Whitesnake Review

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Whitesnake ReviewCan vintage pop metal from the 1980s be taken seriously by adults? Sometimes, yes. Case in point: Whitesnake's eponymous 1987 album, which catapulted them to international success and made them one of the top bands of the late eighties.
This album is the result of the songwriting collaboration between singer David Coverdale and guitarist John Sykes, and it has everything one could ask of good pop music: melody, wit, energy, and immaculate production. Coverdale is in very fine voice, and Sykes' guitar playing--well, it simply must be heard to be believed. This man is a virtuoso's virtuoso; his fingerwork alone is worth most guitarists' tapping. One scintillating solo follows another, but the fireworks are always in the service of the songwriting, which is largely first-rate.
Unfortunately, David Coverdale's personality is not one that cultivates collaborative bliss. By the time this album was released, Sykes had been fired and the Whitesnake lineup was completely transformed. Indeed, the big hit off this album, "Here I Go Again," was a recycled 'Snake song from the 1982, and featured a solo from Sykes' replacement, Dutch guitarist Adrian Vandenberg (and a fine solo it is). That said, this is still very much Sykes' album, and an enormous accomplishment at that.
Who knows what heights Whitesnake would have reached had Sykes stayed and continued to write with Coverdale. The band's follow-up, "Slip of the Tongue" (1990), was relatively lackluster, despite some good tracks, and they never again reached the level of this album. Oh, well--at least this still makes good listening. Even for people who are now older and wiser.Whitesnake OverviewJapanese only SHM-CD (Super High Material CD - playable on all CD players) paper sleeve pressing. Universal. 2008.--This text refers to an alternate Audio CD edition.

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Definitive Collection Review

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Definitive Collection ReviewThis is really just MCA/Chess' Howlin' Wolf-compilation "His Best" in new guise, but that's not a bad thing. "His Best" was by far the greatest single-disc Wolf-compilation on the market, and now this one is simply taking its place.
But do you know what you are getting into here? Even people who like Muddy Waters are sometimes turned off by the "sound of heavy machinery operating on a gravel road" that was Howlin' Wolf's voice.
Chester Arthur Burnett, the Howlin' Wolf, stood about 6'4" and weighed close to three hundred pounds in his prime, and his raw, throat-shredding vocals sound positively frightening on early cuts like "Moanin' At Midnight" and the clanging, piano-driven boogie of "How Many More Years", his first R&B hit, and the one which allowed him to proudly state that "I'm the onliest one drove out of the South like a gentleman!"
This is electric blues of the highest order, rough and tough and extraordinarily powerful. The songwriting credits are shared about equally by the omnipresent Willie Dixon, who plays bass on most of these cuts, and the Wolf himself, and while few of these songs are as well-known as Muddy Waters' "Hoochie Coochie Man" or Elmore James' "Dust My Broom", they are quite as magnificent.
Wolf's tough "Who's Been Talkin'" is an incredibly gritty tour de force set to a thumping rhumba beat, and Dixon's horn-driven rave-up "Hidden Charms" features perhaps the greatest guitar solo ever comitted to tape, courtesy of Jimmy Page's and Eric Clapton's hero (as stated by themselves), the extraordinary Hubert Sumlin.
Other highlights include "Forty-Four", the eerie "Smokestack Lightnin'", the slide guitar-driven "Little Red Rooster" and the phenomenal "Killing Floor", written by Howlin' Wolf, shamelessly stolen by Led Zeppelin and covered by several others, but never surpassed, and featured here in the ultimate version, propelled by an incredibly catchy guitar riff by Hubert Sumlin, and with Buddy Guy on acoustic rhythm guitar.
Almost every song is a highlight, actually. This CD is a corner stone in any serious blues collection...hard-rocking, bone-crunching electric blues, burning with the sheer ferocity of Chester Burnett's incredible voice.
There was never anyone quite like the Wolf, and it doesn't seem likely that there will be.Definitive Collection Overview

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Wingspan (Hits & History) Review

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Wingspan (Hits & History) ReviewI was a Paul Fan back in the day. Thought I would marry him one day. Hey hey hey!
Stop that madness. Paul married well the second time. I'm so glad. Not only does he pay tribute to the late Linda McCartney in the second song ("The Lovely Linda") on the second CD, but he provides happiness to his fans both old and new in this Wings compilation. Seven years after its release, it is just now playing in my car. Actually, I intended to purchase Venus and Mars, one of my all-time favorite albums (which vinyl version I have not replaced). Because the music store did not have it, I bought "Wingspan" instead.
The two CDs in the set are so different. The first CD is a selection of some of Wings greatest hits, while the second is surprises (for me). This disc is more ballads and love songs and blues with a couple of hits mixed in.
The liner notes tell us that Paul struggled to find his niche after the Beatles breakup, both alone and in a group. During that time I remember the negative reaction to Linda's inclusion in the band (I was one of the voices). Her addition seemed out of kilter for a master singer and songwriter. But as I have been listening recently, I hear Linda with "fresh" ears--as a retrospective. Whatever her contribution, Paul apparently wanted her there. That's a real tribute to a marriage in a fishbowl.
There is absolutely no reason to list any songs. A Paul fan knows them. Maybe a Paul-fan-in-the-making might like a rehash, but there are better reviews for that. However, THE song that jumps out at me is "Mull of Kintrye." I didn't even know what he was saying until I read it, then got out a map and discovered it is in Ireland. The other song I will mention is "Live and Let Die," my favorite James Bond theme song. The discordance fits perfectly with the evil always present in a Bond story. "Band on the Run" and "Jet" are two other excellent Wings songs.
On the second CD the two that stand out are "Venus and Mars/Rockshow" and "Maybe I'm Amazed."
Overall, it was truly interesting to hear the songs that Paul calls "some of our best work."Wingspan (Hits & History) OverviewCD's have a total of 40 songs.Manufactured by Capitol Records.

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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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Wishbone Ash Review

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Wishbone Ash ReviewOne of the many hidden gems of rock 'n roll, Wishbone Ash's debut is nothing short of breath-taking. Consider the fact that they had only been playing together for about a year, and that makes it even more remarkable.
First of all, I consider Andy Powell and Ted Turner to be the two most gifted guitarists in all of rock music. For two guys who didn't make much of an impact, they could flat-out PLAY better than anyone else I've ever heard (yes, Hendrix included). Take the beginning of "Handy", for example. I have never heard any other players weave their guitars together and create such heart-breaking melodies. It's absolutely hypnotizing. The scorching solo on "Lady Whiskey" is another great example.
Martin Turner proves to be a phenomenal bass player, complemented by Steve Upton to form one hell of a rhythm section.
BLIND EYE: Their first single. A stomping boogie tune, the groove is just irresistible. Great, jazzy playing from Andy and Ted. Gotta love that stop/start structure.
LADY WHISKEY: Built around a wonderful riff, resplendent with some thundering bass and ferocious guitar playing in the middle.
ERRORS OF MY WAY: Here, the band incorporates folk music into their sound, and the result is grand. Those vocal harmonies by Mart and Andy are just divine. Great, emotional guitar solo as well.
QUEEN OF TORTURE: Now THIS is one rocking tune! Just listen to that riff. First solo is good, second one BURNS.
HANDY: In my opinion, probably the best song on the album. This is one of the most unique songs I've ever heard by anyone. Kind of hard to categorize, it's kind of "psychedelic jazz". It begins with some glorious, un-accompanied bass playing. Let it be noted that I've rarely heard anyone else who can get such wonderful melodies from a bass guitar. Martin was really awesome. Then, Ted and Andy come in and play some of the most beautiful, dreamy, haunting melodies that have ever been recorded. The atmosphere they convey is astonishing. Then Martin comes in with another bass solo, and it turns into a mid-paced rocker with awesome guitar. Then there's a short drum solo (and a great one) before it turns into a pure jazz tune. The most amazing thing here is the guitar solo. Andy and Ted were only 19 or 20 at the time. The fact that somebody could play jazz THAT GOOD at such a young age is incredible. Jazz is one of the hardest styles to play on guitar, yet these guys rip it out like child's play. The licks are amazing - fast, stinging and amazingly fluid. Don't know if it's Ted or Andy, but it's killer nonetheless. The songs ends with some crazy scat-singing from Martin. One hell of a song.
PHOENIX: Their show-stopper. This is the song that blew everyone away when they played it live. No doubt it's a masterpiece, the way it evolves from a slow, eerie ballad to an all-out guitar thunderstorm (courtesy of Ted Turner). Absolutely stunning. The lyrics, of course, are about the legendary fire bird Phoenix (from Greek mythology, I think), believed to have risen from ashes to fly again. This is, hands down, one of the greatest electric guitar pieces ever made. What Ted does here is amazing - going from lovely and serene to furious and gut-wrenching in a matter of seconds. His bends are almost tear-inducing, and that ear-melting lick at the 6:49 mark is especially devastating. Man, someone get an extinguisher 'cause that boy was ON FIRE!!!
All in all, one of the best albums I've ever heard. ARGUS is of course their most famous, but this one is equal to it.Wishbone Ash 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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