Sacd in Rock & Pop Music

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"The Downward Spiral (Deluxe Edition) [PA] [Remaster] [Slipcase]" (11/23/2004) Rock & Pop Nine Inch Nails, Interscope Records (USA)Nine Inch Nails: Trent Reznor (vocals, various instruments). Additional personnel: Danny Lohner, Adrian Belew (guitar); Flood (synthesizer, programming); Andy Kubiszewski, Chris Vrenna, Stephen Perkins (drums). Engineers: Sean Beavan, Chris Vrenna, Alan Moulder. Recorded at Le Pig, Beverly Hills, California; The Record Plant A&M Studios, Los Angeles, California. THE DOWNWARD SPIRAL was nominated for a 1995 Grammy Award for Best Alternative Music Performance. "Hurt" was nominated for a 1996 Grammy Award for Best Rock Song. This deluxe edition of THE DOWNWARD SPIRAL includes a 13-track bonus disc featuring B-sides, demos, and rarities. This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. Personnel: Trent Reznor (vocals, guitar, electronics); Andy Kubiszewski (drums). Nine Inch Nails mastermind Trent Reznor became an instant alternative-music hero with 1989's PRETTY HATE MACHINE, an angry-yet-accessible album that appealed to rock fans and club kids alike. Record-label woes led to a five-year delay for Reznor's follow-up, with two hard-edged EPs (BROKEN and its remix disc, FIXED) issued in the interim. Finally released in 1994, THE DOWNWARD SPIRAL seethes with an almost unhinged industrial ferocity, due, in part to both Reznor's frustration with messy bureaucratic entanglements and time spent with Ministry's Al Jourgensen during the peak of that band's guitar-heavy phase. Although, SPIRAL does reveal the influence of latter-day Ministry (particularly on the blazing opener, "Mr. Self Destruct," and the scathing, distortion-filled "March of the Pigs"), Reznor also incorporates elements of progressive rock and funk into the proceedings. More than any other Nine Inch Nails song, the provocative, groove-laden "Closer" (and its shocking video) established Reznor as a bold, audacious artist. In contrast, quiet and emotive songs such as Eno-esque instrumental "A Warm Place" and the spare, haunting "Hurt" (famously covered by Johnny Cash shortly before the country legend's death) revealed Reznor's sensitive side. Here the intense performer works with his largest sonic palette yet, and the results are fascinating.

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"More Hot Rocks (Big Hits & Fazed Cookies) [Digipak] [Remaster]" (08/27/2002) Rock & Pop Rolling Stones (The), ABKCO RecordsThe Rolling Stones: Keith Richards (vocals, guitar); Mick Jagger (vocals); Brian Jones (various instruments, guitar); Mick Taylor (guitar); Bill Wyman (bass); Charlie Watts (drums). Additional personnel includes: John Lennon, Paul McCartney (background vocals). Producers: Andrew Loog Oldham, The Rolling Stones, Jimmy Miller. Audio Remasterers: Jon Astley; Bob Ludwig; Steve Rosenthal; Teri Landi; Pascal Byrne. When you're anthologizing the Rolling Stones, one of the first things you must accept is that you're doomed to failure. No one album can possibly tell the story of the band that's explored so many different musical avenues and recorded so many memorable songs. Still, the double-disc best of HOT ROCKS, and this, its sequel, come perilously close. This set wisely doesn't attempt to be comprehensive. Instead, it just picks out various gems from different points in the band's development. Their R&B/roots period is well-represented by covers of "It's All Over Now" and "Not Fade Away." "She's A Rainbow" and "2000 Light Years From Home" are monuments to the band's psychedelic phase. "No Expectations" and "Let It Bleed" are bluesy tunes that cut to the quick, emphasizing the Stones' gift for visceral compositions and the sound that defined what was--arguably--their greatest period (the late '60s). Though HOT ROCKS is the place to turn for a comprehensive cross section of the band's biggest and most essential hits, MORE HOT ROCKS is an excellent companion piece, bringing together some of the Stones' lesser known but equally satisfying work.

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"Elton John [Remaster]" (11/09/2004) Rock & Pop John, Elton, Universal Records (USA)This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. Personnel: Elton John (vocals, piano, harpsichord); Clive Hicks (guitar, acoustic guitar, 12-string guitar); Colin Green (guitar, Spanish guitar); Alan Parker, Roland Harker, Caleb Quaye (guitar); Frank Clark (acoustic guitar, acoustic bass guitar); Skaila Kanga (harp); Paul Buckmaster (cello); Brian Dee (organ); Diana Lewis (Moog synthesizer); Dave Richmond, Alan Weighll, Les Hurdle (bass guitar); Terry Cox, Barry Morgan (drums); Dennis Lopez, Tex Navarra (percussion); Lesley Duncan, Madeline Bell, Roger Cook, Tony Burrows, Tony Hazzard, Barbara Moore, Kay Garner (background vocals). Liner Note Authors: John Tobler; Gus Dudgeon. Elton John's second album was his first to be released in the U.S., and the difference between it and its predecessor, EMPTY SKY, is palpable and immediate. ELTON JOHN opens with "Your Song," a halting ballad that is one of the most moving love songs in the modern pop canon. The album also marks John's fruitful association with Gus Dudgeon and arranger Paul Buckmaster (who'd previously collaborated on David Bowie's "Space Oddity"). The team came up with a spare orchestral sound that surrounds the singer and his piano with dashes of both classical and rock guitar, synthesizers, carefully arranged drums, and searing strings. This wasn't all-out pop yet, but rather a striking and singular brand of folk-rock. "Take Me To The Pilot" shows flashes of John's rocking future ("Bennie And The Jets" descended from it), "No Shoe Strings On Louise" is Rolling Stonesy country-rock, and "Sixty Years On" is haunting and memorable. More typical for this session is "I Need You To Turn To," another love song that finds lyricist Bernie Taupin in an unusually direct mode, and features a beautiful harpsichord melody from John. ELTON JOHN cast the mold for the singer's future superstardom.

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"Hot Rocks 1964-1971 [Remaster]" (08/27/2002) Rock & Pop Rolling Stones (The), ABKCO RecordsAudio Remasterers: Jon Astley; Steve Rosenthal; Teri Landi; Pascal Byrne; Bob Ludwig. If faced with the absurd dilemma of picking one album to represent the meaning of rock music, the Rolling Stones compilation HOT ROCKS--which collects most of their commercially and artistically successful songs from 1964 to 1971--would certainly be in the running. A two-CD set (originally released as a double LP), HOT ROCKS' 22 tracks each have the ring of historical inevitability about them; more importantly, of course, they are great tunes. From the soulful wailing of "Time Is On My Side" (the only non-Jagger/Richards original here) to the nervous pop shuffle of "Mother's Little Helper" through the Indian-influenced psychedelia of "Paint It Black" and the gospel-inflected strains of "You Can't Always Get What You Want," it is hard to argue with the power of this music. Many of these songs have been tattooed on the cultural psyche--the amped-up rock nirvana of "Jumpin' Jack Flash" and "Satisfaction" (with their indelible guitar riffs), for example--but everything here sparkles and thrills: the mod clatter of "19th Nervous Breakdown," the in-your-face sass of "Brown Sugar." At their very best, as on "Sympathy for the Devil" and "Gimme Shelter," the Stones prove capable not only of creating compressed rock masterpieces, but of making music emblematic of their entire generation (and future generations). The Rolling Stones are often referred to as "the World's Greatest Rock Band." HOT ROCKS makes that claim hard to dispute.

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"Slowhand [Remaster]" (11/09/2004) Rock & Pop Clapton, Eric, Polydor (USA)This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. Personnel: Eric Clapton (vocals, guitar); Marcy Levy, Yvonne Elliman (vocals); George Terry (guitar); Mel Collins (saxophone); Dick Sims (keyboards); Carl Radle (bass guitar); Jamie Oldaker (drums, percussion). Recording information: Olympic Studios, London, England (05/1977). SLOWHAND was the album which defined the new cool of Eric Clapton, a sultry, laid-back mix of rock and blues, with a heavy dose of country and southwestern regional sounds to leaven the blend. After LAYLA, SLOWHAND was probably Clapton's most popular, fully realized solo disc. The opening number was by J.J. Cale, whose "After Midnight" had been one of the real joys of the guitarist's first solo excursion, ERIC CLAPTON. "Cocaine," with its slow grinding beat, menacing melodic vamp and one-step from perdition lyrics, was the toughest, most rocking number on SLOWHAND, and a major radio hit from the outset. A couple of vocal duets with countryish harmonies set the tone for the rest of SLOWHAND. "Lay Down Sally" was a funky, chicken-fried bit of boogie with a taut, melodic aside from Clapton's twangy Stratocaster, while Don Williams' sweet, soulful "We're All The Way" provided a low-key vehicle for Clapton's tender vocal exchanges with Marcy Levy, as his understated arpeggios toll away in the background.

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"Master of Disaster [Digipak]" (06/21/2005) Rock & Pop Hiatt, John, New West Records, Inc.This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. Personnel: John Hiatt (vocals, guitar); Luther Dickinson (guitar); Tommy Burroughs (violin); Jim Spake (saxophone); Scott Thompson (trumpet); Jeff Calloway (trombone); Joe Sallmanberger (tuba); East Memphis Slim (keyboards); David Hood (bass guitar); Cody Dickinson (drums). Recording information: Ardent Studios, Memphis, Tennessee. More than 30 years into his recording career, John Hiatt is as vital as ever on MASTER OF DISASTER, and at his most soulful since his critically feted BRING THE FAMILY/SLOW TURNING period. Not only are his singing and material full of grit and emotional impact, there's a vintage Atlantic soul flavor to some of the tunes here that conjures up images of Bob Dylan and Otis Redding trading songs in the back room of a Nashville beer joint. Even the more overtly country-oriented tracks, such as "Thunderbird" and "Old School" are full of original lyrical twists and turns typical of Hiatt's distinctively quirky sensibility. MASTER OF DISASTER closes by peeking into yet another corner of musical Americana, with the country blues-tinged "Back on the Corner;" equal parts Randy Newman and Ry Cooder, it perfectly illustrates the combo platter of tradition and sly innovation that is Hiatt's stock in trade.

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"War of the Worlds" (07/05/2005) Rock & Pop Various Artists, Legacy RecordingsPerformers include: Richard Burton, Justin Hayward, Julie Covington. This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. Various Artists: Justin Hayward, Chris Thompson, David Essex, Gary Osborne, Julie Covington, Phil Lynott, Richard Burton, Billy Lawrie, Jo Partridge, Paul Vigrass (vocals); Chris Spedding (guitar); George Fenton (autoharp, santur, tar); Jeff Wayne (piano, harpsichord); Paul Hart (piano); Herbie Flowers (bass guitar); Barry Morgan (drums); Roy Jones, Ray Cooper (percussion). Recording information: Advision Studios, London, England (1976 - 1977).

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"Bob Dylan: The Limited Edition Hybrid SACD Set [Box]" (09/16/2003) Rock & Pop Dylan, Bob, Legacy RecordingsThese are hybrid Super Audio CDs playable on both regular and Super Audio CD players. BOB DYLAN: THE LIMITED EDITION HYBRID SACD SET contains: THE FREEWHEELIN' BOB DYLAN (1963)/ANOTHER SIDE OF BOB DYLAN (1964)/BRINGING IT ALL BACK HOME (1965)/HIGHWAY 61 REVISITED (1965)/BLONDE ON BLONDE (1966)/JOHN WESLEY HARDING (1968)/NASHVILLE SKYLINE (1969)/PLANET WAVES (1974)/BLOOD ON THE TRACKS (1975)/DESIRE (1976)/STREET LEGAL (1978)/SLOW TRAIN COMING (1979)/INFIDELS (1983)/OH MERCY (1989)/LOVE AND THEFT (2001). This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. A wide range of selected highlights from the 20th century's most celebrated and mercurial singer-songwriter, including elements from every phase of Bob Dylan's career: the early-'60s protest singer, the amphetamine-fueled mid-'60s prophet, the down-home iconoclast of the counterculture, and the grizzled-yet-rocking elder statesman, all captured in a pristine sonic format.

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"Now! [Remaster]" (08/27/2002) Rock & Pop Rolling Stones (The), ABKCO RecordsThe Rolling Stones: Mick Jagger (vocals, harmonica); Keith Richards (guitar, background vocals); Brian Jones (guitar, harmonica); Bill Wyman (bass); Charlie Watts (drums). Additional personnel: Ian Stewart (piano, organ); Jack Nitzsche (piano). Recorded at Chess Studios, Chicago, Illinois; RCA Studios, Hollywood, California; Regent Sound, London, England. Includes liner notes by Andrew Loog Oldham. Additional personnel: Jack Nitzche, Ian Stewart (piano). Audio Remasterers: Jon Astley; Bob Ludwig; Steve Rosenthal; Teri Landi; Pascal Byrne. THE ROLLING STONES, NOW! is a masterpiece of early British R&B, Rolling Stones style. Things start off with a powerful rendition of Solomon Burke's signature tune "Everybody Needs Somebody To Love." Elsewhere, the Stones take a tour of American music, from Bo Diddley's "Mona," complete with choppy, reverbed guitar, to a slow, churning version of Willie Dixon's blues evergreen "Little Red Rooster," probably the first version of the song to feature fuzz bass. Amid all this esteemed company, though, the standout tracks are the Jagger-Richards originals. With its heartbreaking lyrics and poignant accompaniment, "Heart of Stone" could have been a classic soul ballad appropriated from some great, obscure American singer. On "What a Shame," the Stones prove that they don't have to look to outside sources for their blues. Keith's penetrating slide here, as on "Little Red Rooster," foreshadows greater things to come.

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"Ultimate Mancini" (08/24/2004) Rock & Pop Mancini, Henry, Concord Special ProductsThis is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Personnel: Monica Mancini (vocals); Take 6 (vocals); George Doering (guitar); Stevie Wonder (harmonica); Tom Scott (alto saxophone); Plas Johnson (tenor saxophone); Warren Luening, Charles Davis (trumpet); Andy Martin, Charles Loper (trombone); Michael Lang (piano); Joey DeFrancesco (Hammond b-3 organ); Gary Burton (vibraphone); Gregg Field (drums); Kenny Rankin. Recording information: Capitol Studios, Hollywood, California (10/2003); G Studio Digital, Studio City, California (10/2003). Arranger: Henry Mancini. This 2004 album features new interpretations of composer Henry Mancini's music performed here by a Los Angeles studio orchestra and various guest artists. Mancini's own daughter Monica Mancini sings on this release, and her deep voice single-handedly propels the orchestra on several of these cuts. Mancini's most popular compositions are included here, among them the sleek "The Pink Panther Theme" and the suspenseful "Peter Gunn Theme." "Days of Wine and Roses" (from the movie of the same name) is one of the highlights of this set, with the younger Mancini's vocals invoking the affection inherent in Johnny Mercer's lyric. "Moon River," the most enduring on this album, features the gorgeous harmonica playing of Stevie Wonder and the carefully harmonized vocals of Take 6. Together these artists bring great depth to this already-penetrating work. Overall, ULTIMATE MANCINI, a tribute both reverent and forward-looking, will remind listeners of the indelible beauty of this composer's catalog.

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"A Love Affair: The Music of Ivan Lins" (01/25/2005) Rock & Pop Various Artists, TelarcIncludes liner notes by Jason Miles & Oscar Castro-Neves. "She Walks This Earth (Soberanna Rosa)" won the 2001 Grammy Award for Best Male Pop Vocal Performance. "Camaleao" was nominated for the 2001 Grammy Award for Best Pop Instrumental Performance. This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. Tributee: Ivan Lins. Liner Note Authors: Jason Miles; Oscar Castro-Neves.

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"Toto IV" (05/28/2002) Rock & Pop Toto, Legacy RecordingsAlso available in a 3-pack with TOTO and HYDRA. Toto: Steve Lukather (vocals, guitar, piano); David Paich, Steve Porcaro (vocals, keyboards); Bobby Kimball (vocals); David Hungate (bass); Jeff Porcaro (drums, percussion). Additional personnel: James Newton Howard (conductor); Mike Porcaro (cello); The Martyn Ford Orchestra (strings); Jim Horn (recorder, saxophone); Tom Scott, Jon Smith (saxophone); Jerry Hey, Gary Grant (trumpet); Jimmy Pankow (trombone); Ralph Dyck (synthesizer); Joe Porcaro (marimba, xylophone, tympani, percussion); Lenny Castro (congas, percussion); Roger Linn (keyboard programming); Tom Kelly, Timothy B. Schmit (background vocals). Engineers: Al Schmitt, Tom Knox, Greg Ladanyi. Principally recorded at Sunset Sound and Record One, Los Angeles, California. This is a multichannel Super Audio CD playable only on Super Audio CD players. Toto: Steve Lukather (vocals, guitar, piano); David Paich, Steve Porcaro (vocals, keyboards); Bobby Kimball (vocals); David Hungate (bass); Jeff Porcaro (drums, percussion). Additional personnel: James Newton Howard (conductor); Mike Porcaro (cello); The Martyn Ford Orchestra (strings); Jim Horn (recorder, saxophone); Tom Scott, Jon Smith (saxophone); Jerry Hey, Gary Grant (trumpet); Jimmy Pankow (trombone); Ralph Dyck (synthesizer); Joe Porcaro (marimba, xylophone, tympani, percussion); Lenny Castro (congas, percussion); Roger Linn (keyboard programming); Tom Kelly, Timothy B. Schmit (background vocals). Engineers: Al Schmitt, Tom Knox, Greg Ladanyi. Principally recorded at Sunset Sound and Record One, Los Angeles, California. This is a Super Audio CD playable only on Super Audio CD players. Although Toto's second and third albums (HYDRA and TURN BACK, respectively) didn't fare well commercially, especially when compared to the group's self-titled debut, 1982's TOTO IV brought the band to a whole new level of success. The cadre of Los Angeles session players pooled their talents to create a potent form of market-savvy arena rock, which resulted in the inescapable smash singles "Rosanna" and "Africa." While those two tunes, both penned (at least in part) by keyboardist David Paich, easily outshine the rest of TOTO IV, the record does feature enjoyable, upbeat songs such as "Make Believe" and "We Made It," which showcase the buoyant vocals of Bobby Kimball and the formidable guitar riffs of Steve Lukather. Though many critics savaged the album, it went on to become a platinum seller and win six Grammy Awards. The group would carry on for decades in various incarnations, but no later outings could top this blockbuster record, which stands as the indisputable high point of Toto's career. Although Toto's second and third albums (HYDRA and TURN BACK, respectively) didn't fare well commercially, especially when compared to the group's self-titled debut, 1982's TOTO IV brought the band to a whole new level of success. The cadre of Los Angeles session players pooled their talents to create a potent form of market-savvy arena rock, which resulted in the inescapable smash singles "Rosanna" and "Africa." While those two tunes, both penned (at least in part) by keyboardist David Paich, easily outshine the rest of TOTO IV, the record does feature enjoyable, upbeat songs such as "Make Believe" and "We Made It," which showcase the buoyant vocals of Bobby Kimball and the formidable guitar riffs of Steve Lukather. Though many critics savaged the album, it went on to become a platinum seller and win six Grammy Awards. The group would carry on for decades in various incarnations, but no later outings could top this blockbuster record, which stands as the indisputable high point of Toto's career.

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"Playmate of the Year" (10/03/2000) Rock & Pop Zebrahead, Columbia (USA)Zebrahead: Justin (vocals, guitar); Ali (vocals); Greg (guitar); Ben (bass); Ed (drums). Additional personnel: Tavis Werts (horns, background vocals); Howard Benson (keyboards, programming); Gabe McNair (keyboards); Bobby Brooks (loops); A. Jay Popoff, Needham Park (background vocals). Recorded at The Gallery, Sherman Oaks, California and Sparky Dark, Calabasas, California. This is a Super Audio CD playable only on Super Audio CD players. Zebrahead: Justin (vocals, guitar); Ali (vocals); Greg (guitar); Ben (bass); Ed (drums). Additional personnel: Tavis Werts (horns, background vocals); Howard Benson (keyboards, programming); Gabe McNair (keyboards); Bobby Brooks (loops); A. Jay Popoff, Needham Park (background vocals). Recorded at The Gallery, Sherman Oaks, California and Sparky Dark, Calabasas, California. This is a Super Audio CD playable only on Super Audio CD players. Zebrahead's PLAYMATE OF THE YEAR is quintessential turn-of-the-century pop-rock, blending an impressive variety of styles to arrive at a set of perfect pop radio fodder. Barenaked Ladies-style white-boy rap, Nirvana-flavored power riffs, Beck-influenced, loopy electronic touches, retro-'80s moves, and catchy, alt rock choruses are all combined here, to the great credit of producer Howard Benson, who manages to make the whole thing cohere. The album's upbeat title tune is a perfect case in point, as cheesy organ, breakbeats, rap, Big Rock guitar, and Cheap Trick-influenced vocal harmonies rub up against each other, but somehow never seem to clash. There are no grand artistic aspirations here; PLAYMATE OF THE YEAR is intended as fast-paced, breezy fun, which exactly what it turns out to be.

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"Drops of Jupiter" (03/27/2001) Rock & Pop Train, Columbia (USA)This is an Enhanced CD which contains regular audio tracks and multimedia computer files. Train: Pat Monahan (vocals, saxophone, trumpet, percussion); Jimmy Stafford (guitar, mandolin, background vocals); Rob Hotchkiss (guitar, harmonica, bass, background vocals); Charlie Colin (guitar, bass, background vocals); Scott Underwood (keyboards, drums, percussion, programming). Additional personnel includes: Paul Buckmaster (conductor, arranger). Recorded at Southern Tracks Recording, Atlanta, Georgia; Capitol Studios, Hollywood, California; and Ocean Way, Nashville, Tennessee. "Drops Of Jupiter" won the 2002 Grammy Awards for Best Rock Song and for Best Instrumental Arrangement Accompanying Vocalist(s). This is a Super Audio CD playable only on Super Audio CD players. This is a Super Audio CD playable only on Super Audio CD players. The band that brought "Meet Virginia" to the ears of the nation's youth via heavy-rotation MTV airplay in 1999 delivers its sophomore effort with the aid of producer Brendan O' Brien (who has twiddled knobs for the likes of the Stone Temple Pilots and Pearl Jam). Paul Buckmaster, whose stellar credits include cello on David Bowie's "Space Oddity," also provides some arrangement assistance. But the band sounds best when it appears to be left to its own devices, on tracks such as "It's About You," and "Hopeless," a downtempo cruise through contemporary alienation and angst that builds to a meaty crescendo. For fans of breezy summer music there's "She's On Fire," and the band rocks out more than somewhat on "Respect." But mostly what Train does best is the wounded, introverted slow-burner, as evidenced by "Mississippi," which is a classic of its bruised, troubled kind.

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"Days Of Future Passed: Deluxe Edition" (09/19/2006) Rock & Pop Moody Blues (The), Polydor (USA)The Moody Blues: Justin Hayward (vocals, guitar); Ray Thomas (flute, harmonica); Mike Pinder (keyboards); John Lodge (bass); Graeme Edge (drums). Additional personnel: Peter Knight (conductor); The London Festival Orchestra. Includes liner notes by Hugh Mendl. All tracks have been digitally remastered This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. The Moody Blues: Justin Hayward, Graeme Edge, John Lodge, Mike Pinder, Ray Thomas. Additional personnel: London Festival Orchestra. Recording information: 1967. DAYS OF FUTURE PASSED is the Moody Blues' true contribution to rock history: the most cohesive integration of rock songs with orchestral music ever produced. Asked by Deram Records to create a rock reworking of Dvorak's "New World" Symphony, the Moodies instead wrote their own symphony, a song cycle that describes the emotions that accompany each part of the day, from dawn ("Dawn Is A Feeling") to night (the classic "Nights In White Satin"). The songs are connected by lush orchestral passages in which the basic musical themes are reworked. Meanwhile, the band had already begun to sound like its own orchestra, using signature Mellotron string sounds, flutes, tympani and multiple vocalists.

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"Live in Japan" (02/24/2004) Rock & Pop Harrison, George, Capitol/EMI RecordsPersonnel: George Harrison (vocals, guitar); Eric Clapton, Andy Fairweather-Lowe (guitar, background vocals); Greg Phillinganes, Chuck Leavell (keyboards, background vocals); Nathan East (bass, background vocals); Steve Ferrone (drums); Ray Cooper (percussion); Tessa Niles, Katie Kissoon (background vocals). Recorded live in Osaka and Tokyo, Japan in December, 1991. This is a multi-channel hybrid Super Audio CD playable both on regular and Super Audio CD players. Personnel: George Harrison (vocals, guitar); Andy Fairweather-Lowe, Eric Clapton (guitar, background vocals); Greg Phillinganes, Chuck Leavell (keyboards, background vocals); Nathan East (bass, background vocals); Steve Ferrone (drums); Ray Cooper (percussion); Tessa Niles, Katie Kissoon (background vocals). Recorded live in Osaka and Tokyo, Japan in December, 1991. Includes liner notes by George Harrison. This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. Perhaps still smarting from the poor reviews he received on his 1974 American tour, Harrison decided to make his 1992 return to the concert stage in Japan, where he presumed that both the fans and the media would be less critical and demanding than in America and England. Judging from the superb music on LIVE IN JAPAN, Harrison had little reason to worry. Backed by Eric Clapton's seasoned touring band (Clapton also plays guitar on the album but is not credited due to contractual reasons) Harrison performs confident, enthusiastic versions of most of his greatest songs, ranging from Beatles favorites like "Taxman" and "Here Comes The Sun" to a forceful version of his latest hit, "Cheer Down." Packed with excellent live versions of obscure (though wonderful) Beatles songs like "Piggies" and "I Want To Tell You," LIVE IN JAPAN easily surpasses THE CONCERT FOR BANGLADESH as the definitive George Harrison live album and it provides as excellent overview of Harrison's long and illustrious career.

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"Goodbye Yellow Brick Road" (11/25/2003) Rock & Pop John, Elton, Island Records (USA)This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. Personnel: Elton John (vocals, piano, Farfisa, Mellotron); Prince Rhino (spoken vocals); Davey Johnstone (acoustic guitar, electric guitar, background vocals); Leroy Gomez (saxophone); David Hentschel (ARP synthesizer); Dee Murray (bass instrument, background vocals); Nigel Olsson (drums, congas, tambourine, background vocals); Ray Cooper (tambourine); Kiki Dee (background vocals). Liner Note Author: John Tobler. Recording information: Strawberry Studios, France. Generally regarded as Elton John's masterpiece, GOODBYE YELLOW BRICK ROAD is a double-album (on one CD) that includes several of his signature songs alongside a sprawling array of lesser-known (but by no means lesser) tunes. The hits included "Bennie And The Jets," a funky, falsetto stomper; the Rolling Stonesy rocker "Saturday Night's Alright For Fighting"; and the gorgeous title ballad. "Candle In The Wind," an elegy for Marilyn Monroe, which didn't become a certified hit until 14 years later, when John re-recorded it with the Melbourne Symphony. The fact that it wasn't released as a single at the time is testimony to the wealth of pop pleasures available here. The swelling, synth-fueled overture of "Funeral For A Friend" gives way to one of John's toughest guitar-rockers in an 11-minute medley. "Grey Seal" is a piano showcase with a perfect verse-chorus-verse construction. The rocking "All The Girls Love Alice" is one of the era's most overt references to lesbianism, and "Harmony," the soft ballad that closes the album, may be John's grandest melody. Willfully eclectic and packed with great music, GOODBYE YELLOW BRICK ROAD bursts with the bold energy and undeniable talent that made John a superstar.

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"Guero (Deluxe Version)" (03/29/2005) Rock & Pop Beck, DGC (David Geffen Company) (USA)This deluxe edition includes seven bonus tracks on the CD. The DVD includes a 5.1 audio version of the full album and video remixes for each track. Personnel include: Beck Hansen (vocals, guitar, acoustic 12-string guitar, slide guitar, harmonica, piano, celesta, Moog synthesizer, vocoder, bass guitar, kalimba, tambourine, hand claps, percussion); Petra Haden (vocals); Smokey Hormel (guitar); Money Mark (organ); Roger Joseph Manning Jr. (keyboards); Jack White, Sean Davis, Justin Meldal-Johnsen (bass guitar); Joey Waronker (drums); John King, Mike Simpson, The Dust Brothers (programming); Paolo Diaz (unknown instrument); Tony Hoffer, Charlie Capen. Recording information: The Boat, Silverlake, California; Sound Factory, Hollywood, California. Beck's sixth major-label album is a stunning return to the anything-goes format of 1996's ODELAY. Standing in sharp contrast to its predecessor--the quiet, somber SEA CHANGE--2005's GUERO is the sound of the Los Angeles singer/songwriter cutting loose and getting back to the slacker funk that won him legions of fans in the 1990s. "E-Pro" kicks off the festivities with a heavy guitar riff and a Beastie Boys-sampled beat, while "Que Onda Guero" revels in a sunny Latin vibe, with Beck rapping (surprisingly well) in Spanish. However, this outing also offers up MUTATIONS-worthy melodic pop, particularly on "Girl," a brilliantly catchy tune carried along by acoustic guitar, handclaps, and lush vocal harmonies. Beck's reunion with sound sculptors Mike Simpson and John King (the Dust Brothers) breathes plenty of life into these tracks, including the heavily percussive "Black Tambourine" and the '70s-inspired "Earthquake Weather." Jack White (of the famously bass-less White Stripes) lends a bluesy bass line to "Go It Alone," while many of Beck's longtime musicians (guitarist Smokey Hormel, bassist Justin Meldal-Johnsen) turn up throughout the record. An album that features Beck energetically jumping back into his renowned cut-and-paste aesthetic, GUERO is sure to please longtime fans, and may win over young listeners who thought that he was primarily a sad-sack folkie.

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"In Search Of The Lost Chord: Deluxe Edition" (09/19/2006) Rock & Pop Moody Blues (The), UME ImportsMoody Blues: Justin Hayward (vocals, acoustic & electric guitars, 12-string guitar, sitar, harpsichord, piano, Mellotron, bass, percussion, tablas); Mike Pinder (acoustic guitar, cello, autoharp, harpsichord, Mellotron, piano, bass); John Lodge (acoustic guitar, cello, bass, tambourine, snare drum, background vocals); Ray Thomas (C flute, alto flute, soprano saxophone, background vocals); Graeme Edge (piano, drums, timpani, tambourine, tablas). Originally released on Deram (711). Includes liner notes by John Reed. This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. The Moody Blues: Justin Hayward, Graeme Edge, John Lodge, Mike Pinder, Ray Thomas. Recording information: 1968. After helping lay the groundwork for concept albums and progressive rock with 1967's orchestra-enhanced suite DAYS OF FUTURE PASSED, the Moodies retrenched for the follow-up. They abandoned the orchestra but kept their sound as rich as before by playing a multitude of instruments themselves, including everything from sitar to cello to oboe. At the time, it was remarkable enough for these instruments to appear on a rock record, much less to be played by the band itself. The string-laden conceptual pieces of DAYS were replaced by shorter, more concise songs that leaned more toward Beatlesque pop and displayed a pronounced Eastern influence. Graham Edge's short spoken-word pieces provide a properly arty framework for the Moodies' blend of swooping mellotron, haunting flute, and rich, multi-tracked harmonies. The slightly Hollies-ish "Ride my Seesaw," one of the band's strongest rockers, is a highlight. Flutist/vocalist Ray Thomas provides the quirky Britishness so essential to '60s UK pop-rock with his music-hall-on-acid number "Dr. Livingstone I Presume." The soaring harmonies of "Legend of a Mind" work in praise of Timothy Leary and his "trips to astral planes." IN SEARCH OF THE LOST CHORD is the most exotic, trippy album in the Moodies' catalog.

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"To Our Children's Children's Children: Deluxe Edition" (09/19/2006) Rock & Pop Moody Blues (The), UME ImportsThe Moody Blues: Justin Hayward, Mike Pinder, John Lodge, Ray Thomas, Graeme Edge. All tracks have been digitally remastered. This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. The Moody Blues: Justin Hayward, Graeme Edge, John Lodge, Mike Pinder, Ray Thomas. Recording information: 1969. The Moodies were a prolific lot in the late '60s. This, the post-Denny Laine lineup's fourth album, was the second to be released in 1969. It was the group's most mature, fully realized effort to date, arguably surpassing even the milestone DAYS OF FUTURE PASSED in its elegance and vision. The Moodies were always capable of both songcraft and experimentalism, but this was the first time they combined them both successfully. Mike Pinder's dramatically arcing mellotron is the perfectly complement to the group's lush vocal harmonies, which are colored by rich acoustic guitar textures. Things open on a mind-bendingly psychedelic note with the electrical storm of "Higher and Higher," but soon the waters calm. Justin Hayward's brief acoustic ballad "I Never Thought I'd Live to be a Hundred" is among the band's loveliest tunes, and it leads into "Beyond," an ambitious instrumental that is the Moodies at their most progressive. Throughout the album, the mixture of winningly melodic balladry, poignant folk-rock and ambitious prog-rock leanings combine for what is one of the Moody Blues' most satisfying albums.

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"John Wesley Harding" (10/24/2003) Rock & Pop Dylan, Bob, SonyPersonnel: Bob Dylan (vocals, guitar, harmonica, piano); Pete Drake (steel guitar); Charles McCoy (bass); Kenny Buttrey (drums). Includes liner notes by Bob Dylan. This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. Bob Dylan's eighth album followed a lengthy hibernation due to a motorcycle accident in which the singer re-evaluated his art. He emerged with a set of stark simplicity and heartfelt intensity, melding folk, rock, and country with a mesmerizing power that set off a huge back-to-basics movement in rock that lasted well into the next decade. A biblical purity encompasses the collection as Dylan paints graphic portraits of the disenfranchised--hobo, immigrant, drifter, messenger--articulating the uncertainty of the times. The best-known song here is the apocalyptic "All Along the Watchtower," which would soon be electrically redefined by Jimi Hendrix. The mood lifts on the final track "I'll Be Your Baby Tonight," a beautifully tender love song, suggesting that this is where salvation lies. John Wesley Harding repays repeated play with ever-unfolding metaphor and interpretation, including four hidden Beatles on the cover.

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"She's So Unusual" (02/15/2000) Rock & Pop Lauper, Cyndi, PortraitThis is a Super Audio CD playable only on Super Audio CD players. Personnel: Cyndi Lauper (vocals); Eric Bazilian (guitar, saxophone, bass, background vocals); Neil Jason (guitar, bass); Rick De Fonzo, William Wittman (guitar); Rob Hyman (keyboards, background vocals); Peter Wood, Richard Termini (synthesizer); Anton Fig (drums); Maeretha Stewart, Dianne Wilson, Krystal Davis, Ellie Greenwich, Jules Shear (background vocals). Recorded at the Record Plant, New York, New York. This is a Super Audio CD playable only on Super Audio CD players. Once the orange-haired Lauper dropped the contrived, dumb, cutesy, lispy broad persona, Cyndi Lauper was seen as a credible artist, and has subsequently become highly respected as a terrific songwriter. On this, her pen was sharpened with the magnificent song of unconditional love, "Time After Time," a track that has since been recorded by others, including beautiful cover versions by Miles Davis and the jazz husband-and-wife duo, Tuck And Patti. Less sophisticated, but of equal fun, is "She Bop," and then there are well-chosen covers such as Jules Shear's "All Through The Night" and Prince's "When You Were Mine."

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"Honky Chateau [Remaster]" (10/26/2004) Rock & Pop John, Elton, Universal Records (USA)This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. Personnel: Elton John (vocals, piano, electric piano, organ); Davey Johnstone (guitar, banjo, mandolin, background vocals); Jean-Luc Ponty (electric violin); Gus Dudgeon (whistle, background vocals); Jean-Louis Chautemps, Alain Hatot (saxophone); Ivan Julien (trumpet); Jacques Bolognesi (trombone); David Henschel (ARP synthesizer); Dee Murrey (bass guitar, background vocals); Nigel Olsson (drums, congas, tambourine, background vocals); Ray Cooper (congas); Legs "Larry" Smith (taps); Larry Steele, Liza Strike, Madeline Bell, Tony Hazzard (background vocals). Liner Note Author: John Tobler. Recording information: Strawberry Studios, France (01/1972). By the time Elton John went to France to cut HONKY CHATEAU in 1972, he had already become the first act since the Beatles to land four albums in the American Top 10 simultaneously. Up to that point, John had performed in a trio rounded out by bassist Dee Murray and drummer Nigel Olsson. The addition of guitarist Davey Johnstone on HONKY CHATEAU added another dimension to the overall sound. The results were successful, as the nonsensical "Honky Cat" and the Bowie-inspired "Rocket Man" became John's first Top 10 hits since the release of "Your Song" two years prior. John and co. reined in the lengthy, moody excesses of MADMAN ACROSS THE WATER, turning in a highly focused collection of beautifully crafted pop. The rollicking "I Think I'm Gonna Kill Myself," the sassy "Susie (Dramas)," and the stirring "Mona Lisas And Mad Hatters" are all standouts. The John/Bernie Taupin partnership also yielded a number of songs with vivid imagery, including the Civil War-era American South of "Slave" and a front-row pew before a gospel choir in the inspirational "Salvation." Pound for pound, HONKY CHATEAU may be one the strongest, most consistent, and most pleasurable records in the mammoth John discography.

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"Captain Fantastic & The Brown Dirt Cowboy [Remaster]" (10/26/2004) Rock & Pop John, Elton, Universal Records (USA)This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. Personnel: Elton John (vocals, electric piano, harpsichord, Clavinet, Mellotron, ARP synthesizer); John Lennon (guitar); Davey Johnstone (acoustic guitar, electric guitar, mandolin, piano, background vocals); David Henschel (ARP synthesizer); Dee Murrey (bass guitar, background vocals); Nigel Olsson (drums, background vocals); Ray Cooper (congas, bongos, cymbals, Jew's harp, tambourine, triangle, bells, hand bells, gong). Audio Remasterer: Tony Cousins. Liner Note Author: John Tobler. Recording information: Caribou Ranch, Colorado (06/1974 - 07/1974). One of Elton John's many 1970s pop gems, CAPTAIN FANTASTIC & THE DIRT BROWN COWBOY is a classic album filled with well-written, catchy tunes. The most famous song from this record is the radio hit, "Someone Saved My Life Tonight." A bitter tune about a badly entangled relationship, John's lyric rejoices in an 11th-hour triumph of freedom. CAPTAIN FANTASTIC also features John's well-known version of the Lennon/McCartney favorite "Lucy in the Sky with Diamonds." John maintains the eccentric sonic elements of this tune, but makes it more dramatic and operatic, particularly as the song's refrain loops on and on towards the ending. "Writing" is another highlight on this disc; Latin-influenced, upbeat, and bubbly, this number contains some quirky bongo playing and a light, care-free lyric centered on the actual process of composing songs. Without a doubt, John and partner Bernie Taupin were one of the best songwriting duos in rock history, and many of their finer collaborations are captured on this 1975 release.

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"Out Of Our Heads [Digipak] [Remaster]" (08/27/2002) Rock & Pop Rolling Stones (The), ABKCO RecordsThis is a Hybrid Super Audio CD playable on both Super Audio and regular CD players. The Rolling Stones: Mick Jagger (vocals, harmonica); Keith Richards (vocals, guitar); Brian Jones (guitar, harmonica, piano, organ); Bill Wyman (bass); Charlie Watts (drums, percussion). Additional personnel: Ian Stewart (piano, organ, marimba); Jack Nitzsche (piano, organ, percussion). Engineers: David Hassinger, Ron Malo, Glyn Johns. Recorded in Hollywood, California, Chicago, Illinois & London, England. Includes liner notes by Andrew Loog Oldham. All tracks have been digitally remastered. The Rolling Stones: Keith Richards, Brian Jones (guitars); Mick Jagger (harmonica); Bill Wyman (bass guitar); Charlie Watts (drums). Additional personnel: Jack Nitzsche (organ); Ian Stewart (marimba); J.W. Alexander (percussion). Audio Remasterers: Jon Astley; Bob Ludwig; Steve Rosenthal; Teri Landi; Pascal Byrne. Early Stones recordings don't get much better than this. Firmly established as celebrities, the band began to use the pandemonium they inspired as an artistic source. Nowhere is their initial reaction to fame and music business drama more apparent than in the humorous, mocking "The Under Assistant West Coast Promotion Man," in which the Stones effectively skewer the sleazier side of the record industry. Naturally, this will always be known as the album that features the original version of "Satisfaction," which would remain the band's signature tune throughout their career, but that's really just the tip of the iceberg. Equally effective as a Jagger-Richards distillation of rock and R&B is "The Last Time," a tune easily the equal of Bobby Womack's "It's All Over Now," which the Stones handily covered on 12 X 5. Standing out from the crowd is the harpsichord-driven, English folk-inspired "Play With Fire," a menacing minor key song full of subtly expressed psychological violence. This tune, a marked change of pace for the band, hinted at the stylistic variety they would later explore.

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"Metamorphosis [Digipak] [Remaster]" (08/27/2002) Rock & Pop Rolling Stones (The), ABKCO RecordsThis is a Hybrid Super Audio CD playable on both Super Audio and regular CD players. METAMORPHOSIS is a collection of outtakes from 1975 and has never been available on CD. The Rolling Stones: Keith Richards (vocals, guitar); Mick Jagger (vocals); Brian Jones, Mick Taylor (guitar); Bill Wyman (bass); Charlie Watts (drums). All tracks have been digitally remastered. Audio Remasterers: Jon Astley; Bob Ludwig; Steve Rosenthal; Teri Landi; Pascal Byrne. Culled from the Rolling Stones' massive archive, 1975's METAMORPHOSIS is the band's sole rarities compilation featuring material from the Stones' fertile '60s and '70s era. Cherry picked by former manager Allen Klein as a result of a bitter lawsuit that found a similar anthology contrived by Bill Wyman going unreleased, this treasure trove of cuts is a boon to both die-hard and casual Stones fans. It kicks off with a lush, orchestrated version of "Out Of Time," one of a handful of outtakes (along with "Heart Of Stone") featuring a studio full of session musicians including John McLaughlin, Jimmy Page, and John Paul Jones. Overseen by Mick Jagger and then manager Andrew Oldham, these tracks provide interesting insight to a time when the Stones' success allowed them to dish off songs to other UK artists, using versions like these as demos. Other highlights include a killer cover of Stevie Wonder's "I Don't Know Why" (originally recorded for LET IT BLEED) and "Memo From Turner," a Jagger/Richards number cut with Al Kooper and penned for the soundtrack to the Jagger vehicle Performance. Making its CD debut in 2002, METAMORPHOSIS remains a jewel that still glimmers almost three decades after its release.

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"Between the Buttons [Remaster]" (08/27/2002) Rock & Pop Rolling Stones (The), ABKCO RecordsThe Rolling Stones: Keith Richards (vocals, guitar); Mick Jagger (vocals); Brian Jones (guitar); Bill Wyman (bass); Charlie Watts (drums). Recorded in 1966. Once known as hard-core blues/R&B traditionalists, the Stones plunged deeper into the waters of original songwriting on BETWEEN THE BUTTONS, leading to a golden age of classic albums including LET IT BLEED, BEGGAR'S BANQUET, and EXILE ON MAIN STREET. In addition to scoring a double-sided smash-hit single in "Let's Spend The Night Together" backed with the baroque-pop "Ruby Tuesday," BUTTONS was also the last album produced by then-manager/svengali Andrew Loog Oldham. More importantly, the obscure songs on this tight package show the Stones coming into their own as composers. Between the ornate orchestrations of the aforementioned "Ruby Tuesday" and Mick Jagger's Dylanesque inflections on "She Smiled Sweetly," BUTTONS found the Stones in a strata far beyond covering Chuck Berry and Buddy Holly. Although none of these developments ranks with the Beatles' contemporaneous sonic experiments, the fabs' bad-boy counterparts showed differing degrees of whimsy and sass. Examples are Ian Stewart's barrelhouse piano and Brian Jones' kazoo playing on "Cool, Calm & Collected," or the Dixieland-flavored "Something Happened To Me Yesterday."