Song for Juli Review

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Song for Juli ReviewI've worn this out in four formats-8 track, cassette, lp and finally cd. This is 70's california pop at it's best. Solid songs, solid rhythm section, a brilliant solist (Jim Rothmeil) perfect piano parts and one of the most distinctive voices in pop music. A little pop, a little jazz, a little country, just a great record.
The highlight is probably the jazzy Ridgetop, Jesse's ode to his Marin County home, followed closely by the title cut (a song about his then 6 year old daughter) and a cajun influenced Lafayette Waltz/Jambalaya
This cd is too sweet not to own it. Get it NOWSong for Juli Overview

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Elvis: '68 Comeback (1968) Review

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Elvis: '68 Comeback (1968) ReviewThis DVD has just the basics of Elvis' excellent 1968 special. If you want an in-depth presentation, you should get the 2 DVD Deluxe edition. This DVD includes nearly all of the footage of the original show. Elvis' performances are outstanding, especially the "informal" jam session, where Elvis actually plays his guitar instead of just using it as a prop! Elvis' informal jam session was an early precursor of the MTV Unplugged series that would follow more than 20 years later. The bonus material includes some outtakes and photos, but really does not add much to the set. This DVD should be enough for the average fan and it is available at a reasonable price. Hardcore fans will want the deluxe edition.Elvis: '68 Comeback (1968) Overview

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Jesus and ME Review

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Jesus and ME ReviewGlen Campbell is a longtime favorite artist of mine. His career has covered many genres of music. Just look at all the different artists he played for during his studio musician days! There were earlier forays in Gospel music. He recorded the "O Happy Day" album for Capitol. His composition "Less Of Me" has been a favorite with Gospel artists. A concert album included "The Lord's Prayer." I Knew Jesus (Before He Was A Star) was a hit. That album featured "Amazing Grace," with Glen on bagpipes. Yet the 80s and 90s brought a fresh committment to Christianity and Gospel music. This collection features many great songs. He recut "Amazing Grace." There are duets with Russ Taff and Anne Murray. He played a guitar solo on "The Boy In Me." Famed Christian trumpet player Phil Driscoll co-wrote "Jesus In Me." Glen said that it was like his life flashed before Phil's eyes. Sadly, I can't give this collection 5 stars. Several things bug me. 1. The practice of sticking new songs on a greatest hits collection should be illegal. There are two here. Ditto for remakes or live versions of old hits. 2. Most of these songs come from his New Haven albums "Show Me Your Way" and "The Boy In Me." How come no songs were included from "Wings Of Victory," the album in between? 3. We get the title song of his Word album "No More Night." If they could get it, how come they couldn't also license songs from the "Favorite Hymns" album? This would have made a great double album. Here's what I would have included. 1. Tall Oak Tree 2. Who's Minding The Garden? 3. I Will Arise 4. Wings Of His Victory 5. Searchin' Love (with Free Call) 6. I Surrender All 7. Suffer The Little Children (with Johnny Cash) 8. Less Of Me 9. The Lord's Prayer 10. Someone Above 11. O Happy Day 12. I Knew Jesus (Before He Was A Star)Jesus and ME Overview

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In a Silent Way Review

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In a Silent Way ReviewHe was sometimes called "the prince of darkness" for the nocturnal bent of much of his music, but Miles Davis and his crew gave a whole new meaning to 'late-night jazz' with In a Silent Way. This is another soundtrack for those quiet hours between midnight and dawn, but with a more wired and trippy bent than ever before. Instead of a muted piano, it features a blending of three soft electronic keyboards. An up-and-coming unknown at the time (some obscure guy named John McLaughlin) creeps in with an electric guitar; not with the wild Hendrixian solos that had electrified the rock world at the time, but with a wonderfully understated tone that only enhances the low-key quality of the whole record. The entire thing is an exercise in restraint and simplicity, not the sizzling group chemistry that would mark Miles's onstage explorations in the near future.
If there is such a thing as ambient jazz, it begins here. "Shh/Peaceful" embodies its title; the keyboards form a simple ethereal pattern, the simple cymbal and hi-hat scatter a little treble on top of it, and Miles brings everything together with his perfectly sweet touch on the horn. It's hypnotic, it's soothing, it's mostly peaceful and just a little restless. The sound doesn't become completely calming until we come to "In a Silent Way" itself, an elusive melody that refuses to stick in your head for a long time. It's heavenly and yet elusive.. like remembering a dream right when you wake up. Suddenly "It's About That Time" kicks in with a semi-startling jump and bops around a beautifully hummable bass line. We hear some actual drums for the first time, things kick into a semi-rocking but easy groove for a while, and then we eventually drift right back off into a dreamy repetition of the title theme. It's an album of soft tones and peaceful textures, an almost-surreal work that's timeless in its easy simplicity.
There's no point in mincing more words - this album weaves its own spell through being heard, and describing it in words can only hint at what the listening experience is like. The Complete Sessions box is also a worthwhile find for those already infatuated with this album's charms, but that's for a different review. The uninitiated can start right here.In a Silent Way OverviewA foreshadowing of the area between rock and jazz that he would further explore with 1970's hypnotic Bitches Brew , this was Miles' first album to feature a full-blown electric approach. Incorporating elements of classical sonata form, both of the lengthy cuts featured here defy convention with 3 distinct "movements" in which harmony, rhythm and melody take a back seat to impressionistic texture. Listen closely, and you can hear the earliest inklings of modern-day fusion on Shhh/Peaceful and the equally spacey In a Silent Way/It's About That Time .

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Cream - Royal Albert Hall - London May 2-3-5-6 2005 (2005) Review

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Cream - Royal Albert Hall - London May 2-3-5-6 2005 (2005) ReviewI bought this DVD with some degree of trepidation given that most of these reunion gigs/albums whatever seldom live up to the hype Rumours have abounded about Jack Bruce's poor health and finances as well as personal emnities between the various band members but in the end I could not pass it up.
From the moment that the band walked on the stage I had a lump in my throat and from the very fist note it was clear that in the intervening years since Goodbye Cream the only thing that had changed was the degree of skill and virtuosity that each possessed had increased.
I am not churlish about the song selection given the stated number of songs that the trio had played together summed to only 35 as per Bruce including the ones that had never been played. I am sure that each of us has our own favourites that we wanted them to play and we were disappointed by their exclusion but ce la vie. I do agree with others that a gesture to the diehard fans about making available the totality of the concerts available on CD would be a good one. Especially since Eric has done it before regarding his solo performances in the same venue.
Before foccussing on the songs I must say that for me the most poignant moment can when they were performing Badge and Clapton left the section attributed to his friend George on the album silent before resuming his blistering, very heartfelt playing. If these shows are about anything it is about learning that life is too short for holding grudges and we should all be thankful of each opportunity to share our wonderful gifts with others.
Aside from the music the highlights of this two disc set lie in the camera shot of Brian May in the audience during the performance, another friend who has been a good asscoiate of Eric's in recent years and the brief interviews, alas each done separately giving us insight into the shows.
AS for the music, it is a shock to the system to see what these three old men can put out on stage just in terms of the sheer power of the trio. The band rehearsed a lot we know but the blistering improvisations remain outstanding and the Grateful Dead would be proud. The interplay between Bruce and Clapton was a joy to behold and Bruce's bass almost seemed to be alive. Ginger Baker may be getting on a bit but he can still pound the life out of the drum kit.
For me Crossroads brought tears to my eyes as did Badge, The initial chords of the blues song seemed an anachronism in an odd sort of way but Clapton has a way of giving each song another idiosyncratic feel at the heart of the blues tradition but at the same time in a very contemporary manner. His seemingly endless capacity to express his emotions in a different way in each song in such an easy manner is incredible and that was no more so in evidence in We're Going Wrong.
To me none of the songs were a disappointment even Pressed Rat and Wharthog which even seemed to belong. You almost wanted the discs to go on forever and the surprising thing is that by the end they do not seem to have been on long at all.
I thought that I had seen the pinnacle of Clapton playing at the Concert for George in the loving yet mournful rendition of While My Guitar Gently Weeps yet in these shows you found the full gamut of hurt and anguish, joy and pain, being delivered almost offhandedly by a Clapton whose own life experiences have earned him the term blues player. These three guys on the stage infront of such a mixed age audience drew us all in the to excellent playing and in effect into their own intimate relationship. The DVD selection in the fantastic sound derserves to be in every home.
Cream we salute thee. The Cream is dead. Long live the Cream.Cream - Royal Albert Hall - London May 2-3-5-6 2005 (2005) OverviewIn May of 2005 Cream returned to London's Royal Albert Hall-to the same stage where they had completed what was thought to be their final performance in 1968. It was one of the most eagerly anticipated, hard-to-get tickets in rock history. With the exception of a brief reunion set at their 1993 induction into the Rock and roll Hall of Fame, Cream had not played together in nearly four decades. This DVD documents Cream's momentous London shows. Performances from each of the four nights are featured and much more. Also included are alternate performances and interviews with Ginger Baker, Jack Bruce, and Eric Clapton. Cream formed in 1966 and disbanded in 1968. The band were a prolific and thrilling live act and toured incessantly in their short but remarkable history.Track Listings: I'm So Glad, Spoonful, Outside Woman Blues, Pressed Rat & Warthog, Sleepy Time Time, N.S.U., Badge, Politician, Sweet Wine, Rollin' & Tumblin', Stormy Monday, Deserted Cities of the Heart, Born Under a Bad Sign, We're Going Wrong, Crossroads, Sitting on Top of the World, White Room, Toad, Sunshine of Your Love, Spoonful (Alternate Takes), Sleepy Time Time (Alternate Takes), Badge (Alternate Takes), Sweet Wine (Alternate Takes), Rollin' & Tumblin', We're Going Wrong, White Room, Sunshine of Your Love

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12 X 5 Review

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12 X 5 ReviewThis is the remastered super audio CDs (SACD) of the Stones ABCKO catalog (which includes all the early Decca/London material. ABCKO acquired the Stones' catalog after Allen Klein became their manager in 1965. The legal battles during the 70s produced releases that the Stones opposed (they took out full page adds asking fans not to buy them), including the controversial Metamorphosis releases (which are now available on CD for the 1st time ever). But the sad fact is that the Stones lost control of their great early material. With these remastered SACD releases, we at last have some idea of what they really sounded like in the studio. I guess if we had these 40 years ago they would have ended up Greatest Rock And Roll Band in the Universe instead of just our tiny little World.
This is the Stones 2nd US album, released Oct 23, 1964. It cemented the early blues band legend with tracks from their famous Chess Studios session in Chicago during the 1st American tour (Muddy Waters helped carry their gear into the studio) and tracks recorded at Regent Sound in London. Essentially, this is the album that finalized their status as champions of Chicago blues.
The album starts with Check Berry's Around And Around, which the Stones had been doing as a show stopper in the UK, the big hits Time Is On My Side and It's All Over Now, and the great slow blues numbers Confessin' The Blues & Good Times Bad Times. Although they used to do a lot of instrumentals, 2120 S. Michigan seems to have survived as the only memory of this part of the early Stones familiar to most fans. Personally I always liked Congratulations, but never cared for their version of Susie Q, although it was very popular at the time.
The tracks recorded June 10-11, 1964 at Chess Studios in Chicago were:
.....Around And Around
.....Confessin' The Blues
.....Empty Heart
.....Good Times Bad Times
.....It's All Over Now
.....2120 S. Michigan version 2
.....If You Need Me)
Tracks recorded at Regent Sound in London were done on Feb 25, 1964
.....Susie Q
June 24-26, 1964
.....Time Is On My Side version 1
.....Congratulations
Sep 28-29, 1964
.....Under The Boardwalk
.....Grown Up Wrong
This album was never released in the UK, however the tracks on it were released in the UK as follows:
6-26-64 It's All Over Now, Good Times Bad Times
8-14-64 Five by Five EP - If You Need Me, Empty Heart, 2120 S. Michigan version 1, Confessin' the Blues, Around and Around
1-16-65 The Rolling Stones No. 2 - Time Is On My Side version 1, Grown Up Wrong, Under The Boardwalk, Susie Q
Congratulations was not released in the UK until 10-5-73 on the album No Stone Unturned
This information comes from "It's Only Rock And Roll: The Ultimate Guide To The Rolling Stones" by Karnbach and Bernson and from my own collection.12 X 5 Overview12 X 5 includes material recorded by the Stones at Chicago's Chess Studios (home to the band's idols Muddy Waters and Howlin' Wolf) on their first US tour. Though this document of the group's early R&B period kicks off with a couple of covers from unsurprising sources (Chuck Berry's "Around and Around,") Mick and Keith waste little time in displaying their own compositional acumen. The acoustic-based, bluesy "Good Times, Bad Times" harkens back to even earlier, more seminal Stones influences than Berry, as does the instrumental "2120 South Michigan Avenue," where the blues-obsessed Jagger's harp is featured a la his hero Little Walter.The downbeat, Arthur Alexanderish "Congratulations" is an effective expression of romantic melancholy, complete with acoustic guitar solo. The slide guitar chords on "Grown Up Wrong" echo another early blues influence, Elmore James. The milestones on this album are two R&B covers to which the Stones take more than a rote approach, "It's All Over Now" and the majestic "Time Is On My Side," which they make completely their own.

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Get Yer Ya-Ya's Out Review

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Get Yer Ya-Ya's Out ReviewSometimes called the greatest live album ever, Get Yer Ya-Ya's Out is a brilliant album recorded at Madison Square Garden during the Stones' 1969 live peak. While calling it the greatest live album ever is exaggerating its worth slightly, it's the best live album Mick and the boys ever released.
Ya-Ya's showcases how they've evolved as a band since 1966's Got Live If You Want It. Gone are the sloppy playing that was heightened by the screaming teenagers. Here, the band showcases themselves as accomplished and focused musicians. Part of this transformation was the new kid on the block back then, Mick Taylor. While not as versatile as Brian Jones, Mick Taylor played the best lead guitar ever for the greatest rock 'n' roll band in the world. Taylor works hard but never overplays; his riffs are brilliant on Jumpin' Jack Flash, Midnight Rambler & Sympathy For The Devil (listen to the second solo, it's by him, not Keith). Stray Cat Blues is much different from Beggars' Banquet's version, with the runaway's age changed from fifteen to thirteen, and slowing down the tempo. Love In Vain is brilliant, and on it Taylor again shines. Carol and Little Queenie are great and do justice to Chuck Berry's originals. Live
With Me Rocks with out-and-out fantastic bass playing by the great Bill Wyman. Honky Tonk Women is the only song here I think could have been better, but Street Fighting Man is great, thanks to yet again Taylor's fantastic electric lead guitar work.
Get Yer Ya-Ya's Out isn't the greatest live album ever, but it lands near the top. It's a blistering example of how good live the Stones are when they feel like being this good rather than extremely sloppy. Compared to this, Love You Live and Still Life are big letdowns. I recommend this album today.Get Yer Ya-Ya's Out Overview

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Chicago Transit Authority Review

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Chicago Transit Authority ReviewFew bands in history have produced a greater quantity of banal pop music than Chicago, so it's always a shock to play this album and remember just how cutting edge they were, how confident, brash and aggressive they sounded, in their first release. Few albums can boast as many outstanding performances as "Chicago Transit Authority", or "CTA", and with the exception of the Beatles, no band I know of ever boasted three lead singers as fine as Terry Kath, Robert Lamm and Peter Cetera.
"Beginnings" features a great vocal by Robert, lots of 7th chords, a gradually emerging latin beat, and fantastic trombone and trumpet solos. "South California Purples", uses long fade-in, fade-out brass notes, laid down on top of the power blues bass. "Poem 58" is a guitar tour de force by Terry morphing into a rousing, sexy, blues love song. Check out the intro by Terry, joined by Peter's bass rising into the fray, my favorite moment on the album. "I'm a Man" features all three singers strutting their stuff in succession to a jumpy, twitchy layer of percussion, putting even the fine version sung by Steve Winwood and the Spencer Davis Group into the dustbin of history. "Questions 67 and 68" is perfect power-pop. These are just my favorites, but there isn't a bad cut on here.
In 1969 Blood Sweat and Tears had the hit singles and the grammys, but this was the horn band with the most guts and impact, and was the true musical and spiritual descendent of the original Al Kooper-led BST of 1967. Much, but not all of it still sounds youthful and fresh 34 years after its release. By 1972 Chicago had hit rock bottom (of musical significance, not the charts), but in this original recording, they earned the right to appropriate the name of the city that was their home.Chicago Transit Authority OverviewTheir audacious debut double album from 1969 featured the hits Does Anybody Really Know What Time It Is?; Questions 67 & 68 , and I'm a Man .

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We'll Never Turn Back Review

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We'll Never Turn Back ReviewIt saddens me that there is a negative cabal giving this beautiful CD negative votes. They have not listened to this CD. This CD is one to savour.
"This is a soulful, soulful album. Mavis Staples has a voice that is so full of faith and conviction that it just pours right out of the speakers and into your ear. About halfway through the album, you want to stand up and scream, "THANK YOU, JESUS!!! THANK YOU!" And, really... it doesn't get much better than that. Any album that can make me like a version of "Jesus Is On the Main Line" as much as the Bad Livers` is a standout in my book." Thom Jurek
Mavis Staples with the assistance of Ry Cooder has produced a CD that is ageless. It is a CD that will be revered and listened to through the next millineium. She, is of course, a memeber of the Staple Singers, most often rememmbered for Pop Staples and his guitar and leadership. But, this CD, even at the age of 67 has given Mavis Staples a new life.
'We'll Never Turn Back' is a CD of songs associated with the 1960s civil-rights movement. "It's 2007, and there are still so many problems in the world," she writes of why she's revisiting songs such as 99 and ½ and Eyes On the Prize. Mavis has the Freedom Singers, join her. We'll Never Turn Back`s opening song 'Down in Mississippi' "As far back as I can remember," Staples sings, "I either had a plow or a hoe...", working in the hot Black Belt sun. Danger was everywhere--someone would go to jail for shooting a rabbit out of the hunting season, but "the season was always open on me...". Water fountains were segregated; so were "washaterias". The traditional "Eyes on the Prize" is a spiritual with Ladysmith Black Mambazo's backing vocals. The Freedom Singers begin on the album's fourth song, 'In the Mississippi River,' with Charles Neblet. The rock version of "This Little Light of Mine" makes it a new song. Mavis sings pure Southern soul in her vocal. On the popping gospel '99 1/2 Won't Do,' she goes down into the groove for inspiration and finds it there. Ry Cooder and his son, Joachim provide the back-up of great music that helps make this CD great. The longest song is 'My Own Eyes,' which Mavis wrote. It is an emotional time, recounting her journey through the civil rights movement as inspired by Dr. King. She raises her voice to sing "I saw it with my own eyes/So I know it's true," I have no doubt. Mavis indicts politicians on the failure in New Orleans. The final song is 'Jesus Is on the Main Line'and Mavis lets the graininess in her voice shine through.

"Producer Ry Cooder keeps it all sounding dark and dangerous, while Staples avoids cheap slogans and hollow platitudes to soulfully deliver the straight goods on growing up under Jim Crow in Mississippi and the horrors of post-Katrina New Orleans while questioning why people are dying in a rich man's war. Her great success is making these protest songs personal, and she does it in a most profoundly moving way. This is powerful stuff." Will Hermes
Mavis Staples with her father and Dr Martin Luther King started her long fight for freedom for her people many years ago. "It has been almost 50 years, how much longer will it last? Why are we treated so bad?" sings Mavis Staples. She knows the fight is long from over. Katrina was testimony to what needs to be done. She "Saw It with my Own Eyes' and we can hear the sadness and longing and need for truth from Mavis Staples own voice. She brings reality to the light. When will we all listen?

Heartily, highly recommended. Listen everyday. prisrob 06-17-07
Have A Little FaithCD
A Piece of the Action CD
Soul to Soul (DVD with Soundtrack CD) DVD
We'll Never Turn Back OverviewFrom the liner notes, by John Lewis:When I listen to this music, it takes me back.It takes me back to the redclay hills of Georgia, to the Black Belt of Alabama, and the Delta ofMississippi. It takes me back to the moans and groans and pains of anoppressed people yearning for freedom.It takes me back to the time whenhundreds and thousands of us decided we were "sick and tired of being sickand tired," as Fannie Lou Hamer said.It takes me back to the days whenordinary people inspired by a dream decided to quench our hunger and thirstfor justice in the fountains of mercy and love.Back then, some people thought legalized segregation in America would nevercome to an end.But those of us in the Civil Rights Movement were inspiredby a higher calling.And even if it cost us our very lives, "we weren'tgone to let nobody turn us `round". We believed that the action of peace,the way of non-violence, and the power of love could overcome ouroppression and remind our oppressors of their own humanity.Through thepower of this faith our nation witnessed a non-violent revolution ofvalues, a revolution of ideas that changed America forever.The music you are listening to right now was the soul of that revolution. It was this music that gave us hope when it seemed like all hope was gone. It was the heartbeat of this music and its steady, reassuring message thatbound us together as one solid force.So when we were beaten, arrested andjailed; when we stood together on picket lines or marched through thestreets of the Deep South; when we faced the guns drawn, the billy clubsand the bullwhips raised; when we were teargassed, trampled by horses, orscattered by fire hoses, it was these songs that lifted us and pushed us toa higher place.It is my hope that when you hear Mavis Staples, when you hear the FreedomSingers, and the other artists on this CD, that you too will be inspired. I hope this music will help you find the courage to stand up, speak up, andspeak out and answer the call of your own conscience.It is my hope thatthis music will help you see what ordinary people with extraordinary visioncan do when they decide they will never turn back.Rep. John Lewis

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Sweet Baby James Review

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Sweet Baby James ReviewWith the launching of this album, a thirty-year career was sent into high orbit. Of course, it is still up there, spinning and lightening our loads as we make our way through the days and evenings of our lives. If the baby boomers have a long-play soundtrack to their lives, most of the songs on this album would be on it, beginning with "Sweet Baby James", a lullaby written for his nephew but detailing his voluntary `escape' from the Austin Riggs center in Stockbridge. Massachusetts, riding down the turnpike to Boston, and on to London, where he was `discovered' by the Beatles.
Then there is "Fire and Rain", another autobiographical tune that was one of the biggest smash hits of all time, one covered by more solo artists than any other, and "Country Road", by now instantly identified by its opening chords by thousands of Taylor fans. It is all here, folks; the voice, the songs, and the guitar work that made James Taylor the superstar/singer/songwriter laureate of the seventies. Along with John Denver, Cat Stevens, Elton John, and Van Morrison, he virtually revolutionized popular music for a generation with his very personal, often intense, and always very approachable and melodic approach to music. There are hours and hours of wonderful experience in store for anyone with this album, whether you've come down in a space ship and are just introducing yourself to his work, or you are an old friend stopping by to sit on the front porch for a spell while Mudslide Slim plays and sings in his unforgettable voice for you. Enjoy!Sweet Baby James OverviewJapanese only SHM paper sleeve pressing. Features 2010 Remastering. The SHM-CD [Super High Material CD] format features enhanced audio quality through the use of a special polycarbonate plastic. Using a process developed by JVC and Universal Music Japan discovered through the joint companies' research into LCD display manufacturing, SHM-CDs feature improved transparency on the data side of the disc, allowing for more accurate reading of CD data by the CD player laser head. SHM-CD format CDs are fully compatible with standard CD players.--This text refers to an alternate Audio CD edition.

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Disraeli Gears Review

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Disraeli Gears ReviewIn the summer of 1968 a friend and I were fortunate fourteen-year olds... we scored a brief summer job clearing knee-high weeds from behind a sign manufacturing shop. With our $30 windfall we purchased two of the classic psychedelic albums released the previous year. I walked home with The Beatles 'Sgt. Peppers', while my buddy picked up Cream's 'Disraeli Gears'. Both were wise purchases, but I felt I had made the better choice since I got the cool pop-out Pepper inserts! Given the same choice today, I may well walk home with Cream...
'Disraeli Gears' is, arguably, the finest album recorded by Cream. The only real competition is from 'Wheels Of Fire', and that's a double-lp, so it's difficult to make comparisons. It is one of several albums that made the late-1960's psychedelic era the psychedelic era. It was the second of their four studio releases, and for most people it was the work that brought the band to their attention. Cream had a hit with 'Crossroads' from their first album, but 'Sunshine of Your Love' rose to number five on the national charts, and essentially ushered in the heavy metal feel for bands like Led Zeppelin and Deep Purple. The overall strength of 'Disraeli Gears' also easily eclipsed the quality of their first album, 'Fresh Cream'. Eric Clapton indulges heartily in the mainstay of psychedelic rock, the wah-pedal guitar, while Ginger Baker and Jack Bruce add their readily distinguishable style on drums and bass, respectively. All three contribute to the vocals, though Clapton and Bruce share most of the leads.
The origins of psychedelic rock albums and songs often has strange origins, and this album is a case in point. Consider that the title for this album was gleaned from a mispronunciation of "derailleur gears" for racing bicycles as "Disraeli gears". Can you imagine how many hours stoned-out freaks spent contemplating the connection between Benjamin Disraeli and gears? Ukulele Music To My Ears would have rhymed and perhaps made more sense. The psychedelic imagery is ever-present in the lyrics as well. 'SWLABR', for example, is an acronym for She Walks Like a Bearded Rainbow, words that appear nowhere in this rocked-up tune (though we are told that "the picture has a mustache"...).
I love the beginning of 'Disraeli Gears'. 'Strange Brew', which gleaned a lot of playing time on the emerging FM stations of the era, is the opener. It's followed by 'Sunshine of Your Love', 'World of Pain' and 'Dance the Night Away', superb psychedelic rock numbers. You would be hard pressed to find four finer consecutive songs on any disc. 'Blue Condition', like 'We're Going Wrong' are both slow, dismal numbers, which capture their stories well, but seem to stand in the way of rummaging through the other great rock tracks on the disc, 'Tales of Brave Ulysses', an excellent electrified cover of Arthur Reynold's 'Outside Woman Blues', and 'Take It Back'. 'Mother's Lament', a short (1:47), traditional cockney number, is the a capella closer, essentially a throw-away unless you're into traditional cockney numbers.
Eric Clapton and Jack Bruce are the author's of most of the great compositions found on 'Disraeli Gears'. The album is steeped in memorable guitar riffs and clever, thought-provoking lyrics. And few bands, especially bands stripped down to lead guitar, bass and drums, aside from today's White Stripes (who somehow do it with two...), rocked as fluidly as Cream. There won't be a dollar of your entertainment money wasted here.Disraeli Gears OverviewWith that day-glo cover and Sunshine of Your Love ! Also from 1967.

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Across The Universe Review

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Across The Universe ReviewInterscope Records has released three variations of soundtrack albums from the film - a standard edition and two deluxe editions. The standard edition contains 16 tracks from the film soundtrack. The first version of the deluxe edition features 31 tracks - all of the vocal performances and one of the three instrumental tracks. This 31-track version is available solely at the Best Buy retail chain and in a digital version via iTunes. A second version of the deluxe edition is available at other retail outlets. The second version differs from the 31-track version in that it omits two tracks: "I Want You (She's So Heavy)" and "Why Don't We Do It In The Road?". The total time for these two missing tracks is 5 minutes.
If you can get the 31-track version without a lot of hassle, then do so. But see no point in buying the 16-song single CD version when for a few dollars more you get more than 54 minutes of extra music.
The 29-track version is excellent and worth the money. Virtually every song is done in a manner very different from the original by the Beatles and yet it is very enjoyable and tasteful. Great, innovative cover versions, an amazing feat.
A final comment. Interscope Records is to be disdained for releasing 2 different Deluxe versions and causing both buyers and sellers a lot of needless decision making problems. Obviously, Best Buys made some marketing arrangement with Interscope Records but created a lot of angst for buyers.
Across The Universe OverviewACROSS THE UNIVERSE - MUSIC FROM THE MOTION PICTUREDELUXE - 2 DISC VERSIONA love story set in the 1960's amid the turbulent years of anti-war protest, mind exploration and rock `n roll. Jude (Jim Sturgess) and Lucy (Evan Rachel Wood), along with a small group of friends and musicians, are swept up into the emerging anti-war and counterculture movements with "Dr. Robert" (Bono) and "Mr. Kite" (Eddie Izzard) as their guides. FEATURING SONGS FROM THE GREATEST SONGWRITERS OF ALL TIME, PERFORMED BY THE CAST INCLUDING EVAN RACHEL WOOD, JIM STURGESS, DANA FUCHS, MARTIN LUTHER McCOY, BONO, JOE COCKER AND EDDIE IZZARD Package art will incorporate stills from pivotal scenes from the movie and a 16-page folder foldout poster with a strawberry image.

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Anthology 3 Review

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Anthology 3 ReviewFar from "scraping the bottom of the barrel," as some would have it, this third and final installment of the ANTHOLOGY CDs is clearly the most essential. Anthology 3 fills in the more gaping holes in Beatle lore. Not only should it be required listening for Beatle fans, there is plenty that will appeal to casual listeners too -- in contrast to the first two Anthologies.
There appears to be some confusion regarding this album's purpose. This is NOT a greatest hits collection. Rather, these are two CDs of outtakes from the WHITE ALBUM, GET BACK/LET IT BE and ABBEY ROAD sessions. Most of these recordings were much discussed but seldom heard over the years. A few had been unofficially released in the late 1980s and early '90s as part of the ULTRA RARE TRAX bootleg series. In 1995 and 1996 Capitol finally got around to officially releasing them to coincide with a prime time TV documentary about the Beatles.
Everyone is referring to Disc 1 as the Unplugged White Album and there is truth in that description. Seven songs are homemade recordings from May 1968; it's great fun to hear "Glass Onion," "Honey Pie," "Piggies," and "Happiness Is a Warm Gun" in such intimate acoustic form. Later, in the summer and early autumn of '68, the Beatles went into the studio to make the WHITE ALBUM. In those sessions they recorded fascinating alternate takes of "While My Guitar Gently Weeps," "Why Don't We Do It in the Road" and a calypso version of "Ob-La-Di, Ob-La-Da" (with acoustic guitars and conga drums) which sound nothing like the White Album versions. Other highlights include a slower, bluesier rehearsal of "Helter Skelter." There is a terrific demo of "Hey Jude," in which McCartney delivers an even more impassioned lead vocal than he does on the "official" version of the song. "Not Guilty" is a previously unreleased George Harrison tune that was left off of the White Album; in my unbiased opinion, it is better than "Savoy Truffle," which did make it onto the White Album. John Lennon's previously unreleased "What's the New Mary Jane" might be described as "Imagine" meets "Revolution 9." It's a strangely surreal piece that improves with repeated listening.
Moving on to Disc 2, its versions of "I've Got a Feeling" and "Dig a Pony" are considerably better than the ragged performances of those songs that appear on the forlorn Let It Be album. "The Long and Winding Road," presented here without Phil Spector's controversial overdubs, is another high point. [Update: The other non-Spector take of "The Long and Winding Road," released on LET IT BE: NAKED in 2003, is even better.]
Lennon had one foot out the door during the Let It Be sessions and it shows. Indeed, George Harrison is a more conspicuous presence on Disc 2 than Lennon is. The demo that George made of "Something," alone with his electric guitar, is beautiful. His demo of "Old Brown Shoe" is more compelling than the more elaborate version that was released as a B-side in 1969. The more keyboard-based version of "For You Blue" is charming. Most poignant of all is the demo of "All Things Must Pass," which became the title song of his epic debut solo album in 1970.
ANTHOLOGY 3 also offers a retrospective sneak peak at McCartney's solo career. "Junk" and "Teddy Boy" both went on to grace his first solo album. Even better is "Come and Get It," a song that McCartney gave to Badfinger (it was Badfinger's first hit).
This is not to say that everything on this album is a masterpiece. The rehearsals of "Octopus Garden," "Maxwell's Silver Hammer," and "Let It Be" are dispensable and add little; the same may be said of some of the White Album outtakes. Also, with a combined running time of almost two and one-half hours, there may be too much music here for casual listeners to digest all at once. Still, Anthology 3 has plenty of great music to behold and every Beatle fan owes it to him or herself to hear it.Anthology 3 OverviewThis 2 CD set is the original 1996 Apple/Capitol release. Catalog CDP-7243-8-34451-2-7.

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The Lumpy Money Project/Object Review

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The Lumpy Money Project/Object ReviewNow this is the sort of posthumous release Zappa fans crave. What MOFO did for Freak Out!, Lumpy Money does for Lumpy Gravy and We're Only In It For The Money, two of the most important albums in the Zappa canon. Herein you'll find three CDs of alternate mixes and historical artifacts surrounding the creation of these albums. The material includes much that is obscure, as well as much that is well-known but presented in an unfamiliar guise.
Disk 1 starts off with a 22-minute composition built mostly from the recorded orchestral sessions for Lumpy Gravy. You will recognize the music from the eventual 31-minute Verve release, but it is organized quite differently. This is apparently what the Capitol release was supposed to sound like before the record company kerfuffle over Zappa's contractual exclusivity delayed matters by a year, allowing FZ time to extend and rework the material into what we now know as Lumpy Gravy. The Capitol version was briefly available on 8-track cartridge, and then kicked around for years in bootlegs run from a stolen acetate test pressing. Here it's presented in mono, having been salvaged from a much better-sounding single-channel reference tape (apparently, neither a multi-track master nor a stereo mix tape has survived). It lacks sung lyrics, and has only a modest amount of spoken material, and most of that seems to come from rehearsal chatter, and not the piano-reverberated directed dialogue that Zappa inserted extensively into the released version (and 25 years later, into his swan song Civilization Phaze III). This may be the most interesting part of the set, a very distinct "primordial" version of what become Lumpy Gravy. If you've listened to Lumpy Gravy proper many times, and have grown tired of the spoken dialog but not the music, then you might really enjoy having this.
Of all Zappa's albums, WOIIFTM may be the one that presents the most textual issues. The original 1967 mix, released on LP the next year, had a thumpy and distorted bass register, and when Zappa reissued the album on CD in 1986, he substituted a 1984 remix that infamously featured new rhythm section tracks laid down by Chad Wackerman and Scott Thunes, replacing the original tracks from Jimmy Carl Black, Billy Mundi and Roy Estrada. After Zappa's death, fan interest led to the original 1967 mix's reappearance on CD, first by Rykodisk in 1995, then Phantom in 2008. This album restores the 1984 remix, and also offers an obscure 1968 mono mix. This latter version closely matches the 1967 stereo release, though with some slightly different instrumental balances and (obviously) none of the latter's trademark spatial exploits. Even the dialog snippets that were censored in 1967 (e.g., "...the Velvet Underground which is as s**tty a group as Frank Zappa's group" in Concentration Mood) are censored in this mono mix, though they're restored in the 1984 remix.
Sandwiched between the two WOIIFTM mixes is a version of Lumpy Gravy that Zappa created in 1984. Like the 1984 WOIIFTM remix, there are added/replaced drum and electric bass tracks. It also introduces singing into the first section, (sounds to me like Ike Willis, FZ and perhaps another singer) with Thing-Fish like lyrics like "Yo mammy, who's yo mammy, who's you daddy? Holy mackle. Whole round Moses..." going along with the original electric guitar tune. I don't get this, honestly, and in the end Zappa never released this version, which appears here for the first time. It does improve on the original mix with respect to stereo clarity in several sections, and once you get past the shock of the opening song, it's a very rewarding listen.
With the four alternate album versions out of the way, we move to Disk 3, which starts with a 25-minute track that seems to comprises the material that Zappa wrote out for the instrumental musicians in the 1967 recording sessions that seeded Lumpy Gravy. The music definitely sounds to me as though it was composed to be source material for an eventual collage, rather than as a standalone composition, but aside from being identified as "an FZ construction" that existed as a stereo mix on ¼-inch tape, it's not clear just how this was assembled. Much of the important instrumental music from Lumpy Gravy is here: including the extended section in septuple time that Zappa often subsequently performed, with lyrics, as Oh No (c.f. Weasels Ripped My Flesh). There is also music that anticipates the "big band" style of Grand Wazoo and the 1988 tour band. The remainder of the album is similar to Disk 2 of MOFO, consisting of outtakes, building tape excerpts, interview excerpts, and audio "home movies" such a brief Zappa experiment with electronic feedback followed by a conversation with his wife where surprise is expressed that the loud sound didn't scare the baby.

About the only misgiving I have about Lumpy Money is the price. As I write this, it's an expensive "luxury" item, whether you purchase it here or from the ZFT's Barfko-Swill store. At current prices it will only appeal to Zappa aficionados, or those with lumpy wallets. But if you can get it at a reasonable price, you won't be disappointed at the gems within it.The Lumpy Money Project/Object Overview

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Batman and Robin - The Sensational Guitars of Dan & Dale Review

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Batman and Robin - The Sensational Guitars of Dan & Dale ReviewThis is a cash-in album originally released in 1966 to exploit the Batman fad. It has gained some noteriety over the years, because Sun Ra and members of The Blues Project played on it. Musically, however, it is nothing special. Most of the tracks don't have much of a melody, and just feature the musicians jamming. This is okay to listen to, but it doesn't really represent the best of either Sun Ra or The Blues Project. However, I do have to say that the nearly 7 minute "Batman and Robin Over the Roofs" is pretty wild, cool and swinging. One unfortunate thing about this CD is that it is in mono. I think that a good stereo mix would really enhance this recording. This CD is really for hardcore Batman, Sun Ra or Blues Project fans only.Batman and Robin - The Sensational Guitars of Dan & Dale Overview

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Very Best Of The Moody Blues Review

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Very Best Of The Moody Blues ReviewFor those who are not familiar with the Moody Blues and are unsure where to start collecting their individual CDs, get this CD. While not all of their charting singles are here (it omits "Sitting At The Wheel") it does gives you a nice introduction to the Moody Blues, including the Denny Laine/Clint Warwick period where "Go Now" stems from.
While I totally appreciate all the reviews here, there are some inaccuracies I have to correct. First of all this collection came out five years ago, not more than ten years ago as another reviewer states (he's refering to the 1989 release "Greatest Hits/Legend Of A Band", which doesn't include "Go Now"). Secondly, "Nights In White Satin" is neither the "Days Of Future Past" version nor the single version. Rather, it's the complete recording WITHOUT the orchestral overdubs (the Moody Blues don't play on the introduction, nor do they play on "Late Lament", Mike Pinder's reading of Graeme Edge's poem, which was a seperate recording). Thirdly, they don't play on the orchestral ending/interlude of "Tuesday Afternoon"; this is where the single version faded anyway.
That said, it's still a fine representation of the Moody Blues (eons ahead of the Millenium Collection). However, if you don't mind spending the extra dough, get "Anthology" which is an even better collection (as a number of other reviewers allude to).
Peace.Very Best Of The Moody Blues Overview17 hits from all phases of their career, including-for the first time on any Moody Blues compilation- Go Now ! Other tracks- Tuesday Afternoon; Knights in White Satin; Ride My See-Saw; Question; Forever Autumn (from Jeff Wayne's "War of the Worlds"); Your Wildest Dreams; I Know You're Out There Somewhere , and more. Notes, pix even an interview with Justin Hayward!

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Jazz Samba Review

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Jazz Samba ReviewHow do you critique the album that started an era? Forty years later, Jazz Samba is still one of the most relaxing, rhythmically pleasing albums made. All instrumental, with the tenor sax of Stan Getz (the guy John Coltrane professed to admire!) and inspired guitar of Charlie Byrd. The entire album was recorded in one session in the performance hall of a Washington, D.C., church, and it puts legions of studio albums to shame.
While Desafinado and Bahia are the best known tracks, the album is a seamless experience and it is difficult to single out certain songs as superior. If Getz is one of the masters of the tenor saxophone, it is also hard to separate his proficiency from the effort as a whole -- it truly comes across as a tight ensemble effort. (For a contrast, Duke Ellington's masterful and equally essential Money Jungle released the same year finds the trio of Ellington, Mingus and Max Roach locked in a musical duel on a couple of tracks.)
Favorites? I enjoy Samba de Uma Nota So, but every time I reach for Jazz Samba I alway listen to the entire album. At least once. This and Getz/Gilberto belong in every jazz collection.Jazz Samba Overview

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Help Review

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Help ReviewBeatles for Sale and Help! are considered "holding pattern" works and are less revered by critics because they didn't introduce any great innovations or ground-breaking ideas. But I don't think that does these albums justice. Sure, most of the lyrical concerns are still love-oriented, but many of the lyrics are becoming increasing complex. Even a song like Yesterday shows a real maturity in the lyrics.
The songs offered here are the Beatles at the top of their game, in my opinion. Gorgeous melodies, catchy hooks, great harmony singing and sharp musicianship abound. The Beatles were becoming increasing facile in the studio, and it shows. The strength of songs like Help, Ticket to Ride and Yesterday are legend, but there are many other real gems on this album. You've Got to Hide Your Love Away, It's Only Love and Your Going to Lose That Girl are classic mid-period Lennon; McCartney answers with the rocking Another Girl and The Night Before, not to mention the beautiful, folky I've Just Seen a Face, all extremely underrated.
Harrison gets two songs on this album, and asserts himself well with the lovely pop of I Need You and You Like Me Too Much. Maybe not up to the dizzying heights of Lennon & McCartney songsmithing, but getter closer.
This leaves "filler" like Act Naturally, Tell Me What You See and Dizzy Miss Lizzy. Just listen to Lennon's vocal performance on Dizzy Miss Lizzy and try calling it filler...though admittedly, the guitar riff grates on one after a while. Ringo's "aw, shucks" reading of Act Naturally is PERFECT (and SO appropriate) and Lennon & McCartney's magical harmonies lift Tell Me What You See well above the pedestrian.
That's it. Overwhelming evidence, well presented, that this is not just a mediocre holding pattern album, but classic mid-period Beatles. It's now up to you, members of the juke-box jury.
I'll say no more.Help OverviewDigitally remastered digipak edition of this classic 1965 album from The Beatles featuring 'Ticket To Ride', 'Help!', 'You've Got To Hide Your Love Away', 'I've Just Seen A Face', 'Yesterday' and many more. The album has been remastered at Abbey Road Studios in London utilizing state of the art recording technology alongside vintage studio equipment, carefully maintaining the authenticity and integrity of the original analogue recordings. Within the CD's new packaging, the booklet includes detailed historical notes along with informative recording notes. A newly produced mini-documentary on the making of the album is included as a QuickTime file on each album. The documentary contains archival footage, rare photographs and never-before-heard studio chat from The Beatles, offering a unique and very personal insight into the studio atmosphere. Capitol.--This text refers to an alternate Audio CD edition.

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Folk Favorites of the '60s and '70s (Reader's Digest Music) Review

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Folk Favorites of the '60s and '70s (Reader's Digest Music) ReviewFolk Favorites of the '60s and '70s
Tracks/songs
Disc 1
THE '70s Superstars' Super Hits
1. TAXI Harry Chapin
2. I GOT A NAME Jim Croce
3. THAT'S THE WAY I'VE ALWAYS HEARD IT SHOULD BE Carly Simon
4. BRAND NEW KEY Melanie
5. BLUE BAYOU Linda Ronstadt
6. SAY YOU LOVE ME Fleetwood Mac
7. YOU'VE GOT A FRIEND James Taylor
8. I'D LIKE TO TEACH THE WORLD TO SING (IN PERFECT HARMONY) The New Seekers
THE '60s Superstars' Super Hits
9. REUBEN JAMES Kenny Rogers and The First Edition
10. CATCH THE WIND Donovan
11. REVEREND MR. BLACK The Kingston Trio
12. WICHITA LINEMAN Glen Campbell
13. IF I HAD A HAMMER Trini Lopez
14. RAIN ON THE ROOF The Lovin' Spoonful
15. I GOT YOU BABE Sonny and Cher
16. EBONY EYES The Everly Brothers
17. WINDY The Association
18. TURN AROUND Jimmie Rodgers
19. I SAW HER AGAIN LAST NIGHT The Mamas and the Papas

Disc 2:
'60s SOUVENIRS
1. BOTH SIDES NOW Judy Collins
2. EVERYTHING THAT TOUCHES YOU The Association
3. THE 59TH STREET BRIDGE SONG (FEELIN' GROOVY) Harpers Bizarre
4. TIME The Pozo-Seco Singers
5. LEMON TREE Trini Lopez
6. CLASSICAL GAS Mason Williams
7. LAZY DAY Spanky and Our Gang
8. A LITTLE BITTY TEAR Burl Ives
9. WALK RIGHT BACK The Everly Brothers
10. SWEET MEMORIES Mickey Newbury
11. NEVER MY LOVE The Association
12. CREEQUE ALLEY The Mamas and the Papas
13. DID YOU EVER HAVE TO MAKE UP YOUR MIND? The Lovin' Spoonful
14. GALVESTON Glen Campbell
15. LEAVING ON A JET PLANE The Mitchell Trio featuring John Denver
16. GREENBACK DOLLAR The Kingston Trio
17. ALL I REALLY WANT TO DO The Byrds
18. ALICE'S ROCK & ROLL RESTAURANT Arlo Guthrie
19. LONG TIME GONE Crosby, Stills & Nash
20. THE BEAT GOES ON Sonny and Cher
21. ChILD OF CLAY Jimmie Rodgers
Disc 3:
FOLK FAVORITES OF THE EARLY '70S
1. ME AND YOU AND A DOG NAME BOO Lobo
2. AMAZING GRACE Judy Collins
3. SUNSHINE Jonathan Edwards
4. LOOK WHAT THEY'VE DONE TO MY SONG MA The New Seekers
5. VENTURA HIGHWAY America
6. MOTORCYCLE MAMA Sailcat
7. SOME OF SHELLEY'S BLUES The Nitty Gritty Dirt Band
8. SOMETHING'S BURNING Kenny Rogers and The First Edition
9. MAKE IT WITH YOU Bread
10. THE NICKEL SONG Melanie
11. LOVE THE ONE YOU'RE WITH Stephen Stills
12. FANCY Bobbie Gentry
13. I NEED YOU America
14. NEVER ENDING SONG OF LOVE Delaney & Bonnie & Friends
15. GOOD TIME CHARLIE'S GOT THE BLUES Danny O'Keefe
16. YOU DON'T MESS AROUND WITH JIM Jim Croce
17. IF Bread
18. FIRE AND RAIN James Taylor
19. CITY OF NEW ORLEANS Steve Goodman
20. YOUNGER GIRL John Sebastian
Disc 4:
FOLK FAVORITES OF THE LATERS '70S
1. HOW SWEET IT IS (TO BE LOVED BY YOU) James Taylor
2. WE'LL NEVER HAVE TO SAY GOODBYE AGAIN England Dan & John Ford Coley
3. YOU MAKE LOVING FUN Fleetwood Mac
4. GET CLOSER Seals & Crofts
5. I'M A WOMAN Maria Muldaur
6. LOVE HURTS Gram Parsons
7. THANK YOU FOR BEING A FRIEND Andrew Gold
8. HERE, THERE AND EVERYWHERE Emmylou Harris
9. YOU ARE THE WOMAN Firefall
10. DUELING BANJOS Eric Weissberg and Steve Mandell
11. LOTTA LOVE Nicolette Larson
12. GOODBYE GIRL David Gates
13. MIDNIGHT AT THE OASIS Maria Muldaur
14. JUST REMEMBER I LOVE YOU Firefall
15. WELCOME BACK John Sebastian
16. LOST WITHOUT YOUR LOVE Bread
17. I'D REALLY LOVE TO SEE YOU TONIGHT England Dan & John Ford Coley
18. SHOWER THE PEOPLE James Taylor
19. SILVER THREADS AND GOLDEN NEEDLES Linda Ronstadt
20. JUST A SONG BEFORE I GO Crosby, Stills & Nash
1996 The Reader's Digest Association OPCD-8504 216BFolk Favorites of the '60s and '70s (Reader's Digest Music) Overview

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Love (CD + Audio DVD) Review

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Love (CD + Audio DVD) ReviewFor anyone who's a serious die-hard Beatles fan who thought they heard 'every little thing' the group ever did (the hours of 'Get Back' bootlegs, the mono 'White Album', all the 'rarities', Anthologies, and all the original LPs then CDs) will be amazed and impressed at what Sir George Martin & son did for 'Love' -- it must be heard, especially in 5.1 surround sound, to be believed. The original idea that George Harrison and Guy Laliberte (founder of Cirque du Soleil) to make a soundscape of Beatles music for a CDS show has been wonderfully realized. Songs we all heard for decades and hundreds of times over sound new again -- more so, the 'mash-up' concept literally re-invents the songs -- hearing 'Mr Kite!/She's So Heavy/Helter Skelter' yesterday for the first time was astounding -- the riff of 'Hey Bulldog' that makes a brief appearance in 'Lady Madonna', the string arrangment put to the demo of 'While My Guitar Gently Weeps', the newly remastered and remixed 'I am the Walrus' (finally!) -- it's a new day for Beatles fans. Some might view the Beatles' catalog as a sacred cow that should remain fixed and 'as was, as always should be' as they recorded it, and not be 'mashed-up' (all the superimposing of parts of one track onto another, time-shifting and altering the recordings to match tempos and keys). Understandable, since how indeed can really improve upon what they did way back when? But I very much enjoy 'Love' -- and appreciate that in with today's modern recording (Pro Tools was among the credits), Martin & son were able to present the timeless and beloved Beatles tracks in a new light, while making it clear how incredibly gifted the Beatles were -- you can hear all the instruments, vocals, sound effects better than ever before. While 'Love' might not be the best choice for a casual fan (one who has the red and blue best-ofs and/or '1'), it is an aural bonanza for a serious fan, in particular of the 'Revolver' era onwards with a focus on the psychelic years. To paraphrase the dearly departed George Harrison, I dig 'Love'!!Love (CD + Audio DVD) OverviewStereo CD will contain 78 minutes of newly mixed and mastered music packaged in a jewel box with a 28-page booklet including liner notes by George and Giles Martin. First time ever special edition will include both the stereo CD and a BONUS AUDIO DVD packaged in a digi-package with O-card. The DVD is audio only and will contain 81 minutes of music in both 5.1 surround sound and stereo (presented in DVD-Audio MLP, DTS, Dolby and PCM).

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