lot to like in here. I know I did, and this from a guy who originally didn't even like "Hush"...



4. The sheer volume of work found on these three discs is real testimony to the band's depth and focus on their music. I gave it four stars due in part to the repetitive nature of some of the more obscure pieces. In fairness, this set comes from a period of time (mid-late 60's) when they were developing their style and making their niche in the rock world. Consequently, there is a lot of exploratory work, so if you want to get deeply into the band's roots, this might be a worthwhile buy. Ritchie Blackmore's unique vocals and the guitar work are reason enough to fork over the change.



5. Prior to Deep Purple recruiting vocalist, Ian Gillan and bassist, Roger Glover, the band recorded these first three albums in 1968 and early 1969. This lineup of the band is more of a hard rock version of the Moody Blues. It's truly an embarrassment that these three albums are unacknowledged, because they're really impressive and really quite good, almost as strong as the "classic" lineup's material. In fact, some fans consider these albums the high water mark of the DP legacy. This box set featuring all three of the Evans/Simper-era albums at a steal of a price.
   
   These are the MASTERED versions of the albums, the reason I say it that way is, I don't believe these were ever "mastered" in the first place. I've heard these albums on CD back in the late eighties and nineties and they sounded like semi-scratchy records. But, with these discs you get crisp and clear sound from the original two inch master tapes, with bonus tracks on each CD! These include outtakes, live recordings and BBC material. No fan of Deep Purple should be without these trinkets. Quite a steal!

5 comments about Jeff Beck 3-Pak - Blow by Blow/Wired/There and Back.

1. Three Great Albums... Jeff Beck at the height of his artistic journey. Let's not overlook all of the other gifted musicians on these discs. The guitar gods sometimes get all the credit. If you are just getting into Jeff Beck and his bands, this would be the best and most economical way to "Get There"... Check out "Rough & Ready" if you can get the CD somewhat economically. Many fans forget about that one. One last thought... these cats can still ROCK!!! Love to see you live again.



2. for any old or new jeff beck fans this is a great collection of jeff becks best songs all in one very affordable box set. cd set contains "blow by blow" and "wired" and the last disc "there and back" all put out by epic records. i think the best way to listen to this set{if possible} is just put all three disc in and press shuffle all. cd contains classics like "cause we ended as lovers" to "blue wind" to "the pump" ....



3. I have been a Beck fan since high school/college and own allthree of these albums on vinyl. After my initial disappointment in"Who Else!" (I don't know, maybe at 40, I'm to old to like the techno stuff, maybe Jeff was just better 25 years ago!), I wanted to replace one of my old vinyl albums with a CD. Going back through my collection, I found that my 3 favorite Beck releases were Blow By Blow (1975), Wired (1976), & There and Back (1980).

   Since I had limited myself to buying just one of these, I had to make a decision! I was having a hard time deciding which was my favorite when I found this box set containing all 3!...(all 3 are better records than "Who Else!")




4. For A Brit, this is unbelievable value.These three albums chart JB's quantum leap for me, and I urge you to listen to "Cause we've ended as Lovers", "Led Boots", and "The Pump" (to take one from each) as demonstrations of Beck@s mastery.It's a personal thang, but next Hendrix, he discovered how to read a soul out of a guitar like no other... there are many really powerful tracks in this collection, and I cannot see a lover of electric guitar ever regretting stumping up the bucks for this slice of "Beethoven late quartet" level inspiration,beauty,and sheer octane.



5. Jeff Beck. 2 words that speak volums, A true musical genius of this or any generation!! I had the opportunity 2 c him live 4/18/99 at the paramount theater oakland 5 stars a real a classic!!! $35 for the ticket a true value

5 comments about The Complete Adventures of the Style Council.

1. An excellent 5 CD set of Style Council music, with a few notable flaws:
   * While I was pleased to get the 12" version of "The Cost of Loving" in place of the album version, it means that that version is missing. A similar replacement occurs with "Life on a top People's Health Farm."
   * The packaging is rather annoying. A very long box with five CDs in tight cardboard sleeves. (I took mine out and put them in normal CD cases to enable ease of playing). You also get a paperback book full of photos, and the story of TSC, and a list of discography and videos.
   
   You won't get every song they ever made, but "Introducing the Style Council" (Mini LP), "Cafe Bleu" "Our Favourite Shop" are there in full, as well as the songs from the album Polydor rejected "Modernism a new Decade."
   You'll find most of the tracks from "Cost of Loving" (LP) and "Confessions of a Pop Group" too.
   Several singles are included too (no doubt all your favourites).
   
   Regardless of my 2 gripes, I was very pleased to have this. It was well worth the money. As there are around 20 tracks on each disk, the breakup of songs is different, with material from Cafe Bleu split over 2 disks, and the same for "Our favourite shop".



2. For some very strange reason the years have not been kind to The Style Council. Music critics, fans and even Weller himself seem to have forgotten just how good they where. The Style Council were very simply pop music at it's very best. Intelligent, moving, witty, thought-provoking and melodic. Paul Weller created TSC almost as a reaction to The Jam which he felt had pigeon-holed him in terms of musical growth. By teaming up with Mick Talbot (Piano) he could explore his interest in soul, R&B and jazz. Something The Jam would never have been allowed to do. I was at the perfect age when they first appeared on the scene in the mid-eighties, to be swept away with their mix of clever, catchy pop songs. Before long they were joined by Steve White (Drums) and D.C. Lee (Vocals) and the rest, as they say, is history. This box set is fully comprehensive. I should know. I bought all of their records on vinyl. TSC were always one of those bands that never got the credit they so deserved. This box set puts the record straight once and for all. From start to finish this music collection is perfect. From its contents to it's packaging it's everything a real "Council" fan could want. All the hits are here plus some of Weller's less known musical experiments. If I sound like a sales man for the record company then so be it. Whoever was responsible for putting this box set together really did their homework. I can not rate it highly enough. Whether you remember TSC in their hay-day or whether you only know one or two hit songs, this box set is worth the money. Great pop tunes, written and crafted by really talented musicans. Like I said, perfect.



3. If you are a die hard TSC fan, this package takes most of those LP's, plus the 45's and 12" discs you purchased between albums in the 80's and packages them together for you to play on CD. You can leave the old wax in their sleeves now.
   
   C. Jannuzi posted a very informative and accurate review of the discs themselves. I will not attempt to add to that portion of his review. I am adding that this is the best packaged box set I have ever seen. The booklet alone is close to being worth the price of the set. (I bought mine from one of Amazon's retail partners - much cheaper and still in shrinkwrap.) It contains a complete history of the band, a diary of the band's recordings, releases and appearances, a thorough discography, band promo and live photos, a Paul Weller interview, and images of scores of promotional posters, advertisments, and obscure disc sleeves. Each of the 5 discs is packaged in it's own glossy cardboard sleeve with track listings and information plus another photo. Each disc is also in a paper sleeve inside the cardboard to further protect the disc. I have not seen this degree of disc protection before. In addition to the booklet and discs, there is complete lyric sheet which includes a listing of the musicians on each track, its recording date and lyrics.
   
   Although the booklet is printed on high quality paper and has excellant sharp images, it is not bound well. Mine has not fallen apart but you must be gentle and not crease the spine of the book.
   
   Overall, a fantastic package of wonderful tunes.



4. I haven't yet even received my copy of this anthology, and I'm already beside myself! As someone who lived through their musical journey, and first began hearing this group while the world was still fresh and new to me, I already know that this collection will be nothing less than stellar! Paul Weller was truly at his peak when he wove the artistic tapestry that was The Style Council. It's funny how some artists alone are pretty good, but when you mix just the right combination of talent... BOOM!!!! You make history, and inspire the world.



5. How many artists' would trash a hard fought following like the Jam eventually achieved...and as a white english guy seek to sound as soulful as The O'Jays and Ramsey Lewis Trio?

   IMHO, that's a pretty 'darn' TALL order. Pulling it off...even 50% of the time is a massive artistic achievement in my book. Had Mr Weller ever known I'm sure he would count among TSC's biggest successes as having the Black (nearly all) "Dusties" (oldies) format radio station (in Los Angeles) add "Long Hot Summer" to their rotation back when it was released...which it was! I heard it.

5 comments about Tibetan Freedom Concert; New York City, June 1997.

1. The Tibetan Freedom Concert in 1996 when shown on MTV changed my life forever when I discovered what was going on in Tibet. And when I got my first glimpse into Buddhist culture. This CD goes over 2 years of the Tibetan Freedom Concert. It is the first 2 that were held in 1996 and then in 1997.

   The CD is not just a youth approach to doing something for the Buddhist nation of Tibet, it's a celebration of Tibetan Culture. Many artists from Tibet appear along with bands like Rancid and The Beastie Boys on this CD. There are also chants from Buddhist monks. Eddie Vedder and Mike McCready of Pearl Jam play an acoustic version of "Yellow Ledbetter" that makes this CD well worth the money you paid for it. There is also a track that appears only on this CD from Rancid titled "The Harder They Come"

   Beck appears on the 3rd CD with "..." and De La Soul plays a very energetic version of "Me, Myself & I" The 3rd CD is also an enhanced CD for your PC that you will be very inspired by. It comes with a collection of information on what it is that you can do for Tibet and a Quicktime library of video files showing The Beastie Boys, Radiohead, Ben Harper, Jon Spencer Blues Explosion, and some very special messages from His Holiness The Dalai Lama. As well as a short video of Adam Yauch of the Beastie Boys explaining how he got involved. This CD is truly a great way to remember these concerts. If you buy this CD, you not only get music, but a celebration of Tibet's spirit and culture celebrated through 2 years of concerts.




2. This triple album, unless you want to support the freedom of the Tibet, is not really worth buying. For a three disc set, it only has as much as one disc's worth of acceptable good music, which you probably can get on iTunes individually.



3. Rancid's version of "The Harder They Come" rocks. The rest is just as good.



4. This three cd collection exhibits the talent of many big-time established artists, such as U2, A Tribe Called Quest, Noel Gallagher, Foo Fighters, Mighty Mighty Bosstones, Beastie Boys, Alanis Morisette, Beck, the Fugees and Rage Against the Machine. It also shows off some up and coming artists, like the John Spencer Blue Explosion, Taj Mahal and the Phantom Blues Band, and Pavement. There're hits, like RATM's Bulls on Parade and Beasties' Root Down, but it's dominated by lesser known, non-single, songs. Beck's folky Asshole and Blur's answer to Oasis, Beetlebum. The cd is spiced with a share of traditional Tibetan chants and music, so you won't forget why this album was made. As MCA Adam Yauch says at the end of Root Down, "Let's not forget why we're all here. To help the people of Tibet get their freedom."



5. Tibetan issue is of big importance and _that_ makes this album worth attention - not the performers' escapades. A few Tibetan tracks are very nice and (supposedly, will be) interesting for western folks. The CD-ROM part of this project merits a separate edition - especially the collection of thangkas!