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

Meddle Review

Meddle
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Meddle ReviewDavid Gilmour himself once remarked that Meddle was Pink Floyd's first true album. Though this is their fifth post-Barrett effort, it is musically light-years ahead of any of its predecessors. Of course there are many wonderful, brilliant moments on those early records, but it is clear in those recordings that the band was anxiously searching. Meddle is Pink Floyd finding itself. It is far more focused, far more melodic, and far more cohesive then anything before it. No longer searching, Pink Floyd had finally arrived.
The album kicks into gear with the savage instrumental One Of These Days. Howling wind sets the tone as a pulsing doubled bass line (complete with tape echo) pumps along. Intensity grows with organ stabs, reversed cymbal rolls, and fierce slide guitar. After a creepy bass interlude, Nick Mason makes his (distorted) vocal debut with "One of these days I'm going to cut you into little pieces!!" and slams the song into overdrive. Pounding drums and stinging slide guitar dominate for the next two minutes until nothing but wind remains. It is here that (appropriately enough) the gorgeous ballad, A Pillow Of Winds picks up. Made up of acoustic guitars and sparse bass, this is a beautiful floating piece that takes advantage of Gilmour's tranquil vocals. This gentle mood is held through Fearless, a relaxed mid-tempo summer breeze of a song, again driven by Dave's voice. San Tropez and Seamus show off the Floyd's eclecticism as well as humor. The former invokes a bouncy cocktail lounge jazz feel, while the latter stars Steve Marriot's dog Seamus who "sings" along with Gilmour on some acoustic blues.
And then there's Echoes. 31 years later, this epic sound journey stands as one of the band's greatest achievements. Every element that would become synonymous with Pink Floyd was crystallized in this one phenomenal song. Swirling, bubbling keyboards and liquid guitar lines mix with floating vocal harmonies and a dynamic rhythm section to move the music through several dramatic and powerful moods. Truly the band's musicianship had taken a monstrous quantum leap forward from Atom Heart Mother. Of exceptional note is David Gilmour who, after years of struggling, managed to firmly define his role in Pink Floyd with complete confidence. That he asserts his unmatched talents on this track is an understatement. Fluid guitar lines; silky bends; gorgeous vibrato; subtle slide; tremolo bar antics; funky rhythms; and soaring leads abound. A significant part of his style - playing sounds and textures as well as notes - is also well represented. In the intro, he carresses the strings with a steel slide (much like an E-bow) to produce a shimmering string section-like feel. During the middle section, when darkness falls, his echo-laden feedback cries can be heard over ominous keyboards, swirling wind, and the distant screech of crows. Then, as daybreak comes in the form of a musical buildup to the final verses, the track ends with a multi-layered guitar part that sounds almost like a ghostly choir rising higher and higher. All this over the single echoing piano note that started the piece off. Fantastic.
Meddle is often dismissed as a "transitional" album due to the massive success of it's follow-up, Dark Side Of The Moon. Though it's not quite as perfectly structured as Dark Side, it can easily stand shoulder-to-shoulder with it (and any of the golden era Floyd albums). I would say that if you've digested Dark Side, Wish You Were Here, Animals, and The Wall, move on to Meddle next. This is an incredible album and should not at all be overlooked.Meddle OverviewJapanese remastered reissue of 1971 album packaged in alimited edition miniature gatefold LP sleeve.--This text refers to an out of print or unavailable edition of this title.

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Maggot Brain Review

Maggot Brain
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Maggot Brain ReviewMusicologists love to debate where Jimi Hendrix may have ventured had he not tragically died in 1970.It is true the master was going to work with Miles Davis, and that would have been monumental. It is worth exploring the possibilities of a foray into the newly developing funk scene as well, and nobody came closer to carrying on the Hendrix legacy than Funkadelic's guitar wizard Eddie Hazel, a true contemporary of Hendrix and Jeff Beck. Unfortunately, he has not enjoyed the mass appreciation of other guitar gods, and that's a crime.
"Maggot Brain" opens with the title track, a simple rhythm guitar backing Hazel in a ten minute opus that belongs in the rock god pantheon. George Clinton wisely lets Hazel shine, knowing genius when he hears it. If "Maggot Brain" isn't enough, Hazel soars throughout, welding funk with metal and making it work.It makes you wanna boogie and play air guitar at the same time, which would look really stupid, but that just proves how well the two styles of hard rock and funk can work together.
As with great jazz musicians like Wes Montgomery, John Coltrane and Charlie Christian, to name a few, it's a shame more young black musicians aren't interested in making real music, preferring instead to rap over minimalist backgrounds and completely ignore their musical ancestry that invented blues, rock and roll, and jazz."Maggot Brain" belongs in every collection.Maggot Brain Overview

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Valleys Of Neptune Review

Valleys Of Neptune
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Valleys Of Neptune Review61 minutes (unless you purchased the edition with extra tracks) in length approximately. The sound is good,especially considering these tracks were recorded with,possibly,no immediate thought of release. The disc snaps in inside the fold-out cardboard holder. The additional info (who plays what and when recorded) and color and b&w photos in the enclosed 22 page booklet are well done and nice to have,especially for the price. The entire background story of all the tracks (except the 2 "bonus" tracks) is laid out pretty well. Speaking of that,there is an edition out there with 2 extra tracks-"Slow Version",and "Trash Man",both instrumentals (more likely unfinished backing tracks) from 1969 available through Target. The tracks are similar to the regular set available everywhere,but for the same money listeners get 12 or so extra minutes of Hendrix,but if you've already purchased the regular edition-don't fret,you're not missing a whole lot. There's information on these two tracks in the "snap-in" portion (behind the CD) of the cardboard holder.
Well,here it is,the "new" Jimi Hendrix album. It consists of tracks,mostly recorded in 1969,put together by the Hendrix family. In that respect it's much like "First Rays of the New Rising Sun",or "South Saturn Delta". And while the tracks are previously unreleased,a number of titles will be familiar to Hendrix listeners. And,while having another look into the musical world of Jimi Hendrix can still be an exciting thing,somehow this release (along with several other re-releases of original period albums-now with a DVD included,and all at a new low price) feels much like a purely money-making venture. Maybe it's to advertise the partnership with Sony Music. Maybe it's to introduce some of his finest albums to a younger generation. Maybe it's both. And I say this from the perspective of someone who's lucky (and old) enough to have first heard Hendrix on vinyl. Who witnessed Hendrix live,both at the Fillmore,and in my home town (parts of "Hendrix In The West" supposedly),and came away astounded. So Hendrix listeners will have to decide whats worth purchasing-again.
This album does contain some good music,even familiar tracks ("Stone Free","Sunshine of Your Love","Red House"-even though the fadeout is irritating) have something to offer the long time (like me) Hendrix listener. And to finally have an officially released version of "Valleys of Neptune" is indeed nice. As for "Mr. Bad Luck", "Lullaby For The Summer",and "Crying Blue Rain",listeners will have to make up their own minds if these tracks (among others) should have been released. And (again like me) long time listeners will have a list of tracks that could have been released in place of some of these tracks. Maybe in the future-we can only hope. But overall,the genius of Hendrix is woven throughout this set,and like most long time listeners,the more Hendrix (up to a point) the better-because we have only a few chances,here and there,to listen to any musical genius at work. And the price (again,low to entice buyers) does make this set attractive.
So,is this album worth purchasing? Absolutely. The "finished"/unfinished tracks all have their strengths and weaknesses. In that respect it's similar to other posthumously released studio tracks-an aural insight into the music of Jimi Hendrix. It's a working snapshot of songs,over a period of time,that Hendrix might have released sometime in the future. But it's not the album to reach for when you want to hear the real-deal musical statements of a genius. For the real Jimi Hendrix "experience",the albums he released in his lifetime are still the best.Valleys Of Neptune Overview

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Band Of Gypsys Review

Band Of Gypsys
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Band Of Gypsys ReviewEvery rock fan knows that Jimi Hendrix's three studio recordings are absolutely essential. But I would argue that Band of Gypsys is just as important to own. This is where you get to hear Jimi cut loose. If you have any doubt of Hendrix's guitar genius, this album will quickly dispell that for you.
First of all, the Experience do not appear in this album. Instead, Buddy Miles and Billy Cox fill in for drums and bass respectively. The two provide Jimi with a much looser, funkier rhythm section than the Experience. As for Jimi, there isn't much to say... All you need to know is that Band of Gypsys contains some of the best guitar work of his career...if not THE best of his career. "Who Knows", and "Power to Love" are two standout tracks. But the masterpiece of the album is the 12 minute anti-war jam "Machine Gun". It's a song that has to be heard to believed. I still remember the first time I heard it....I was floored. The entire album is filled with enough passion and intensity to rival that of John Coltrane's Live at the Village Vanguard or Live at Birdland.
It is true that there have been hundreds of fantastic guitarists since the death of Jimi Hendrix. Many of them have much more speed and dexterity than Jimi. Still others are university trained and extremely knowledgeable in music theory. But I have yet to hear a guitarist play something as passionate and emotional as "Machine Gun". Band of Gypsys is well worth your money for that song alone.Band Of Gypsys OverviewJimi's short-lived post Experience band with Billy Cox and Buddy Miles, captured live at the Fillmore East. It may have been recorded to fulfill a contractual obligation to Capitol Records, but it proved to be one of his most powerful LPs with the menacing Machine Gun; Who Knows; Message of Love and more.

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Feel Like I'm Fixin to Die Review

Feel Like I'm Fixin to Die
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Feel Like I'm Fixin to Die ReviewThe term "psychedelic" is even more elusive now than it was when it was first coined. If you ask someone what it means, you'll likely get a different answer from each person you ask. Does it mean throwing in funny sounds, fuzz and echo to make the music sound spacey? Hendrix and Pink Floyd did this, but they did much, much more. Country Joe and the Fish didn't do much of this, but some of their music still stands out in my mind as some of the very best of that era. One important characteristic of understanding this type of music is that in order to appreciate it, you have to really listen to it. Not as background or just for dancing. This was one of the big changes of the time. Instead of just dancing to music, you sat and listened to it, gathering the beauty, feelings and ideas inherent in the music itself. This album is a perfect example of this. You can't listen to it if you're in a hurry. Especially "Colors For Susan", which is a brilliant, subtle instrumental that paints pictures while you lay back and listen. I'm amazed that someone had the patience to write such a piece. It seems to go on forever, but, when it ends, I'm always disappointed, and want it to go just a little longer. My favorites exhibit a quality that I call, "shimmering beauty". The most outstanding example of this is "Thought Dream". The combination of Joe's smooth, soaring vocals, the melodic guitar figures and the solo organ lines just grab hold and go to the base of my spine and start the shivers right up my back.
The album cover is one of many of that time which pay tribute to the Beatles' Sgt. Pepper cover. The record is also an attempt to, as Sgt. Pepper did, create an album as a whole piece, from beginning to end, rather than just a collection of songs. In my opinion, it was successful. Since I got the CD version, I've listened to it dozens of times, and it still goes straight to my heart, and this is about 33 years later. Country Joe and the Fish, I thank you!Feel Like I'm Fixin to Die Overview

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Disraeli Gears Review

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

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Santana (1st Album) Review

Santana (1st Album)
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Santana (1st Album) ReviewThis is the first of three albums by the classic Santana lineup: Carlos Santana on guitar, Gregg Rolie on keyboards and vocals, Dave Brown on bass, Mike Shrieve on drums, and Jose Areas and Mike Carabello on percussion. The band shows a great improvement over the 1968 recordings at the Fillmore -- Carlos's playing is much more confident and inventive, the addition of Mike Shrieve loosens up the drumming, and Areas and Carabello bring out the Afro-Latin aspects of the music. At the same time, the band's sound is still strongly rooted in the blues (especially on "You Just Don't Care") and wouldn't fully achieve its potential until 1970's Abraxas. Nevertheless, many of the performances are absolute classics -- especially the fiery organ-guitar duel on "Waiting" and the explosive "Soul Sacrifice". Those familiar with Santana's radio hits will of course recognize "Evil Ways" and their chugging version of Olatunji's "Jingo", while the laid-back Latin groove of "Treat" provides a nice respite. And the bonus tracks, from the band's Woodstock performance, make this album even more essential: you get to hear exactly why the live performance of "Soul Sacrifice" blew away so many acid-drenched listeners at the festival. It's still speaker-frying 32 years later. If you like the stinging guitar and swirling organ of early Santana, their debut is a must-buy.Santana (1st Album) OverviewThe album that started it all-it hit #4 in 1969 and stayed on the charts for 108 weeks! Includes the Top 10 single Evil Ways ; their first charting single, Jingo , and the rest of the original album. The CD-only bonus tracks, recorded live at Woodstock, are Soul Sacrifice; Savor , and Fried Neckbones .

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Love (CD + Audio DVD) Review

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

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Four Sail Review

Four Sail
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Four Sail ReviewAfter having loved their debut, Da Capo, and Forever Changes I was a little skeptical when I first popped Foursail into my cd player. How could Arthur Lee possibly reform Love after coming off of an album that many consider one of rock 'n' roll's greatest? After listening to Foursail, I realize that the acoustic symphonies of Forever Changes are long gone, but replaced by a much more powerful, dynamic rock sound, reminiscent of Cream and Zeppelin at times. In strong contrast with Forever Changes, which was Arthur Lee's death letter to the world, Foursail abandons the longer lyrical patterns for shorter, yet equally witty lyrics. Jay Donnallen shines on lead guitar; every solo just booms with intensity and originality, which almost makes you forget the abscense of Johnny Echols. Still present are the complex rhythm changes that Arthur Lee loves so much, and shows that he can still execute to perfection. While Foursail is not the masterpiece that Forever Changes was, and not as experimental as Da Capo, there is still something to be said for just putting out an exceptionally "cool" album. The track listing does not contain anything of the magnitude of "You Set the Scene" (which I personally consider one of the greatest songs in rock n roll), yet songs like "August", "Robert Montgomery", and "Singing Cowboy" boast excellent guitar riffs, and lyrics that you just can't help but sing along to. "Good Times" is another song off of the album that really just stuck with me. Although the band is different, songs such as "Neil's Song" and "Dream" remind us that Arthur Lee is still at the helm, which means the lyrics are dark and mysterious, despite the campy, sing-songy feeling evoked by "Neil's Song". To cap off the album, Lee ends with "Always See Your Face", a beautiful song that blends the horn sounds of Forever Changes with his newer rock sound characteristic of the rest of the album. Foursail is not the experimental delight that Da Capo was, nor the everlasting classic that Forever Changes is. Keeping this in mind, Foursail is an essential for any Love fan, or any fan of late 60's acid rock. Lee still proves that he is more than just another psychedelic rock band with Foursail, putting his newly-formed band on the top of the rock pedestal of 1969. This album has been unfairly forgotten, and deserves (in my opinion)to earn recognition in the top 50 or so rock albums. Please explore this album and other works by Love so we can all experience the musical genius that was and still is Arthur Lee.Four Sail Overview

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The Beatles (The White Album) Review

The Beatles (The White Album)
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The Beatles (The White Album) ReviewThere are a few albums from the rock era that I feel I've been in a relationship with since the first day I got them. "The Beatles" is one of those albums. I found it under my Christmas tree in 1968, and I've been engaged with it at some level ever since. It is not the best Beatles album, objectively; nor is it my favorite. But it has always compelled my attention.
At the time it came out, I was 12, but even then it was clear that we were no longer in Pepperland or on a Magical Mystery Tour. This album wasn't yet more "progress" toward some new musical form. Musically, it embraced values never before associated with the Beatles as I understood them: Parody, pastiche, rock and roll revivalism, music-hall nostalgia, avant-garde experimentation, political agitation, intimate confession, trivial nonsense. It is, simply, a series of highly personal statements from the three songwriters, coalescing around no particular theme other than the right to personal expression.
"The Beatles" is not, to me, "the sound of the Beatles breaking up." That's the storyline a lot of Beatle historians apply to this album. If they're basing this judgement on the fact that the individual songwriters' imprints are on each song, you'd have to argue that the breakup began much earlier, around the time of "Beatles for Sale" or "Help!" Lennon-McCartney were rarely a songwriting "team" in the sense of George and Ira Gershwin. Their partnership was always about strategy, i.e. how to ensure that third-rate songs would not be included on albums just for the sake of fairness. "The Beatles" instead simply shows the evolution of each of the three songwriters (on this album, George emerges dramatically) as they each embraced new musical ideas and applied their life experiences to their art. Having helped break all the molds for what was acceptable songwriting in their previous work, they each now proceeded to take full advantage of the freedom they'd won. Some of the dumber cuts on "The Beatles" demonstrate, perhaps, the expression "freedom's just another word for nothing left to lose." Paul, in particular, seemed frightened to step out too often without the crutch of some existing form that he could parody or pay tribute to, i.e. "Honey Pie," "Back in the USSR" or "Rocky Racoon." But, while you can say that, you have to acknowledge that in this massive album, there are perhaps half a dozen Paul songs that are among his best and most original: "I Will," "Blackbird," "Mother Nature's Son," "Helter Skelter" for four examples.
Lennon's direction was to become more nakedly confessional, as befits someone who was dealing with such turbulent emotions at the time. He gives us some of his most beautiful songs, like "Dear Prudence," and some of his most intense, like "I'm So Tired," "Revolution," "Yer Blues," and "Sexy Sadie." Often, as in "The Continuing Story of Bungalow Bill," "Glass Onion," or "Everybody Has Something to Hide Except for Me and My Monkey," he seems to be writing in code, and that sense of allusiveness gives the album much of its cracked character. And of course, he's the guy who assembled the collage, "Revolution 9," which is to rock and roll what "Finnegans Wake" is to English literature--a dream that floats between meaning and nothingness.
George seems to be captured here in a moment of great self-discovery as an artist; you can hear his talent finally come together in "While My Guitar Gently Weeps," which I remember at age 12 was to my ears the best thing on the album--and still seems to be so. Prior to the White Album, he had these cautious little songs on the early albums, and then embraced India, which while sometimes satisfying seemed weird and out of place. His songs here sets the stage for "Something," "Here Comes the Sun" and then his monumental early solo work. At age 12, I thought "Long, Long, Long" was a emotional powerhouse--and I still do.
A few months after I got "The Beatles," the Charles Manson murders took place, and eventually the DA made the case that somehow, insanely, the murders were inspired by songs on this album. Around the same time, the media were full of bizarre speculation that Paul McCartney was dead, and that clues were all over this album. It's no accident that half-insane people might mine "The Beatles" for hidden messages and evidence of conspiracies. The world it depicts is strange and almost claustrophobic--all the more so for its haphazard approach and its odd switches in tone from childish delight to fiendish paranoia. But even those of us who live normal lives and dream normal dreams can acknowledge that "The Beatles" has a hold on your consciousness that is unlike anything else the group did, and unlike anything else that came out of the rock era.The Beatles (The White Album) Overview

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Best of Review

Best of
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Best of ReviewThis collection of songs features the musical talents of L'Angelo Mysterioso as a Beatle, and doing his early, solo years (pre-Dark Horse).
George was active in the early 70's, either recording his own material or producing the works of others (most notably Badfinger's "Straight Up").
The songs on this CD are all very good. Unfortunately, it falls short of the mark. For openers, half the CD is full of Beatles recorded music. This material has already been packaged in various formats. The songs covering George's early solo years are terribly incomplete. Where is "All Things Must Pass?" Did they forget about the B-side to Bangladesh, "Deep Blue?" Why didn't "Beware the Darkness" Make the Cut?
To really make this CD more competitive, Capitol/EMI should have repackaged it -- you know, add some bonus tracks like the one's mentioned above.
If Capitol/EMI feels that they should mix some of George's Beatle contributions into this CD, then it should include "The Inner Light." However, I believe that George Harrison recorded enough good material as a solo artist to full any CD. There is ample material available from his "Apple Days."
I rated this CD three stars because (1) The Beatle material has been offered in other packages; thereby making half this CD nothing more than a knock-off of previously recorded material; (2) Representatives from EMI/Capitol could have selected much better material to include in this Collection of greatest hits, and (3) The CD should have been repackaged to include more selections; thereby making it more complete.
As it stands right now, this CD represents nothing more than a record company holding an artist to the terms of his contract -- by way of cashing in on a name (The Beatles).Best of Overview
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