title: Janis Vinyl Singles Box with Unreleased

text:
This box set is a fantastic , innovative idea into keeping Janis Joplin's musical legacy alive into the 21st century. It has 4 45rpm singles, all in newly designed picture sleeves , plus a postcard photo and a replica of Janis' tattoo. Best part of the box are the unreleased versions of 6 of the 8 songs. All are chronologically placed in the box with Big Brother & The Holding Company on the first single with a STUDIO version of MAGIC OF LOVE from March 1968! Who knew a studio version existed, as only live versions have been released so far. This is similar to the live versions, but a totally different version of it in the studio. B-side is a live version from April 1968 of CALL ON ME with more Janis ad-libs than other versions and a longer guitar solo. These both come from the fervent , and very productive early CHEAP THRILLS sessions.

  Singles 2 and 3 are devoted to Janis' 2nd band, The Kozmic Blues Band with PIECE OF MY HEART and SUMMERTIME in different live versions in 1969, similar to the live concert footage from the 1975 " Janis " film documentary , and different than the version of SUMMERTIME found on the double " JANIS Soundtrack/Early Performances " album that same year. Single 3 are live versions of RAISE YOUR HAND and BO DIDDLEY that were previously issued on the " RARE PEARLS " CD as part of the " BOX OF PEARLS " box set of all 4 original albums.

  Single 4 is another big discovery - early versions from August 1970 with The Full-Tilt Boogie Band from the beginning of recording sessions for PEARL. As with all the tracks in this box set, they are in mono. MOVE OVER is a totally different version, with many more lines, especially at the end of the song. MY BABY has most of the same vocal that appears PEARL, but with surprises, and is not the same version as found on that legendary album. The sticker on the back cover says " Coming Soon - The Pearl Sessions ". So, Columbia still has different Janis recordings in their vaults, after all these decades. As with MAGIC OF LOVE, who knew we would ever hear these long buried recordings. This kind of release is most welcome, especially for the legion of long-time fans, as well as keeping the music & Janis' history going. I see that the estate is now overseen by the same person who does the same for The Doors. This set is a great addition, with the only slight drawbacks being that they are only vinyl , at least for now, and are in mono. But, it sounds very promising with another Janis release coming soon. This vinyl box is a treasured keepsake, and I'm very glad that Columbia saw to release a special Record Store Day Janis release. Keep the Janis rarities coming.


title: The Mysterious Maggie Bell Crimes of the Heart

text:
Wow - that's one of the exclamations I muttered to myself when I finally found copies of this 1988 release by MAGGIE BELL to buy. This album is one of the hardest to find CD's and albums, with the main reason being that it was only released in West Germany. And it's on a small label, fittingly called Cult Records, manufactured by Bellaphon. I found a copy each on vinyl and on CD. The graphics on the album are more stunning than on the CD, and also the album has a great photo in color on the back, whereas it's B&W on the inside CD insert. Release date was May 1988, but it was not even released in the UK, Maggie's home country or the US. The album's release and what it sounds like have been almost shrouded in mystery. Maggie has only said that she did the songs on this album as demos for a German producer, and she was surprised to see that it was released. Both the vinyl and the CD releases do not even give songwriting credits, and just say Copyright Control! All of this makes you wonder what this whole project sounds like. Well, this album is actually very, very good.

  CRIMES OF THE HEART has 8 songs , which while a bit short, is typical of albums from the late 80's , which sometimes contained anywhere from 7 to 10 songs. The fact is Maggie sounds FANTASTIC on these songs. Her voice is at it's peak, with a high range, and Maggie lets out some mighty shrieks and growls on this album. Production is very good, with guitars, keyboards, drums, etc. It certainly doesn't sound like they are demos on here. The title track is outstanding , and each song can stand on it's own as being good to strong. The most important thing is Maggie's voice, and it is upfront here. The overall sound is rock, with a bit of 80's keyboard sound. The theme of the songs is dark, mysterious, aching loneliness , hence fitting the title CRIMES OF THE HEART. With titles like LOVE ME STRANGER, BURNED OUT LOVE AFFAIR, and I'M ON THE EDGE, all the songs on here fit this theme that runs throughtout the album. TONIGHT features a saxophone solo with Maggie really belting it out with a chorus of " I'm dancing with the desperate tonight ". BURNED OUT LOVE AFFAIR is another scorching song, with trademark Maggie shreiks and wails, and I would deem worthy of being one of her epic songs like QUEEN OF THE NIGHT or ROUGH TRADE. Two of the songs on here were previously done by other artists , with ENDLESS NIGHT being the 1987 hit by Eddie Money, and LIVNG A LIE, already an album track by Laura Branigan in 1983.

  With this album's rarity, it has grown in status among diehard fans as the most coveted Maggie Bell release to find. It's worth the price to pay, as there haven't been a lot of albums that Maggie has found released of her music. This album should have gained wider release, especially for the fact that by 1988, Maggie Bell really needed a new album and direction. While other long-time artists like Tina Turner and Bonnie Tyler had huge albums and singles, this album would have been a big boost for the fans to hear. It's a very strong recording, and much better, say than the 1990's albums that Bonnie Tyler had released in West Germany, which had a lot of cheap , keyboard filled production and bad songs. Possibly, the owners of the masters on CRIMES OF THE HEART, only released it in Germany because of it never being contractually an album for release. But after more than 2 decades since it's release, it is an important part of Maggie Bell's discography, and holds up very well. That voice of hers is at it's peak, and given the mysteries behind the making and release of this album, a true discovery to find , own and hear.

CRIMES OF THE HEART Tracks

Side One:

CRIMES OF THE HEART
LOVE ME STRANGER
TONIGHT
BURNED OUT LOVE AFFAIR

Side Two:
ENDLESS NIGHT
I'M ON THE EDGE
LIVING A LIE
VISION

Released in May 1988 in West Germany on Cult Records, distributed by Bellaphon.


title: 1967 Classic, Gladys Horton's Last with Marvelettes

text: What a classic album this is, THE MARVELETTES, also referred to as the pink album. Gladys Horton and Wanda Rogers both get an equal amount of songs that each sing leads on . Among the 12 diverse songs on this legendary Tamla album, it boasts 2 hits - THE HUNTER GETS CAPTURED BY THE GAME and WHEN YOU'RE YOUNG AND IN LOVE. THE HUNTER GETS CAPTURED BY THE GAME is one of the most sexy, alluring songs that a Motown artist ever did with a jazz feel, written & produced by Smokey Robinson. Both lyrically and musically, it is a true standout , compellingly sung by Wanda Rogers. This song is such an influence, that Elvis Costello named it his favorite Motown record, and artists such as Blondie and Grace Jones covered it. This is the single version, but on THE MARVELETTES ANTHOLOGY album, there is a long version with an extra verse. The pleasure of this album is in it's diversity of material, plus leads by both Gladys, making this her last Marvelettes album, as she left the group later in '67, and of course, Wanda, who was now getting all the singles now that DON'T MESS WITH BILL [ not on here ] returned the group to the top in 1966. I really love their version of HE WAS REALLY SAYIN' SOMETHIN' which beats The Velvelettes version. Similar to TOO MANY FISH IN THE SEA, with the great Gladys telling it like it is about the guys, and a blasting sax solo. Hard to beat this number. You also get another Motown stomper, KEEP OFF NO TRESPASSING and the finger clicking THE DAY YOU TAKE ONE [ YOU HAVE TO TAKE THE OTHER ]. Also a number of excellent mid-tempo songs, and the very unique THIS NIGHT WAS MADE FOR LOVE, with a symphony of strings and an ethereal , atmospheric production. It opens with 2 interpretations of 2 then current hits of the time, BAREFOOTIN' and MESSAGE TO MICHAEL. The Marvelettes rarely did other atists' material, as Gladys did not care to do the show tunes that Motown suggested they do, like so many of the other Motown acts. The Marvelettes rocked their material, doing almost exclusively all original songs, and with 2 lead singers, these are among the contributions that this amazing group brought to the world. Rock on Marvelettes, the appreciation for your music is greater than ever.


title: Most Complete Goldsboro Hits - 3 CD's

text:
This is the essential BOBBY GOLDSBORO CD to own. It contains 36 original hits of virtually every A sided single that he recorded for United Artists. The best thing about it is you have every hit included, plus many hard to find songs that have never been issued on any other CD. All the 23 songs that are on the EMI/Collectables HONEY:THE BEST OF BOBBY GOLDSBORO CD are on here, but you also get 13 additional songs, most all Top 100 chart hits that provide an essential look at other styles and genres that he did. Many of these songs were uptempo tunes like MUDDY MISSISSIPPI LINE, MORNIN' MORNIN' , CALIFORNIA WINE and COME BACK HOME , none of which are on the other CD. A huge bonus is the inclusion of Bobby's singles that combine pop and rock with R&B/blue eyed soul. These all show his leanings toward 60's pop and soul, with stellar tracks like I KNOW YOU BETTER THAN THAT, PLEDGE OF LOVE, JO JO'S PLACE, TAKE YOUR LOVE, and GOODBYE TO ALL YOU WOMEN. These singles from 1966 and 1967 all show another side to his music, and all are not available on other best of CD's. They are in the style of such Goldsboro classics as LITTLE THINGS, VOODOO WOMAN , IT HURTS ME and IT'S TOO LATE. The HONEY:THE BEST OF leaves off many of these rock/R&B style hits, and it doesn't provide a complete overview of his mix of styles and genres. After all, he was a guitarist in Roy Orbison's band in the early 60's, so Bobby Goldsboro was not just a singer of ballads , pop & country inflected pop. Get this 3 CD set, which is essential for the music. It doesn't have any booklet, but then this whole series of 36 ALL-TIME GREATEST HITS that has been done on many other artists, doesn't come with notes.

CD 1:

SEE THE FUNNY LITTLE CLOWN
WHENEVER HE HOLDS YOU
ME JAPANSE BOY I LOVE YOU
LITTLE THINGS
IF YOU'VE GOT A HEART
VOODOO WOMAN
IF YOU WAIT FOR LOVE
IT'S TOO LATE
BROOMSTICK COWBOY
MOLLY
I KNOW YOU BETTER THAN THAT
IT HURTS ME

CD 2:

HONEY
GLAD SHE'S A WOMAN
AUTUMN OF MY LIFE
THE STRAIGHT LIFE
BLUE AUTUMN
I'M A DRIFTER
MUDDY MISSISSIPPI LINE
MORNIN' MORNIN'
CAN YOU FEEL IT
WATCHING SCOTTY GROW
AND I LOVE YOU SO
COME BACK HOME

CD 3:

SUMMER [ THE FIRST TIME ]
WITH PEN IN HAND
I DON'T KNOW YOU ANYMORE
A BUTTERFLY FOR BUCKY
BRAND NEW KIND OF LOVE
CALIFORNIA WINE
IT'S GONNA CHANGE
DANNY IS A MIRROR TO ME
PLEDGE OF LOVE
GOODBYE TO ALL YOU WOMEN
JO JO'S PLACE
TAKE YOUR LOVE


title: 5 LP Box Set - 50 Songs

text:
This 5 LP box set has 50 songs from their ABC Records catalog, packaged in a box, with a slipcase cover over it. No booklet, but it's the music that matters, most of it, not on CD at all. Hooray for Steve & Eydie, they are the consummate entertainers. All 50 songs feature a mix of solos by Steve or Eydie, as well as duets!

Record One:
I'LL TAKE ROMANCE
I'M OLD FASHIONED
CHEEK TO CHEEK
BYE BYE BLUES
YOU'RE NOBODY 'TILL SOMEBODY LOVES YOU
SO IN LOVE
MY FUNNY VALENTINE
TOGETHER
WHITE CHRISTMAS
THE GENTLEMAN IS A DOPE

Record Two:
I HEAR A RHAPSODY
JUNE IN JANUARY
SENTIMENTAL ME
GUESS WHO I SAW TODAY
THERE'LL BE SOME CHANGES MADE
ALL OR NOTHING AT ALL
DARN IT BABY, THAT'S LOVE
[ I DON'T CARE ] ONLY LOVE ME
THE THINGS WE DID LAST SUMMER

Record Three:
HELLO YOUNG LOVERS
SPEAK LOW
WHO WOULDN'T LOVE YOU
MAME
CAN'T HELP LOVIN' THAT MAN
SOMEBODY ELSE IS TAKIN' MY PLACE
MISSISSIPPI MUD
SIDE BY SIDE
LET THERE BE LOVE
WAY DOWN YONDER IN NEW ORLEANS

Record Four:
BAUBLES, BANGLES AND BEADS
FOOTSTEPS
SPRING WILL BE A LITTLE LATE THIS YEAR
LOVING IS A WAY OF LIVING
STORMY WEATHER
GUYS AND DOLLS
THE ONE I LOVE BELONGS TO SOMEBODY ELSE
FLATTERY
LOVE LETTERS
COME BACK, SILLY GIRL

Record Five:
ONE FOR MY BABY
YOU'RE EVERYTHING WONDERFUL
SENTIMENTAL JOURNEY
AFTER YOU'VE GONE
YOU DON'T KNOW
I HADN'T ANYONE 'TILL YOU
GET OUT OF TOWN
NO TWO PEOPLE
THE LAMP IS LOW
I DON'T WANT TO WALK WITHOUT YOU


title: Cher Produced by Snuff Garrett Again

text: This 1977 album found Cher teamed again with producer Snuff Garrett, who produced all the big early 70's hits . Most of the album is mid-tempo and ballads. Maybe the thinking was for him to come up with some hit singles, but CHERISHED is one of the weakest Cher albums . Cher sounds terrific on here, but the material isn't very strong, and the production by Garrett is mundane. Story songs are here, with the singles PIRATE and WAR PAINT AND SOFT FEATHERS trying to repeat the formula of the big hits, but the energy & strength of the songs aren't that great. SHE LOVES TO HEAR THE MUSIC tells the story of a girl working for a record company who loves all the bands. Not much upbeat on this album, though Cher does a great job singing what is on here. Overall, it's missing the bombastic energy and the strong songs that Cher is known for.


title: 20 Song 2 LP Set of Tom Jones Original Hits

text:
This is a great 2 LP set of the original TOM JONES hits that he recorded for Parrot/London in the mid to late 60's . It was offered through TV ads as well. Release date says 1977, and it's on the Parrot label , distributed by Tee Vee Records, with great color shot of him on the cover. Songs are:
IT'S NOT UNUSUAL
DETROIT CITY
I'M COMING HOME
TEN GUITARS
WHAT'S NEW PUSSYCAT
DELILAH
LOVE ME TONIGHT
DON'T FIGHT IT
I BELIEVE
FUNNY FAMILIAR FORGOTTEN FEELINGS
GREEN GREEN GRASS OF HOME
HOLD ON I'M COMING
SITTING ON THE DOCK OF THE BAY
GET READY
I'LL NEVER FALL IN LOVE AGAIN
HELP YOURSELF
WITHOUT LOVE
SHAKE
FUNNY HOW TIME SLIPS AWAY
CAN'T STOP LOVING YOU


title: Sheer Joy of Great Music To Listen To

text:
After 3 albums from 1970-1974, BRENDA PATTERSON joined THE COON ELDER BAND, and released this excellent collection of 10 songs in 1977 on Mercury Records. This 6 piece band plays music for the sheer joy of it. They are all born to play musicians. There's an amazing amount of different styles that this band played, all of it with skill and passion. Both Brenda and Coon Elder share lead vocals. There are some great harmonies too. This certainly isn't country music, but a mix of genres. They combine the roots of country, rock, R&B, bluegrass and swing into a cohesive, highly enjoyable album. The mix of horns on the opener LOVE BEING YOUR FOOL shows how inventive and talented this group was. Brenda sounds relaxed and soulful, really in her own element, but not the star of the show. She gets solos on MINUTES TO HOURS , SEND HIM HOME TO MAMA and TRAIN GONE FOREVER. Their version of Jr. Walker's WHAT DOES IT TAKE is another example of their no-limits repertoire, with Brenda on lead. Coon Elder sounds similar to John Sebastian , and not unlike The Lovin' Spoonful, this is good time music. The band is adept at both fast paced and slower tunes. The closer GRINNIN' MY BLUES AWAY sums it all up. A rockin' jam kind of song about the music down in Dixie that swings and rocks, with co-lead vocals by Brenda and Coon. SEND HIM HOME TO MAMA is a beauty of a number all about those Nashville Cats looking for a place to play their music, sung exquisitely by Brenda. BASIC LADY is an Allen Toussaint tune that they both share leads on too. They just don't make music like this today. A real band who could sing and play it all, without being designated as just one type of music. Too bad that they weren't around longer to give us more great albums. Brenda Patterson is still singing and you should check out the CD by her band after this, COOLEY'S HOUSE. It's another great CD that brings her up to the 2000's in her long career.

Side One:
LOVE BEING YOUR FOOL
I AIN'T NO COWBOY [ I JUST FOUND THE HAT ]
MINUTES TO HOURS
LATER ON
BASIC LADY

Side Two:
WHAT DOES IT TAKE
KEEP ON RUNNING
SEND HIM HOME TO MAMA
TRAIN GONE FOREVER
GRINNIN' MY BLUES AWAY

Released on Mercury Records SRM-1-1140 in 1977.


title: Brenda's 3rd - More Soft Pop Than Rock

text:
From the cover, Brenda Patterson's 3rd album , LIKE GOOD WINE, featuring her decked out in cool 70's denim & holding a microphone looks every bit the rock chick . Being released on Discreet Records, a label owned in part by Frank Zappa, you'd think that this was going to be a rock album as well. But the biggest clue is revealed on the back cover - Produced by Snuff Garrett. He was Cher's producer at the time, in the early 70's. But the formula he worked out for Cher did not do Brenda Patterson justice. Her first 2 albums were roots based rock, country & gospel. Snuff Garrett gives her soft production, with backing vocalists and strings. The first track, MR. GUITAR is anything but a guitar laden rock song.  It's a story song that isn't very good to begin with, written by John Durrill [ writer of Cher's songs including " Dark Lady " ]. His BRING YOUR GOOD WINE fares better, a waltz-like old-time feel of a song. The best songs on here are from country based songwriters. Bill Anderson's SLIPPIN' AWAY is nice and upbeat, with banjos . Donna Weiss' SWEET AMARILLO is great, the closest song to being hit single sounding, and a favorite writer of hers, having written 2 songs on Brenda's  excellent 2nd album. Ray Price's I'LL BE THERE [IF YOU EVER WANT ME ] illustrates the power of Brenda's voice best here, as she sings accapella on several lines. The version of Patsy Cline's hit CRAZY also fits well. But overall, this album is a mis-match of a heavy handed big name record producer exerting his sound over an artist. Brenda Patterson sang a number of genres, all rooted in rock/blues/gospel/country on all her albums. This album has some good cuts, but doesn't come close to being a rock album like her previous 2. The album is very short too, with the songs all running around 2 and 3 minutes. Thankfully, she would continue to record, joining The Coon Elder Band , who made an excellent album in 1977 for Mercury. In 1982, she contributed a song to the soundtrack of THE BORDER by Ry Cooder. In the 2000's, she is the lead vocalist of the Memphis based band, COOLEY'S HOUSE, who released a CD that you should definitely hear.

Side One:
MR. GUITAR
THIS I FIND IS BEAUTIFUL
SLIPPIN' AWAY
BLESSED BE THE LOVE
BRING YOUR GOOD WINE

Side Two:
YOU CAN'T HAVE YOU CAKE AND EAT IT TOO
I'LL BE THERE [ IF YOU EVER WANT ME ]
CRAZY
SWEET AMARILLO
I'VE NEVER BEEN A FOOL LIKE THIS BEFORE


title: The Last Mamas and Papas Album on ABC

text:
This is the very last released album that ABC Records released on The Mamas and The Papas. Released in 1976, it was one of a series of greatest hits collections that ABC released on many of their biggest artists. Within a couple years, MCA would buy all of the ABC catalog . This album features 14 greatest hits and some of their best album tracks.
Side One:
MONDAY MONDAY
TWELVE THIRTY
I SAW HER AGAIN LAST NIGHT
I CALL YOUR NAME
CREEQUE ALLEY
WORDS OF LOVE
DEDICATED TO THE ONE I LOVE
Side Two:
GO WHERE YOU WANNA GO
LOOK THOUGH MY WINDOW
SOMEBODY GROOVY
STRAIGHT SHOOTER
DREAM A LITTLE DREAM OF ME
GLAD TO BE UNHAPPY
CALIFORNIA DREAMIN'


title: Isis - Female Rock Band - Amazing Music

text:
ISIS was of their time, the mid-1970's, and ahead of their time as well. This 8 member all female band cooked up a diverse blend of rock, soul, funk, pop and jazz. Carol MacDonald was the leader/lead vocalist/rhythm guitarist, who had honed her craft for a solid decade with Goldie and The Gingerbreads in the 60's. With the drummer from that band, Ginger Bianco, she formed Isis in the early 70's, a rock band with a horn section. Keyboard player from the Gingerbreads, Margo Lewis, would join right after this album was recorded. The music on here is amazing. The sheer power of their music hits you right at the start with WAITING FOR THE SONRISE. It's music at full blast, with Carol's strong vocal matched by the horn section, with a guitar solo by lead guitarist Suzi Ghezzi. Comparisons to the other rock bands with horns - Chicago and Blood Sweat & Tears - don't do them justice at all. The music on this debut album is all over the map, but fits together as a cohesive, tight selection of songs and styles. The album has long songs with jams, beautiful ballads, funk, and a 30's style swing song, COCAINE ELAINE, that closes this most amazing album.

 The cover of the album was a bold statement in 1974. The 8 members are pictured nude , painted in silver metallic paint. The sheer boldness of the cover perfectly suits the music inside. An all-female rock band playing music with talent, integrity and experience. Listening to this album, Isis had many textures to their music. The balance of the crunching rock and funk tunes to some gorgeously written and arranged ballads is equal, and illustrate that Isis could play everything. Carol's songs, EVERYBODY NEEDS A FOREVER, and RUBBER BOY, are heart-breakingly sung & played, with sumptuous melodies and arrangements. Either song could have been a hit single. Bassist Stella Bass contributes 2 funkier numbers, APRIL FOOL and DO THE FOOTBALL. The longest song on the album, SERVANT SAVIOUR, is an epic with a voiceover with someone reciting as Jesus, with Carol's vocal, and solos that make it more of a jam piece. Thinking of the time period, this band could play music that was more for FM radio. And during that time, androgyny was huge. David Bowie ,Elton John, Alice Cooper, T. Rex. It was the perfect time for Isis to form, in all the diversity of music that was being made. Why not an all female band of musicians who really could play ? Buddah Records signing them was tremendous. Thanks to the vision of Carol MacDonald and Ginger Bianco, that this band existed and made music. All these decades later, it's time to catch up, and listen to music that I missed out on the first time around. Certainly, they were trailblazers and barrior breakers in music and society. This is their 1st album, out of 3 albums total. It is Isis at their best, and at full power.

Songs:
1. WAITING FOR THE SONRISE
2. EVERYBODY NEEDS A FOREVER
3. SERVANT SAVIOUR
4. RUBBER BOY

5. APRIL FOOL
6. BITTER SWEET
7. DO THE FOOTBALL
8. SHE LOVES ME
9. COCAINE ELAINE


title: The First Cass Release in 1974

text:
This is a double LP that has the distinction of being the first release of Cass Elliot's music following her untimely death on 7/29/1974. This album was released on the Pickwick label, a budget-line company who licensed the music from ABC/Dunhill Records. The 2 LP set is a compilation featuring 18 songs, with a nice color photo of Cass from the same photo session from the Mamas & Papas " Golden Era Volume 2 " album cover. The first LP was released on Pickwick in 1973 as DREAM A LITTLE DREAM OF ME. It's not a reissue of her 1968 album, DREAM A LITTLE DREAM , but a collection of 9 songs from her first 2 ABC/Dunhill albums. Several months after her passing, this double album was released towards the end of 1974. Pickwick added a newly compiled 2nd album, with the liner notes from the 1st 1973 LP they released, then added at the end " Mama Cass has gone and the world of rock was richer for her all too brief moment in the sun ". It's worthy to note that neither of the labels that Cass recorded for - ABC/Dunhill [ soon to be sold to MCA Records at the end of the 70's ] nor RCA Records released any Cass compilations on LP. It was not until 1997 that the first Cass Elliot " Best Of " collection was released by MCA , 23 years later. This double album set features 5 songs from her 1st solo album DREAM A LITTLE DREAM and all of the BUBBLEGUM, LEMONADE AND SOMETHING FOR MAMA album, plus the hits DREAM A LITTLE DREAM OF ME recorded with The Mamas & The Papas from 1968 and MAKE YOUR OWN KIND OF MUSIC from 1969.

Record One:
DREAM A LITTLE DREAM OF ME [ The Mamas & The Papas ]
BLOW ME A KISS
IT'S GETTING BETTER
WHO'S TO BLAME

MOVE IN A LITTLE CLOSER BABY
I CAN DREAM CAN'T I
WHEN I JUST WEAR MY SMILE
EASY COME EASY GO
THE ROOM NOBODY LIVES IN

Record Two:
MAKE YOU OWN KIND OF MUSIC
SOUR GRAPES
YOU KNOW WHO I AM
BURH YOUR HATRED
WELCOME TO THE WORLD

BLUES FOR BREAKFAST
WHAT WAS IN THINKING OF
LADY LOVE
HE'S A RUNNER

PICKWICK RECORDS PTP 2075
RELEASED LATE 1974

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title: Hard Rock Soul & Funk

text: Mother's Finest Epic album was released on the Sony label on CD in Europe, and this is the first bonafide reissue of that classic 1976 album on CD. By the time the band went into the studio, they had practiced these songs for a long time. They knew how to play, sing & improvise all in one fell swoop. Every song on here will take your breath away. The energy level this band had were beyond frenzied. Wow - Joyce Kennedy could sing with such power and force. And with the hard rockin' band behind her, it just propelled the music to a feverish pace. The combination of powerhouse vocals , pure musicianship, and great songs are all here. FIRE combines rock, funk and R&B , and is a perfect example of the melting pot of influences that MF brought together. GIVE YOU ALL THE LOVE I HAVE [ INSIDE OF ME ] is an eight minute opus of a jam, with stops and starts, and solos, and Joyce [ Baby Jean ] wailing away. It's their " Stairway To Heaven ". RAIN is also a killer song with Glenn Murdock on lead. Joyce and he were dual lead singers . Joyce made the band what it was, and Glenn's leads on here are the best songs he ever cooked up with MF. NIGGAZZ CAN'T SING ROCK & ROLL is also one of his, another blending of rock & Sly & The Family Stone influences. Interestingly, a few of the songs on this album were reworked from their earlier album on RCA in 1972. GIVE YOU ALL THE LOVE and NIGAZZ.. had their origins on songs from that RCA album, which didn't capture the band as they are known for. This Epic release captures them at full throttle. The energy that Mother's Finest had are all over this highly toxic CD of hard rock and soul.


title: Rare Centennial LP , 1986 - Marie Osmond  & More

text:
This 1986 LP contains exclusive songs recorded just to mark the occasion of the American centennial. Most songs are all new, & available just here. MARIE OSMOND recorded AMERICA IS - [ The Official Liberty Centennial Song ] and it's one of her true rarities. This song was written for her by the legendary songwriter Hal David and Joe Raposo, who wrote songs for Sesame Street, notably SING by The Carpenters. Also on here are  songs by BETTY BUCKLEY, GLEN CAMPBELL, BILL CHAMPLIN [ Lead singer of CHICAGO ] and a rarity by JOHNNY CASH, WILLIE NELSON, JESSI COLTER & WAYLON JENNINGS with a narration by WILL D. CAMPBELL entitled LET AMERICA BE AMERICA AGAIN. This LP contains some beaitiful, patriotic songs that are tradtional, as well s new and fresh. Never released on CD. WORD RECORDS WR 98334.

 Side 1: LEONARD BERNSTEIN & THE NY PHILHARMONIC/FANFARE FOR THE COMMON MAN; WINTLEY PHIPPS/THANK YOU AMERICA; BETTY BUCKLEY/LAST NIGHT I DREAMED; BILL CHAMPLIN/LIBERTY LIGHT; GLEN CAMPBELL/ANOTHER DAY IN AMERICA; MARIE OSMOND/AMERICA IS [ THE OFFICIAL LIBERTY CENTENNIAL SONG ]

 Side 2: SANDI PATTI/STAR SPANGLED BANNER; MARK ISHAM/ON THE THESHOLD OF LIBERTY; KATE SMITH/GOD BLESS AMERICA; DOBIE GRAY/IT'S HIGH TIME; WILL D. CAMPBELL with JOHNNY CASH, WILLIE NELSON, JESSI COLTER AND WAYON JENNINGS/ LET AMERICA BE AMERICA AGAIN


title: Classic Late 60's Eydie

text:
This 1968 album by EYDIE GORME is just called " EYDIE " . It is a stellar set of 11 songs. She had really grown as a singer and artist , and this late 60's albums shows the major strengths of her voice. Lots of styles and variety on here, including Pop songs like YOU CAN HAVE HIM, THIS GIRL'S IN LOVE WITH YOU, little known songs from Broadway shows, and original songs too. One of her very best albums. So far, it is not on CD anywhere.

 Songs: BY THE TIME I GET TO PHOENIX, IT HAD TO BE YOU, YOU CAN HAVE HIM , I SHOULD CARE, WHAT AM I DOING HERE, WHEN YOU GONNA LEARN, KISS HIM NOW, IT'S YOU AGAIN, SOLITAIRE, BLACK DRESS, THIS GIRL'S IN LOVE WITH YOU. RCA RECORDS LSP-4093.


title: THE LEGEND OF RUBY STARR

text:
Ruby Starr , the powerhouse vocalist remembered most for her 3 albums on Capitol Records in the 70's and for her work with BLACK OAK ARKANSAS had a longer career into the 80's with the band GREY STAR. This CD has all the songs that Ruby and Grey Star released on 2 albums in the early 80's. They contain some great music, and illustrate what a fantastic singer that Ruby was. After her last Capitol album in 1977, Ruby continued to sing and tour, including a tour with BLACKFOOT backing Ruby as her band. GREY STAR toured & rehearsed for 3 years before releasing their first album " GREY STAR " in 1981. The band had 2 lead vocalists - RUBY STARR and MIKE FINDLING, also known as MIKE GREY. On the first album, Ruby has 5 songs as the lead singer, and all of them are stellar performances. She only got better as a singer, and these songs prove it. They rock hard. It may be hard to believe that anyone would dare sing PIECE OF MY HEART, Janis Joplin's signature song, but Ruby pulls it off , making it sound all her own. Really a fantastic performance. YOU NEVER LEARN and DON'T GO AND LEAVE ME have more textures that illustrate the band's diversity and Ruby's as well. GUARANTEED TO PLEASE is the most full-out rocker , a real non-stop freight train that shows that Ruby was one of the best female rock & roll singers ever. The most astounding song is SILHOUETTE, a song that opens with some keyboards and Ruby's soothing vocals, and it just builds and builds. This song had " hit single " all over it. It's a perfect record with singer, band, arrangement and lyrics all converging to make it a magic moment.

Mike Grey gets the lead on the 4 other songs, the best being the opener, the fittingly titled & sung, START UP A NEW DAY. He sounds a bit like Mickey Thomas of Starship. It's straight ahead American rock and roll. How Ruby and the band did not get signed to a major label is one of the biggest mistakes in rock and roll. The band released their own albums on the Emotion Records label, and how they didn't get a major label deal, is criminal. Ruby was a name artist herself, and with the advent of the 80's, women rockers were flooding the airwaves, getting airplay, hit singles , platinum albums and of course, videos. How Ruby Starr was not picked up by a big label was a crime to rock and roll, and the public.

2nd album, TELEPHONE SEX, released in 1983 , has a sexy photo of Ruby on the cover, and the music inside is strong as ever. On the 2nd album , there is more vocal harmony between the 2 lead vocalists, and has the use of a bit more of the 80's sound with more keyboards. MEET ME AT THE SAME TIME gets things off with a bang, with Ruby on the lead. BABY IT'S YOU follows, and Ruby of course whips up a powerhouse version of the 1969 hit by A Group Called Smith. This time there are 10 songs on the album, with more vocal interplay, and Ruby has her share of leads .  The other cover song is a cool version of the IN CROWD, with that vocal interplay between male and female vocals. This song sounds what the band could have done with a song , like " OBSESSION " by Animotion, which would be a hit 3 years later. Of course, in her career, Ruby Starr was ahead of the pack. If she & Grey Starr had had a hit with that song, as their version of IN CROWD sounds like it's pointing the way to the sound of " OBSESSION ", Ruby would have finally got the hit she had so richly deserved. It's all original material that the band wrote & honed their musical chops on. Plus, the 3 well chosen covers that are on these 2 excellent albums.

As for the CD, the transfer is from vinyl albums. Some of the songs cut off a few seconds at the end , instead of the natural fade on the original albums. But given that the albums were in limited pressings, and sold only regionally and at their concerts, the justification to transfer them onto CD from vinyl is valid. Both albums are very hard to find and are collector's items. You get all the songs on one CD. You'd be hard pressed to find these recordings, so I won't gripe on that. The CD actually starts with the 2nd album first, possibly because Ruby is the lead vocalist on the first song, and she wasn't on the first album.

RUBY STARR lives on these two last albums that she did. If she were around today, she would be a superstar. With all the talent she had, she deserved more promotion, hits, and many more albums. To think, that back in the 70's, radio didn't play tough women rockers, especially if they were solo women rockers. It changed toward 1979-1980. Somehow, Ruby got neglected by the record companies, but not the fans. She broke down barriers for those that followed. The legend of Ruby Starr lives on . If you missed her when she was alive and rockin' , here's a chance to discover or re-discover her power and immense talent.


title: 1981 Kat Family Label LP Produced by Chips Moman

text:
Fine 1981 album by BILLY JOE ROYAL Produced by noted songwriter Chips Moman contains 10 songs in the Southern pop/soul/country tradition. The songs are a balance of mid-paced songs, ballads and 2 remakes of Motown songs - YOU'VE REALLY GOT A HOLD ON ME and IF YOU WERE MY WOMAN AND I WERE YOUR MAN. Recorded in Nashville with many well known musicians since the late 60's who recorded many hits in Memphis also, such as Reggie Young, Tommy Cogbill, Bobby Emmons, Gary Tally and others. Songwriter Toni Wine [ co-writer of " A Groovy Kind of Love " and the female voice on The Archies " Sugar, Sugar " ] contributes backing vocals also. Many songs are penned by Moman and Emmons. So it's got a pedigree of well known musicians & songwriters as well. A few singles were released , though none hit the charts. Still, it's a nice album and has some good songs. Not as rock oriented as his previous 1980 album on Mercury , also self-titled " BILLY JOE ROYAL ". In fact, it's rather confusing because he has at least 3 albums that he released with the title of his name, dating back to 1967 with the Columbia album " BILLY JOE ROYAL " Featuring " HUSH ". This 1981 LP is better known as the KAT FAMILY album, because that was the record company it was on, and at the time it was distributed by CBS Records. A few years after this album, Billy Joe went country on the Atlantic label with a string of hits on the country charts. Any fan of his will love this album, a real mix of that old Southern pop, soul & country mixed together so well .

 Songs: [ WHO IS LIKE YOU ] SWEET AMERICA, THE WURLITZER PRIZE, IF YOU WERE MY WOMAN AND I WERE YOUR MAN, OUTRUN THE SUN, NO LOVE LIKE A FIRST LOVE, YOU REALLY GOT A HOLD ON ME, WASTED TIME, MAY I BORROW SOME SUGAR FROM YOU , OLD FORDS AND A NATURAL STONE, NASHVILLE SMASHVILLE. Released on Kat Family Records JW 37342, 1981, Produced by Chips Moman.


title: Ruby Starr - One of Rock's Great Female Vocalists

text:
Ruby Starr recorded 3 albums for Capitol in the 70's, and this 1st album from 1975 is the strongest of them. Ruby's tough yet tender vocals , plus the contributions of her band, Grey Ghost in both the playing & songwriting, make this a killer album from start to finish. Ruby's voice is the main attraction. A tough chick who could sing as great as the best of them, but yet never got the recognition or the hits she deserved during her time on earth. BURNIN' WHISKEY is the opener, and Ruby's acapella opening lines make you know this girl could sing. SWEET SWEET SWEET is a very catchy song with a great chorus that should have been THE hit single from this album. Instantly memorable. The whole band ably assist Ruby backing her up with some great solos, as well as providing some nice vocal harmonies. All the songs are original , penned by Ruby, keyboardist Marius Penczner, Jimmie Henderson & David Mayo. Whether you like Southern Rock or female rockers, Ruby Starr is not to be missed. The best of the bunch are on Side Two where both Ruby & the band let loose on  more lengthy songs. FORK IN THE ROAD is a bluesy showcase that is a centerpiece here. And LIVING PROOF is a Southern Rock jam that doesn't stop, with many different twists & turns. A mighty closer to this album . There's no lack of fire on this album.

  Ruby definitely paved the way in the 70's , but unlike say, Ann Wilson or Stevie Nicks, she didn't become a major star. She was years ahead of The Rossington-Collins Band , who had the very similar sounding Dale Krantz on lead vocals, who definitely owes a debt to Ruby Starr. Or another Dale, Dale Bozzio of Missing Persons, whose sensual stage personality was very similar to Ruby's . Perhaps it was the time, when radio was just not playing a ballsy female vocalist like Ruby Starr [ or Genya Ravan or Maggie Bell or any other solo woman performer , except Janis Joplin who rocked ]. Ruby did get some publicity with her guest starring on the hit JIM DANDY with Black Oak Arkansas, but it's her 3 solo albums on Capitol that are her real legacy. She deservered more than the cult following she has now in death. Don't wait for a CD release. Own the vinyl, and don't miss out on one of rock's best female rockers, known to many decades later.


title: MF Does Police On My Back !

text: This CD Single contains 3 songs from their BLACK RADIO WON'T PLAY THIS RECORD , but the real secret to own this CD is their version of POLICE ON MY BACK. Joyce, Murdock & the band rock up this track most with an attitude of knowing full well how it can be. Most people know the version by The Clash , but this rare bonus track is killer, and this CD is the only place it was released.


title: Crashing Jazz/Rock Band with Fiery Vocals

text:
In the heady, hippie days of 1969 in New York City, Ten Wheel Drive released their 1st album of Jazz/Rock/Blues, with female frontwoman Genya Ravan on lead vocals. Genya was a liberated, experienced musician having already been singing for years with her band Goldie & The Gingerbreads. She heard the 1st Blood Sweat & Tears album in 1968, and that was the sound she wanted for her next group. So, together with the other principal musicians, Aram Schefrin and Michael Zager, formed TWD. This 1st album is brash, loud, and good! The band makes a tremendously powerful sound with vocals, bass, guitar, keyboards, drums and a mass of horns. It starts off with a bang with the amazing TIGHTROPE, one of their best songs. Genya's vocals are loud, dark, & sometimes screaming, but she really can sing . It took all that experience to front a band as big and as loud as this. Picture a look like Brenda Vaccaro in that era's big film, MIDNIGHT COWBOY, but Genya looking so totally free of all constraints , liberated , independent and strong, and still being seen as a sex symbol. She knows what she wants, and sings about sex, drugs, loneliness and more sex on this album. And she ironically wore a chastity belt onstage at her concerts. She had a lot of experience and power. Sense of humor too. Leave it to a loud girl from New York City. So, on a song like AIN'T GONNA HAPPEN, she's the one who tells the guy, if you think you're going to be the one, have I got news for you. It AIN'T GONNA HAPPEN, and this song is yet another standout tour de force for her here. Another highlight is the eight minute EYE OF THE NEEDLE, with shared vocals by Genya and Aram, who doesn't have much of a voice, but he could write good songs! This was the band's anthem, and at eight minutes, it is filled with many different sounds, intricate backing vocals, and a spectacular ending. It's a dark song about heroin, with some fascinatingly eerie backing vocals by Genya. Sort of like an East Coast Jefferson Airplane with horns. Another standout is the slow blues and jazz feel of CANDY MAN BLUES, which is mostly Genya accompanied by piano, drums and a horn solo. More intimate and a nice change of pace. I also dig [! ] the last track I AM A WANT AD, which rocks out the album to a great finish. As this was their 1st album, the band's sound at times is somewhat not as tight as on their 2nd and 3rd albums, and I find the horns grating at times. On the songs LAPIDARY, POLAR BEAR RUG, and HOUSE IN CENTRAL PARK, the songwriting and arrangements aren't as strong as the other songs.

 This band should have been bigger. But they made one crucial mistake. They were offered to play at Woodstock, but they turned it down because they were tired of playing too many pop festivals. A New York band saying no to playing in nearby upstate New York. Of course, no one knew what it would become. But it kind of sealed their fate at not getting the push and the attention and the airplay that they should have. Listen on, nearly 40 years later, as it still stands up.


title: Nona - Hard Rockin' Solo Debut

text:
Nona Hendryx broke new ground as a black female artist and songwriter in Labelle, and continued to boldly go in a rock direction on her 1st solo album . Released in late summer 1977 , it's a startling , amazing jolt of rock mixed with Nona's natural born soul. The opener " WINNING " is the only song she didn't write. Russ Ballard of Argent wrote it, and it's a powerful , personal statement lyrically with a solid rock sound that had " hit " written all over it. It was, but for Santana, when they covered it later. And that's just the beginning.

 The power of Nona's vocals is a perfect match for the hard rock songs on this album. " TAX EXILE " is an amazing song with Nona just rocking out on this very heavy guitar drenched rocker. Love the ending where Nona wails " taking it, taking it, they're taking it all the way " , as the guitar solo by Eddie Martinez blasts away. " PROBLEM " is another heavy rock track with power. The influence of Nona's love of English rock is apparent on these tracks. On " TAKE A CHANCE ", horns and a funky rock beat really bring an added Latin dance influence to it. There's no end to the fresh new sounds of Nona blazing her trail down the road less traveled. Think of it, for a black woman to be doing rock, writing her own songs, back when disco had even the biggest R&B names lining up, was defiant , artistic and dangerous. Just like the album cover of Nona in black leather with a knife, and the back cover of her holding a guitar.

 There are other influences as well, and the ballads here are beautiful. " ONCE AGAIN " is a soft tender song; " LEAVING HERE TODAY " , the stunning closing number is Nona's personal vision for a better world; and " TOUT DE SUITE MAM'SELLE " is probably the most amazing musically, with piano starting it off, then a solo guitar, Nona's voice & then the band coming in. There are references to the break-up of Labelle in some of these songs, and this one is all about her 2 partners in that legendary trio. " TOO LATE TO RUN " , a reggae influenced song also throws in some lines about the unexpected break-up of the group. And " WILL YOU BE THERE " and the only US single released from this album - " EVERYBODY WANTS TO BE SOMEBODY " are tight, concise pop rock songs that stand the test of time, as this whole album does.

 Epic released both Nona & Patti LaBelle's debut solo albums at the same time in 1977. Both have the power, talent and great songs that made the group so amazing. Sarah Dash's debut album on Kirshner came one year later. Nona's 1st album has never been issued on CD, nor her full RCA albums either. Until then, you've got to hear this album. It's 30+ years later, and there still isn't anyone like Nona Hendryx.

 Songs: WINNING, EVERYBODY WANTS TO BE SOMEBODY, TAX EXILE, TOUT DE SUITE MAM'SELLE, TAKE A CHANCE, PROBLEM, ONCE AGAIN, TOO LATE TO RUN, WILL YOU BE THERE, LEAVING HERE TODAY.


title: Great Pop by The Fortunes - 1970

text:
This is a fine album by THE FORTUNES , featuring lead singer Rod Allen who continued to lead the group from it's start in the mid-60's to his sad passing on January 10, 2008 at only age 63. This is one of their best albums , with consistently good songs and shining harmonies. Released on WORLD PACIFIC , a subsidiary of CAPITOL RECORDS in 1970, it is a great album filled with should have been hits. Songwriters who contributed include Roger Cook and Roger Greenaway, and Jimmy Webb. THAT SAME OLD FEELING was a mild hit on the charts, and is a nice pop tune, also a hit for British group Pickettywick that same old year. LIFETIME OF LOVE was also a single and is more in the ballad mode with big production from the era, in the vein of say, Tom Jones or Gene Pitney.

 This is one of the strongest albums by The Fortunes, and the harmonies on the song FEELINGS [ not the 1975 Morris Albert song ! ] are just great -a song filled with jangly guitars , tambourines & vocals, like The Hollies or CSN. Should have been a single and a hit. BOOKS AND FILM, SAD SAD SAD and EVERYHING IN THE GARDEN are all exquisite upbeat songs that again are all prime hit single sounding songs. Period AM pop that is so good to hear now. One of the most exceptional songs is YOU WON'T BE THE LAST also known as WHETHER YOU LIKE IT OR NOT, a biting song all about a man's playing the field & not settling down that is so different to hear lyric-wise from the Fortunes. There are also some good mid-paced songs as well.

 This album came one year before their hit HERE COMES THAT RAINY DAY FEELING AGAIN, and it is the strongest of their 3 early 70's CAPITOL album. Four of the songs were reissued on their 1972 album STORM IN A TEACUP , which is available as on CD as a 2 fer with the 1971 album HERE COMES THAT RAINY DAY FEELING AGAIN. Also THE VERY BEST OF THE FORTUNES CD on Taragon has some of these tracks, and has exceptional sound. Also of note is that most of these songs were put out on a promotional album by Coca-Cola with the Coke jingle IT'S THE REAL THING that the group did in 1969. Too bad that jingle is not on CD.

 This album is worth owning for the timeless tunes that The Fortunes made. What a loss that Rod Allen is no longer with us. He was the voice & leader of the group.

 Songs: LIFETIME OF LOVE, EVERYTHING IN THE GARDEN, FEELINGS, THIS TOWN SHOULD START BELIEVING, SAD SAD SAD, TODAY I KILLED A MAN, THAT SAME OLD FEELING, SOMEONE IS STANDING OUTSIDE, BOOKS AND FILM, RED CLAY COUNTY LINE, YOU WON'T BE THE LAST aka WHETHER YOU LIKE IT OR NOT, CLOWNS EXIT LAUGHING.


title: June Pointer's 1st Solo Album!

text:
June Pointer - what a voice & personality that is so missed for her sassiness, spunk & ways with a song. This is her 1st solo album from 1983, with 9 dynamite songs. My favorite is " READY FOR SOME ACTION " , which is just a perfect funky & rockin' dance song . It was written & produced by Norman Whitfield, the producer who brought the funk out in Motown artists such as The Temptations, Marvin Gaye & Gladys Knight & The Pips. READY FOR SOME ACTION is the best song on this debut, with hooks galore, & is the perfect song for June - being young & free & ready to let loose. June ad-libs as only she could at the end of this song.

  Great musicians, backing vocals by Anita & Ruth, James Ingram, The Waters Family, great songs - both uptempo & ballads, and remakes of 2 Motown songs - " I'M READY FOR LOVE ", and " DON'T MESS WITH BILL ". The album was produced by Richard Perry, with he & Norman Whitfield producing one song together. Comes with a lyric sleeve too. This was the first of June's 2 solo albums & stands the test of time to illustrate how great a vocalist she was. A must for every Pointer Sisters fan.


title: Best Of CD is a good one!

text:
I remember The New Seekers mostly for their US hits in the early 70's , like I'D LIKE TO TEACH THE WORLD TO SING, LOOK WHAT THEY'VE DONE TO MY SONG MA, BEAUTIFUL PEOPLE, CIRCLES & others. This is a great collection that includes these & many other singles & LP tracks in their original versions.

  Lead singer Eve Graham was definitely one of the singers that gave the group it's sound. She's great & the early 70's material boasts quality performances & harmonies, and songs by the likes of Melanie, Harry Chapin and others. The group had a pleasant sound that weaved together soft rock, folk & pop with nice harmonies. The medley of FRIENDS/WITH A LITTLE HELP FROM MY FRIENDS and also PINBALL WIZARD/SEE ME FEEL ME add some good theatrical type performances to the songs.

  The weakest material they ever did was towards the end of the original group in 1974, when they did some very sappy sing-a-long nostalgic old-time material that were hits in the UK, but not here. You can see why, as it's schmaltz like I GET A LITTLE SENTIMENTAL OVER YOU, YOU WON'T FIND ANOTHER FOOL LIKE ME and NEVERTHELESS [ I'M STILL IN LOVE WITH YOU ] that I bet they were forced to do.

  But the earlier hits & quality material is in abundance on this fine CD. Eve Graham was the real asset of this group and her leads [ listen to THE GREATEST SONG I'VE EVER HEARD ] really are from the heart.


This was a Christmas gift for my son-in-law.  He loves any music by the Greatful Dead and this did not disappoint him.  He loves/loved this one!


title: I collect The Ventures

text: It doesn't matter if this wasn't there best album I just love this group and will buy any of there records.


title: Five Stars

text: A beautiful CD


title: On the left coast

text: A nice live Hootie album.


title: kootchypop

text: I've been a Hootie & The Blowfish fan for years so naturally when I came across this demo I was curious about it so I bought it & I love it, it's a little raw but it's a great album "if you're going my way" is my favorite song off of kootchypop, if you're a Hootie an purchase this collectors item.


title: GREAT COLLECTION

text: Absolutely a great collection.  The problem is there wasn't enough of it.  I'm a big Western Swing fan and would have liked to see this collection be a couple of CD's longer.  Can't get enough of this.


title: A GREAT BLAST FROM THE PAST.

text: The sound quality of this album is fantastic.  The songs that I thought were done by modern day artists I'm actually finding in this album.  Glad to see they included some country music in this album.  Am now working on getting the entire set.


title: Absolutely attrocious sound quality - the person who 'remastered' these should be ashamed

text: I've known these four albums for many years, and have even heard the MGM tapes of one of them. The original recordings have quite decent 1960 era stereo sound quality. The remastering on this CD is astoundingly bad and, for me at least, unlistenable. Egregious amounts of reverb have been added; not only that, it is a type of reverb that is inappropriate for the material. Extreme compression has been applied, and, again, artlessly. The top end is blurry, the lower midrange scooped out, the bass... there aren't words, and there is no point in going on with this. You can find some of the material from these albums (individual songs) on some Verve CDs with very good sound quality, but not the complete albums. It is a pity that the engineer botched this opportunity so badly, and I will not take a chance on any other CDs in this series.


title: Eye popping and chunky set!!

text: A very solid album -start to finish-fantastic vocals and arrangements. An overlooked and under rated gem in Elvis's vast library. Remastered to perfection. This expanded edition is a must have for any Elvis fan-excellent packaging. Immersive liner notes. Sony nailed this one.


title: Five Stars

text: Album is of course fantastic-one of Dons best. Quality and sound top notch!!


title: One Star

text: lol 2000 dollars =what a joke


title: if you like this era its

text: bought for acouple tunes . if you like this era its good


title: good overview. the title is misleading but a good

text: took a chance. I wanted the unremixed mono single versions. not whats on this cd. good overview . the title is misleading but a good cd


title: Forgotten Star

text:
We all consider the pioneers of country music to be Jimmie Rodgers, the Carters, and of course, Hank.  But, here's the real thing when it comes to the original harmonica genius.  This is an affordable album that allows the listener to enjoy the most gifted "harp" player to ever grace the stage of country music (today's Blues Traveler with John Popper is a mere pimple on Wayne Raney's backside).  There are 16 numbers here that showcase Wayne's strong, yet gentle, voice, including:  "Why Dont You Haul Off and Love Me"; the tongue in cheek "Adam"; and "Burning Your Love Letters".  I doubt you will ever hear any of these cuts played on todays radio, but that's the beauty of recorded music.  Granted, these songs are half-a-century old, any fan of good music will completely enjoy every song provided on this CD.  I strongly suggest you buy this one...before it is no longer available.  One criticism is

the packaging leaves a lot to be desired, including no liner notes regarding the artist.


Used, in poor condition, and sleeve was damaged, like from water or high humidity.<br />It sounded like it was a 3rd generation recording, very poor audio quality!!!


title: great album

text: I have owned this one for about 40 years.it is a great album.i would buy  this one if I didn't already have it.


title: Five Stars

text: Excellent


title: Five Stars

text: Excellent collection of songs and performers.


title: THIS GUY IS A 5 STARS SINGER. &A CANADIAN ...

text: THIS GUY IS A 5 STARS SINGER.&A CANADIAN TO BOOT.THIS CD WOULD MAKE GEORGE JONES &VERN GOSTEN STAND UP &LISTEN.


title: WOW!

text: Absolutely the best. I would NEVER have heard this incredible music otherwise.

user_id: AFAEISSODWXCTWATZHUNEVMLNQHA


title: Elvis, The King of Rock

text: I received this CD in excellent condition and now only have na couple of Elvis's CD's to get. The Originals that  is. Thanks for the great service.


title: Five Stars

text: My favourite solo cd of a Beach Boy member .


title: Great price great music

text: Fantastic album.


title: mamamoo what more do I need to say

text: Great album love mamamoo


title: Five Stars

text: Very good album


title: good

text: good album


title: It's Mileyyyyy!!! :)

text: I think that this song really is fantastic. Just my opinion of course and we all have different opinions....but come on. Compared to Ashlee Simpson, it's great!!!!! So glad to see she's finally pulling together. I'm also loving Miley's sexier look. Her music has improved big time. I was never a fan of her teeny-bop music but I love her newer stuff.


title: Insightful overview of Van’s earliest solo work

text: 3.5 stars. (5 stars disc 1; 2 stars disc 2). The Bert Berns label (Bang) in New York will always be associated with Van Morrison because of the classic ubiquitous single , “Brown Eyed Girl”, as well as it’s role in the embryonic development of the unique groundbreaking album, “Astral Weeks”. There are lots of legal and semi legal collections of this material, but this one is just about the best. With 49 tracks- some great, some good,  and some interesting (on disc one). But disc 2 its another story: most songs are either very short silly contractual obligation throwaways,  or ideas for embryonic songs. Yet, all of it is important for a full picture of one of the greatest twentieth artists. For Van fans it’s worth picking - but you won’t be playing disc 2 much!


title: Talentless

text: After listening to this my only thought was 'Those are precious minutes of my life I'll never get back'


title: Amazing work Mileyyyy!!!

text: I bought this album after I heard the song "When I look at you" and "Party in the USA." I'm not a Miley hater or her biggest fan...just throwing that out there. Overall, this album was worth the money I paid for it. Walmart usually have good deals so I'm glad I picked this album up.


title: Soulful

text: I was fortunate to pick up this CD back in Oct 09 and it's been one of my most played CDs of 09 and currently in 2010.  These guys have a old Soulful sound that's currently missing in the new era of soul/jazz/nu-jazz music.  This group from New Zealand has a sound that many artists here in states are missing. The production is on point and lead singer has a good voice for soul music.  I can admit this is one of a few CDs in my collection that can be played from track 1 to the end without skipping a track.  I would love to see these guys live.  Definitely a CD you should have in your collection if you love the old soul music.


title: Excellent

text: Excellent


title: "STAR TREK IV: THE VOYAGE HOME": Leonard Rosenman's excellent score for fourth installment of "Trek"

text: I have to say that I enjoyed the expanded version of Leonard Rosenman's score of the fourth sequel in the "Star Trek" movie series of "The Voyage Home." The soundtrack has more than when it first came out under a different label in around 1986. What I know and remembered also of Mr. Rosenman's career in film scoring was his work on the 1970 film of "Beneath the Planet of the Apes" and the 1973 film of "Battle for the Planet of the Apes" and he did a very good job on them as well. About the "Star Trek IV" CD soundtrack, it has wonderful extras for anyone to enjoy listening to from the 1986 sequel of the film as well. I highly recommend it for both "Star Trek" and movie soundtrack fans like myself. Bravo!


title: "The Running Man: Deluxe Edition" Soundtrack is pretty good, but should have had more.

text:
In having ordered and received the Deluxe Edition of "The Running Man" soundtrack recently, I was like pretty impressed with the score by Harold Faltermeyer. However, I was surprised to learn that the CD did not include the song from the 1987 feature film's closing credits of "Running Away With You" and I am so disappointed with it. But other than that, I kind of enjoyed listening to it.
I would hope for someday when there will be a REMAKE of "The Running Man," and for which I am even more to hope that it be seriously faithful to the original Richard Bachman novel whereas the 1987 film completely failed at it.
Although I gave the CD soundtrack of "The Running Man" four stars, I would only recommend it IF anyone really enjoys this kind of cinematic score to listen to.


title: JERRY GOLDSMITH does his excellent score on "Gremlins 2" and with pure gusto!

text: I have to say that I enjoyed with pleasure on Jerry Goldsmith's score of "Gremlins 2: The New Batch." I have been such a BIG FAN of the late, great cinematic composer and conductor of all the films that he did in his career was a tremendous experience in nearly all my life.<br />I highly recommend this CD soundtrack of the sequel to the 1984 original film that Goldsmith also did with pure gusto and excitement all around!


title: The Shostakovich CD of both "The Year 1917" and "October" was not at all any good.

text: In having ordered and received the CD album of Dmitri Shostakovich's "The Year 1917" and "October" was definitely NOT what I expected: A definitive soundtrack of the 1927 Sergei Eisenstein film of "October, 1917" from 1967 when the film had a COMPLETE score by the composer himself. Instead, it had four tracks of the score rearranged by a different conductor from 1984. In other words, the interpretation of the score was NOT exactly like the 1927, and later released 1967, version of the movie. I felt cheated because I honestly DO NOT like such poorly interpreted takes on classic film scores by other conductors and orchestras. Therefore, I can only give the CD album just THREE STARS. Enough said.


title: Jerry Goldsmith's "Justine": A Pretty Good Score by the legendary composer and conductor himself!

text: Personally, I enjoyed the score of the motion picture, "Justine," by the late Jerry Goldsmith. There is however one little problem. There is some static on Track 11 and that is rather unfortunate due to the way it was recorded. Other than that, it was enjoyable to say the least.


title: "SMALL SOLDIERS": GREAT SCORE BY THE LEGENDARY JERRY GOLDSMITH! BRAVO!

text: Personally, I have enjoyed the great score by Jerry Goldsmith for the movie, "Small Soldiers." It has been also, as usual, very entertaining as well. After all, I have been a BIG FAN of the late legendary composer and conductor of the many motion pictures that have been part of unique career for decades! BRAVO!


title: "THE SAND PEBBLES": Great soundtrack by Jerry Goldsmith and worth listening to as ever.

text: I have to say that the Intrada 2-CD soundtrack of "The Sand Pebbles" by Jerry Goldsmith and conductor Lionel Newman was excellent as always. I highly recommend it for big movie soundtrack fans everywhere. BRAVO!


title: Jerry Goldsmith Does Excellently with "Night Crossing"!

text: Personally, I enjoyed Jerry Goldsmith's adventurous music score for "Night Crossing" and I bought it because of me being a BIG FAN of the late motion-picture composer and conductor. As for the movie itself, I NEVER bothered to see it because I am NOT much of a fan of typical Cold War movie dramas anyway. So I highly recommend this soundtrack CD for those who want to have the joy of listening to Goldsmith's scores for years like myself.


title: "Forever Young": Wonderful movie CD expanded soundtrack by Jerry Goldsmith. Excellent indeed.

text: Personally, I have to say that I enjoyed the expanded soundtrack of Jerry Goldsmith's score, "Forever Young," and it also included a song sung by late great, Billie Holliday, as well. As I always reminded myself, I will enjoy the movie scores of Goldsmith for as long as I live. As devoted BIG FAN, of course.


title: Jerry Goldsmith does it excellently with "Chain Reaction: Deluxe Edition"! Bravo!

text: I had recently purchased the new and deluxe edition of Jerry Goldsmith's score of the movie, "Chain Reaction." It is quite excellent and much better than the previous CD version where there were fewer tracks than the updated version with MORE tracks. I enjoyed listening to it as I had been having listened to MANY of the great music scores of the late Mr. Goldsmith for years. I also highly recommend it, that is, IF it is still available for movie music fans everywhere.


title: A Family favorite since 1996

text: I've listen to this CD almost every Christmas since I was a little girl. Perfect CD for trimming the tree or for Christmas parties and cookie decorating! Highly recommend!


title: Body Count - A Tale of two worlds.......

text:
This is the RIP-OFF version of "COP KILLER"  by BODY COUNT.  Across the chest of the dude on the cover should say COP KILLER  not BODY COUNT..........Doesn't contain the same songs such as COP KILLER and others.

COP KILLER by BODY COUNT was a TRUE example of our Freedom of Speech guaranteed by the 1st Amendment of our Constitution........This SELLER advertised the """"""REAL""""""  Version; named the songs and everything and said it was for sail.  I ordered it  and received 2, mind you 2, BAIT AND SWITCH COPIES.

If you want this recording, and all serious collectors should; don't buy it here.  OH, and guess what, they're over $100.00 a piece.
I'll pay that for the original any day, thus, the BAIT SWITCH.  The company who sold this should not be able to sell on Amazon
again.

the company is:  samurai_media_JPN4US  Avoid them.............NOW Amazon will not post my review....u from Russia?


title: Brutal Planet -- the world we live in

text:
Brutal Planet is a timeless prophetic statement by Alice Cooper -- once again asserting itself in the face of facts on the ground: the Connecticut school shooting, the Denver theater shooting, murder, mayhem, jihad, death, destruction, appearing across the planet.

Alice points out the root cause in the Title track: "It's such a brutal planet / It's such a living hell / It was a holy garden / That's right where Adam fell / It's where the bite was taken / It's where we chose to sin / It's where we first were naked / This is where our death begins".

The repercussions of sin have gotten so intertwined, it's impossible to determine who drew first blood, so the onslaught of revenge, resentment and hate plays out in unlimited fashion. Every murderer is self-assured that his cause is just, that his victims deserve their punishment. Such a person is the character of the song "Wicked Young Man" who reads "Mein Kampf daily just to keep [his] hatred fed". "Blow Me a Kiss" is about people being targeted just because they're different. "Eat Some More" concerns gluttony -- our problem in the West is not starvation. "Pick Up the Bones" evokes the tragic reality of a Bosnian slaughter. "Pessi-Mystic" shows that even a mystic on this Brutal Planet gets pessimistic after awhile, to the point that "watching CNN...scares me to death". "Gimme" is the Satanic overture -- to grant a person's desires for the price of their soul. Some humor comes through on "It's the Little Things"; "Take it Like a Woman" is a sympathetic ballad; and "Cold Machines" is who we are becoming.

A powerful album -- Heavy Metal -- with a subject matter that matters. This and Ozzy Osborne's "Black Rain" describe the brutal planet we live on.

Although Alice has described the evil, he cannot provide a cure. Can he create light to obliterate the darkness? That would require a doctor of the soul: Freud, Nietzsche, Jesus -- for these, too, it would be a challenge!

The crux of the matter is free will, which is a natural result of our forebears crawling out of the slime -- or is part of how God created us. And, of course, it's not always a matter of choice; many times we are overcome by violent forces of nature, such as typhoons and shark attacks. But within the arena of our personal choosing, there is plenty we can claim responsibility for (discounting that we live in an era when governments, advertisers and con men try to affect our behavior for their gain; such "mind control" or "power of suggestion" is pervasive in our 24/7 media-driven Internet-connected world).

Free will is a double-edged sword. Water is good to drink, but too much water drowns. A glass of wine with dinner is good for the heart, but too much alcohol becomes a destructive habit. The view from the mountain is breath-taking, but the fall is fatal. So everything in the universe has potential for good, evil, and a grey area in between.

What would we choose anyway?

Human kindness is pretty basic. We could choose that -- or raising a family, developing a talent, building an enterprise and creating jobs, volunteering time or money to help others, teaching, planting, making art, writing a philosophy of affirmation, forgiving, overcoming, making a new start.

Let's start with a new music selection, O.K.? Brutal Planet has gotten too heavy. Next on the turntable is Bob and Doug McKenzie's "Great White North", eh?


title: The Most Beautiful

text: This is the most beautiful recording I've heard in many years. It comes as a revelation almost. Nico moves me with her brutal simplicity. The recording is dynamic -- the recording engineer took care with this. The best is Nico, her voice and harmonium, and the drumming/piano/keyboards enrich the production. The live concert in Tokyo consists of: My Heart is Empty, Purple Lips, Tananore, Janitor of Lunacy, You Forget to Answer, 60/40, My Funny Valentine, All Tomorrow's Parties, Das Lied Vom Einsamen Mädchen, Femme Fatale, The End. Total time: 55 minutes.


title: Fantastic

text: Meat Loaf grabs you by the jugular and doesn't let go in this epic journey into the heart of darkness and back into the light. Elements of hard rock, heavy metal, and two songs with rap integrated in a dramatic way ("The Good God is a Woman and She Don't Like Ugly" [Chuck D] and "Stand in the Storm" [Lil Jon]). Meat Loaf sings with great intensity (listen to "40 Days" and "Mad Mad World" for example). This is Meat with no loafing around!


title: Adoring Elly

text:
I recently purchased and have been spending time with the 5 disc set published last year by Heartselling (with Weijman's Media Groep) in celebration of Elly Ameling's 75th birthday. The recordings are culled entirely from live performances and I can say in all honesty that for any fan of this great lady this set is a "must have" - a treasure trove spanning the years 1957 through 1991 and offering a remarkable glimpse into the career of one of the 20th century's most beloved artists.

There are some surprises not only in repertoire, but in the manner in which the music itself is laid out. Undoubtedly, some would have preferred a more chronological arc essaying the career from the beginning and working through, but this set takes a non-linear path jumping across years and achieving its order by devoting each disc to a specific theme or genre.

Disc 1 -Opera (1957-1988)
Disc 2 - German Lied (1973-1991)
Disc 3 - French Mélodies( 1979-1991)
Disc 4 - French, Dutch, Italian, English, Russian (1958-1989)
Disc 5 - 20th Century Dutch (1966 & 1977)

Each disc is a gem - a mini-retrospective of her career and while I loved luxuriating in each of them, two stood noticeably out in my early hearings. The first is the disc of German Lied. What we get here is not the wonderful Schubert or Brahms we know from this singer, but rather offerings from three wildly diverse giants: Berg, Mahler and Strauss.

The disc opens with Berg's mini masterpiece "Der Wein" - a unique hybrid combining elements of his 12 tone style with a "suggested diatonic tonality" (Perle). Ameling approaches this music no differently than Bach or Mozart - i.e., with discipline, musicianship, and artistry in equal measure, making for stimulating listening full of an almost preternatural beauty. Erich Leinsdorf and the Concertgebouw Orchestra, at every level, match the singer's intensity, making a most persuasive case for this piece.

We jump 20 years to two of the last recordings in the set: a pair of Mahler's Rückert Lieder. Here we have the first and most noticeable contrast of the early and late career Ameling: the vibrato is a bit slower, wider now, an unfamiliar strain appears in the top notes, the voice, still beautiful, has not quite that same youthful freshness we associate with it . . . and yet - there is magic here - real magic. As she finishes - "Ich bin der Welt abhänden gekommen":

Ich bin gestorben dem Weltgetümmel,
Und ruh' in einem stillen Gebiet!
Ich leb' allein in meinem Himmel,
In meinem Lieben, in meinem Lied!

(I am dead to the world's tumult,
And I rest in a quiet realm!
I live alone in my heaven,
In my love and in my song!)

I could not help but realize how inappropriate a young, fresher voice would be here. This music cannot really be "acted" in the manner of opera, and requires instead one who understands the contentment of resignation - an artist who possesses that mature joy inherent both in the text and its music. Such gracious insight cannot be acted and comes only from a life wealthy in experience and in that regard what Elly Ameling brings to this performance is extraordinary. I dare anyone not to be profoundly moved by her singing of this lied.

The following Strauss set is a delight and capped by an exquisite reading (from 1983) of the Vier letzte Lieder with Sawallisch and the Concertgebouw Orchestra. All are lovely, but "Beim Schlafengehen," (my favorite) is so beautifully captured that I had to stop and replay it before moving forward. It is as lovely a version of this song as I have experienced. Similarly, in "Im Abendrot," the innate warmth of Ameling's tone embraces and envelops the songs' breadth of range and expression and the top notes positively glow. With sympathetic playing from her fellow musicians these Four Last Songs make for a very special listening experience.

The other disc that I must write about introduces two new (to me) works: Bertus van Lier's 1949 oratorio "The Song of Songs" for soloists, orchestra and chorus and Robert Heppener's 1925 "Cantico delle Creature di San Francesco d'Assisi."

In the van Lier, Ameling puts across the English text idiomatically and exotically adding to the Eastern-influenced sound of the score. While decidedly modern van Lier has more a feel of the late romantic (think Schoenberg's "Gurrelieder") while remaining highly original. The work itself is often thrilling, offering great opportunities for a trio of singers, chorus and orchestra. Its being in English, makes it even more of a pity it is so infrequently given outside of Holland.

The piece closing the entire box set, Heppener's cantata "Cantico delle Creature di San Francesco d'Assisi," has something of the miracle about it. As I listened I could not help but feel part of some great benediction, so caught up was I in the sense of praise and mystery and glory of the music. A gifted composer, Heppener fell victim to the avant garde craze shortly after this critically acclaimed piece premiered. nearly disappearing until remerging at 60 to begin a second composition career. His work, based on the prayer of praise of St. Francis is nothing short of stunning. Written for soprano and strings (including harp) the solo line weaves throughout, incorporating an almost dance-like rhythm, before soaring off in praise and meditation. Ameling's singing here radiates that same joy Heppener seeks to invoke from the Saint in this marvelous piece. There is a sort of universal spirituality recalling both Messiaen and Villa Lobos (and not necessarily the works one might most obviously associate with these composers). Here, too, is an evocation of the world great cultures and religions: Russian Orthodox, Greek, and (most notably to my ear) Spain, providing a rhythmic theme to which the singer returns throughout. I've found this beautiful piece and Ameling's rendering of it, has the power to hypnotize and I've not been able to listen to it once, without beginning it again. I can think of no more joyous, way to end this project.

Time and space constrain my ability to describe, but not my enthusiasm for. the other three discs. The disc of opera arias allows us a glimpse into a part of Ameling's career most of her fans never had the opportunity to hear her in. In addition to some ravishingly sung Mozart (Figaro, Cosi, Idomeneo) we also get arias from Bizet, Gounod, and Maillert.

The French disc brings delightful and expressive offerings from Debussy, Duparc, Faure and Ravel. Few singers can put across Faure and Debussy as magically as Ms. Ameling showed us throughout her long career and her distinct qualities for this music are here captured brilliantly and will be for many, a beautiful walk down Memory Lane. The songs - all of them - are touching, elegant, beguiling - the singer never taking a false step or lapsing into misplaced sentimentality. Ameling is able too, to add that necessary soupcon of insouciance so few singers are able to pull off without sounding arch or artificial.

The fourth disc is a smorgasbord - as varied as the programming we could always count on in an Ameling recital: Mussorgsky, Andriessen, Stravinsky, Dallapicccola, Rossini, Tosti and more, all dispatched with that joy of singing we Ameling fans learned early on to always expect, but never took for granted.

The set is accompanied by a booklet with nearly a dozen lovely photographs of the singer throughout her career, prefaced by a facsimile of a handwritten note from Ms. Ameling, for the occasion as well as also a brief biography (in Dutch) and the texts of all material included in their original languages.

There is much to recommend here and all of it to treasure. The very uniqueness of such a set, covering such diversity of repertoire and spanning so many years make it invaluable. For fans of Ms. Ameling, this truly is a "must have" box set, but also, for younger audiences or anyone who might be unfamiliar, here is a big, wonderfully fascinating retrospective of an important artist at her work. I know of no finer recommendation than that.


title: The very first Nana that I ever heard

text: This album is a combination of the first 2 records that I ever purchased by Nana Mouskouri, and they are the ones that I love the most!  She sings the songs of Hadjidakis with beautiful simplicity.  The other reviewer slammed these recordings for the very things that I love about them!  No overblown orchestral arrangements, no glossy and slick production values, only her beautiful voice with minimal accompaniment.  These albums have held a place in my heart for over 35 years, first on vinyl and now on cd.


title: Don't get gouged by these prices!

text: Just go to David Lindley's website where you can buy this cd for only $20.  And the money goes directly to the musicians and not to somebody out to rip you off!


title: Five Stars

text: Good stuff. He is one of my favorites.


title: Hunt it down...

text: I picked this one up after hearing 'Singles Selector Too.'  It was nice to hear the full vocal versions of the dubs.  However, my preference is for the dubs, so the blue album's got my vote.  This is still quite strong - worth the money if you can find it.<br />[...]


title: APRÈS LE DÉLUGE, PARIS’ NEW ORCHESTRA IN EARLY SESSIONS

text:
French decorum was disrupted by sociopolitical rioting in that pivotal year 1968, and Orchestre de Paris—newly assembled by Charles Munch with 50 core players recruited from the defunct Conservatoire Orchestra—made its concert and recording débuts in terribly unpropitious times, although these 1968-69 recordings with guest conductors sound serenely indifferent to the turmoil outside the Salle Wagram. The new orchestra would later be led, with more polish but not without artistic turbulence, by Karajan and Barenboim, but these earlier sessions reveal the proud new ensemble finding its way quite intrepidly.

Munch’s contemporary Barbirolli showed up in Paris in December 1968 for this Debussy session with Paris’ new orchestra, a remake of his 1959 Hallé LA MER and his only recording of NOCTURNES. The programme replicates Giulini’s famous, more Italianate, 1962 recording with the Philharmonia, and the new orchestra sounds suave in rather diffuse sound and leisurely tempi by Sir John. These are not distinguished recordings, although there is some podium sparkle in “Fêtes” and “Sirènes” with the bon-ton ORTF Chorus.

Serge Baudo (b. 1927) has outlived his contemporary Boulez, and this dirigent conducts the (more interesting) balance of this set in sessions all convened in 1969. Baudo has specialized in modern composers (notably Honegger and Dutilleux), and here we’ve major 20thC works by Ravel, Fauré, Roussel and Messiaen under his baton. His MA MÈRE L’OYE is warm and mellow though not quite magical (see Cluytens’ Conservatoire recording for real Ravelian sorcery), and the three Fauré suites are perfectly lovely, the PELLÉAS ET MÉLISANDE (from 1898, predating the Debussy opera by four years) being especially moving.

Baudo’s highlights are Roussel’s BACCHUS ET ARIANE Suite 2 (a terrible flop on its 1930 première), built to theatrical climax by Baudo in glittering sound, and Messiaen’s OFFRANDES OUBLIÉES from the same year, where the orchestra sounds wholly committed and Baudo delivers rapt pianissimo sonorities of rare delicacy. Barbirolli’s sessions were produced by his London minder Ronald Kinloch Anderson, Baudo’s by EMI’s Parisian regular René Challan. The engineering is muted and unspectacular for Barbirolli and for Baudo’s Ravel and Fauré, opening up pleasingly for the Roussel and Messiaen selections. The DOLLY Suite vignettes are unfortunately bisected by a side break, which all too faithfully replicates the original vinyl sequencing of Baudo’s Fauré disc. The booklet cover is detailed from a 1935 painting by Raoul Dufy, the most modern work offered here.


title: FAVOURITE OVERTURES, FROM PHILIPS

text:
As originally sequenced:

Méhul: Timoléon Overture
  Le trésor supposé—Overture
Grétry: Air de ballet
Méhul: Le chasse de jeune Henri—Overture
Boccherini: Overture in D Major
Brahms: Tragic Overture
Beethoven: Coriolan Overture

In 1950 Sir Thomas, then a spry 71, toured his recently formed (1946) RPO through North America and South Africa, and the dirigent and his handpicked orchestra were newly signed to the Dutch imprint Philips, also dating from 1950. Columbia Masterworks repressed the Beecham/RPO Philips discography in mass quantities for the North American market, and Beecham made quite outstanding sets of his specialties in Berlioz (overtures, HAROLD EN ITALIE, TE DEUM) and Delius (SEA DRIFT, HASSAN, MASS OF LIFE, et al.), duly reissued in digital resequencings by Sony.

This is a more dullish (mostly late 18th century) set, from its drab cover art to routine performances of the Beethoven, Brahms and Boccherini (Beecham had those three B-composers in his standing repertoire, pointedly excluding Bach) overtures. The French items—each anticipating Beecham’s highly esteemed Berlioz—are far less routine, and the lengthy CHASSE DE JEUNE HENRI (more a symphonic poem than overture) is really exciting, with the whooping RPO brass (including Dennis Brain) imitating hunting horns and Sir Tommy reveling in the orchestral drama of a woodland chase (see too Beecham’s indispensable EMI recordings of hunt music in Berlioz’ “Royal hunt and storm” ex-LES TROYENS or Haydn’s autumnal tally-ho episode in THE SEASONS).

The B-composers are downers in this programme, but the French items directly predate and prefigure Beecham’s rather more sparkling EMI stereo sets LOLLIPOPS (in two volumes), BONBONS and FAVOURITE OVERTURES, and the stylish Méhul items are really essential for dedicated Beechamites. My copy of this set (ML 5029) evidently dates from 1955, a Columbia “six-eye” pressing that is deep-grooved, proudly unbreakable and built to last, reproducing the Philips masters with honest mono resonance. Modern collectors will find the stunning Méhul performances digitally reissued as filler for the impassioned William Primrose/Beecham/RPO recording of HAROLD EN ITALIE in Sony’s SIR THOMAS BEECHAM CONDUCTS series.


title: ORCHESTRAL “IBERIA” COMPLETE, IN DECCA STEREO

text:
Albéniz sanctioned a showpiece orchestration of his Belle Époque piano masterwork IBERIA, beginning the daunting project himself but then abandoning it. Enrique Arbós orchestrated the five splashiest numbers in grandiose style by 1927, and these are familiar to astute collectors in classic recordings by Argenta, Rodzinski, Reiner and Ansermet. In 1954 Albéniz’ heirs commissioned more modern orchestrations of the cycle’s remaining seven numbers by Carlos Surinach, and he and Ormandy both made mono sets of the full Albéniz-Arbós-Surinach dozen items. This was the fully expanded work’s stereo première, made in Paris in September 1959 by Decca techs but originally released, to some fanfare, by RCA. Ray Minshull produced the glamourous Albéniz and Ravel selections, engineered by Decca’s legendary Kenneth Wilkinson, who had also recorded the Chabrier and Bizet test sessions—a welcome supplement—in Kingsway Hall one year earlier.

The Decca ffrr stereo soundstage is unmistakable and has held up extraordinarily well down the decades, with all thanks to Wilkinson. This recording is not surpassed by Lopez-Cobos’ Cincinnati digital remake of Albéniz-Surinach, spread over two discs in harsher Telarc sound, nor by competing reorchestrations made by Peter Breiner (Naxos) or Francisco Guerrero (Glossa).

Besides fabulous performances in flattering sound, we’ve here the interesting Franco-American conductor Jean Paul Morel (1903-75)—a transitional cosmopolitan who had studied with Isidor Philipp, Hahn and Pierné and who, in turn, taught our Blomstedt, Levine and Leonard Slatkin. With Met and Juilliard commitments he was underrecorded, and these Spanish orchestral spectaculars are his best recorded legacy: not quite as suave as Monteux, but every bit as exciting and colorful as Ataulfo Argenta where their programmes overlapped (as in Decca’s famous Chabrier-Rimsky-Moszkowski showcase ESPAÑA made by Argenta with the LSO). This set, smoothly transferred in 2011 by Eloquence, gives even more pleasure, since the Surinach glosses on Albéniz are surprisingly percussive and moderne, and Morel is such an unexpectedly persuasive advocate, leading the Conservatoire players, of this carefully reinvented score.


title: CONCERTMASTER’S (BETTER) BEETHOVEN

text:
The Beethoven Bicentennial—celebrated with great pomp by DG in its exhaustively complete recordings—barely concluded, Philips then industriously made a clutch of great Beethoven recordings with their “house orchestra” the Concertgebouw and, for the uniquely Beethovenian fiddle concerto, stereo remakes of that cerebral showpiece by their star violinists Arthur Grumiaux (with Colin Davis, January 1974) and Henryk Szeryng (with Bernard Haitink, April 1973). Those were fine mainstream projects, much reissued in the digital era, but this more collectable keeper edition came from Concertgebouw concertmaster Herman Krebbers, at home in Amsterdam with Haitink, in December 1974 (Krebbers had similarly soloed for Haitink in the Brahms Concerto in September 1973).

Krebbers (1923-2018) played under such phonogenic maestri as Mengelberg, Van Otterloo, Markevitch, Haitink and Kondrashin, and Philips wisely gave him showcases (and featured billing) in Bach, Mozart, Beethoven, Brahms, Strauss’ HELDENLEBEN and Kondrashin’s definitive 1979 take on SCHEHERAZADE, where Krebbers’ unusually sweet tone is particularly ravishing and seductive. He was the Concertgebouw’s concertmaster during its glory years 1962-80, forced into performance retirement through a sailing injury.

His timbre and intonation, in Rimsky or in Beethoven, is self-effacing but beguiling, and in his eloquent solo turns (Krebbers plays the Kreisler cadenza here) there is rare unanimity between the violinist, the orchestral aggregate and the conductor. This is my favorite of all Beethoven Concerto recordings, since Krebbers’ modesty is a higher form of noncelebrated artistry. The bonus is Haitink’s much later EGMONT (October 1985), recorded digitally with real bite from the Concertgebouw brass contingent.

Krebbers and Haitink deliver connoisseur-quality Beethoven, and this was Philips’ first digital transfer (1989) of this catalogue highlight. This issue now commands inflated collectable prices, but just four years later Polygram’s budget reissue imprint Belart made a widely available bargain edition, inexpensively duplicating in all but price and documentation this first transfer. The availability on Belart, with Krebbers’ special artistry, makes this set far more collectable than the Grumiaux or Szeryng remakes of this concerto. As with the Rimsky warhorse—which Philips decisively owned between 1963-2001, from Markevitch to Kondrashin to Gergiev—Philips really cornered the Beethoven violin market in the analogue 1970s, and this Krebbers/Haitink edition is quite the treasure.


title: TITANIC SYMPHONY 1 + 4 FINAL LIEDER = 5 STARS (OR MORE)

text:
Leinsdorf recorded Mahler 1,3,5 and 6 with the BSO (a full cycle was unlikely after the costly fiasco of his 1966 made-in-Boston LOHENGRIN), and it says much that the so-called “Titan,” No. 1, was also first-priority repertoire for the dirigent in 1962 during his honeymoon period with the great Boston orchestra and its cordial, recording-friendly, Symphony Hall acoustic. During the honeymoon Leinsdorf also proudly showed off with blockbuster recordings of MIDSUMMER NIGHT’S DREAM and the Bartok CONCERTO FOR ORCHESTRA, expensive projects that have remained in print but are marginalized or routinely ignored by discophiles (it is their loss).

Leinsdorf rerecorded the First with the RPO for Decca eight years later, but this is his definitive take—fast, businesslike, free of sentimentality (and very reminiscent of similarly humane, listener-friendly editions by Bruno Walter and Rafael Kubelik). Leinsdorf’s jet-set contemporaries preferred to wallow in larger-scale Mahlerian self-pity, bathos and schmaltz, while Leinsdorf, Walter and Kubelik stress classicism, smaller dimensions and unaffected warmth in Mahler 1. The Boston players are in top form (theirs was a blissful but abbreviated honeymoon), and the Symphony Hall acoustic yields ravishing sonorities and momentous analog climaxes. This is a brilliant First, and to ignore it means missing out on transformative listening and savvy recordmaking.

The Leinsdorf First could stand alone, but the generous coupling is Strauss’ LETZTE LIEDER, from Leontyne Price’s 1973 recital disc with Leinsdorf and the New Philharmonia. Price came late to Strauss (a lesson hardly lost on her successor Jessye Norman), and a Decca ARIADNE (Solti, 1977) was her last new operatic assumption. Unlike Schwarzkopf-Szell (rapt, moony introspection), Price and Leinsdorf unleash operatically (and not inappropriately) scaled Strauss, flamboyantly showing off Price’s unique instrument against a shimmering background tapestry of orchestral color. This is not subtle, but its theatricality is marvelously entertaining, and Leinsdorf the showman was particularly good at this sort of thing, as in his generally undervalued RCA series of complete operas made in Rome and Munich.

Both the Symphony and Lieder are separately available (the First with the Third on an audiophile set, Price weirdly coupled with Reiner’s old recording of ZARATHUSTRA), but this inexpensive Navigator pairing is pure dynamite, irresistible to committed Leinsdorf or Price followers. The Navigator series, with its stylish cartographic cover art, circulated mainly in European markets, and Stateside collectors will find it widely and affordably marketed by Amazon’s trusted UK sellers. (Other Navigator bargain reissues include Leinsdorf’s Prokofiev [a stunning Symphony 5, with LIEUTENANT KIJÉ], his Bartok CONCERTO, with Kodaly’s HARY JANOS; and Leinsdorf’s Mahler Fifth still abides—impressively—in an RCA Silver Seal reissue.)


title: CANCIONES ESPAÑOLAS DE CARRERAS

text:
Even the impassioned tenor’s ardent claque may not know this intelligent compilation, assembled from three Ensayo and Philips recitals Carreras made (in London) between 1980-85, in his vocal prime. His four crossover encores are illogically programmed first, accompanied by the ECO and including his standbys “Valencia” and the obligatory “Granada.” Three zarzuela hits follow, with Ros Marba and the ECO, a fine reminder that Carreras was quite as comfortable in Spanish operetta as his senior familiar Domingo.

The 11 remaining selections are the substantive material here, all accompanied by Martin Katz: The big item is Falla’s CANCIONES POPULARES, which Carreras has made another specialty, recording them in Salzburg recital (Orfeo) with Eduardo Müller and again in orchestrations by—of all people—Luciano Berio. Four fine and rarer canciones by Mompou, Turina and Obradors round off a rich and colourful programme (that quite puts Carreras’ undignified soccer-stadium crossovers to shame).

Carreras’ global repute makes this rare set very collectable, one of ten that Philips assembled, beautifully remastered, out of their extensive Iberian-music vaults in 1991 under the omnibus title “Splendour of Spain.” The series includes, beyond Carreras, sacred choral music, the Romeros guitar ensemble and three vivid orchestral discs (Falla, Granados, Albéniz, Chabrier, Rimsky plus zarzuela hits) made in Paris and Madrid by Igor Markevitch that are particularly indispensable and now clearly beg for a wider Eloquence rerelease.


title: HALLÉ’S BEST DELIUS, BARBIROLLI RARITIES: ALL IN PYE STEREO

text:
The generic title and packaging modestly conceal the fact that this is the most authentic digital reissue, sourced directly from Pye/Nixa 1956 stereo masters, of Barbirolli and his preferred Manchester orchestra’s Delius sampler plus the flipside (Bax’ GARDEN OF FAND and Butterworth’s SHROPSHIRE LAD) of his première recording (1959) of Vaughan Williams’ Eighth Symphony. Sir John did not remake the latter items and—nudging quite successfully in their proprietary repertoire both Beecham (the Bax seascape) and Boult (the Butterworth pastoral)—these have not reappeared digitally, save as filler for much pricier Barbirolli-memorial boxes.

The Delius album (originally issued in direct competition with Beecham’s Delian lollipops remade in EMI stereo) is Barbirolli’s fullest tribute to the pantheistic Yorkshireman, fresher and more ingenuous (and generally faster in tempo) than his LSO remakes from 1965-66 (ENGLISH TONE PICTURES) for EMI or its leaden sequels, with the Hallé again and also for EMI, 1968-70. This Pye production competitively includes the usual suspects “On hearing the first cuckoo in spring” and Sir John’s impassioned Delian trademark “Walk to the paradise garden” and also the IRMELIN Prelude and FENNIMORE AND GERDA Intermezzo. Most importantly, the programme highlight is the provocative Delian rarity IDYLL, completed 1932 with Fenby’s assistance as a reworking of Delius’ competition opera MARGOT LA ROUGE but newly set to insinuating Whitman texts. It’s a routinely neglected late work, and Barbirolli to his great credit has two underrecorded soloists singing the suggestively veiled texts: Australian soprano Sylvia Fisher (1910-96) and Covent Garden baritone Jess Walters (born Joshua Wolk in Brooklyn, 1908-2000). Delius might have approved this exotic casting, rare singers in a rare and rather opulent work.

The Bax and Butterworth selections were known to North American discophiles through a Mercury reissue, and the more collectable Delius set had multiple vinyl reissues by Vanguard and Pye. There are other, far pricier, digital transfers of Barbirolli’s Delius from both Dutton Vocalion and the Barbirolli Society, but this humbler edition is closest of all to the Pye/Nixa mixing board (their early stereo was always natural, noninvasive and genteel—an ideal sound stage for an historically important, gratifying Delius sampler and its apt Bax-Butterworth bonuses).


title: METICULOUS SUPPLEMENTS TO THE ABBADO RAVEL CYCLE

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Four very fastidious artistes—Abbado, Accardo, Margaret Price and Ravel himself—are convened here, in clinically clear, modernist performances. They’re in the Pierre Boulez mode but given heart and warmth by soloists Price, Accardo and the LSO in tiptop form at All Saints’ (Tooting) and Watford Town Hall. The DG digital engineering, by Klaus Hiemann and Hans-Rudolf Müller, is appropriately sumptuous throughout. The Ida Rubinstein ballet and TOMBEAU are from Abbado’s complete Ravel orchestral cycle, while the addenda (not otherwise reissued) are the highlights here, TZIGANE and the exotic, louche SHÉHÉRAZADE, made originally as a standalone supplement in November 1987.

We ordinarily want a French conductor for Ravel (Monteux, Martinon or Manuel Rosenthal), but Abbado and Ravel both were notoriously fastidious and this A/R choice works interestingly for me. The playful formality of TOMBEAU exactly suits Abbado’s style (the quaint suite sounds more cohesive, less frivolous under the Abbado baton), and BOLÉRO similarly benefits from the unvarying but inflected beat laid down by this dirigent, coaxing fine solos from the LSO first chairs and an unleashed Watford gong at the final iteration of the faux-Moorish tune.

Abbado’s countryman Accardo, forwardly recorded, is assertive but not aggressive in TZIGANE, trading cheeky raspberries with the symphonic band in the neatly disciplined climax. The late great Margaret Price (Carlos Kleiber’s inspired choice for his Isolde) is typically impressive in the two concluding chansons of SHÉHÉRAZADE, given Liederlike artistry, depth and (Welsh) warmth, although for the fully exotic coloration and languour of “Asie” the classic versions by Maggie Teyte and Régine Crespin (Barbara Hendricks too) remain unsurpassed. Klingsor’s texts for the cycle are not included in this budget set (which is unique in its couplings), but Price’s French enunciation (her instrument recorded just slightly veiled) is magnetically alluring, as in her (electronically assisted) Isolde. Unlike Crespin, operatically huge of voice and demonstrative, Dame Margaret sings SHÉHÉRAZADE as the introspective French song cycle that it is.


title: MACKERRAS’ BEST CHORAL DELIUS

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Here in its original 1995 pressing (reissued in Decca’s 2012 DELIUS EDITION box) are Sir Charles’ three finest, larger-scale Delian masterpieces, a ravishing and necessary sequel to his 1989 VILLAGE ROMEO AND JULIET laid down in Vienna and subsequently set to film. Most listeners regard this APPALACHIA (a diffuse work difficult to bring off either in concert or in studio recording) as definitive, more focused and even more moving (for American listeners) than previous editions by Beecham (Sony), Hickox (Decca) or Barbirolli (EMI). Mackerras benefits from modern digital recording, beautifully engineered by Simon Eadon, with baritone Daniel Washington and the very robust WNO Chorus.

Better yet, the wordless choral vocalise (with soloists Rebecca Evans and Peter Hoare) expressing young pantheist backpacker Fred Delius’ most transformative experiences, tramping in Norway: the chronically underrecorded SONG OF THE HIGH HILLS. The WNO choristers are stalwart and soulful in this long, 26-minute work, and Mackerras apprehends its arioso, mountaineer’s-song, structure more fully than Groves (EMI) or even amanuensis-turned-conductor Fenby (Unicorn). This modern version completely obliterates its tentative predecessors, again with more focus and forthrightness, less rhapsodic Delian vagueness.

This is a long programme, 77 minutes, of only three items, and clearly Mackerras is typically most successful in larger-scale works, as in his one (great) Delius opera recording, than in the daintier Delian bird-call miniatures that inaccurately consolidated the composer’s shaky, post-Beecham, posthumous reputation. Mackerras recorded Delius more regularly, and more fully, than any other composer than Janacek, beginning with his RLPO recording of PARIS for EMI. He has a very solid (yet not ideally refined) Delius starter set—a Decca twofer, also made digitally in Swansea and a useful alternative to Beecham or Anthony Collins—but he is definitely more persuasive advocating for longer-form Delius, as this performance of OVER THE HILLS AND FAR AWAY attests: a very repetitive fairytale rhapsody, magical (and wayward) with Beecham but more objective, cerebral and “modern” with Mackerras. The WNO orchestra play more confidently here for their visiting dirigent than on Mackerras’ Delian starter set, and these sessions were ambitiously convened in Swansea’s Brangwyn Hall, a very warm acoustic, in April 1993 by producer Chris Hazell: the yield being one of the best Delius choral discs ever made.