Essential Santana Review

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Essential Santana ReviewThis new 2 cd set from Santana is a good value. It is probably aimed at fans only aware of Carlos Santana's last two guest filled albums. It is a pretty handy set though. The material is from his tenure at Columbia records from 1969-1989. The set illustrates Santana's varied influences from latin, blues, rock, and jazz. The first disc contains material from the first and best incarnation of his band which featured Gregg Rolie on keyboards and vocals, Michael Shrieve on drums, Neal Schon on second guitar and the standard for Santana, a fiery latin percussion section. The material for this classic period includes a cover of Willie Bobo's (a big early influence) "Evil Ways", "Soul Sacrifice" and a medley of Peter Green's "Black Magic Woman" and Gabor Szabo's "Gypsy Queen". The Latin "Oye Como Va" and "No One To Depend On" based on another Willie Bobo song are notable. The live version of Miles Davis' jazz/fusion classic "In A Silent Way" is worth the price of the set alone. Material from Santana's team up with jazz/fusion guitarist John McLaughlin is also included. However, a number of essential cuts like "Persuasion", a cover of jazz saxophonist Gene Ammon's "Jungle Strut", and early instrumentals "Incident At Neshabur" and the great "Song Of The Wind" are omitted.
The second disk begins his transition to more single oriented material. It is beneficial in that it summarizes the better material from some of his weaker albums. The second disk includes covers the the Zombies' "She's Not There", Buddy Holly's "Well Alright" via Blind Faith, and Russ Ballard's "Winning". A rare live version of the Latin workout "Dance Sister Dance" and rockers like "Open Invitation" and "All I Ever Wanted" also make the cut. However, cuts like "Europa", "Aqua Marine" and "Blues For Salvador" show why Carlos Santana's Mike Bloomfield influenced guitar playing is highly admired. Not only can he play fast and flashy when necessary but he also has good sense of when to play slower and invoke real feeling in his playing. Last but not least is a duet with blues icon John Lee Hooker on "The Healer". The second disk is only 74 minutes long so another song or two could have been added to the set.
The set provides a good introduction to those curious about Santana's earlier work. The second disk summarizes some his singles from his spottier late seventies and eighties albums. While his first three albums are essential this set successfully shows the varied styles and influences of the latin/rock pioneer Carlos Santana.Essential Santana OverviewCarlos himself chose the 33 tracks on this nicely annotated, limited-edition overview! Includes Evil Ways; Jingo; Soul Sacrifice; Black Magic Woman/Gypsy Queen; Oye Como Va; Samba Pa Ti; Love, Devotion and Surrender (previously unavailable in the U.S.!); She's Not There; Everybody's Everything; Stormy; Well All Right; Winning; Hold On , and more.

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Shaman Review

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Shaman ReviewI've been a devoted Santana fan for most of his career. Heck, I remember buying his first album on vinyl shortly after it was originally released. I've probably bought more of his releases over the years than any other single artist I follow. I've seen him live many times, going all the way back to the 70's, and always treasured the experiences.
With all that said, I was thrilled to see him come back into public aclaim with "Supernatural". While concerned somewhat about the commercialism of that release, it was a fresh enough approach that I could enjoy it, and be happy for Carlos because of the renewed attention it brought him. And for the long-time Santana fan, there was still enough traditional Santana sound there to enjoy.
However, with "Shaman", I feel he goes overboard with the multi-artist/colaborator approach, and at the same time, doesn't infuse enough traditional Santana music in the mix. "Shaman" unfortunately displays the all-too-American approach to marketing: if they liked it the first time, let's do it bigger, louder, and longer next time.
Musically, there's little new here since "Supernatural". Some of the guest artists are really questionable, talent-wise. It seems they just wanted to stuff this CD as full as possible with diverse individuals. Listening to the CD, I was struck by how common most of Carols' guitar licks sounded - it seems I've heard them all before, many times. In itself that isn't a bad thing, but given he's in the support on most of these tracks, it becomes all the more noticable. Sonically, the release suffers on many tracks from the type of compression typically found on commercial pop releases. It's mixed to sound ok on the car radio or an average stereo. Audiophiles with revealing, high-quality systems will lament the lack of sonic potential.
Most disturbing was noticing in the liner notes a page dedicated to plugging "Carlos by Carlos Santana Licensed Products". Everything from women's shoes to sunglasses to inspirational cards. I know that given the complete derth of talent being released by the record companies these days, even a release this commercial from Carlos Santana stands heads above the average. But do they have to hang every commercial opportunity possible on his shoulders? Or is it his choice to allow all this? In any event, it screams "sell out!".
While this CD may garner some Grammy's (unlikey to be as successful as it's predecessor, but given the state of music releases these days, anything's possible), it finds a slightly unwelcome home in this fan's Santana collection. But artists have to grow in their unique ways, and I hope this eventually inspires new, and more fittingly "Santana" creations in the future.Shaman OverviewHas some surface marks but plays well. Buy with confidence--see my feedback. Thanks and enjoy this great CD!

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Paul Simon Songbook Review

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Paul Simon Songbook ReviewThe arrival of this album on compact disc (at last!) is a true delight for die-hard Paul Simon fans, and should provide a real delight of discovery for more casual listeners. A bit of history, first: This was the product of one of several pauses in the Simon and Garfunkel partnership. The two enjoyed a hit record in the 1950s as Tom and Jerry, but went their separate ways for a while before coming together to record "Wednesday Morning, 3 A.M." Although the album was billed as featuring "exciting new sounds in the folk tradition," it didn't create much excitement, vanishing almost without a trace.
So it was back to college for Art, and off to England for Paul, where he played in small underground clubs. A BBC announcer championed Simon's work, prompting public requests to buy recordings of his music. In May of 1965, Simon went into Columbia's studios in London with his acoustic guitar to record the tracks that made up this album. Some are repeated from "Wednesday Morning 3 A.M."; others would later find their way onto the second and third Simon and Garfunkel releases. According to one biography, the entire album was recorded in an hour, with Simon doing only one take of each song. (However, the liner notes on this release contradict that, indicating, for instance, the version of "Leaves That Are Green" that appears is take 11.)
The production bill for this simple venture reportedly totaled $300. (And yes, that's Kathy, of "Kathy's Song" fame, with him on the cover.) While the recordings from these 1965 sessions may lack the signature Garfunkel harmonies and the American studio polish, they offer a unique look at these masterpieces in their purest essence: just a man, his guitar, and the deepest feelings of his soul.
This might have been the birth of Simon's career as a solo recording artist. But back in the states, Tom Wilson, producer of "Wednesday Morning 3 A.M." was preparing to add electric guitar, bass and drums to one of the cuts from that album...a song that was also included on the "Songbook." It was "Sounds of Silence." And the rest, as they say, is history.
The "Songbook" has only been available in the U.S. as a vinyl import until now, except for its inclusion in a briefly-available boxed set of Simon's solo works. This long-overdue, but highly welcome release will help to fill a gap in many collections and provide an opportunity for fresh appreciation for these timeless songs.--William C. HallPaul Simon Songbook Overview

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Zuma Review

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Zuma ReviewWithout any possible question, this is one of Neil Young's greatest albums, and given the extraordinary length of his career and the amazing number of albums that he has made, that is saying something. This is also one of his most influential albums, producing a pattern for a host of guitar oriented garage and alternative bands in the 1980s and 1990s. It is impossible to listen to a band like Thin White Rope or Eleventh Dream Day or Nirvana and escape the conclusion that the members of the bands all grew up listening to the cuts on this disc.
Although this is widely known as one of the seminal guitar albums in the history of rock, there are two paradoxes in that claim. First, a couple of the songs are entirely acoustic and feature none of the grungy guitar found throughout the rest of the disc. "Pardon My Heart" is not merely acoustic, but soft and gentle as well. "Through My Sails" is a Crosby, Stills, Nash, and Young song. For me, it is the weakest cut on the album, and a potent reminder to me of why I prefer Neil Young on his own. The second paradox is that in many ways Neil Young really isn't a very good guitarist. Technically, there are probably a host of high school guitarists that surpass him. His solos are some of the most elementary in the history of rock. Nonetheless, Young seems to get more musical mileage out of relatively meager chops of any guitarist in history. He might not be a virtuoso, but in this album he virtually reinvents grunge guitar, and paved the way for a host of imitators.
Guitar aside, what drives this amazing album is the great, great songs that line up one after another. "Don't Cry No Tears" gives way for the even more stunning "Danger Bird." A couple of songs later we get one of my favorite Young songs, "Barstool Blues." "Stupid Girl" is not a work of misogyny like the Stones' "Under My Thumb," but yet another excellent guitar driven song. "Drive Back" is another great song that then gives away to the song that seems to define the entire album, the epic, majestic "Cortez the Killer," in which Neil gets to sing about his recurring subject of the European exploitation of the New World.
Neil Young has other albums nearly as good as this, and possibly a couple of others that are even better, like AFTER THE GOLD RUSH and TONIGHT'S THE NIGHT, but there isn't a single one of his discs that I have listened to as often or with as much pleasure. This truly is a disc that ought to be in the library of every serious rock fan.Zuma OverviewSeven of the nine songs on this album were recorded with a reunited Crazy Horse, and nearly all of them deal with the subject of romantic conflict and lost love: Don't Cry No Tears; Barstool Blues; Pardon My Heart; Lookin' for a Love; Through My Sails ; the seven-and-a-half minute epic Cortez the Killer , and more!

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American Stars N Bars Review

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American Stars N Bars ReviewFor the longest time, I did not add Neil Young's "American Stars 'N Bars" to my CD collection, because I had read and heard so much intense critcism of this album. But, I found a copy at my local 'used CD' store around the corner and decided to take a chance on this so called "oddities" album. Instantly, I fell in love with this crazy-quilt of both acoustic and electric music. I seem to love this CD for the very reasons that others disparage it. Yes, I know it's disparate, hodge-podge of songs. But, it's also raw and alive and seems to have a goofy, not-to-serious charm of it's own. On this album, Neil is no longer in the "middle of the road" ("Harvest"), but he isn't in the now infamously quoted "ditch" either ("Tonight's the Night", "On the Beach"). Young is sort of doing a balancing act in the middle, creating an album thats' sort of a warped, Frankenstein-like version of his classic, "Harvest". But it's a Frankenstein, that can tap it's toes and sort of dance. I love songs like the rustic "The Old Country Waltz" or the pulp Western tale, "Saddle Up the Palimono". I in particular, like the contributions of singers Linda Ronstadt, Emmylou Harris & Nicolette larson. They really work well with Young giving, that perfect '70s era country-rock feeling (especially Harris, who shines on "Star of Bethlehem"). According to one tale I've heard, the ladies thought they were just doing some 'practice, run throughs' of the songs. Much to their chagrin, they later learned that Neil was using these sessions as the final takes, hence the raw feeling of the songs.The electric portions of the CD are wonderful as well. "Like a Hurricane" is of course a classic and Young has played this long & Winding song for many years in his concert repertoire. I love the song's lyrical imagery and to be blunt, the guitar soloing just kicks some rock n' roll (...)! One of my favorites on this CD is the final track, "Homegrown", a funny little ode to small farms or the joys of harvesting 'weed' (you can take your choice). It's a bouncy tune that totally gives me a case of the giggles. No, "American Stars 'N Bars" is never going to be in the cannon of the "Great, Neil Young Albums". All I can say is I don't think it deserves it's bad rep. I liked it and highly recommend it!American Stars N Bars Overview

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Blue Review

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Blue ReviewThis is a great new album of fun country songs. When I first heard this, I thought LeAnn was an adult. What a surprise to find out she was my age! She is very talented and I think the songs are great! She is given country a great comeback and I think she did a very good job picking out songs. "Light in Your Eyes" is my favorite on the album, because I find it inspirational. "Blue" and "Cattle Call" are also some of my favorites. If you are a great country fan, or just discovering country for the first time, BUY THIS ALBUM!Blue Overview

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Tim McGraw and The Dancehall Doctors Review

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Tim McGraw and The Dancehall Doctors ReviewTim's show in Feb '98 was my first country concert of my life, and ever since then, I have been a big fan of his. His newest cd is great! "She's My Kinda Rain" is a great love song, and "Red Ragtop" tells a great story that many people can actually relate to. Not to mention Tim's cover of Elton John's "Tiny Dancer" is amazingly done! Only thing that can top it is the American Music Awards performance of the song as a duet with Tim and Elton. Another great song on the cd is "Real Good Man". "...when it comes to loving you, I've got velvet hands; I'll show you how a real bad boy can be a real good man..." That line just makes me melt. It sounds like he is singing his heart right to Faith. What a lucky woman she is! Ok, well, most of the cd has that same romantic idea. What a talented singer Tim is.Tim McGraw and The Dancehall Doctors OverviewFull Title - Tim McGraw & The Dancehall Doctors. Thecountry star's 2002 album combines a 70's vibe with rock &pop as well as country. Featuring the first single 'RedRagtop'. Curb Records.

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JJ. Cale featuring Leon Russell - In Session at the Paradise Studios, L.A. 1979 Review

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JJ. Cale featuring Leon Russell - In Session at the Paradise Studios, L.A. 1979 ReviewIf you like the music of J.J. Cale and you enjoy Leon Russell's unique take on any music he plays, you'll really take to this effort. It basically is like sitting in on a final practice for a studio recording. The band is arrayed in a small circle in Leon Russell's Paradise Studios. Lots of closeups, no crowd noise, pristine clear sound quality... very defined and nuanced... nice.
Mr. Russell mostly plays a Hammond B-3 and if you've ever listened to most of J.J. Cale's catalog, you'll know that this instrument is right at home in the instrument mix he chooses for his songs. It adds a distinctly Bluesy element to the sound signature whenever Leon stretches a little bit on a solo.
There's one guy, Cale's keyboard player, who doesn't sound quite "on" to me. I've only watched the DVD a couple times, so maybe he'll grow on me with time. The guy IS wearing roller skates, so that might tell you something. The second time through, he sounded better... more "on" than the first time through. The other players are all solid across the board. (Note: these people are still the band that Cale tours with today)
There is the occasional clunked note in this session and it's fun to see the reactions go through the band. These people have an easy, comfortable feel with each other and it's great to see.
For you guitar nuts, J.J. flips over this old Harmony guitar that he's "worked over" and it is enlightening to say the least. It's the guitar that provides Cale's signature sound on his early albums especially "Naturally" and you will be stunned when you see what he's done to it. I'll say no more as I wouldn't want to spoil the surprise. Let's just say 'not as originally built.' He also uses a Strat on a number of tunes and you get to see him play slide on several songs as well.
One thing I particularly liked about this disc is you get to see his hands at work close up. Good guitar players will tell you most of the cool sounds are in the player's hands - not the guitar, not the amp, not the strings, not the pickups. This disc demonstrates that like no other one I've found.
I wasn't quite sure what to expect when I bought it, but I was way more than pleasantly surprised. Let's hope you are, too.JJ. Cale featuring Leon Russell - In Session at the Paradise Studios, L.A. 1979 Overview

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Live Rust Review

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Live Rust ReviewImagine, if you will, that Capitol Records chose years ago to put out the Beatles' "White Album" on compact disk when the format was in its infancy, and for whatever reason decided not to invest the funds to put out a double CD, instead choosing to cram the entire thing onto one CD, and advertising it as a "specially low-priced single disk." But in doing so, they found that the whole thing wouldn't fit onto a standard disk, so they hacked about a minute or so out of "Revolution #9" (thinking nobody would notice), eliminated or shortened the silence between songs (if any), and nickel-and-diming the album until it fit just under the time limitations of a single disk. Then pretend that Beatles fans were too blinded by their fanaticism for the album to objectively criticize, let alone realize, the absolute horror of this corporate hatchet job. If this fictitious story sounds too weird for you, then now you know how I feel seeing five-star review after review here, when Warner-Reprise has performed the ultimate sin right under all our noses.
I only recently started amassing a CD collection of Neil, preferring to stick to the vinyl. I figured there will eventually be a remaster job of these albums, although with Neil you never know, and I could wait until then. But I broke down and went ahead and bought "Live Rust" on CD, which is one of my absolute top 10 favorite albums of all time. Knowing the guitar majesty of "Cortez the Killer" on this album better than I know my own date of birth, and having heard it countless times note-for-note, I immediately fast-forwarded to that track and waited for my world to be sonically blown to bits by the digital clarity of the CD, which happened indeed. For about four minutes.
And then I stopped cold. I stared out the window. I was frozen, playing air guitar to notes that were no longer coming out of the speaker, singing guitar parts in my head that weren't happening. "Am I getting that progressed into Alzheimer's already?" I thought, or is this some sort of a defective joke? Well, my Neil fan faithful, I'm here to tell you: the actual track of "Cortez" is approximately a minute and a half shorter than not only the vinyl version, but a minute and a half shorter than THE TIME GUARANTEED TO ME ON THE CD INSERT by good ol' Warner-Reprise. And where did this extra 90 seconds come from? well, it was right there in the LEAD GUITAR parts of the song, right prior to the "hate was just a legend" lyric. They have AXED a huge section of Neil's guitar lead, digitized it out to save space, and done God-knows-what to the rest of the album to give us a low, low price.
I frantically fast-forwarded the track to the end and compared the ending times on my CD player to the one on the CD cover. I was right. And I was disgusted. Then I started REALLY losing it: who was responsible for this? And why in the living name of God could any self-respecting Neil fan put up with the absolute desecration of one of the greatest recorded versions of one of his most jaw-droppingly gnarly songs?
I for one took the CD back. It took me a while to explain to the clerk why, but he chalked it up to a bad mistake on WB's part. Personally, I think their strange urgency in reissuing four of his least-selling albums "remastered with the original cover art" on CD is unusually nice, but I would much rather have a full-blown remastered version of "Live Rust" than anything else in his catalog. Especially now that I know about this hatchet job that sits on the shelf indefinitely, with no plans to improve on it. And Reprise, while you're at the task of putting that 90 seconds of guitar bliss back into "Cortez" that you so thoughtfully took out, go ahead and put out some other songs from that tour that weren't on the original CD to restore my faith in corporate America, because this is more of a disgrace than Watergate, "read my lips", and Monica's dress put together. Get the President on the horn.Live Rust OverviewJapanese reissue pressing features 16 tracks. Reprise. 2005.--This text refers to an alternate Audio CD edition.

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Soul Cages Review

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Soul Cages ReviewStarting this review, I intended it to be an ode to my most cherished CD. Instead, I simply cannot find the words. The rich tapestry of music and lyrics that enfold the listener defy description. Words that other reviewers have used, like "hypnotic," "poetic," and "beautiful" are right on target. This album takes you along on the artist's introspective tour of grief, love, and missed opportunities, and leaves you with a sense of peace and - if not understanding - at least contentment resulting from having the courage to undertake the journey in the first place.
You'll find everything here, from the sweeping "Island of Souls," "Wild, Wild Sea," and "When the Angels Fall;" to the heart-breaking "Why Should I Cry For You?;" the catchy "All This Time" and the harder, pop-ish "Soul Cages;" the elegantly simple acoustic guitar of "St. Agnes and the Burning Train" and the jazzy "Jeremiah's Blues, Pt. 1;" and the stunning depth of lyrics and imagery of "Mad About You."
Evidenced by my above descriptions, the music style swings from the sounds of Northumbrian pipes reminescent of the sea, to ensemble jazz, to solo acoustic guitar, to lush string arrangements. There's really something here for every music fan, but that fan has to be prepared for the overall somber tone of the album. This is my favorite album to listen to after the end of a hectic day, as it ultimately leaves you with a sense of peace. For sheer musicianship and sonic quality, this album deserves at least a listen. For the depth of involvement the music inspires in the listener, this album deserves a permanent place in any collection.Soul Cages OverviewSealed original longbox

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Kill to Get Crimson Review

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Kill to Get Crimson ReviewI enjoy some of MK's music a lot. When listening to his albums, I just get the feeling that his music has 'quality written all over it' - fine songwriting (especially the lyrics), immaculate guitar playing and superior production. Yet, despite this, I often find each album contains only 3 or 4 songs that I really enjoy, a couple which bore me to tears, and the rest are just OK (but to be fair, enjoyment of his music does benefit from several listenings). There will be some people for whom MK 'can do no wrong' and I also feel that way about a few artists - but MK is not (yet) one of these. So, I was a little cautious about buying this album, but I thought I'd take a chance because some of the pre-release editorial reviews suggested that I might like it. As it turns out, I was not too disappointed.
THE SONGS - MK's lyrics are always fascinating but he seems to have surpassed himself on this album - in many songs, capturing the quintessence of post-WW2 life for ordinary English people. Although, for the most part, the melodies are good (a few having a distinct Gaelic flavour), I wouldn't describe them as 'infectious'; and I thought 2 or 3 were, by comparison, rather bland. There are no up-tempo songs to speak of (a couple come close) and there are certainly no 'full-tilt rockers'. Few of the songs have that 'americana' influence to be found on previous albums (the 'Springsteen-esque' 'True Love Will Never Fade' being the main exception) - MK has moved eastwards across the Atlantic for much of his inspiration on 'Kill to Get Crimson'. It is the songs that define the mood of the album and I would describe this as 'nostalgic-reflective' (in a very English sort of way).
THE PLAYING - You get little in the way of 'rock guitar' and most guitar solos are brief; but MK's playing permeates all tracks and the sound is absolutely sublime. In addition to percussion and bass, accompaniment is provided by accordion, violin, cittern, flute, saxophone, trumpet, clarinet and vibraphone; these are used judiciously (and very effectively) to enrich the overall sound - the phrase 'less means more' is very apt here.
THE VOCALS - MK has a rich baritone voice which is 'slightly frayed around the edges' - a voice which may be an acquired taste for some but one which I find very appealing; his singing is somewhat smoother than on past albums and he manages to inject a 'folksy' lilt from time to time. His limited vocal range has occasionally let him down in the past, but there is little evidence of this on 'Kill to Get Crimson'.
For a change, I enjoyed the majority of the songs on this album; for what it's worth, the following in particular : 'Heart Full of Holes', 'We Can Get Wild', 'Secondary Waltz', 'Punish the Monkey', 'Behind With The Rent', and 'Madame Geneva's'.
If I were rating this album purely on it's all-round musicality and 'technical' proficiency, then 5-stars would be amply justified (as another reviewer has summed it up, it is 'clean, clear and perfect'). However, 2 or 3 songs didn't do a lot for me and so, in terms of my subjective enjoyment, 3.5/4-stars are more appropriate. The extent to which you are likely to enjoy this album much depends on whether you prefer MK's music with a North American or an English/Gaelic influence. Also, if you liked All the Roadrunning, there's a good chance you will like 'Kill to Get Crimson'. When considering the album's mood and musical content, of his earlier albums, The Ragpicker's Dream probably comes closest - so this is something else to bear in mind (but don't sue me if I'm wrong!). It's a very mellow and relaxing album which, vocally and instrumentally, is almost devoid of any edginess.
I liked this album quite a lot, but if your initial reaction is 'more boring stuff from Mark Knopfler', I would ask you to sit down and LISTEN to the music, one or two tracks at a time spread over a few weeks, because 'coming to terms' with MK's music is a gradual process. I think this is a good way to start appreciating, more fully, MK's beguiling songs and accomplished playing.
If you are not too familiar with MK's solo work and would like to try a compilation of his music, I can recommend Private Investigations: The Best of Dire Straits & Mark Knopfler. Just over half the tracks are Dire Straits' best known songs and the others are MK solo performances. This album is available as a 'Standard' version (1 CD & 14 tracks) and a 'De-luxe' version (2 CDs & 21/22 tracks); the link here directs you to the 'De-luxe' version.
Kill to Get Crimson OverviewBuilding on last year's Grammyr-nominated All The Roadrunning collaboration with Emmylou Harris, his highest charting non Dire Straits album to date Top 20 Pop, scanning 400,000 copies in the U.S. acclaimed singer-songwriterguitarist Mark Knopfler unveils his fifth solo album, Kill To Get Crimson. While certain to appeal to his loyal fan base, the album's artful guitar rock will also entice new fans to Knopfler's signature sound (he's #27 on Rolling Stone's 100 Greatest Guitarists Of All Time), instantly recognizable vocals and smart lyrics. A multiple- Grammy winner who has sold more than 110 million albums worldwide, Knopfler remains one of rock's most admired artists.

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Brainwashed Review

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Brainwashed ReviewPosthumous releases always seem to have the ghost of their author aboout them, with the inevitable questions: What if he or she had lived? Then what?Fortunately, George Harrison remained a creative, energetic spirit till the end (see "Horse to the Water" on the Jools Holland cd from last year) despite the challenges of recovering from a horrific attack at his Friar Park home and later facing the ravages of cancer. This album has wry and heartbreaking allusions to his bittersweet acceptance of his mortality. It's an incredibly moving, daring album about love, faith, and humor that not only will appeal to long-time fans but also to those new to Harrison.With assistance primarily from his son, Dhani, and friends such as Jeff Lynne and Jim Keltner, George delivers 12 songs, one of which is a spirited banjo-driven cover of "Between the Devil and the Deep Blue Sea." The album bears repeat listening, and there are many notable moments when one can hear George expressing his fun in simply rocking out on the songs, which makes one think of the simple love he had making music in previous performances such as "Apple Scruffs", "Crackerbox Palace", and the Carl Perkins and Friends session from 1985. It appears the finality of working with his son inspired George to go for broke--it's a shame they had only worked together recently. Some of the standout songs include the rocking "Any Road", the surreal Dylanesque "P.2. Vatican Blues", the candid "Looking for My Life" (which would make a great single), and the scathing title track which attacks the hypocrisies of the material world with vigor. Harrison's guitar work is magnificent (check out the heartbreaking slide instrumental "Marwar Blues") and his vocals and harmonies soulful ("Rising Sun" and "Pisces Fish"). "Stuck Inside this Cloud" (perhaps an allusion to the rigors of chemotherapy and radiation treatments he endured) is one of the most distinctive, unusual pop songs to be released as a single in the new century. As a longtime Harrison fan, I'd rank this among his very best works, solo and with The Beatles. Sonically, it comes across as mixture of ALL THINGS MUST PASS and THE TRAVELING WILBURYS, and co-producer Jeff Lynne opts for an understated mix this time around. In terms of melody and lyrics, there's plenty to enjoy, too-- real turns of phrase and shifts in tone that show a deep appreciation of blues and jazz. Thank you, George, for your music, humor, and ongoing quest for the truth in the sound and the fury of life.Brainwashed Overview
George Harrison Photos More from George Harrison

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Sailing to Philadelphia Review

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Sailing to Philadelphia ReviewIn sharp contrast to his last solo effort, 1996's wildly eclectic "Golden Heart," Mark Knopfler returns with a vengeance to the roots rock/folk/blues that defined his songwriting with Dire Straits. The result is "Sailing to Philadelphia," a stirring collection of tunes that can only be described as cinematic.
The driving first cut, "What It Is," oozes with imagery of Scottish nightlife and a slightly sinister undercurrent. Yet the song is thrilling; Knopfler's clean Stratocaster sound, which was his early trademark, is a joy to hear again, as his fiddle-like solos literally gallop to the fore.
The many ballads on the album are also quite atmospheric. In each lovingly crafted song, Knopfler layers varying textures and tones, and combined with his remarkable lyrics, they become little "movies" for the listener. "Prairie Wedding" evokes haunting scenes of the Old West, while "Sands of Nevada" is almost oppressive with the weary desperation of washed-up Las Vegas gamblers. The beautiful title track, a duet with James Taylor, works surprisingly well, as their vocals blend so perfectly. The best way to appreciate these gems is through headphones; every nuance adds to the experience.
The faster songs are also noteworthy. The tongue-in-cheek "Do America" sounds like a cross between "Money for Nothing," "Heavy Fuel," and "The Bug." And "Who's Your Baby Now" would certainly be the result if you tossed the Everly Brothers and the Beatles in a blender. "Junky Doll" is delightfully edgy, but "Speedway at Nazareth" is a marvel. The lyrics are sung at a snappy, bluegrass pace, but the instrumental climax roars with Knopfler's epic guitar work. His soloing here is reminiscent of the thunderous finale to "Telegraph Road," and helps to intensify images of heroic racecar drivers battling for position.
Imaginative, intelligent, and thoughtful, "Sailing to Philadelphia" will probably not appeal to the teen-pop crowd, who weren't even born when Dire Straits were in their heyday. This one's for us adults, and Mark Knopfler triumphantly proves, once again, he's still "Making Movies" with the best of 'em.Sailing to Philadelphia OverviewUK pressing includes one bonus track. 14 tracks in all. Universal. 2000.--This text refers to an alternate Audio CD edition.

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Sounds of Silence Review

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Sounds of Silence Review...Of course this is dated, kids; it was recorded in the mid 1960s, and several of the tracks were quickly re-recorded and re-dubbed in an effort to get something quickly out to the public to take advantage of the surprising smash success of the single "Sounds Of Silence", which the producers had dragged back into the sound mixers studio and re-cut with an electric guitar track overlaid on the locals while Simon and Garfunkel were touring in Britain with Donovan.
In essence, a listener should understand that this album was originally cut to showcase a new and innovative classical folk duo singing terrific harmonies and clear crisp acoustic guitars on mostly original folk music written by Simon himself. This is evident if one listens to the pristine unedited tracks like "Flowers Never Bend With The Rainfall", "Kathy's Song", "April Come She Will", or "A Most Peculiar Man". This is a terrific early snapshot of genius in the rise, and should be treated as such. Calling it sophomoric is like denying Dylan's brilliance in straight folk music before he went electric. Duh! To expect more of Simon at that point is to misunderstand when this was recorded, and to neglect just how dynamic and brilliant his rapid evolution to a position of prominence alongside the new voices of Dylan, Donovan, and Joan Baez really was.
This is an important and seminal album, one that clearly demonstrates the talents and artistry of a poetic powerhouse on the rise, and it should be appreciated for what it is rather than trying to form-fit it into some revised formulaic idea of what it should have been by people too young and ignorant of the rapidly evolving folk scene in the sixties to understand what they are criticizing. Take an old folkie's word for it; this is a great first album, and I highly recommend it. Enjoy.Sounds of Silence Overview

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Love Over Gold Review

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Love Over Gold ReviewMark Knopfler obviously loves to write passacaglias - pieces of music that start with a very basic theme, played by only one or very few instruments and, often over repeated crescendos and slow-downs, increasing in volume and instrumentation to a rousing finale, performed by either all instruments or the instrumental lead "voice;" in Knopfler's case of course his trademark Fender Strat. "Brothers in Arms" has elements of a passacaglia, and so does "Speedway to Nazareth" on his latest solo release, "Sailing to Philadelphia." His greatest achievement though, not only in this regard, has to be "Telegraph Road," the opening track of "Love Over Gold." In a little over 14 minutes, the song rises from a simple opening melody, evoking the loneliness of that man walking along a deserted track at the beginning of the song's story, to a final guitar solo which is among the most ambitious and evocative pieces of music written by anyone in recent decades, anywhere and in any musical category. In between, there are no less than two other guitar solos, each of them over a minute long; dramatic centerpieces in their own right in any song but this one. And like the song's instrumentation, its lyrics trace the story of civilization from that one man walking along a track to a modern city, with six lines of traffic (three lines moving slow), unemployment, desolation and anger; so apparent in Knopfler's coarse vocals in the final verse and echoed with even greater force in the instrumental finale.
"Telegraph Road" is followed by the sinister "Private Investigations," reminiscent of Alan Parsons's interpretation of the Poe classic "Tales of Mystery and Imagination" (listen to that steady beat underneath the instrumental part and tell me you don't hear the "Tell Tale Heart"), and as daring and elaborate in its composition as "Telegraph Road." Both pieces are made possible by the advent of Alan Clark and his skills as a pianist; and yet, here as there it is Knopfler's guitar play that takes front and center stage. Next is the wicked "Industrial Disease," followed by the album's title track, and last, "It Never Rains," Knopfler's bow to Bob Dylan, rendered in an interpretation so true to life that you inadvertently feel yourself transported back by a decade or more and expect him switch into "The Times They Are A-Changin'" any second. One may wonder why the record, given its mostly gloomy and cynical mood, was not named for one of the two equally stunning and dark first tracks. Perhaps, however, the answer lies in the title song's last verse: "It takes love over gold and mind over matter to do what you do that you must, when the things that you hold can fall and be shattered or run through your fingers like dust."
The album's cover rightly (although somewhat unnecessarily) describes "Love Over Gold" as "one of Dire Straits' most ambitiously conceived projects to date" and points out that it "reflects almost a year's worth of meticulous attention." Short of his film music (which he was not to start writing until a year later, with "Local Hero"), this album was the closest yet that Knopfler has come to classical composition; not just in the record's first two masterpieces but right down to little details like the xylophone air underneath the title track. It was a hard act to follow, even for a Mark Knopfler; and his virtually only choice was to take his music into other, and more diverse directions ("Brothers in Arms"). Listening to the remastered CD version of "Love Over Gold," you almost forget that unlike its mega-selling successor this recording was not "made for CD;" which in itself speaks volumes to the quality of the sound engineering and production and, more importantly, to the indeed "meticulous attention" given to every single instrumental and human voice of every single track on the album. In all of its 41+ minutes, and although it does not reflect as wide a range of musical styles as Knopfler's later work, "Love Over Gold" is one of the most complex pieces of recording he ever produced. It may have taken the release of "Brothers in Arms" to propel Dire Straits to worldwide fame forever. But it is impossible to listen to "Love Over Gold" and not recognize the unique talent of a man who, having found an initial foothold in the musical scene through the success of his band's first three albums, here made it clear once and for all just how much more the world had yet to expect from him.
Also recommended:
Alchemy: Dire Straits Live
On the Night
Dire Straits
Night in London
Sailing to Philadelphia (CD & DVD Audio)
Local Hero (1983 Film)Love Over Gold OverviewNo Description AvailableNo Track Information AvailableMedia Type: CDArtist: DIRE STRAITSTitle: LOVE OVER GOLDStreet Release Date: 09/19/2000

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The Ragpicker's Dream Review

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The Ragpicker's Dream ReviewFinally! A rock star who understands his strengths and knows how to use them to optimal effect! This is a brilliant, exquisite dispaly of song craft, subtle and sophisticated guitar playing, sublimely wrought melodies and arrangements that will stand as a hallmark of one of the truly great writers to have emerged at the end of the seventies. 25 years on and Mark Knopfler is more in command of his considerable powers than ever before. Perhaps through his soundtracks, stint with the Notting Hill Billies, his "Sailing to Philadelphia" Mark has shed his money for nothing vapour lock and emerged, or better reemerged as the eminent storyteller who so finally crafted epics like "Telegraph Road" and "Brothers in Arms" and of course "Sultans."
The genuine article, as one might say, he is Geordie through and through, and his borderlands colours wave bravely over this album of finely written stories. From the opening "Way Aye Man", all full of Tyneside atmosphere and courage to the closing "Old Pigweed" the narrators are real people with very effecting tales to tell. Knopfler and James McMurtry share that unique ability to gain the insight of people who live close to their circumstances, like most of us do, and dissect the issues that are the crest jewel of the decisions we make in life.
The band on this disc is just incredible. Chad Cromwell's drumming is the absolutely perfect foil for Knopfler's guitar lines, and fellow Notting Hillman, Guy Fletcher is on board to keep things organically true to the bone. The bass lines are as dynamic as the guitar runs and when you listen to "Coyote", complete with horns, it strikes you how well intelligence can swing. In some phrases, Knopfler brings to mind fellow Geordie Martin Stephenson, and perhaps it's in the Newcastle blood, the ability to swing. Certainly the pipe tunes from the tradition there roll with a sea spray you don't hear in other traditions, so it must carry over to more contemporary writers as well.
The waltz, "Ragpicker's Dream" is achingly beautiful, full of all the sentinmentality and bittersweetness of the waltzes he wrote for "Local Hero". Each and every song on this collection is a gem. As my headline states, this is a subtle, sophisticated masterpiece: it swings, it waltzes, it rocks and it stands on its own merits as a statement from a consummate musiciian and insightful writer of the daily vicissitudes of life that propel us as we embrace our past, present and future. Well done, Knop. Best of the Year!The Ragpicker's Dream OverviewThird solo album from the acclaimed leader of Dire Straits, Mark Knopfler, a rootsy American-leaning epic about theworking man. 2002. Warner.

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Stephen Stills Review

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Stephen Stills ReviewI'm astonished by the comments of the amazon.com reviewer. Stills is the most accomplished musician in CSNY: He played every instrument except the drums on the debut record and almost all on Deja Vu. While all the guys in CSNY have their strengths, Stills is the one with cache with serious players. Incidentally, it's Stills, not Clapton playing the solo in the middle of "Go Back Home." (Clapton plays the coda). Listen to Stills handle the Hammond B-3 on the jam with Hendrix. It's a shame this guy never lived up to his talent, but when this album was released he was at the top of his game.Stephen Stills OverviewHis first (1970) solo record, with Crosby, Nash, Clapton and Hendrix on board! Includes Love the One You're With; Sit Yourself Down , and more.

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Live at Massey Hall (CD/DVD) Review

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Live at Massey Hall (CD/DVD) ReviewThis is a tremendous CD which I whole-heartedly recommend. Neil Young announces before the fourth song that he will be playing "mostly new songs tonight." Five of the new songs would appear on the following year's "Harvest" album, which for my money, is Neil Young's finest. Did the audience realize just how extraordinary was this batch of new songs? Did Neil himself have any inkling of the phenomenal acclaim and acceptance "Harvest" would receive?
The songs are all performed solo by Neil, twelve on guitar, six (counting track 7 as two) on piano. (Unplugged, if you will, decades before that term was coined and turned into a marketing tool.)
One of the most interesting piano tracks is "A Man Needs a Maid/Heart of Gold." Neil introduces the song by saying "some people look at their life and say, well, my life is like a movie," then jokes that "this is like a showtune from my movie," perhaps foreshadowing the heavy production "A Man Needs a Maid" would receive on the studio album. However, the spare rendering here is superior, in my opinion. Then midway through the track, Neil segues into a stark version of "Heart of Gold," previewing what can arguably be called his definitive song.
Standout tracks with acoustic guitar include "Old Man," "Needle and the Damage Done," "Cowgirl In The Sand," and "Ohio." But one could as easily point out highlights by repeating the entire track list. Guitarists especially will appreciate how the songs are played in this solo acoustic format. The sound quality of the recording is superb.
There are several new (at the time) songs that didn't wind up on Harvest or any other album. Of particular note is "Dance, Dance, Dance." In the verse you will recognize the seeds of a later more well-known song.
That Neil has remained relevant all these years -- from CSN&Y to Harvest to Rust Never Sleeps to the Pearl Jam collaborations to last year's "Living With War" -- makes this CD much more than a nostalgic look at the past. I highly recommend it.
Live at Massey Hall (CD/DVD) OverviewFrom the Neil Young performance series archives Available for the first time The acclaimed 1971 solo acoustic Massey Hall performance Featuring 17 tracks-over one hour of music Special edition CD + DVD combo-pak DVD includes 17 live songs from the Massey Hall concert; hi-res stereo audio BECAUSE SOUND MATTERS 'This is the album that should have come out between After the Gold Rush and Harvest'. David Briggs, my producer, was adamant that this should be the record, but I was very excited about the takes we got on Harvest and wanted Harvest out. David disagreed. As I listen to this today, I can see why. Love you, David.' - Neil Young

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Captain Fantastic and the Brown Dirt Cowboy Review

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Captain Fantastic and the Brown Dirt Cowboy ReviewI could hardly wait in 1975 to acquire Elton's new album, one of the hundreds of thousands of people who bought the album as soon as it was available in record stores. I placed the record on the player, sure that I was going to hear another "Yellow Brick Road." Then I was puzzled. What kind of music was this? It was not simple pop with catchy tunes. It was, well, complicated, and sophisticated. It was also Elton's first concept album, and it took me a while to realize that this album was the story of Elton and Bernie's rise to fame, in what appeared to be a relatively short period of time, but which actually took from 1966 to occur.

As I said, this music is very complicated, sophisticated, and beautiful. There are some faster songs, but some of Elton's most carefully crafted music is here as well. The album begins with the title tune, a rock song with a bit of country flavor that represents the flamboyant heart of Elton, and the quieter, western-loving style of Bernie Taupin. The song alternates between a style reminiscent of "Madman Across the Water" to a style that was more fully realized in "Rock of the Westies."

In "The Tower of Babel" and "Bitter Fingers" the dynamic duo lament the difficulties of getting into the entertainment industry. The first song is about the difficulty of entry, the second is about being a stable hack for a record company, churning out songs by the basketful to make ends meet, never seeming to work fast enough or to earn enough. "Bitter Fingers" has a beautiful piano entry, which extends into the song. Elton at his performing best.

"Tell Me When the Whistle Blows" can play on several levels, depending on which part of the song. The style of the song is quite similar to songs such as "Danny Bailey" or "I've Seen That Movie Too" from "Yellow Brick Road." There is a fast rock beat, but the violins give a rich, lush feel. Part of the song longs for being home, and part of the song wonders whether the maturing individual in the song still has the talent and enthusiasm he had when he was a wild kid.

Then comes "Someone Saved My Life Tonight," one of the most phenomenal songs that Bernie and Elton have ever written. This song is about a time when Elton was nearly ready to get married. He made a weak attempt to kill himself, which Bernie and Long John Baldry stopped, and then Baldry talked him out of it. The complexity of this music is symphonic. The piano chords and the harmonies are full and show Elton John having fully mastered the art of creating music.

The next two songs, "Gotta Get a Meal Ticket" and "Better off Dead," are faster, and are about aspects of being starving artists. Both are decent songs, but they are preludes to the last three songs of the original album.

"Writing" is a song about success. Once we are successful, how long can we sustain that success? Also, what will people in the future think about what we did. Will it have meaning for them, and will they think it is good? Bernie's lyrics tell a story, and Elton does an outstanding job complementing the lyrics.

The last two songs remain among my all-time favorite Elton John songs. "We All Fall in Love Sometimes" and "Curtains" transition from one to the next. Though the topics are different, the tenor and beauty of the music is common. When Elton allows his piano to come to the forefront of his music the result is nearly always wondrous. "We All Fall" also has one of the best bridges ever performed in an Elton John song. Elton also plays a harpsichord and a mellotron, used so effectively by the Moody Blues in the previous decade. The results can only be appreciated by listening.

"Curtains" begins so beautifully that when I am mellow it brings tears to my eyes. The lyrics are brought to life by Elton's vocal and musical interpretation, striking into your heart and soul. Only the emotionless could fail to appreciate this fragile, emotional music.

This album was the culmination of years of effort. The music is mature and well-crafted. Beautiful seems a paltry word to describe much of it. The production was the best ever of any Elton John album to date. The skill of the art was theirs, and they capitalized on it to create one of the best rock albums of all time.

Included on this remaster are three bonus songs. "Lucy in the Sky with Diamonds" was a big hit in 1975 for Elton John, and featured the talents of Elton's friend John Lennon. "Philadelphia Freedom" was another big Elton John hit, and was written as a tribute. "One Day at a Time" is another quite good song that helps fill out the potential time of a CD.

Unfortunately I am inadequate for the task of adequately reviewing this CD. While Elton had many creative moments and beautiful songs prior to this album, and had many other excellent compositions, for one magical album the music, the lyrics, and the production all came together to create an album for all times and all ages. While I generally feel that people are silly for saying they want to give a CD dozens of stars, this album would rate more than five stars if I could give them.Captain Fantastic and the Brown Dirt Cowboy OverviewAnother ambitious concept LP, another John/Taupin masterpiece, another #1. Along with the smash Someone Saved My Life Tonight and the rest of the 1975 LP, this CD adds three bonus cuts including the #1s Philadelphia Freedom and Lucy in the Sky with Diamonds !

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Neck & Neck Review

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Neck & Neck ReviewThis album from these two masters of guitar fingerpicking will leave anyone who loves the guitar, country, blues, or melodic rock delighted. I have been a Mark Knopfler fan since early Dire Straits, and learned about Chet Atkins from Mark. Anybody Mark thinks is great is definitely worth a listen. I became a Chet Atkins fan a bit late in life, and this album was a big part of that.
This CD shines precisely because it is not flashy or showy; rather it is imbued with craftsmanship and quality musicianship in every bar. The whole album is strong, but I am especially fond of "There'll Be Some Changes Made" in which Chet and Mark trade good humored jabs about their musical heritage, "I'll See You in My Dreams", a mastercrafted classic, and the laid back "Tahitian Skies." Throughout the CD the vocals are relaxed and effortless, and although Knopfler has an appealing if somewhat gravelly voice, Atkins is a little more atonal and wavering in his singing style. Of course the focus here is not vocal performances, but guitar virtuosity, and that is abundant.
This is a CD that will be appreciated by all guitarists who grasp how truly difficult it is to produce a recording this melodious and synchronized, regardless of how easy these two masters make it look. "Neck & Neck" is highly recommended.
Neck & Neck OverviewVinyl Classics reissue of this 1990 album by the guitar legend and the Dire Straits leader comes as a vinyl look-a-like CD that's packaged in a die-cut see-through slipcase. Sony.--This text refers to an out of print or unavailable edition of this title.

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