Showing posts with label pop rock. Show all posts
Showing posts with label pop rock. Show all posts

A Decade Of Steely Dan Review

A Decade Of Steely Dan
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A Decade Of Steely Dan ReviewA truly comprehensive must-have Steely Dan collection would fill two or, more likely, three CDs. It's just impossible to cram all the vital cuts from the Dan's career onto one disc. But this one has the major American hits (excepting Grammy-winner "Cousin Dupree" from their later Two Against Nature album...though I can't really say it was a "hit"; really, the Academy was just guiltily giving the Dan their long long long long long overdue statuettes). It's well-sequenced and it sounds great.
Recommended for the casual Steely Dan fan, or for a friend who's only heard a few tunes in passing. There's enough here to further whet your appetite if you've got one. If you already know you like all these songs, go straight to the Citizen Steely Dan box set.
Collectors take note: There are two versions of the song "F.M." The one on this disc ends with a guitar solo, whereas the version on Steely Dan Gold and Citizen Steely Dan ends with a sax solo. Both are great.A Decade Of Steely Dan Overview

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Alannah Myles Review

Alannah Myles
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Alannah Myles ReviewI sure miss the mature, rockin' talented women of the 70's, 80's to late 80's ( Heart and Pat Benatar specifically).These gals could belt out with the vocals and their wild feminine charms without ever becoming sugar coated caricatures of pop music...
Then,Myles shows up to prove that they still existed towards the closing of the 80's.After Alannah's explosive chart topping album from '89 it seemed she was destined for more success.After the Black Velvet hit, she released a couple of lesser well known and harshly critiqued albums...
Alannah Myles debut, containing Black Velvet ,showcased her as a sexy rock n' roll siren with sultry throaty vocals without coming across as dry sandpaper but rather smooth silk. There were no filler tracks or songs penned at the last minute. Each song, while collectively they worked together, had it's own unique flavor...Alannah Myles Overview

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Big Generator Review

Big Generator
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Big Generator ReviewBig Generator might be the most underrated album in the Yes catalogue. It's by far their best album featuring Trevor Rabin. Tensions in the band were running high while recording this, and it shows through in the album's disparate musical styles. I will concede that it seems somewhat overproduced at first, but the end result is so great that it's not really an issue.
"Rhythm of Love," one of the better Yes pop songs, kicks things off. It's kind of like a marriage of Eddie Van Halen's guitar and The Beach Boys' harmonies, which seems odd, but it works very well. "Love Will Find a Way" is one of the most notorious Yes songs for its line, "I eat at Chez Nous," and yeah, that does kind of tarnish the song. But it's inoffensive. The title track recalls "Owner of a Lonely Heart" a bit too much, but I still like it. "Final Eyes" is an emotional power ballad featuring some of Jon Anderson's best vocals ever. The rocker "Almost Like Love" and the gentle "Holy Lamb" are enjoyable, but neither are really noteworthy.
The album's best song, and one of the best songs Yes have ever done, is "I'm Running." It's some of the most exciting seven-and-a-half minutes ever in rock music. The song moves through many moods, from light Latin to dark and heavy, and then in the climax, both. And the vocals. "I'm Running" has the greatest vocals of any Yes song, bar none. The harmonies in its last minute are awe-inspiring; I've never heard anything like it. The airy, dreamlike "Shoot High Aim Low" is Big Generator's second highlight. It's slower and simpler than "I'm Running" but still packs a punch. The interwoven and seemingly unrelated vocals of Trevor Rabin and Jon Anderson are great, as are Rabin's guitar solos (one acoustic, one electric).
Big Generator is a great combination of some sleek pop tunes and a couple of weighty, intelligent masterpieces. No rock fan should be without it. Now, if only Rhino Records would take the initiative and give this a much-needed remaster...Big Generator Overview

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Live & Acoustic Review

Live and Acoustic
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Live & Acoustic ReviewIt's really hard to find a good album from a young artist these days. If you don't know what you're looking for, you can find a lot of popular crap. You never have to worry about that with Mraz.
Live at Java Joe's is a real treasure. Mraz is a brilliant songwriter and you can really relate to him on this album. He's not (yet) my favorite artist of all time, but he's certainly the best live performer out there. No, his sets don't sound like his studio recordings-they're worlds better. On Java Joe's, you get that flavor without audience interference. I don't know how he got such a perfect recording, but he did.
Mraz's talent shines through on old favorites like "You and I Both." The live version is energized and free, unlike the studio recording. "Sleep All Day" with the "At Last" intro is absolutely brilliant. By far, my favorite track on this album is "0% Interest," but that's just because I have a personal bias toward that song. His guitar playing is brilliant as always, and his talent and love for vocal jazz music also graces this CD.
It doesn't matter if you're an old Mraz fan or if you only know him by his radio hits; you've got to own this album.
Best lyric: "There's something in the way you laugh that makes me feel like a child." (After an Afternoon)Live & Acoustic Overview

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Original Bad Company Anthology Review

Original Bad Company Anthology
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Original Bad Company Anthology ReviewBad Company was the band Paul Rodgers formed after the breakup of the highly underrated band Free and his decision to decline the invitation to join Deep Purple. This 2 cd set contains music from only the original line up (not the mid eighties line up without Rodgers) with the addition of four new tracks by the original members. The original line up consisted of Rodgers and drummer Simon Kirke from Free, Mick Ralphs on guitar from Mott The Hoople, and Boz Burrell on bass from King Crimson. The band was a supergroup of sorts. The band's music was much more commercial and less blues oriented than that of Free. Bad Company's music also had a more polished, less chaotic feel than that of either Mott The Hoople or King Crimson. Rodgers was in excellent form while Ralph's guitar playing while not flashy was economical. Kirke was always a powerhouse drummer while Burrell's bass playing was solid.
The band gained immmediate acceptance when they hired Peter Grant of Led Zeppelin fame to manage them and released their first and best lp "Bad Company" on Led Zeppelin's own Swan Song label. This lp contained many of Bad Company's best songs such as "Can't Get Enough", "Rock Steady" "Movin' On" "Bad Company" and "Ready For Love" which Ralphs originally wrote while in Mott The Hoople. Other familiar cuts include "Feel Like Makin' Love", "Shooting Star" and "Rock And Roll Fantasy". The set also contains a few rarities such as alternate takes, unissued tracks, and a few non-lp b-sides like "Little Miss Fortune" and "Easy On My Soul" which was originally written by Rodgers while in Free. The four new tracks sound like classic Bad Company with a slightly more updated sound. Some personal favorites include "Good Lovin' Gone Bad" and "Burnin' Sky" among others.
There are a few reasons why I did not give this set a definitive 5 star rating. The first reason is the disk length. The first disk is approximately 66 minutes while the second disk is around 71 minutes. This extra time could have been used to add such essential cuts as "Live For The Music", "Young Blood", "Gone Gone Gone", and "Electric Land." However, this remastered set is the most representative anthology available for the hugely popular Bad Company. It also provides a good summation their sometimes erratic albums. Fans of Paul Rodgers and seventies era arena rock will find much to savor.Original Bad Company Anthology OverviewThis retrospective includes all of the essential Bad Company hits from the original band's 1970's heyday, plus unreleased material and four new tracks recorded in 1998.No Track Information AvailableMedia Type: CDArtist: BAD COMPANYTitle: ORIGINAL BAD COMPANY ANTHOLOGYStreet Release Date: 03/23/1999

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Captain Fantastic and the Brown Dirt Cowboy Review

Captain Fantastic and the Brown Dirt Cowboy
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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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Pink: Funhouse Tour - Live in Australia (2009) Review

Pink: Funhouse Tour - Live in Australia  (2009)
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Pink: Funhouse Tour - Live in Australia (2009) Review
Let me start this off by making it clear that I'm not like most others that would be reviewing a Pink cd or concert video.
I am a middle-aged man in my 50s. I'm not exactly her demographic and I'm not a dirty old man either. I'm a retired musician and still make a buck or two as a writer and I wrote Pink off as another of the cookie cutter pop princesses that have littered the music business ever since Madonna first got watered down by Brittany Spears. Then I heard/saw the video for "Don't Let Me Get Me" and realized that she was anything but cookie-cutter. It was her Declaration of Independence from what the music industry wanted her to be. I bought the cd the next day and heard "Family Portrait." From that point on I was a fan. Good music is hard to find and Pink makes some VERY good music.
Now, on to the Blu-Ray concert. It doesn't look like Pink knows what she wants to be when she grows up. The first handful of songs she performs are in the standard diva mode we've seen from hundreds of others from Cher on down. With a big flashy stage and a heavily choreographed dance troupe she bounces and bops through some pretty generic modern dance music. In the midst of this is "Don't Let Me Get Me" and another of her big hits, "Just Like a Pill." Although the original rock arrangement sneaks in here and there the songs are designed to get her target audience of teenaged girls jumping and happy. There isn't anything wrong with any of this section if you're in the age group that likes that sort of thing. Understand, it's just not the sort of thing I'm into. It's also the sole reason I docked the video the 1/2 point in my subject header.
BUT!
No matter how old you are - even if you're an old coot "enduring" this video with your kids or grandkids, DO NOT LEAVE THE ROOM. There is an absolutely gorgeous extended piano movement that is placed to allow Pink time for a costume change. When she re-emerges the pianist (who is also the musical conductor) and the violinist join Pink for a slightly altered and riveting version of "Family Portrait." From this point forward you are in for a rare feast to the ears and eyes. There is a very personal acoustic mini-set in which Pink plays several songs dealing with the heartache of the failure of her first marriage. They are sprinkled with some lengthy banter with the audience that is just a touch too long in parts, but the songs themselves are nothing short of gorgeous. The fact that her voice isn't pure and perfectly pitched makes the emotional tone of them all the more vital and real. As a performer myself, I wondered how she was going to be able to transition back into giving her audience more of what they came to see. She does it by a lesser-known Led Zeppelin song that interweaves gentle vocals with sudden explosions of the heavy metal that made the Zep legendary. She handles the very difficult transitions in vocals extremely well, doing Robert Plant proud, disappearing during the final extended solo for another costume change. From that point forward she and the band kick into high gear. As others have mentioned, she does indeed perform "Bohemian Rhapsody" in its entirety only unlike Queen, she and the band remain on stage and sing through the very difficult operatic central section. The song is subtly enhanced with some of Queen's original vocal tracks but the live singers MORE than hold their own. Just when you begin to wonder if Pink isn't human at all, her voice breaks for a brief moment toward the end. She smiles over at the drummer with a brief, "what can you do" look and then finishes the song perfectly. Almost any other performer would have been finished at that point, knowing they'd taken it as far as they could. Pink is literally still getting warmed up.
In addition to kicking up the energy even further, you should keep in mind that Pink also (well harnessed because of insurance requirements) executes a fairly intricate single trapeze act some 25 feet above the floor WHILE SINGING. Although lip synching is rampant amongst female vocalists nowadays, Pink does NONE of it. You can hear her gasping for breath as the songs and athletics progress. She even tosses off a joking threat that she's going to start lip synching so she can do 9 shows a week with matinees.
The lady performs for almost 2 solid hours and never once lets up. Her voice only falters once or twice during the entire night and more than once she performs lengthy acrobatics high above the stage and audience. This is a woman at the absolute peak of her performance capacity and she is one of the few people I've ever seen that could pull a show like this off once, let alone for an entire world tour.
The extra features range from being valuable glimpses behind the scenes to a somewhat silly explanation of the history of "shredding the nar." (Pinkspeak for playing face-melting guitar) Make no mistake. This lady is an artist at a time when most of her contemporaries are either complete studio-enhanced frauds or so self-obsessed with their own talents that they become intolerable. Pink is the real deal and (despite some four-letter language in her lyrics that might make you a little careful viewing the show around small children) this concert video is worth three times what you will pay for it. I don't care if you're a young teen lion or one of the tame and toothless tabby-cat baby boomers, this blu ray concert joins Stop Making Sense and The Last Waltz as one of the three absolute best concert videos on the market. It is a MUST see.
So is Pink a teeny-bop pop icon or a hard-edged rock queen that will help bring back the rock sound that has been dead for well over a decade? I don't think she knows. She shows both personalities at various points in the show.
I'm convinced that she doesn't know what she'll be when she grows up.
After watching her talent, athleticism and musical diversity in this concert I deeply hope she never finds out.Pink: Funhouse Tour - Live in Australia (2009) Overview

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Tumbleweed Connection Review

Tumbleweed Connection
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Tumbleweed Connection ReviewAs time has gone by, the music audience's awareness of Elton John's "classic" period has boiled down to his hit singles (a disproportionate number of them novelty songs or nostalgia exercises) and his most outlandish costumes. Although in recent years, he has clearly tried to put the emphasis back on his music, the image of Sir Elton John paying court to Princess Diana, wearing peacock feathers and giant clown glasses while collecting royalties on 70s nostagiac fluff like "Crocodile Rock" seemed to eliminate him from serious consideration. He was good for fun memories and a few million for good causes, but not someone whose music should be considered alongside the Stones, Springsteen, Aretha Franklin or The Band.
But at the same time as his hit singles were topping the charts, Elton John put out four or five of the best "rock" albums of rock's classic era. "Tumbleweed Connection" is the finest of them all, but it is the most neglected because nary a song off it shows up on a Greatest Hits package. Not because the album "failed" to produce a single, but because there is not one song on it that sounds like an artistic compromise, or playing for the galleries. While not exactly a "concept album," it is clearly meant to be played all at once. It sustains a mood, and is adroitly balanced between some pretty hard rockers, some gorgeous love balladry, and a couple of songs that perfectly reflect the questing, questioning qualities of rock at its most meaningful--"My Father's Gun" and especially "Where To Now, St. Peter?"
Like so many albums of the early 1970s, "Tumbleweed Connection" was heavily influenced by The Band. The lyrics also borrow heavily from the Bob Dylan of "John Wesley Harding," and the words Robert Hunter contributed to the Grateful Dead for "American Beauty" and "Workingman's Dead." The old-west/Civil War atmosphere is so thick, it is reflected in the sepia-toned packaging. The packaging also gives prominence to Taupin, underscoring that this album is a collaboration.
But it wouldn't be a great album without the artistry that Elton John brought to it as a songwriter, singer and pianist. The piano-playing is especially strong on this disk, and his singing is powerful, emotional, real; none of the archness or forced irony that started to infect his work a few years later. The piano is mixed right up front on most tracks, and is stunningly great. The guitar is rock's signature instrument, but the piano has a long tradition too, from Fats Domino and Little Richard, to brilliant sidemen like Roy Bittan and Nicky Hopkins. On this album, Elton tops them all. This record is to rock piano what "Electric Ladyland" is to the guitar.
Tumbleweed Connection OverviewElton's soulful mix of country, blues and rock and killer tunes like Country Comfort; Son of Your Father , and Ballad of a Well-Known Gun made this concept LP a #5 hit in '71 (bonuses: Into the Old Man's Shoes and the original version of Madman Across the Water )!

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Living in the Material World Review

Living in the Material World
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Living in the Material World ReviewI pre-ordered this set, knowing that I was going to buy it regardless of the reviews that had not yet been posted. I got it locked in at $23.99, which was subsequently changed to $29.88 as of the day of this review. So there may be a lesson about the value of the pre-order, especially if you just know that you will indeed make the purchase.
Being a big George Harrison fan, and now knowing that all we can look forward to are the things that already exist, I was happy to see the expansion of his catalog in the modern age of sound engineering as well as the visual arena with this set.
The DVD made me go this route rather than the CD only, and at about nine or ten dollars for the less than 15 minute disc, I am not sure about the monetary value. I guess in the years to come, I will be happy that I spent up to the expanded set. This DVD does one thing for my expectations for the future. Both the previously issued "Dark Horse" DVD and this one have nicely rendered 5.1 videos from the 1991 Japan concerts, which must mean that there are videos from all of the songs on that double CD. I hope that we can see those songs on a concert DVD in the future. The DVD was a bit of a shock for me, because for years of listening to the CDs from that tour of Japan, I had assumed that the terrific slide work on "Give me love" was from George himself. It was surprising to watch both Harrison and Clapton strumming acoustics, while Andy Fairweather-Low replicated the slide sound in the Harrison style. Still, it was nice to see George playing in front of a crowd. The rest of the songs on the DVD were basically audio soundtracks with a montage of stills and non-related video that support the songs. The alternate take on "Sue me, sue you blues" was really stripped down and raw. It would have been nice to have that on the CD too.
The actual album is as nicely rendered as it has ever been. George's voice is strong and clear, while the band's musical playing comes through exactly where it needs to. The elements of the sounds are very nicely in balanced. The quality of the songs is a historical data point in George's post-Beatles career. He had a really strong album to be measured against with for this sophomore studio recording. My opinion is that he had such a deep catalog waiting to be put on "All things must pass", that he may have set the bar too high for any future endeavors. This is a very good album, but for me "All things must pass" was a better one, especially on first listen. I have played this new rendering of "Living in the material world" about 5 times now, and I am just beginning to get to the point of being able to "know" the songs. Still, this is a must have for anyone wishing to fill out their Harrison collection in a more modern media (my first LITMW was on 8 track!).
FWIW, my enjoyment of this album and indeed all of my George Harrison albums, including the Wilbury's, has been greatly enhanced by my purchase of the book, "While my guitar gently weeps, the music of George Harrison" (available on Amazon). It chronologically breaks down every era of George's music and offers nice details about the recording sessions for all of his work. For this album for example, there are 15 pages devoted to the band he used, who played on which songs and even a review of how the record was received by the fans and critics. For true fans of George's music, this book will make all of your albums more fun to listen to, and will open your eyes to parts of his thinking that you may not have known about.
Living in the Material World Overview#1 album originally released in 1973 that contains the #1 Pop single "Give Me Love". Now remastered and repackaged with two bonus tracks.

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Justin Moore Review

Justin Moore
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Justin Moore ReviewIf you like the sounds of Trace Adkins and Toby Keith, then you'll love Justin Moore's debut CD.
With his "Backwoods," throaty, just-downright-sexy sound, Moore is sure to be a hit with country music fans!Justin Moore Overview"With this album, I really got to make my record, which can be a rarity for a new act, and I'm very thankful to everybody here for allowing me to do that. My goal was to make sure people knew what I was about as an artist as well as a person. "I liked those guys growing up where you felt like they were just one of you, except they had a really cool job and got to play music. That's kind of what I've tried to be in my career. After we play shows, I just hang out and drink beer with people in the clubs."1. "How I Got to Be This Way" (Justin Moore, Rivers Rutherford, Jeremy Stover)"Rivers has more hits than I will have in the next 30 years as a writer and it was cool to write with him. That was the only time we've written.When you get in these rooms with folks you've never written with before, you kind of B.S. for awhile and learn about each other. "He was just asking me how I grew up and what kind of kid I was. I said, `I was a pretty good kid. I mean, I did some stupid stuff like any other kid does, but for the most part I was pretty good.' I said something like, `I guess that's how I got to be this way,' and he said, `Right there. What was some of the stuff you did?' I told him I totaled my dad's truck on Dixonville curve when I was in high school, and we went from there. The first line says, `I rolled my dad's truck off the Dixonville curve after drinking my fifth beer.' That's a pretty true song. Most of the stuff that happened in it actually happened. There's a pretty funny line in the song that says something about getting kicked in the face by a horse. Everybody is always like, `No way.' I said, `That's my excuse for why my face looks like this.'2. "Small Town USA" (Brian Dean Maher, Justin Moore, Jeremy Stover)"I believe it was the first or second song the three of us had written together. It was seven years ago. I was just talking about missing home because I had only been here for six or eight months at the time. I obviously didn't have anything going on really and I was like, `Man, I feel like I'm walking on quicksand here. I just miss home and want to go home.'"Some of the songs you write you go, `Eh, maybe it's all right,' and later you find out that it's really cool. That was one of those songs where I remember going, `That's a special song. I think it can be a big song for us at some point.' That's the days you leave the writing room pretty happy."3. "Backwoods" (Justin Moore, Jamie Paulin, Jeremy Stover) "`Backwoods' is one of the newer songs on the record. We were in Jeremy's house and we were discussing my keyboard player, who grew up in Eastern Kentucky. My guitar player also grew up in Eastern Kentucky. We've become really good buddies. I went up to where he's from, Pike County, Kentucky. I thought I grew up in the backwoods!I found out that they grew up in a holler called Greasy Creek. I came back and said, `Y'all would not even believe how backwoods this is.' "One of us just started playing the melody, the guitar stuff on it, and Jeremy just started rambling, `Rifle on my gun rack, hanging in my back glass.' That was one of those songs that we wrote in 30 or 40 minutes. We wrote it and were like, `It could be cool,' and when we demoed it, we loved it. It's a fun song to play live."4. "Like There's No Tomorrow" (Brian Dean Maher, Justin Moore, Jeremy Stover)"We wrote that probably five or six years ago. I steered away from writing any love songs up to that point. I said, `Man, we've got to write a love song. You can't make a record in Nashville without a love song.' But I was like, `We can't write a sappy, I love you and all this stuff. It has to still be me.' That's one of the most Southern rock-sounding songs on the record. "It's about making love. Some of the lines are, `Worked hard all week and now you're here with me/ Staring up at a summer sky.' I've been married for two years and I'm gone so much, so I can relate to this song now more than I could then. I'm gone so much and you just don't have time to do some of the things that you used to do together, so it's about taking advantage of the time you do have together and making the most of it." 5. "Good Ole American Way" (Brian Dean Maher, Justin Moore, Jeremy Stover) "I was at home watching the news with my dad and there was some guy on there griping about why we needed to get back to the Republican way of things. Another guy said we needed to get back to the Democratic way of things. My dad said, `Who cares what way it is? We just need to get back to the good ole American way of things.' I thought, `Man, that's a song title right there.'"When I came back to Nashville, we wrote that song and that's one of those we wrote in a pretty short period of time.The thing I brought up was, `I wonder what my grandpa was thinking about at the time, paying $100 to fill his truck up?' That was our motivation, what our grandpas' take would be on things.6. "I Could Kick Your Ass" (Brian Dean Maher, Justin Moore, Jeremy Stover)"It's obviously tongue-in-cheek. It's not serious, like I'm really going to whip somebody's ass. It's become a staple of our show. It's more or less about a guy who has all the money in the world and he thinks that is going to allow him to just take your girl and take over your world. But the bottom line is, you might have all the money and the cars, but I can whip your ass. Obviously it's a fun song to do live.We close the show with it and we've had a couple of hits. That song holds it own with the radio hits we have."7. "Back That Thing Up" (Randy Houser, Jeremy Stover) "I always tell people, `I don't know whether to apologize or say thank you after playing that song.' If you ask my mom, it's about a truck; that's what I told her. But if you ask Randy or Jeremy, it's probably about a rear end. I thought, `I'm going to play that every night. It's hilarious.'I don't take myself too seriously and I thought it was a lot of fun and something different that I've never written anything like. It was a big song for us and we sold a lot of downloads of that. The struggle for a new artist is to have people recognize who you are. Instead of going, `I like that song. Who does that?,' they go, `Oh that's Justin Moore.'I think a song like `Back That Thing Up' did it for us, where a middle-of-the-road song wouldn't have. We open our show with it."8. "The Only Place I Call Home" (Dallas Davidson, Justin Moore, Jeremy Stover)"It's about where I grew up; it's just a little more hard core than `Small Town USA.' It's a little more to the point, maybe, and everything in it is true. `I was baptized in the Baptist church, my old man taught me about a hard day's work. I learned how to love and I learned how to fight.' It talks about how I was looking for something, and my grandpa said, `It's in the drawer in the bedroom.' I walked in, opened the door and there was $300-$400 cash lying underneath a pistol.That is just where he kept his pistol, by the bed, and he kept a little stash of cash there. So that is the next line, `We keep our cash in a dresser drawer underneath a.44.' It was real to me, and I found out it was real to other people as well." 9. "Grandpa" (Justin Moore, Jamie Paulin, Jeremy Stover)"`Grandpa' is my favorite song that I've ever written. Jeremy, Jamie Paulin and I got together and Jamie grew up in Washington and Jeremy in Georgia. We all grew up on a farm and grew up in places where obviously our dads were our heroes. Both of my grandpas were Superman. I couldn't imagine them ever not being around. I'm very proud of that song. "I sent a CD to both of them because they have no idea how to download a MP3.It was really the only time I've ever heard or seen my grandpas cry besides my grandma's funeral. "I could have a 30-year career or be gone tomorrow, but nobody will ever be able to take that away from me, to be able to do that. I lost my grandma and an uncle a couple of years ago and I was at home playing this song acoustic after I'd written it. My wife walked in and I was bawling and I said, `I think I wrote this about my grandpas, but I think I also wrote it about my grandma and uncle.'"The first line is, `You stood on that bank where I got baptized/Gave me a 30-30 when I turned nine.' Actually it was eight, but nine rhymed. I've sat up in a deer stand with my grandpa since I was three years old."10. "Hank It" (Brian Dean Maher, Justin Moore, Jeremy Stover)"We got off the road with Hank and Lynyrd Skynyrd and my producer, Jeremy, had just bought a house. I went over to see his house and Brian, our other co-writer, just happened to be there. I said, `We've got to write a song at some point about me going out with Hank Jr. It probably won't ever make a record because it would be so personal and nobody really probably cares, but we have to write a song about that.' It was such a cool experience. "Our first show that we played on that tour was in Hershey, Pennsylvania, and that is in the song. `A lot of things a country boy learns in life/how to shoot a gun and how to use a knife/But when I pulled into Hershey P-A, and I took my guitar up on the big stage/That night I did the bestI could/ Me and my band played pretty dern good/ And I took myself out and sat in the crowd and learned how Bocephus shakes `em down/You've got to Hank it.'"

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Here We Go Again Review

Here We Go Again
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Here We Go Again ReviewWhen I first listened to "Here We Go Again", the first single off her second album of the same title, I pretty much felt that we have seen this Disney-driven actress/singer blossom to a talented musical artist.
It's one thing to see Demi Lovato shine on "Camp Rock" and her debut album "Don't Forget" but the singer has said that this album is "more me" and that includes a sound that incorporates a Jonas Brothers and John Mayer sound.
Inspired by John Mayer, The Jonas Brothers and Jon McLaughlin, Lovato has collaborated with these talents and the end result is a fantastic sophomore album that easily eclipses her debut album in musical production but also vocally.
It's one thing to have a solid track "Here We Go Again" but she continues that rock/pop excitement with tracks such as "Solo", "Got Dynamite" and "Everything You're Not".
But she shines in tracks such as her acoustic guitar track "Catch Me" which she solely wrote, shines in the John Mayer collaboration with "World of Chances", the upbeat "Stop the World" track which she wrote with Jonas Brothers Nick Jonas and "Falling Over Me" which she collaborated with Jon McLaughlin.
Overall, Lovato has distanced herself from other Disney talent turned music artists with her latest album "Here We Go Again". She can act but she can also sing and she has positioned herself to become one of the prominent young singers in the musical scene today.
This album is definitely recommended!Here We Go Again Overview2009 sophomore album from the teen Pop sensation and star of Disney's Camp Rock and Sonny With A Chance. Demi's debut album, Don't Forget, sold half a million copies and she performed for over one million people as special guest on the Jonas Brothers' 2009 sold out Burning Up tour. Here We Go Again, her eagerly awaited album, contains two bonus tracks: 'Gift Of A Friend' and 'So Far So Good' (from Sonny With A Chance).

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I'll Play for You Review

I'll Play for You
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I'll Play for You ReviewIf you are a Seals and Crofts fan, and you know how big they were from 1972, "SUMMER BREEZE" until 1978, "Takin' It Easy", then you have felt a lot of anxiety and frustration over the fact that their CDs have not been available,---"EVER!!!" Yes, the 10 song Greatest Hits is out there and "Summer Breeze" has been available. (We were even lucky enough to have a budget copy of "Diamond Girl" tossed our way a few years back!) But, about nine Seals and Crofts albums have never seen the light of day until this month!!
"I'll Play For You" (1975) was released while Jim and Dash were still hot on the charts and pouring out one great album per year. "Get Closer" followed it up in 1976, then their popularity began to wane. "I'll Play for You" was very poppy but it was also quite diverse. From the emotional "song-writer styled ballad", "Wayland the Rabbit" to the latin grooved "Freak's Fret", Seals and Crofts venture into several different music genres that really work on this album.
"I'll Play For You", a top hit in '75 leads off the CD. My only complaint is that I detected a slight volume drop out at the 2:16 mark of the song and then again a rather bad channel pan and drop out at 2:35. I have a feeling that the original master was not used on this CD. (The quality is pretty good, but it won't blow your socks off.)
"Golden Rainbow" follows which is a beautiful, soft and laid-back song that has a blue mood feeling.
"Castles in the Sand" has the classic Seals and Crofts sound with the signature mandolin and great instrumentation from all the great studio musicians that S and C used in their hey day. This song is also on their GH CD.
"Blue Bonnet Nation" is a strong rock beat song with a nice horn section filling in. There are several changes in the rhythm in this song. The bad news is that I heard another sonic drop-out at the 2:05 mark.
"Ugly City" was the last song on side one on my old 33 and a third record. This is a lonely but beautiful ballad which builds and then leaves you on this note of wonder and hope. This is my favorite on the CD.
"Wayland the Rabbit" starts with a beautiful orchestration and goes into a long and desolate story about poor Wayland. It turns into an acoustic piece with light orchestration.
"Freak's Fret" is the most fun song and it is also an instrumental. Great latin edged beat featuring the acoustic guitar and mandolin.
"Truth is But a Woman" is another medium, laid-back song with great harmonies and a bit of a country flavor added in the guitar solo. This song ends on a classic sounding S and C major 7th chord.
Finally, "Fire and Vengeance" is a rock piece with the great wah wah guitar sound that seemed prevelent in the 70's. The horns are funky as Jimmy and Dash go out in a grooving glory.
"I'll Play for You" isn't my favorite Seals and Crofts album, but it is in my top 3. If you like Jimmy and Dash, try to pick this one up. Hey, even if you just like 70's mellow pop, this one is a real keeper!!
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Threeleggeddog Review

Threeleggeddog
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Threeleggeddog ReviewThis is a hidden gem. I have seen this band in San Diego and Lake Tahoe and they are amazing. I cannot believe they never got bigger than a regional cult following. They had a couple songs in movies and won a billboard award but not much more. More known for the live shows I guess. I heard they signed some crappy record deal and things with this cd fizzled out. Last I heard they were recording a follow-up and doing some shows in Europe, where they have a minor following. Band members all work in other acts so getting together is hit and miss. Who knows, maybe they'll be back with more killer tunes.
Meanwhile, this cd well worth a listen.Cheers
MargaretThreeleggeddog Overview

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Mine To Remember Review

Mine To Remember
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Mine To Remember ReviewHis music is amazing! The only thing better is to watch him perform it in person. I had the opportunity recently to see him at the Hotel Cafe and yes he was incredible. His new album The Secret is his best to date. I couldn't give a higher recommendation.You'll be hearing alot about this singer-songwriter...definitely on the rise.Mine To Remember OverviewPete Yorn's former guitar player has released an impressive five song demo, turning life experiences into songs filled with heart-felt lyrics, lush acoustic melodies, and a touch of pop-sensibility

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Help Review

Help
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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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Complete Hit Singles Review

Complete Hit Singles
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Complete Hit Singles ReviewThree Dog Night did one very smart thing back in their time...they went back in and reworked several of their songs for the radio...sometimes strikingly different versions of the tunes from their album counterparts...but the results were always very radio-friendly, punched-up versions that took what were all great songs to begin with and catapulted them to a whole new level...the added guitar break in Joy to the World, the tighter and shorter version of Liar, the extra vocal bridge near the end of Old Fashioned Love Song, even the few seconds of added piano at the end of Eli's Coming...al very noticeable touches that made these songs just explode out of the radio back in their day. The fact that they all STILL sound fresh today speaks volumes and shows that this was not only a very excellent live band (the harmonies are STILL razor sharp, if you don't believe me, go see them when they come to your area) but a very smart band (and production team) that knew what would make these songs hits, and there's absolutely not a thing in the world wrong with that...they picked great songs from great writers and did great arrangements of them all (kind of sounds to me like someone else's master plan back in 1966 when that group got their own TV series, and their stable of writers was no B-list either). If you have the 14-track Best of Three Dog Night with the album versions of all the hits, then you need to hear this collection, compare and contrast. I guarantee you this one will be the collection that sticks in your ears!Complete Hit Singles Overview

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All Things Must Pass Review

All Things Must Pass
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All Things Must Pass ReviewThe original cd release of this album was marred by a muddy and hissy sound that took away from the great music. Finally after years of clamoring from fans, George Harrison has issued a remastered version of his classic All Things Must Pass. The results are outstanding as the songs sound clear and fresh. George Harrison was the Beatle who most immediately benefited from the band's breakup. Mr. Harrison was stifled by the domination of the Lennon-McCartney songwriting partnership and was only allowed a song or two per album. The songs that did appear, like "Taxman", Here Comes The Sun" & "While My Guitar Gently Weeps", showed that he was an excellent songwriter in his own right. When it came time to record his first proper solo album, he released an album of electronic noise called Wonderwall in 1968, he had such a backlog of material it yielded a double album with a third bonus disk. The songs are deeply rooted in the Maharisi's teachings that have been a large part of his life for the past thirty years. Despite the religious musings, the songs have an upbeat, full sound lead by Wall of Sound producer Phil Spector. Although Mr. Spector does sometimes overproduce songs, he makes a song like "My Sweet Lord" that could have been plodding and ponderous into a soaring affirmation. Of course that song was a huge number one hit, but others standouts include the beautiful cover of Bob Dylan's "If Not For You", the nice tribute to fans who hung outside the Apple Records offices, "Apple Scruffs", the yin and yang of "I Dig Love" and "The Art Of Dying" and the rollicking "Wah-Wah". "What Is Life?" may well be the best song he has ever done with it's blaring horns, layered guitars and smooth vocals. The production is classic Wall of Sound harkening back to Mr. Spector's work on Ronettes and Crystals records. The last few songs are from a jam session that included Eric Clapton and made up the bonus disk on the original release. They loose song structures that the band just have fun with. The bonus tracks included on the re-release don't really add much and the "My Sweet Lord 2000" would have been better left unrecorded. The cd booklet is expansive and contains many insights from Mr. Harrison himself. All Things Must Pass was to many a surprise success as they thought that only Paul McCartney and John Lennon would be successful in their post Beatle days. Not only was "My Sweet Lord" the first solo Beatle song to hit number one, but the album also reached the top of the charts and thirty years later still sounds fresh and exciting.All Things Must Pass OverviewThe most monumental of all the Beatles solo projects-and one of the most critically and commercially successful-George Harrison's All Things Must Pass here receives a complete make-over, with a complete new remastering and five new bonus tracks! Also here is a 20-page booklet annotated by George.

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Chamber Metal: Neo-Classical Metal Guitar Review

Chamber Metal: Neo-Classical Metal Guitar
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Chamber Metal: Neo-Classical Metal Guitar ReviewThis compilation disc is neither great nor horrible. You may feel the same way about this cd as you would to a dance or dream club compilation cd in that you will like some songs while others are just "Ok" or "Blah".
Later on some neat effects are used in the percussion area of some tracks. And, though hearing Vivaldi's (Summer) Presto on the electric guitar is fun at first, I still prefer it performed on a violin. The tracks by -Paste- are good driving songs and occasionally remind me of Therion. As is brought out in other reviews the music here isn't all that original, but good every once in a while.
So, if you have any loose change lying around...
Chamber Metal: Neo-Classical Metal Guitar Overview

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80's Hits Stripped Review

80's Hits Stripped
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80's Hits Stripped Reviewi love this record. i love the fact that you can hear your favorite songs done in an entirely new light. i've always loved 80's music. and i've always loved acoustic songs. so naturally this was a no brainer for me. certainly it doesn't disappoint. the berlin track is my favorite. up tempo, fast moving, and acoustic! the men at work track is also great. an amazing song performed in an amazing manner. i also like the outfield, heart (whose electric version i never loved that much), tommy tutone is awesome, the motels sound great, and the rick springfield version is awesome.
i highly recommend this cd to any 80's fan.
80's Hits Stripped OverviewALL 80'S, ALL ACOUSTIC! 80's HITS Stripped is an ALL ACOUSTIC compilation of the 80's biggest HITS!!!Featuring all multi platinum recording artists.Every song on this compilation was a massive Top 10 hit, instantly familiar to the most casual fan.

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No Jacket Required Review

No Jacket Required
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No Jacket Required ReviewIn 1985-86, Phil Collins career was at it's mountain-top. Quite fittingly, his best album is also from that span, No Jacket Required. It spent nearly 2 months atop the charts. And it spun off a handful of mammoth singles: "Sussudio", "One more night", "Don't lose my number" and "Take me home". "Who said I would" also garnered a decent amount of time on the airwaves.
The liner notes are terrific. The all red back cover was a nice touch. There's no lyrics, but it gives thank-you's, credits, who-played what on each song and also gives info on where everything was recorded.
There's something for everyone here. "No Jacket Required" had a diverse set of songs, among them Up-Beat pop tracks, eloquent ballads, and prog-rock throwbacks. Daryl Sturmer played all the guitar tracks and his superb tone adds depth.
Here's my track-by-track analysis:
"Sussudio"-A number one hit, the keyboard line sounding Similar to "1999" by Prince, some have said TOO similar but personally that doesn't diminsh the song's quality one bit. The bass and horn section only boosts it's catchiness.
"Only you know and I know"-A semi-pop track with a great synth hook. The lyrical matter is more or less summed up in it's title.
"Long Long way to go"- A moody, atmospheric track. The decision to have Sting sing the background vocals was genius. It enhances the effect ten-fold.
"I don't wanna know"- Phil sings about a relationship ending, and having no interest in hearing that she regrets it. He was warned not to give his heart to her, cuz she wouldn't give it back. The prominent guitar here is a far-cry from the adult contemporary sound he'd soon delve into.
"One More Night"-Another Chart topper. Terrific ballad, truly heartfelt. It's about acknowledging one's human-ness "If I stumble, if I fall, just help me back/so I can make you see/Please give me one more night". The verse after the second chorus really drives the song home "Like a river to the see/I will always be with you/And if you sail away/I will follow you."
"Don't lose my number"-A TOP 5 SMASH, yet it was inexplicably left off his Greatest Hits album. That's barely forgivable. This song is one of all-time favorites. It kicks off with a nice drum beat. The hook for this song is sharp as a fisherman's. The lyrics are a message to a person, named Billy. I'm still not sure who Billy is. Lyrics: "He never meant to do anything wrong, it's gonna get worse if he waits too long/Billy, Billy don't you my number/ Cuz you're not anywhere that I can find you". This song was obviously written before Cell Phones. The video for this song was good, experts kept walking into Phil's office to suggest idea's, One being set in the old west, the other's being parodies of "Every breath you take" by the Police,
"Who said I would"-Starts off with a nice intro, it keeps a steady beat throughout. It has a full platter of Synths, Horns, and vocal effects.
"Doesn't anybody stay together anymore"-The instrumentation sounds like Peter Gabriel-era Genesis. The drums during the chorus are loud, with a driving bass line, quickly sedgewaying into quieter verses. The lyrics tell about things we all do, and tackles confusion in romance, which in actuality are really nothing new.
"Inside out"-Has fine drumming (Hey it's Phil Collins, you're guaranteed that). The slow-down sections are especially pleasant, with a saxophone playing.
Take me home" was recently sampled in a rap song by bone-thugs-n-harmony, it falls under the ballad category, though at the same time it's more cheerful and contains an incessant chorus. Phil's old Genesis buddy Peter Gabriel sings the background vocals.
"We said hello goodbye" is a slower, tear-jerking ballad, I used to dislike this song because it's a far cry from the many up-beat numbers here, but upon realization, it's the perfect closer.
"No Jacket Required" rightly won the Grammy award for 1985 album of the year. This is Phil Collins best solo offering - Bar None.No Jacket Required OverviewNo Description Available.Genre: Popular MusicMedia Format: Compact DiskRating: Release Date: 9-MAR-1989

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