5 comments about Sgt. Pepper's Lonely Hearts Club Band.

1. I'm not much for worshipping sacred cows. I wouldn't call PET SOUNDS or DARK SIDE OF THE MOON masterpieces, even if "the experts" say that they are. And I don't really care if SGT PEPPER is the birth of modern pop music or important regarding the evolution of artrock.
   I just think that the songs on SGT PEPPER are really good. Good enough to get 5 stars.



2. It's funny how history works. When it came out in 1967, Sergeant Pepper's Lonely Hearts Club Band was a seismic event. It was an instant cultural touchstone, a musical icon, a psychotropic chunk of pop art product that glistened with possibility and newness. It was, famously, the album that signaled the rise of rock `n' roll as an artform rather than a teenage flavor-of-the-decade. It was bold, energetic, and state-of-the-art. It was conceptual- even the packaging and cover art were part of the journey. It was innovative. In a visionary synthesis of Chuck Berry and Bob Dylan, Brian Wilson and Karlheinz Stockhausen, the Fab Four sought to combine experimentation and melody, innovation and whimsy, futurism and present...ism. It was the album that made it officially OK for popular artists to use tape loops and weird (read: non-European) instruments and genre hopping. Sure, other bands had been experimental before them, but the Beatles were the first megastars to do it over the length of a full album. Impressive.
   
   So, I'm not going to deny the historical significance of this album. I'm not quite insane enough to do that. I won't try to refute its influence, either. But what I am going to complain about is its listenability. Its raw musical value, if you will. Evaluating music on an intellectual level is interesting and useful, but it's all academic if the stuff doesn't make for a good listening experience. And by that measure, the Beatles have done much, much better than Sergeant Pepper's Lonely Hearts Club Band.
   
   It hasn't aged all that well, you see. I can do without a lot of this stuff: "When I'm Sixty-Four" is a cutesy music hall exercise that, all these years later, sounds cheeky and not all that entertaining. "Lovely Rita" and "Good Morning Good Morning" sound absolutely generic, and "Being For The Benefit Of Mr. Kite!" is (how do I put this delicately?) annoying and stupid.
   
   Even some of the album's better songs aren't exactly top-drawer material: "She's Leaving Home" is sad and pretty, "Getting Better" is pleasantly bouncy (good lyrics, too), and "Within You Without You" shows off George's sitar fascination to trippy effect, but none of those three are particularly special. Same goes for the rocking title track.
   
   But having said all that, I still do think that this is a pretty good album. If the review so far has seemed harsh, it's because I've learned to hold the Beatles to a pretty high standard. A five-star Beatles album (Rubber Soul, Revolver, etc.) needs to be saturated with pure gold. On this disc, I only count a few true gems. "A Day In The Life" is the shiniest. It's an absolutely gorgeous song, a symphonic tale of quiet desolation and muted melancholia. I also like the quintessentially psychedelic "Lucy In The Sky With Diamonds," and the inexplicably delightful "Fixing A Hole."
   
   Rock historians, Beatle maniacs, and those who are trying to collect all of the obvious touchstones of musical history should certainly pick this up. Otherwise, think twice.



3. Today pop music is an art. It's about being catchy, poignant, concise, poetic, and using production techniques to your advantage. A lot of that began with Sgt. Pepper's Lonely Hearts Club Band, but that's not necessarily why you should buy the album. You should buy it because it does it better most any other pop album out there.
   
   It's an album about characters and people. It's about finding the extraordinary in the ordinary; taking simple emotions and amplifying them; taking human behavior and picking out the absurd and grotesque.
   
   One of the first things I noticed upon revisiting this gem is how simple everything is. The songs are easy to listen to and they flow really well. But underneath the simplicity there's always a little something extra: "Lucy in the Sky with Diamonds", which begins as a mellow psychedelic waltz, bursts into sparkling ebullient choruses suitable for marching band; "When I'm Sixty-Four" sounds like a simple lullaby for children, but the chorus and bridges reveal an air of cynicism that's surprisingly moving; on "Lovely Rita", even an ordinary meter maid becomes the subject of a dreamy albeit a bit sarcastic fantasy; "Good Morning" is an enthusiastic ode to the daily grind, revealing the hallowness of daily routine while increasing tempo to dizzying speeds.
   
   Except for "Within You Without You", all the songs are concrete and straightforward studies about people, with individual elements and stereotypes isolated, magnified, and splayed before you for display. "Fixing A Hole" presents the lonely introspection of a man living by himself and locking himself and his mind from society; on "She's Leaving Home" we experience the frozen melancholy of two parents who awake to find their daughter gone.
   
   But nothing's quite as it seems on Sgt. Pepper's Lonely Hearts Club Band. As isolated human emotions bubble up in the melodies, it's clear that some characters in the human race aren't completely sincere. There's an underbelly to human beings. Some aren't to be trusted. "Being for the Benefit of Mr. Kite" presents a detached salesman of freaks and outcasts pitching his product in metered rhyme to the tune of exotic swirling carnival music. On another tune, an outcast with a bit of a temper optimistically proclaims that things are "Getting Better", while on the side revealing fragmented bits of his past, such as breaking rules in school and beating his wife.
   
   However the music is so tightly constructed that you can listen to the entire album without noticing the mystery and neurosis of human nature. The music is that good, it just feels so natural, so right. But listen a little closer and you really will see how nothing is as it seems.
   
   Only at the end of the album does a minute or two of symphonic dissonance jerk your mind from the pleasant superficialities of the melodies, beats and life in general. The last song, "A Day in the Life", is a meditation about a jaded yet heartfelt man who recounts the morning post's headlines: Some are disturbing (a politician blew his mind), others political (the English won another war), and others just business as usual (there are four thousand potholes in Blackburn, they all had to be counted) - all events are sung with equal emotion and import, as if they really weren't important at all. Daydreams and non-sequiturs in the song hint at feelings of escapism - but the song's world is bleak and apathetic. Concludes the singer - and the whole album - "I'd love to turn you on", followed by a cacophonous and insurmountable chaos of strings.
   
   That's the message embedded throughout this album - there's people and places as normal, but there's also a veil of truth and mystery behind it all. The Beatles would love turn you onto it.
   
   But it's not even The Beatles who are delivering this message, it's Sgt. Pepper's Lonely Hearts Club Band - a make-shift ensemble whose band-members suspiciously resemble those of The Beatles. Once again, nothing's quite as it seems.
   
   So when you buy this album - which I highly recommend - enjoy it for what it is: Great pop music, it's some of the best out there. Tap your fingers, dance a bit, feel your heartstrings pulled, and bob your head back and forth. But remember to look a little deeper: Think about the world. Think about what it means to be human, and what it means to be a person in this hackneyed world of ours. Look inward and think about who you are. Look outward and think about life.



4. Winning a Survey in England by a landslide as the Best Album Ever, this Beatles album does not disappoint. What a joy to hear all those songs again! These guys are Fab!



5. Formed in the early 1960s and continuing for a little less than a decade, The Beatles were and remain arguably the single most popular and single most influential rock band of the modern era. In 1967 the group released SGT. PEPPER'S LONELY HEARTS CLUB BAND. It exploded to the top of the music charts and remains their most widely-known title to this day, the answer the "average" person will give when asked to name a Beatles album. As such, it has a way of showing up in the top ten of critic's polls.
   
   In 1967 the idea of a "concept" album was still fresh and new; the idea of mixing non-standard noise into songs to create music was very much an oddity; and the combination of baroque brass and electric guitar was very much out of the blue--not to mention the extremely eccletic way in which the band draws on everything from psychedelia to English musical hall. It was startling, innovative stuff. But there is sometimes a difference between "the most innovative" and "the best"--and over the years SGT. PEPPER'S reputation has begun to fade.
   
   The album opens with three knock-outs that remain as fresh today as they were in 1967: the opening "Sgt. Pepper's Lonely Hearts Club Band," a memorable mixture; "With A Little Help From My Friends," quite possibly the best cut from the recording and certainly the best of Ringo Starr's vocals; and the ultra-psychedelic "Lucy In The Sky With Diamonds." But thereafter the cuts become increasingly throw-away. "Getting Better" is nice enough, but it's pretty much McCarthy in likeable ya-ya mode, no better nor worse than a dozen other similar songs. "Fixing A Hole" is uninspired, and "She's Leaving Home" is an expertly written and performed mediocrity.
   
   The line up reaches the bottom with two non-entities: "Being for the Benefit of Mr. Kite," a carny-barker sales pitch without redeeming value, and "Within You Without You," which might best be described as George Harrison at his most self-indulgent. The band begins to crank up again with "Lovely Rita"--perhaps not a stand out in terms of The Beatles' overall work, but charming, amusing, and memorable nonetheless. "Good Morning Good Morning" is a sonic collage that either works or not, depending on your point of view--and then there is a rally with a reprise of "Sgt. Pepper's Lonely Hearts Club Band" and the plantive, distinctly disconcerting "A Day In The Life."
   
   When all is said and done, SGT. PEPPER'S really is a sort of hit-and-miss affair, at its best remarkably fine, at its worst dismissable in an eye-rolling sort of way. Much of the album's success was due to its timing: it was the perfect release for 1967. Unfortunately, it hasn't been 1967 for quite a long time now, and too many of the cuts simply haven't held up well enough for the album to continue to be regarded as "the best." Recommended, but it you're just beginning to explore The Beatles, this isn't really the place to start.
   
   GFT, Amazon Reviewer

5 comments about Abbey Road.

1. So it occured to me one day that I didn't own a single Beatles CD. Can you even believe it? Arguably the best band in all of rock and roll and not even a greatest hits on my shelf.
   
   Since I'm a tad obsessive when it comes to stuff, I decided I didn't want any run of the mill Best Of, but instead wanted to go through and buy the albums from these boys the way they were originally sent out, so I decided I'd start with the albums that were what many considered to be innovative and the ones I knew I always wanted but never got.
   
   Now my first impulse was to buy "the white album" but upon closer inspection I realized I wanted Revolver and Abbey Road first. And this week we have been playing this little gem on and off. I
   
   I knew this was one of the last Beatles albums but what I didn't know is that it WAS the last Beatles album ever recorded, Let It Be was released after this but it had already been recorded by the time the boys headed into Abbey Road. I knew I wanted this album the minute I realized "I Want You (She's So Heavy)" was on here as for some reason that is my ultimate favorite Beatles song, I know I'm very strange.
   
   But also on this 1969 masterpeice is "Come Together", "Octopus' Garden", and "Something" to name but a few of the familiar tunes.
   
   A sort darker than the way the Beatles bounced into the world only a mere 5 years before, the reason this band is so important and influential is the fact that those 5 years saw these boys doing what no one had ever done before, coming up with insane and strange mixes to add to the guitar pop they brought to life.
   
   From one direction to another these four boys are remarkable and every single piece of genius is evident on Abbey Road. The songs are more experimental than most of what you hear even today yet they are familiar and long lasting. I sing along with every single song, I feel every single emotion and believe me when you hear me running around screaming "I Want You" you know it's absolutely stunning!
   
   There are probably more important Beatles albums and perhaps more entertaining albums in the catalog but since this is my very first Beatles ever (a hundred and one years later) I think it will remain a favorite for years and years.



2. the best band that ever recorded on this planet has achieved musical genius on Abbey Road. there will never be a better band!!!!!



3. What a great lp It tops most of there lps . What a swan song for the Boys, Just if they stayed together for a few more years wow.



4. An incredible work of music. Simply a masterpiece, and in my opinion has to be the best rocknroll/pop album of all time.
   
   
   and if you'd like a laugh, read the the 1-star reviews.



5. What's not to get? Yes, Maxwell, and Octopus are a bit silly! If you know their histort and you know where they were during this particular period, you'd understand that they needed a bit of silliness!
   John was busy being '....Heavy" w/ Yoko and the peace movement; Paul was melting down, George wanted out, and Ringo wanted everyone to just get along. There is not ONE piece here that if you listed to it, you wouldn't walk away humming. This album is the epitome of the Beatles's Magic! It is just too bad it was the last of it.
   
   "Something" and "Here Comes The Sun" are two of George's best songs ever (and "Something" may be the single greatest love song ever)
   "Oh Darling" is a bluesy masterpiece with Paul screaming with the best of them and showing why he will always be one of the best singers of all time.
   The one who didn't really give his best effort was John (& I say that with love, as John Lennon has been a huge influence on my life!)
   "Come Together" has a great riff, but he ended up getting sued over the lyrics by Chuck Berry (& I thought they were friends!)
   "I Want You (She's so Heavy) again has a GREAT riff...slow and hard...driving and whirling to an abrupt end....but again....John...where's the Lennon wit??? ("I want you so bad it's driving me mad")
   Mean Mr. Mustard is kind of cool, but seems like he cut it short to please someone else (Paul? George Martin?)
   "Because" however, is an absolutely beautiful piece of work w/ some of their best harmonies ever...(which by the way are really showcased on this album very well)
   
   Abbey Road is less about individual songs and more about the whole product: Less about the lyrics and more about the harmonies. And musically (both instrumentally & vocally), one of the greatest albums of all time!
   
   But, again, it all just fits together...this is what a group should be about! Where John didn't have his best day, Paul & George rode in on the white Horses.
   
   I was very young when the Beatles broke up (10), but I do still miss them!

5 comments about The Beatles 1.

1. Purists have and will continue to argue this particular release into the ground with a host of complaints that range from "The audio mix is bad!" to "Lady Madonna was never number one on the charts!" But while it may come as deep shock to them, not every one approaches The Beatles as if they were holy relics, not everyone considers them "essential," and not every one feels it necessary to purchase every album the band made.
   
   Quite obviously I tend to fall into this category. I like quite a few of The Beatles' recordings, but they never spoke me in a gotta-have-it way, and although I like "Come Together" I'm not going to buy ABBEY ROAD in order to obtain it. But while this compilation doesn't include every one of my favorites, it does include enough of them to make me willing to put a few of my hard-earned dollars on the table.
   
   It is true that #1 is open to "number one according to who?" arguments, but even so the collection does gather twenty-seven of the band's best known and most popular releases--and also offers a fairly good overview of their style as they moved from mop-top-pop to psychedelia with plenty of innovation and serious musicianship along the way. It may be true that some of the songs sound better in original monoaural; it may be true that every selection could stand a meticulous remastering--but I personally had no complaints about sound quality.
   
   This is really a recording for two classes of listeners: novices who know little about the band and would like to test the waters and old hands who like certain songs but don't like them well enough to go to the expense of replacing scratched up albums with CDs. You'll still have to do that if you want the likes of "Lucy In The Sky With Diamonds," "Strawberry Fields Forever," and "Octopus Garden"--but this collection really does hit most of the obvious notes.
   
   GFT, Amazon Reviewer



2. It's hard to find a reason to buy this CD for a long time Beatles fan like me, who owns all their entire catalog. I admit that I would never buy such a compilation, but finally I did because I've found a reason: the remastered sound. The songs sounds better than ever and certainly the sound of this CD has no comparison with the released official albums. If Apple or EMI someday decide to update the sound of all Beatles CD's the way they did with this one, I would no doubt to replace mi collection.



3. It's pretty hard to beat the Beatles if you're into the oldies. The best part of this title is it's so complete and it brings back so many memories.



4. I've had this album for over seven years and I never get tired of it. And if you're someone who appreciates good music, neither will you. Whether you're a casual fan, a die hard fan or even just recently a new fan, this will be a very worthy addition. For the new fan, it's the perfect introduction to one of the most influential bands in music. You can actually hear them grow with each track. Yet as superb as this album is, it only scratches the surface. The albums "With The Beatles", "Sgt. Pepper" and The White Album are not covered because there were no singles off those albums. "Nowhere Man" from "Rubber Soul" was released as a single in the U.S. but only went to #3. This undermines the fact that some of their most popular songs didn't top the charts or were not released as singles. For the long time or die hard fan this is worth getting for the packaging. The liner notes feature different picture sleeves for all the singles as well as release dates. Finally, all the tracks except the first three are in stereo.
   
   John, Paul, George and Ringo have definitely left their mark on the world. This collection is proof of that.
   
   Total Time-79:08



5. There are certainly better qualified Beatles fans to get a review from, however, I must say I am enjoying this CD. The time I've spent listening to it is no longer markable in hours. We are looking at days here now. I am not entirely sure that all the #1 hits are on here but enough are for me to enjoy the whole thing.
   
   It is also filling some gaps I have in my newly forming Beatles collection. Some of their songs it seems aren't on the albums and this CD got them in my hands and ears. That shows the value of the CD right there.
   
   Very enjoyable and highly recommended.

5 comments about Rubber Soul.

1. I was amazed to find a couple of songs on here that I didn't remember. This has a lot of my favorites. If you are a Beatle fan, I would definately recommend 'Rubber Soul'.



2. My favorite Beatles album, actually. Others were more experimental, influential, and innovative, but Rubber Soul is really the bee's knees, musically speaking. Chronologically speaking, it captures the Fab Four at a crossroads, bridging the gap between their tenure as the world's smartest teen pop band and rock `n' roll's preeminent celebrity mad scientists. As such, it captures the best of both worlds: The songs are smartly crafted pop classics with perfect melodies, but they're also bold and original. The lyrics are subtly poetic, the instrumentation is rich and complex, and even the most innocuous tracks burble with exciting new ideas.
   
   "Norwegian Wood (This Bird Has Flown)" is a sepia-toned miracle, full of folk and mystery and parallel-universe pop melodies. It also has some of the best use of a sitar on a Beatles record. "In My Life" is a tearjerker that can really jerk tears, a haunting work that's full of memory and melancholy. "Drive My Car" is really fun and really groovy, and the guitar solo is wonderfully, unbelievably, quintessentially 60s.
   
   But the real draw of this album is the underappreciated gems. Rubber Soul is full of `em. Take "You Won't See Me," for example. It would have been the highlight of just about any other 60s group's career- it's an absolutely flawless pop song, from harmonies to lyrics to chord progressions. It's cool, it's wistful, it's catchy, it's dynamic, and it's fun. Perfect, I tell ya! "I'm Looking Through" is absolutely gorgeous, and "Wait" has one of the most bewitching choruses in history. I even like the much-maligned "Run For Your Life," because it creates a genuine sense of menace and aggression. Marvelous!
   
   To top it off, the cover art is hipper than anything else in existence. Be hip and buy Rubber Soul. Bon Appétit.



3. A lot has been written and spoken about "Rubber soul" It is basically The Beatles coming of age release. Their work takes on a more reflected and personal identity. They sound more mature in their singing, playing and songwriting. At no time though does this CD sound heavy handed or preachy. Some of the pop sheen is still present, but their melodies and subject matter have a very passionate feel to them. They were still writing in a "singles" (45's) mode and so most everything on the CD sounds like it could have been a hit single in 1965. For that matter probably could be a hit record these days too. Really the only true throwaway song on here is Ringo's "What goes on?" Everything else brims with worthy craftsmanship. Imagine how good this album would have been had they included "Day tripper" & "We can work it out" instead of issuing them as a double A side single.



4. I received this CD as a gift and was very disappointed to find that the songs were not the same as on my old record. I've Just Seen A Face was my favorite song and it is not included.



5. Whenever Sid is driving in his car on a crisp autumn day the first thing he thinks about listening to is some Beatles. And, Rubber Soul just might be the best album the Fab Four ever made. "Drive My Car," the first track is good, a solid single for the lads. But, Sid tends to dislike many of the guys' "hits." It's the second track, "Norwegian Wood," that really kicks off the brilliance in the effort. This is one of the best song the group has ever done, and it is never mentioned in a listing of their better tunes. The whole album is excellent with the exception of "What Goes On," sung by the one and only Richard Starkey of course. The highlight, though, is the incomparable "Michelle." Sid defies you to find a sweeter ballad. If you can't groove with the mellow licks at the end of the song, Sid doesn't know what to tell you.

5 comments about The Beatles (The White Album).

1. Although I tend to prefer The Beatle's earlier work, this album is one of their best in my opinion. Double CD and all the songs are great. Worth every penny! You really can't go wrong with any Beatle album.



2. Beginning with the release of Rubber Soul in 1965, The Beatles quickly evolved from brilliant pop songwriters and performers to "serious" artists whose best songs stand comparison, in their craft and creative scope, with great classical music. As their music became more ambitious, The Beatles drew progressively further away from their rock and roll roots. After their last scheduled concert in August 1966, they gave up live performance to become exclusively a studio band. Their withdrawal reached its limits in 1967's Sergeant Pepper's Lonely Hearts Club Band, when they assumed the identities of fictional performers. The pendulum turned the following year. As suggested by its self-title, The Beatles (The White Album) was an effort by The Beatles to return to their original essence. In this quest, they faced great difficulties arising both outside and within the group.
   
   The first obstacle The Beatles confronted was that of history. Between the time of their first stardom in the early 1960s and their making of The White Album in 1968, the world transformed. The album was recorded during a time of political assassinations, Vietnam War casualties, and a sense of impending chaos. At a fundamental level, the meaning of everything had changed. In The Beatles' darker tone and loss of ebullience, one can sense how deeply affected they were as their musical home in rock and roll became a foreign place "back in the U.S.S.R."
   
   In addition, the individual Beatles had by now drawn far apart musically. John Lennon's shattering introspections ("Yer Blues," "Happiness Is a Warm Gun") had little in common with Paul McCartney's bursts of pure melody ("Blackbird," "I Will"). In songs such as "While My Guitar Gently Weeps," George Harrison emerged on The White Album as Lennon and McCartney's compositional equal, upsetting a balance in which his two band mates had been the dominant songwriters. Ringo Starr, too, moved more to the forefront with the recording of his first song, "Don't Pass Me By." Although The Beatles were still an ensemble, the White Album became very much a collaboration of four solo artists.
   
   Searching for their past, The Beatles broke new ground. The White Album's range is vast, with calypso ("Ob-La-Di, Ob-La-Da"), blues rock ("Yer Blues"), early heavy metal ("Helter-Skelter"), Indian-influenced rhythms ("Dear Prudence"), 1930s dance hall ("Honey Pie") and electronic sound collage ("Revolution 9") just a few of the forms represented. Instrumentation varies from the sparse guitar and bird song accompaniment of "Blackbird" to the luxurious, full orchestration of the concluding lullaby "Good Night." There are contrasting lyrics of distant love ("I Will") and uninhibited sex ("Why Don't We Do It in the Road"); pastoral repose ("Mother Nature's Son") and insomnia ("I'm So Tired"); forfeited time ("Long, Long, Long") and birthday celebration ("Birthday"). There are parodies of The Beach Boys ("Back in the U.S.S. R.") and The Beatles themselves ("Glass Onion"). Each of the album's nearly thirty songs and assorted fragments is unique. Together, they make up a library of styles reaching across all of music.
   
   To truly listen to The White Album is to wonder if, in the midst of its immensity, The Beatles have found their old voices. It is a question vital not only to these four musicians but to our entire era, for what we are asking about The Beatles we must also ask of ourselves. As we drift into a trackless future, is there a way back to our foundations? Somewhere in The White Album is an answer.



3. The Beatles (aka The White Album) is a fascinating mix of many diverse styles and finds the Beatles stretching out a bit more as far as stylistic daring goes. As a casual Beatle fan, however, I feel there is also a lot of what I do not love about them all that much. There are too many lightweight songs mixed in with the bona-fide genius of others. I am sure die hards love this sort of thing and find the appeal of those songs all the more endearing. I am, however, not in that category and can't help but feel there is one solid single album somewhere in between these grooves. I mean, all double albums give a band the opportunity to branch out and approach styles they would not normally test out for the public. That's not the problem. The problem lies in the filler material, in which there is plenty of.
   
   I cannot blindy call this album a Beatles' classic when in comparison to "Abbey Road", "Revolver" and "Rubber Soul". EVERY song on those mentioned albums was stellar (well, maybe not Yellow Submarine) but you get the point. Unlike popular belief, The Beatles weren't always perfect and The White Album, which for most of it is as good as good music gets, is the real beginning of the cracks that had begun to appear in their relationships with one another. You have Fluff like "Wild Honey Pie", "Bungalow Bill", "Why Don't We Do it in the Road", "Honey Pie", "Savoy Truffle", "Good Night" and the eight minute catastrophe of "Revolution 9" alongside masterpieces such as "Dear Prudence", "Ob La Di", "While My Guitar Gently Weeps", "Blackbird", "Birthday" and "Helter Skelter". Even the version of "Revolution 1" is not as good as the single version.
   
   All that being said, any understanding of the developement of modern pop music must start with The Beatles. The White Album, however, is not the place to start, in my opinion. Yes, it is better than just about anything else that was released during it's time by bands working the same territory, but it is not the best The Beatles have to offer. This is along the lines of "Let it Be", "Magical Mystery Tour" and (oh here come the comments) "Sgt Pepper". All classics, but not the creme de la creme.



4. Released forty years ago, "The Beatles" aka "The White Album" is notable for many reasons. It's the Fab Four's only double album. It differs greatly from the band's previous two psychedelic albums for a more back-to-basics approach which would continue with their following albums. It's a sprawling and at times schizophrenic record that documents the falling apart of the band as most songs are primarily composed by whomever is singing the lead with the rest of the boys as backup band. Though this is true going back to about "Beatles For Sale", it especially applies to this album as Ringo briefly quit for a while with Paul playing drums on "Back In The U.S.S.R." and a few other songs; Yoko Ono's presence in the studio which irritated everyone with the exception of John; and other personal events that had the band unraveling.
   Kicking things off to a rousing start is "Back In The U.S.S.R.", an inspired mixture of Chuck Berry and The Beach Boys. Sung by Paul with wonderful backup singing by John & George, it has a great melody and witty tongue-in-cheek lyrics. John's "Dear Prudence" with a sweet, cascading guitar line the boys became known for follows. This song was inspired by Mia Farrow whom they met during their stay in India for the purpose of studying meditation with Maharashi Mahesh Yogi. Next up is the lyrically self-referential "Glass Onion", another brilliant song by John. For me, the pseudo-reggae of Paul's "Ob-La-Di, Ob-La-Da" is cute but ultimately somewhat forgettable. It's another of the Beatles' children's songs in the tradition of "Yellow Submarine". "Wild Honey Pie" is another track that could easily have been left off the album, sounding totally like filler. John's "The Continuing Story Of Bungalow Bill" is mainly notable for its satiric lyrics and Yoko's unique backup singing. Its melody is especially weak when compared to George's stately, lovely "While My Guitar Gently Weeps" which follows. Graced with guitar solos by George's pal Eric Clapton, this song firmly establishes Mr. Harrison as a songwriter on par with Lennon & McCartney. "Guitar" also utilizes that trademark cascading guitar figure that bonds the verses with the choruses. This song is beautifully straight forward, abandoning the psychedelia (which I nonetheless adored) of compositions like "Within You Without You" from "Sgt. Pepper's Lonely Hearts Club Band" and "Blue Jay Way" from "Magical Mystery Tour". "Happiness Is A Warm Gun" is a song in three parts and the second song from this album in which John mentions guns. Spooky. In light of his tragic assassination in 1980, was this guy psychic? The verses on this one are a bit folk, the bridge is bluesy and the chorus is inspired by doo-wop. Again, the lyrics are delightfully tongue-in-cheek. Paul's "Martha My Dear" is a great little number that was inspired by his dog. John follows this with another bluesy tune, "I'm So Tired". Paul's sublime "Blackbird" was inspired by the American Civil Rights movement. It's just Paul, an acoustic guitar and birdsong and it's absolutely lovely in its simplicity. George's "Piggies" is another satire, this time concerning class differences. The first reference to Bob Dylan on "The Beatles" is "Rocky Raccoon" with Paul emulating the American poet in the lyrics and general form and tone of the song. Ringo makes his writing debut with the country song "Don't Pass Me By". The lyrics are dryly funny but like the songs that immediately precede and follow it (Paul's "Why Don't We Do It In The Road"), the tunes sound a bit tossed off, a bit throwaway. "I Will" is another very pretty song by Paul that is instrumentally minimalist with just acoustic and bass guitar. Disc 1 ends with John's ode to his mother, the delicate acoustic guitar ballad "Julia". It's a very touching song and its simplicity, it mirrors "I Will" perfectly.
   
   Disc 2 opens with the rocking "Birthday" which is followed by John's "Yer Blues", a tortured blues number that references "Ballad Of A Thin Man" with the line 'just like Dylan's Mr. Jones'. Paul's gorgeous "Mother Nature's Son" is next. Largely acoustic, it also features a lovely horn section. John brings back the rock 'n roll with "Everybody's Got Something To Hide Except Me And My Monkey" with its rollicking guitar bits. The piano-driven "Sexy Sadie" was written by John about the boys' fallout with the Maharishi. Lovely background vocals enhance an already terrific song. "Helter Skelter" proves that although best known for his beautiful ballads, Paul could rock like a hell-hound. 'Blisters on my fingers', indeed. Did he invent heavy metal with this song? I believe it predates Black Sabbath's debut album by a couple of years! George's "Long,Long,Long" makes a 360 degree turn from the heavy rock of "Helter Skelter". Anchored by organ, this song is a sublime marvel. The shift in tone, like so many from this album, is what gives "The Beatles" the schizophrenic feel I noted earlier. The version of "Revolution 1" on this album is quite different than the single version. Its focus is more acoustic and again owes a debt to doo-wop. I don't share Paul's love of the music hall/vaudeville genre but if you're curious about it, the second (!) "Honey Pie" is a great example of it. George's tribute to sweets, "Savoy Truffle" follows. It's a nice little rocker with swinging horns. John's haunting, beautiful "Cry Baby Cry" precedes the Beatles' most experimental track, "Revolution 9", which was constructed from various tapes John made. His association with avant-garde artist Ono becomes crystal clear after a listen to this mind-blowing 'song'. Paul & George had enjoyed making tracks out of tapes going back to "Pepper's" at least but had never released them under the Beatles name. It has enormously influenced my own music. If you enjoy "Revolution 9" then check out the works of Karlheinz Stockhausen, one of the original practitioners of musique concrete. "The Beatles" fittingly closes with "Good Night", a wonderfully wistful tune perfectly sung by Ringo.
   Needless to say and despite its flaws, "The Beatles" is an essential part of this amazing band's catalog. You won't regret owning it.



5. Disc 2 skips in the begining.......not cool..but it was great to hear this CD since I traded my white album years ago to my brother!

5 comments about Revolver [UK].

1. There's a reason why Revolver is a personal favorite for many Beatles fans: Sgt. Pepper may have been more innovative, and Abbey Road may be more pleasantly scatterbrained, but Revolver has better songs. It has "Taxman," which is one of the group's coolest numbers, what with that neat chord progression and those smug lyrics and the guitar solo that just screams "1966." It has "Here, There And Everywhere," one of the finest pop songs of all time (it was, after all, Paul's famous attempt to top Brian Wilson). It has the delirious rock classic that is "She Said She Said," and the languid beauty of "I'm Only Sleeping." "And Your Bird Can Sing" laid the groundwork for power pop with its sky-scraping melody and jangling guitars. "Tomorrow Never Knows" will rip your brain in half.
   
   Even the throwaways are fun: "Got To Get You Into My Life" and "Good Day Sunshine" are catchy and silly and soulful, and "Doctor Robert" is a fantastic poker-faced drug anthem. "I Want To Tell You" is worthwhile for its swooping fade-in, if nothing else.
   
   Plus, Revolver is just plain cooler than most of the Beatles other albums. While Sgt. Pepper's often (let's be honest here) got a bit too silly for its own good, Revolver always sounded like futurist pop art with a genuinely rockin' backbone. It was playful, but it was also smart and hip. It knew how to hold experimental tendencies in check when necessary. As such, Revolver has aged much better than most of the other "cutting edge" recordings of the 60s. It still sounds fresh and hip and exciting. Don't believe me? Buy it and see for yourself. You won't be sorry.



2. With "Rubber Soul", the Beatles started maturing as artists and moving away from "mere" teen pop, but it was with "Revolver" that they hit their peak. Certainly the albums that came later were perhaps even more ambitious and got more press and, yes, hype. Nevertheless if I have to choose a favorite Beatles album, it would be "Revolver". I've had this album for a long time (in LP format), and it's been one of my favorites. Almost by coincidence I was recently exposed to this album again after many years. I'm happy to say that this one absolutely stands the test of time. It's now on heavy rotation in my stereo.
   
   Originally on LP the US and UK releases of the Beatles allbums up to and including this one were different. I the case of "Revolver" the difference was that the U.S. version was missing 3 songs. The CD release is the UK version, so it includes all 14 tracks. There really isn't a weak track on the album, although perhaps the least "essential" track is "Dr. Robert". It's certainly a decent enough song, but it's not fantastic and doesn't really add anything crucial to the song mix. One reviewer suggested that "Paperback Writer", which has a similar style, would have been a better inclusion, and I would agree. Actually when I listen to the album, I typically skip two songs, "Yellow Submarine" and "Love You To". Both are certainly very creative groundbreaking songs that add to the variety of the mix, but frankly I don't need to hear them too often (all 3 of George's "raga rock" tunes have not dated well, IMHO). Everything else on the album is absolutely great.
   
   George Harrison's other two songs, the opener "Taxman" and "I Want To Tell You" are among his best, and really show him hitting his peak as a songwriter. Eleanor Rigby's lyrics and music (including brilliant orchestration) are case study in isolation and despair. "For No One" is also rather sad, but brilliantly crafted ballad by McCartney. "Here There and Everywhere" is more optimistic and has to be considered one of Mcartney's best songs ever. "Got To Get You Into My Life" and "Good Day Sunshine" are wonderful too, both bursting with a positive vibe.
   
   John Lennon's other 3 compositions are all experimental in nature. "And Your Bird Can Sing" `s most distinct feature is a very unusual guitar riff. The sound of the guitar can be described as a sunnier version of the one on "Rain" (The single "Paperback Writer" / "Rain" is stylistically consistent with this album). This is contrasted with a refrain that sounds almost retro. The part when he sings "I'll be `round" could almost be from an early Beatles song. "I'm Only Sleeping" and "She Said, She Said" Have a druggy, lazy feel to them, with the latter having more overt psychedelic references. Of course the song that takes the experimentation to the furthest degree at that point in time is the closing song "Tomorrow Never Knows". This one must have truly been a mindblower in 1966! It incorporates all sorts of avant-guarde experimentation techniques - drones, tape effects, distortion, and a really strange song structure that basically has no chord changes to it. Not to mention the creepy "seagull" noises! The result is absolutely hypnotic and spooky. I really sounds like it's coming from another dimmension. Although this is definitely John's creation, evidently it was Paul that introduced the band to the tape manipulation techniques that were being used by such avant-guarde composers like Karlheinz Stockhausen. This contradicts the conventional wisdom that John was the experimenter and Paul was the conventional pop guy. They all seemed to have a real talent for absorbing ideas and influences, which they then seamlessly vowe into their onw style.
   
   In addition to strengths of the individual tracks, what makes this a fantastic album is how cohesive it is. There is incredible diversity, but it all fits together wonderfully. An essential album, I think!



3. With "Rubber Soul", the Beatles started maturing as artists and moving away from "mere" teen pop, but it was with "Revolver" that they hit their peak. Certainly the albums that came later were perhaps even more ambitious and got more press and, yes, hype. Nevertheless if I have to choose a favorite Beatles album, it would be "Revolver". I've had this album for a long time (in LP format). Almost by coincidence I was recently exposed to this album after a long time. I'm happy to say that this one absolutely stands the test of time. It's now on heavy rotation in my stereo.
   
   Originally on LP the US and UK releases of the Beatles allbums up to and including this one were different. I the case of "Revolver" the difference was that the U.S. version was missing 3 songs. The CD release is the UK version, so it includes all 14 tracks. There really isn't a weak track on the album, although perhaps the least "essential" track is "Dr. Robert". It's certainly a decent enough song, but it's not fantastic and doesn't really add anything crucial to the song mix. One reviewer suggested that "Paperback Writer", which has a similar style, would have been a better inclusion, and I would agree. Actually when I listen to the album, I typically skip two songs, "Yellow Submarine" and "Love You To". Both are certainly very creative groundbreaking songs that add to the variety of the mix, but frankly I don't need to hear them too often.. Everything else on the album is absolutely great.
   
   George Harrison's other two songs, the opener "Taxman" and "I Want To Tell You" are among his best, and really show him hitting his peak as a songwriter. Eleanor Rigby's lyrics and music (including brilliant orchestration) are case study in isolation and despair. "For No One" is also rather sad, but brilliantly crafted ballad by McCartney. "Here There and Everywhere" is more optimistic and has to be considered one of Mcartney's best songs ever. "Got To Get You Into My Life" and "Good Day Sunshine" are wonderful too, both bursting with a positive vibe.
   
   John Lennon's other 3 compositions are all experimental in nature. "And Your Bird Can Sing" `s most distinct feature is a very unusual guitar riff. The sound of the guitar can be described as a sunnier version of the one on "Rain" (The single "Paperback Writer" / "Rain" is stylistically consistent with this album). This is contrasted with a refrain that sounds almost retro. The part when he sings "I'll be `round" could almost be from an early Beatles song. "I'm Only Sleeping" and "She Said, She Said" Have a druggy, lazy feel to them, with the latter having more overt psychedelic references. Of course the song that takes the experimentation to the furthest degree at that point in time is the closing song "Tomorrow Never Knows". This one must have truly been a mindblower in 1966! It incorporates all sorts of avant-guarde experimentation techniques - drones, tape effects, distortion, and a really strange song structure that basically has no chord changes to it. Not to mention the creepy "seagull" noises! The result is absolutely hypnotic and spooky. I really sounds like it's coming from another dimmension. Although this is definitely John's creation, evidently it was Paul that introduced the band to the tape manipulation techniques that were being used by such avant-guarde composers like Karlheinz Stockhausen. This contradicts the conventional wisdom that John was the experimenter and Paul was the conventional pop guy. They all seemed to have a real talent for absorbing ideas and influences, which they then seamlessly vowe into their onw style.
   
   In addition to strengths of the individual tracks, what makes this a fantastic album is how cohesive it is. There is incredible diversity, but it all fits together wonderfully. An essential album, I think!



4. With "Rubber Soul", the Beatles started maturing as artists and moving away from "mere" teen pop, but it was with "Revolver" that they hit their peak. Certainly the albums that came later were perhaps even more ambitious and got more press and, yes, hype. Nevertheless if I have to choose a favorite Beatles album, it would be "Revolver". I've had this album for a long time (in LP format). Almost by coincidence I was recently exposed to this album after a long time. I'm happy to say that this one absolutely stands the test of time. It's now on heavy rotation in my stereo.
   
   Originally on LP the US and UK releases of the Beatles allbums up to and including this one were different. I the case of "Revolver" the difference was that the U.S. version was missing 3 songs. The CD release is the UK version, so it includes all 14 tracks. There really isn't a weak track on the album, although perhaps the least "essential" track is "Dr. Robert". It's certainly a decent enough song, but it's not fantastic and doesn't really add anything crucial to the song mix. One reviewer suggested that "Paperback Writer", which has a similar style, would have been a better inclusion, and I would agree. Actually when I listen to the album, I typically skip two songs, "Yellow Submarine" and "Love You To". Both are certainly very creative groundbreaking songs that add to the variety of the mix, but frankly I don't need to hear them too often.. Everything else on the album is absolutely great.
   
   George Harrison's other two songs, the opener "Taxman" and "I Want To Tell You" are among his best, and really show him hitting his peak as a songwriter. Eleanor Rigby's lyrics and music (including brilliant orchestration) are case study in isolation and despair. "For No One" is also rather sad, but brilliantly crafted ballad by McCartney. "Here There and Everywhere" is more optimistic and has to be considered one of Mcartney's best songs ever. "Got To Get You Into My Life" and "Good Day Sunshine" are wonderful too, both bursting with a positive vibe.
   
   John Lennon's other 3 compositions are all experimental in nature. "And Your Bird Can Sing" `s most distinct feature is a very unusual guitar riff. The sound of the guitar can be described as a sunnier version of the one on "Rain" (The single "Paperback Writer" / "Rain" is stylistically consistent with this album). This is contrasted with a refrain that sounds almost retro. The part when he sings "I'll be `round" could almost be from an early Beatles song. "I'm Only Sleeping" and "She Said, She Said" Have a druggy, lazy feel to them, with the latter having more overt psychedelic references. Of course the song that takes the experimentation to the furthest degree at that point in time is the closing song "Tomorrow Never Knows". This one must have truly been a mindblower in 1966! It incorporates all sorts of avant-guarde experimentation techniques - drones, tape effects, distortion, and a really strange song structure that basically has no chord changes to it. Not to mention the creepy "seagull" noises! The result is absolutely hypnotic and spooky. I really sounds like it's coming from another dimmension. Although this is definitely John's creation, evidently it was Paul that introduced the band to the tape manipulation techniques that were being used by such avant-guarde composers like Karlheinz Stockhausen. This contradicts the conventional wisdom that John was the experimenter and Paul was the conventional pop guy. They all seemed to have a real talent for absorbing ideas and influences, which they then seamlessly vowe into their onw style.
   
   In addition to strengths of the individual tracks, what makes this a fantastic album is how cohesive it is. There is incredible diversity, but it all fits together wonderfully. An essential album, I think!



5. THIS IS A TRULY REMARKABLE ALBUM, FOR IT IS THE FOLLOW-UP TO RUBBER SOUL. IN RUBBER SOUL YOU STARTED TO HEAR THE NEW SOUNDS THE BEATLES WERE CREATING, LEAVING A THIRST FOR MORE. WITH REVOLVER, THE GROWTH OF NEW SOUNDS AND INSTRUMENTS IS BREATHTAKING. THIS ALBUM COMPLETELY LET'S THE LISTENER KNOW THAT 1, THE FABS WERE ADVANCING MUSICALLY, MENTALLY, AND ARTISTICALLY. THE START OF THE ALBUM, TAXMAN, SHOWS GEORGE COMING UP TO PAR WITH JOHN AND PAUL. THIS IS A FANTASTIC ROCK TUNE. AND AS USUAL, PAUL ALWAYS PLAYS AN INCREDIBLE BASS PART TO RIVAL GEORGE'S SONGWRITING ENDEAVORS! ELEONOR RIGBY, SUPERB! AS GEORGE HARRISON'S START TO SIMULATE US WITH HIS INDIAN LACE SONGS, SUCH AS, LOVE YOU TO.JOHN FOCUSES ON HIS MENTAL STATE, YELLOW SUBMARINE COMES AS A KID'S TUNE TO BE SUNG IN GRADE SCHOOL, A SONG FOR RINGO THAT'S NOT BAD. DOCTOR ROBERT ROCKS OUT!PAUL CONTINUES HIS SONGWRITING WITH ADDING DIFFERENT INSTRUMENTS, MAINLY BRASS, AND THAT COMES OFF VERY WELL DONE. ALL IN ALL REVOLVER IS A MUST FOR ANYBODY WHO WANTS TO FURTHER THEIR MUSICAL TASTE. WITH REVOLVER YOU REALIZE THAT SOMETHING OF THE MAGNITUDE OF SGT. PEPPER WOULD BE NEXT.

5 comments about Dark Side Of The Moon.

1. If I were to be allowed five albums for the rest of my life, this would be at the top of the list. Just had to replace a missing album, and actually, as cheap as this was I think I'll keep buying CDs from Amazon. This one can never leave my collection, and if it does I'll have a replacement faster than you can say Pink Floyd.



2. There's a reason this album seems to consistently win "Best Rock Album of All Time" on many reviews I've seen. Besides the classics you've probably heard so many times, like "Time", "Money", and "Us and Them", there are long, very dreamy, instrumental passages, and many sound effects, such as those you hear at the beginning of "Money" and "Time". It is an album with an almost hypnotic quality. It is definitely one not to be missed by any rock fan.



3. There is a reason that any modern band with progressive, space rock elements is referred to as the "Pink Floyd" of its respective genre. Pink Floyd is a very important figure in rock history, and anyone who claims to be a fan of music should hear this album at least once.



4. I have always loved this album... I was sitting in a coffee shop with one headphone in and one out. And the part on 'the dark side of the moon' when the luner laughs, LOL, I actually turned around to see if someone had laughed behind me... It was hilarious, I giggle about that every time I hear that song...



5. I think Meddle is a better album, but this is the album that everyone will remember Pink Floyd by. And it's better than most bands will ever put out so it's hard to fault it. Anyone who likes rock probably ought to add this to their collection. There is a reason why this is one of the top selling albums of ALL TIME. It is a monument of rock - almost anything Floyd was ever involved with was.

5 comments about The Wall (Deluxe Packaging Digitally Remastered).

1. It's "The Wall"--- needed it on CD, Roger Waters tells all biography. If you haven't heard it-----your parents have. Or maybe the worms ate into your brain. Either way----- you love it or hate it on this one---- I love it.



2. I don't think this is Floyd's best album, but it is rock solid. I've always prefered Meddle to this. Still, it's a must own for any Floyd fan or rock enthusiast in general.



3. I was about 16 when this album was released, it became an anthem for me and my friends. The album and then the film transformed our lives and we didn't even know it at the time. All we really knew is that it was very, very good and we knew then (even as teens) that it was a masterpiece. The last great collaboration by the four remaining members post-Barrett. The Wall wasn't meant to be radio-friendly, however, the decaying AOR stations made many of the individual songs radio-friendly by means of minimal editing. Anyone who knows this work can tell you that any one song taken from the album can stand alone but the original color is lost if not consumed as a whole with all the parts intact.
   
   No need to go on-and-on about this cornerstone of modern pop music, just give it a listen, judge for yourself.



4. Had to replace our copy of a scratched cd. Need to have a hard copy of this classic! Can't believe how much I can still enjoy THE WALL after all these years! Everyone needs this in their collection! Peace.



5. I've always wanted this record, but retail chains were too expensive. Thanks for making it available.

5 comments about Wish You Were Here.

1. Purchased this music CD for our 21 year old son who has a great appreciation for really good music. The music being produced since 1995 is a "joke" and our son knows that. He fully appreciates the genius of late 60's, 70's and early 80's musicians who knew how to write not only the music but also the lyrics. This album was a landmark album and still better music to listen than anything on the public airways today.



2. Pink Floyd are an all-around amazing band. There is nothing quite like them. And with members such as Roger Waters, Dave Gilmour and Richard Wright, the group made some of the best records of the late 1960s and 1970s.
   
   'Wish You Were Here' is my personal favorite Pink Floyd record. While not as musically complex as 'Dark Side Of The Moon' and nowhere near a 'Wall' type of album, it is one of those timeless classics.
   
   'Shine On You Crazy Diamond' was written as a tribute to original guitarist and vocalist Syd Barrett, who passed away in 2006. The song is divided into parts, which makes the song even more interesting. And some of Gilmour's best guitar work is on that song.
   
   'Have A Cigar' features Roy Harper on the vocals. It's a pretty good song, and Harper proves he can sing progressive rock.
   
   And of course 'Welcome To The Machine' and 'Wish You Were Here' rank as some of PF's all-time best songs.
   
   Overall, if you've never listened to 'Wish You Were Here' and you really enjoyed 'Dark Side Of The Moon,' 'The Wall' and 'Meddle,' or you are new to Pink Floyd's legendary music, than buy it. It's a masterpiece.
   
   Highly recommended for anybody who enjoys great music. A classic. ENJOY!!!



3. What is the only way to continue impressing the world after the succes of The Dark Side of the Moon? With another master piece. "Shine on You Crazy Diamond" is a song that deserver the descrition of "sonic cathedral". And "Wish You Were Here" contains the best Gilmour's guitar riff.



4. This album is by far my favorite Pink Floyd release. Each track is a kind of magic that words cannot describe. Have a Cigar, Shine On You Crazy Diamonds, Wish You Were Here, Welcome to the Machine. Each track really conveys the magic that Pink Floyd experienced during this time, perhaps even more than DSoTM.
   
   If you're new to Pink Floyd, this album and DSotM should be a must buy. They're on iTunes and the Amazon MP3 store as well, if you disdain physical media. But, as with the music, there's something magic about owning the physical product in your cupboard. I highly recommend this album, perhaps just as much as Abbey Road and the White Album by the Beatles. These albums will go down as some of the best humankind has ever produced.



5. This album is basically a period of great catharsis. Syd barrett had sunken deeper into his drug-created
   psychosis ("Now there's a look in your eyes/Like black holes in the sky"), and all members of The Floyd
   hurt because of their fallen friend.
   Waters dedicated Wish You Were Here to Syd. All of the songs and music was a personal tribute to the Madcap; this set was Waters's own want to tell Barrett's story, and every note of this great session (like Dark
   Side of the Moon before it) drew a grave, yet proper and provocative, portrait of the man whose entire body
   of work was the main blueprint for acid and space rockers everywhere.
   This set was Waters's answer to "Oh, by the way,/ which one's pink?"

5 comments about Eagles - Their Greatest Hits 1971-1975.

1. There isn't much I can add to the other reviews in terms of this legendary group, inducted into the R&R Hall Of Fame in 1998. However, for those who are conditioned by the term "greatest hits" meaning those renditions that made it to the Billboard Pop Hot 100, be advised that these are all LP cuts.
   
   For example, while the hit single version of Witchy Woman, which came out on Asylum 11008 in 1972 (# 9) is 3:53 in length, the version presented here is 4:14. Likewise with Lyin' Eyes, a # 2 in 1975 on Asylum 45279 at 3:58, whereas the cut here is 6:24.
   
   For those seeking the single versions, and even those not overly concerned with such things, I would still recommended looking around for recent compilations which present upwards of 20 to 25 cuts, complete with informative liner notes and discographies. This has nothing in either regard.
   
   Also how, exactly, does Desperado fit within the term "greatest hits" - LP cut or not? That not only never made any singles charts, it wasn't even the B-side to one of their charted singles.



2. My first car had a stereo radio and tape deck and one of the first songs to get my attention on it was "Lyin' Eyes" because of the beautiful five-part harmonies on the song. It inspired me to buy the album and later to buy "Hotel California" and others, including "Hell Freezes Over" and "Long Road To Eden." Some of these I own in both CD and LP.
   
   These guys have the bestselling album of all time for good reason - it's great music flawlessly performed. And even with the changes in personnel over the years (including Don Felder's "firing"), they remain a must-hear act and if anything, they are keep getting better.



3. I wasn't the biggest Eagles fan, for sure, and I'm normally not fond of "Greatest Hits" compilation albums.
   
   However, this album gets a strong 4 stars from this reviewer, primarily because the music IS really good. Of course, if you hate the Eagles, you can't stand a country music influence, or if you're just biased by the fact that you've simply heard these songs too many times over the past 30-some years, then you will surely give this album a poor rating.
   
   People continue to buy this compilation because it truly represents the best of this band's first four releases, with one possible exception. Go ahead and listen to The Eagles (1972), Desperado (1973), On the Border (1974), and One of These Nights (1975); IF you like The Eagles' music, I predict with almost-absolute certainty that the listening enjoyment from playing this one CD will FAR EXCEED what you will get out of any of those single albums, each of which contains some very non-memorable tracks.
   
   I happen to have a fondness for their sophomore release "Desperado," with its old-west, outlaw theme. However, it's NOT like I can point to any particular songs on that album and claim that they were unjustly excluded from the Greatest Hits (the closest candidates might be "Outlaw Man" and "Bitter Creek").
   
   So what's the exception I alluded to above? In my opinion, the title track from "On the Border" was the ONE best "pre-Hotel" Eagles song that was for some reason not included on this album. It could have easily replaced what I feel was the SAPPIEST song on the Greatest Hits, that being "Best of My Love," which even this reviewer has a hard time listening to today.
   
   One more interesting note (forgive me if this has been brought up in one of the many reviews which preceded mine): back in the early 70's FM radio was just being born, and these Eagles songs predominantly became "hits" AFTER (and because of) the release of this Greatest Hits album! In other words, these songs were NOT popular AM radio hits when this album came out. This is very much unlike MOST greatest/best-of releases, which I tend to avoid because they are for the most part comprised of a bands most POPULAR tunes (instead of their truly BEST songs).
   
   Thus, these songs were not chosen for this album because of their popularity, which sets THIS Greatest Hits compilation apart from most others. These songs WERE the best Eagles songs from that era, and that is why this album continues to sell so well. If you like (liked) The Eagles, this is the only pre-Hotel album you really need to own.



4. ESSENTIAL ALBUM!!! This album, along with Michael Jackson's Thriller, flip-flop as the number one selling album of all-time. There are ten timeless classics here from the pre-Joe Walsh era of the Eagles. All but one of these songs charted & the one that didn't should have. There are a few omissions but they're minor ones.
   
   The album opens with "Take It Easy" which peaked at #12, Jackson Browne was a co-writer on this song. Next is "Witchy Woman" with it's American Indian sounding intro, it peaked at #9. "Lyin' Eyes" was one of the first songs from a pop artist that crossed over into the country charts. It went to #3 on Adult Contemporary, #8 Country & #2 Pop Singles. "Already Gone", one of their best rock songs went to #32. "Desperado" didn't chart but I consider it to be in my 50 greatest songs ever. "One of These Nights" was a #1 hit. "Tequila Sunrise" only made it to #64 but I consider it to be one of their best songs. "Take It to the Limit" was written & sung by bassist Randy Meisner, it went to #4 Adult Contemporary & #4 Pop Singles. "Peaceful Easy Feeling" went to #22. The final song on the album, "The Best of My Love" has a world-weary sounding vocal by Don Henley, another great song by the Eagles; it went to #1Pop singles & #1 Adult Contemporary.
   
   This is an outstanding compilation, good reasons for it being one of the two best selling albums of all-time.



5. The Eagles' album Their Greatest Hits 1971-75 was released in February of 1976.
   The album was released as a holdover until the next studio album but it would sell so consistently that it would hit #1 immediately in the US and stayed there for five weeks, get the first Platinum album award just introduced earlier in 1976 by the RIAA for a million copies sold and to date is the best selling album of all time here in the US alone with 29 million copies sold. It would overtake Michael Jackson's Thriller in 1999 once and for all as US album sales champ and it is because The Eagles were about the music whilst Mr Jackson's personal and legal troubles would banish him from popularity in the US and his music and image has been blacklisted/tarnished whilst The Eagles continue to thrive, even now in 2007.
   This album consists of ten tracks from the first four albums.
   The 1972 self-titled debut is represented by the Top 20 hits "Take it Easy", "Witchy Woman" and "Peaceful Easy Feeling".
   1973's Desperado is represented by its title cut and "Tequila Sunrise", both classics.
   1974's On the Border is represented by the rocker "Already Gone" and the band's first #1 "Best of My Love".
   1975's chart-topper One of These Nights is represented by the #1 title cut and the Top 5 smashes "Lyin' Eyes" and "Take it To the Limit".
   Drummer Don Henley, guitarist Glenn Frey, guitarist Bernie Leadon and bass player Randy Meisner plus late arrival guitarist Don Felder on these highlights from The Eagles' first four albums created timeless classics that are still getting airplay on classic rock and/or album rock radio.
   Their Greatest Hits 1971-75 is a great greatest hits and a good overview but if you want to go for the throat get 2003's Very Best of The Eagles 2-disc set for a superb Eagles overview.
   Highly recommended