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Bob Dylan: The Limited Edition Hybrid SACD Set [Box] by Bob Dylan (CD - 09/16/2003)
 

Bob Dylan: The Limited Edition Hybrid SACD Set ...

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Bob Dylan: The Limited Edition Hybrid SACD Set [Box] by Bob Dylan (CD - 09/16/2003)
"Bob Dylan [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. In 2003, Columbia/Legacy reissued 15 selected titles from Bob Dylan's catalog as hybrid SACDs, playable in both regular CD players and Super Audio CD players. Each title was packaged as a digipak, containing the full original artwork. On each of the titles, and on each of the layers, the remastered sound was spectacular, a considerable upgrade from the initial CD pressings. Five of these titles -- Another Side of Bob Dylan, Blonde on Blonde, Bringing It All Back Home, Blood on the Tracks, Love and Theft -- also had 5.1 Surround Sound mixes. Since many Dylan fans are fanatical collectors and were likely to purchase all 15, Columbia/Legacy also released a box set containing all the masters. There is no extra packaging to the set -- just the box itself, a cardboard slipcase containing replicas of studio master tapes -- so collectors that somehow bought the 15 titles without realizing that the box exists aren't really missing out on anything special. However, the set is an excellent, convenient way to pick up all the titles at once, which is what most Dylan fans are likely to do anyway. ~ Stephen Thomas Erlewine 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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Downward Spiral... [SACD Hybrid] [11/23]...
 

Downward Spiral... [SACD Hybrid] [11/23]...

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Downward Spiral... [SACD Hybrid] [11/23]...
"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). The Downward Spiral positioned Trent Reznor as industrial's own Phil Spector, painting detailed, layered soundscapes from a wide tonal palette. Not only did he fully integrated the crashing metal guitars of Broken, but several newfound elements -- expanded song structures, odd time signatures, shifting arrangements filled with novel sounds, tremendous textural variety -- can be traced to the influence of progressive rock. So can the painstaking attention devoted to pacing and contrast -- The Downward Spiral is full of striking sonic juxtapositions and sudden about-faces in tone, which make for a fascinating listen. More important than craft in turning Reznor into a full-fledged rock star, however, was his brooding persona. Grunge had the mainstream salivating over melodramatic angst, which had always been Reznor's stock in trade. The left-field hit "Closer" made him a postmodern shaman for the '90s, obsessed with exposing the dark side he saw behind even the most innocuous fa?ades. In fact, his theatrics on The Downward Spiral -- all the preening self-absorption and serpentine sexuality -- seemed directly descended from Jim Morrison. Yet Reznor's nihilism often seemed like a reaction against some repressively extreme standard of purity, so the depravity he wallowed in didn't necessarily seem that depraved. That's part of the reason why, in spite of its many virtues, The Downward Spiral falls just short of being the masterpiece it wants to be. For one thing, fascination with texture occasionally dissolves the hooky songwriting that fueled Pretty Hate Machine. But more than that, Reznor's unflinching bleakness was beginning to seem like a carefully calibrated posture; his increasing musical sophistication points up the lyrical holding pattern. Having said that, the album ends on an affecting emotional peak -- "Hurt" mingles drama and introspection in a way Reznor had never quite managed before. It's evidence of depth behind the charisma that deservedly made him a star. ~ Steve Huey 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 int

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More Hot Rocks... [SACD Hybrid] [Remaster]
 

More Hot Rocks... [SACD Hybrid] [Remaster]

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More Hot Rocks... [SACD Hybrid] [Remaster]
"More Hot Rocks (Big Hits and Fazed Cookies) [Bonus Tracks] [Digipak] [Remaster]" (08/27/2002) Oldies 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; Paschal Byrne. Photographers: Gered Mankowitz; Ethan Russell. Arranger: The Rolling Stones. Hot Rocks covers most of the monster hits from the Stones' first decade that remained in radio rotation for decades to come. More Hot Rocks goes for the somewhat smaller hits, some of the better album tracks, and a whole LP side's worth of rarities that hadn't yet been available in the United States when this compilation was released in 1972. The material isn't as famous as what's on Hot Rocks, but the music is almost as excellent, including such vital cuts as "Not Fade Away," "It's All Over Now," "The Last Time," "Lady Jane," the psychedelic "Dandelion," "She's a Rainbow," "Have You Seen Your Mother Baby, Standing in the Shadow?," "Out of Time," "Tell Me," and "We Love You." The eight rarities are pretty good as well, including their 1963 debut single "Come On," early R&B covers of "Fortune Teller" and "Bye Bye Johnnie," great slide guitar on Muddy Waters' "I Can't Be Satisfied," and the soulful 1966 U.K. B-side "Long Long While." ~ Richie Unterberger 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. Hot Rocks covers most of the monster hits from the Stones' first decade that remained in radio rotation for decades to come. More Hot Rocks goes for the somewhat smaller hits, some of the better album tracks, and a whole LP side's worth of rarities that hadn't yet been available in the United States when this compilation was released in 1972. The material isn't as famous as what's on Hot Rocks, but the music is almost as excellent, including such vital cuts as "Not Fade Away," "It's All Over Now," "The Last Time," "Lady Jane," the psychedelic "Dandelion," "She's a Rainbow," "Have You Seen Your Mother Baby, Standing in the Shadow?," "Out of Time," "Tell Me," and "We Love You." The eight rarities are pretty good as well, including their 1963 debut single "Come On," early R&B covers of "Fortune Teller" and "Bye Bye Johnnie," great slide guitar on Muddy Waters' "I Can't Be Satisfied," and the soulful 1966 U.K. B-side "Long Long While." [The Rolling Stones' London/ABKCO catalog was reissued in August of 2002, packaged in digipacks with restored album artwork, remastered, and released as hybrid discs that contain both CD and Super Audio CD layers. The remastering -- performed with Direct Stream Digital (DSD) encoding -- is a drastic improvement, leaping out of the speaker yet still sounding like the original albums. This is noticeable on the standard CD layer but is considerably more pronounced on the SACD layer, which is shockingly realistic in its detail and presence

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$17
War Of The Worlds [SACD Hybrid] [6/21]
 

War Of The Worlds [SACD Hybrid] [6/21]

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$19
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War Of The Worlds [SACD Hybrid] [6/21]
"The War of the Worlds [2005 Bonus Track]" (07/05/2005) Rock & Pop Original Soundtrack, 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. Original Soundtrack/Various Artists/Jeff Wayne: Jeff Wayne (piano, harpsichord); David Essex, Julie Covington, Phil Lynott, Richard Burton, Jo Partridge (vocals); George Fenton (tar); Chris Spedding, Justin Hayward, Chris Thompson, Gary Osborne, Herbie Flowers, Roy Jones, Ray Cooper , Paul Hart, Barry Morgan, Billy Lawrie, Paul Vigrass. Personnel: Chris Thompson, Gary Osborne, Billy Lawrie, Paul Vigrass (vocals, background vocals); Justin Hayward (vocals); Chris Spedding, Jo Partridge (guitar); George Fenton (autoharp, santur); Paul Hart (piano); Ken Freeman (synthesizer); Herbie Flowers (bass guitar); Barry Morgan (drums); Barry DeSouza, Roy Jones, Ray Cooper (percussion). Audio Mixer: Geoff Young . Recording information: Advision Studios, London, England (05/18/1976-06/30/1977). Released 40 years after Orson Welles' infamous radio version of the H.G. Wells tale, Jeff Wayne's musical version of War of the Worlds straddles old-style radio drama and contemporary orchestrated narratives by Rick Wakeman and David Bedford. And while it lacks the sophisticated arrangements of, say, Journey to the Centre of the Earth, it does boast an impressively odd cast -- this may be the only time that a member of Thin Lizzy worked with Richard Burton, and the presence of Julie Covington and the Moody Blues' Justin Hayward in very attractive singing roles attest to its pop/rock aspirations. It's Burton's sonorous tones that sustain this work; his frequent solo narrations are eminently listenable, whereas sections featuring dialogue with other characters often come off as a bit stilted. The music is competent studio rock, and "Horsell Common and the Heat Ray" does strike just the right balance between Burton's narration and an accompaniment built around a buzzsaw guitar riff. Overall, it's pleasant as a period piece, and still a fine way to introduce younger listeners to Wells' classic tale. (And if you can find it in a vinyl, it comes with a nicely produced narrative booklet with gloriously lurid illustrations by Geoff Taylor.) The album was actually appealing on too many fronts for its own good in many ways -- the Justin Hayward-sung ballad "Forever Autumn," extracted from a much longer piece on the double-LP -- showed some signs of appealing to AM radio listeners and climbed to the Top 40 based on airplay alone, but by the time Columbia Records in America (missing this boat entirely) got copies of the single into stores so that people could actually buy the record, the song had dropped back down; in the meantime, the record became a favorite of discos and dance clubs in New York and elsewhere, where its extended, highly rhythmic, synthesizer-driven sections delighted deejays and audiences, and Columbia missed another bet by not releasing an instrumental-only assembly of those long passages. (In New York, for years after it went out of print on vinyl, the album was sought after by club deejays eager to spin it). ~ Paul Collins and Bruce Eder Just about the only element of the entire War of the Worlds extravaganza that was not featured in the 2005 box set was the single-disc version released to prolong the life of the original double-album package -- which is a shame, because there are times when you really want to hear the music without the occasionally histrionic dialogue cutting and clattering through it. It is what it says on the packaging, a sweet abbreviation that transforms the full-blown story into a simple soundtrack. The hit take on "Forever Autumn" that presaged the main attraction is here, of course, together with the sweeping symphonics and AOR textures that were Wayne's greatest contribution to H.G. Wells' original fable. For all its good intentions, after all, the full feast can become a little overwrought in places (a late-'60s BBC production is far superior). But the music is impeccable and, from "Eve of the War" to "Brave New World," this highlights package might well be

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$19
Elton John [SACD Hybrid] [Remaster]
 

Elton John [SACD Hybrid] [Remaster]

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$13
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Elton John [SACD Hybrid] [Remaster]
"Elton John [Remaster]" (11/09/2004) Oldies John, Elton, Universal DistributionThis 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 Weighall, 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. Empty Sky was followed by Elton John, a more focused and realized record that deservedly became his first hit. John and Bernie Taupin's songwriting had become more immediate and successful; in particular, John's music had become sharper and more diverse, rescuing Taupin's frequently nebulous lyrics. "Take Me to the Pilot" might not make much sense lyrically, but John had the good sense to ground its willfully cryptic words with a catchy blues-based melody. Next to the increased sense of songcraft, the most noticeable change on Elton John is the addition of Paul Buckmaster's grandiose string arrangements. Buckmaster's orchestrations are never subtle, but they never overwhelm the vocalist, nor do they make the songs schmaltzy. Instead, they fit the ambitions of John and Taupin, as the instant standard "Your Song" illustrates. Even with the strings and choirs that dominate the sound of the album, John manages to rock out on a fair share of the record. Though there are a couple of underdeveloped songs, Elton John remains one of his best records. [The CD reissue includes the bonus tracks "Bad Side of the Moon," "Grey Seal," and "Rock n Roll Madonna."] ~ Stephen Thomas Erlewine 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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$13
Master Of Disaster [SACD Hybrid] [6/21] *
 

Master Of Disaster [SACD Hybrid] [6/21] *

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$11
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Master Of Disaster [SACD Hybrid] [6/21] *
"Master of Disaster [Digipak]" (06/21/2005) Oldies 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); John Hiatt; Scott Thompson, Scott Thompson (trumpet); Jeff Calloway, Jeff Calloway (trombone); David Hood (bass guitar); Luther Dickinson (guitar); Tommy Burroughs (violin); Jim Spake (saxophone); Joe Sallmanberger (tuba); East Memphis Slim (keyboards); Cody Dickinson (drums). Audio Mixer: John Hampton. Recording information: Ardent Studio "C", Memphis, TN. Photographers: Mark Lipson; Erik VonWeber. John Hiatt has often wavered back and forth between his instincts as a rocker and a more measured singer/songwriter bent, and after the rowdy guitar-fueled blues-rock of 2003's Beneath This Gruff Exterior, it should come as no great surprise that Hiatt toned things down a bit for his next album, 2005's Master of Disaster. Produced by Jim Dickinson, with his sons Luther Dickinson and Cody Dickinson (from the North Mississippi Allstars) on guitar and drums, Master of Disaster is rooted in loosely tight Memphis groove, but while Hiatt sounds soulful as all get out (as per usual) on this set, the lingering mood is often downbeat and introspective. The title cut is a stinging meditation on the role of addiction in a musician's life, "Love's Not Where We Left It" and "Ain't Never Goin' Back" are as lean and unsentimental as songs about love can get, and even his ode to the wonders of the Ford Thunderbird finds room for some pithy recollections about one man's bitter relationship with his father. Still, Hiatt does find some room for comic relief in his meditation on cold weather, "Wintertime Blues," he has fun with his crotchety old man tale "Old School," and the raspy grain that has worked its way into his voice suits both the singer and his songs just fine, giving the performances a welcome warmth and humanity. Master of Disaster packs too much good and greasy East Memphis vibe to qualify as "mellow," even when Hiatt is searching the depths of his soul, and his material strikes a comfortable balance between his more confessional work and his impulsive rock & roll, allowing him to have it both ways for a change. ~ Mark Deming 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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$11
Hot Rocks 1964-1971 [SACD Hybrid] [Remaster]
 

Hot Rocks 1964-1971 [SACD Hybrid] [Remaster]

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Hot Rocks 1964-1971 [SACD Hybrid] [Remaster]
"Hot Rocks, 1964-1971 [Remaster]" (08/27/2002) Oldies Rolling Stones (The), ABKCO RecordsAudio Remasterers: Jon Astley; Steve Rosenthal; Teri Landi; Paschal Byrne; Bob Ludwig. This two-LP/two-CD set is both a lot more and a bit less than what it seems. It is seven years' worth of mostly very high-charting -- and all influential and important -- songs, leaving out some singles in favor of well-known album tracks, and in the process, giving an overview not just of the Rolling Stones' hits but of their evolving image. One hears them change from loud R&B-inspired rockers covering others' songs ("Time Is on My Side") into originators in their own right ("Satisfaction"); then into tastemakers and style-setters with a particularly decadent air ("Get Off of My Cloud," "19th Nervous Breakdown"); and finally into self-actualized rebel-poets ("Jumpin' Jack Flash," "Midnight Rambler") and Shaman-like symbols of chaos. On its initial release, Hot Rocks sold well, not only as a unique compilation but also as a panorama of the 1960s. The only flaw was that it didn't give a good look at the Stones' full musical history, ignoring their early blues period and the psychedelic era. There are also some anomalies in Hot Rocks' history for the collector -- the very first pressings included an outtake of "Brown Sugar" featuring Eric Clapton that was promptly replaced; and the original European CD version, issued as two separate discs on the Decca label, was also different from its American counterpart, featuring a version of "Satisfaction" mastered in stereo and putting the guitars on separate channels for the first time. Those musicologist concerns aside, this is still an exciting assembly of material. ~ Bruce Eder 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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$13
Get Yer Ya-Ya's Out [SACD Hybrid] [Remaster]
 

Get Yer Ya-Ya's Out [SACD Hybrid] [Remaster]

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$10
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Get Yer Ya-Ya's Out [SACD Hybrid] [Remaster]
"Get Yer Ya-Ya's Out! [Remaster]" (08/27/2002) Rock & Pop Rolling Stones (The), ABKCO RecordsThe Rolling Stones: Mick Jagger (vocals, harmonica); Keith Richards (guitar, background vocals); Mick Taylor (guitar); Bill Wyman (bass); Charlie Watts (drums). Additional personnel includes: Ian Stewart (piano). Recorded live at Madison Square Garden, New York, New York on November 27-28, 1969. Personnel: Mick Jagger (vocals, guitar, harmonica, keyboards); Keith Richards (vocals, guitar, keyboards); Mick Taylor (vocals, guitar); Bill Wyman (vocals, keyboards, synthesizer); Ian Stewart (keyboards); Charlie Watts (drums). Additional personnel: Ian Stewart (piano). Audio Mixer: Glyn Johns. Audio Remasterers: Steve Rosenthal; Teri Landi. Recording information: Madison Square Garden, NY (11/27/1969-11/28/1969). Photographer: Ethan Russell. Recorded during their American tour in late 1969, and centered around live versions of material from the Beggars Banquet-Let It Bleed era. Often acclaimed as one of the top live rock albums of all time, its appeal has dimmed a little today. The live versions are reasonably different from the studio ones, but ultimately not as good, a notable exception being the long workout of "Midnight Rambler," with extended harmonica solos and the unforgettable section where the pace slows to a bump-and-grind crawl. Some Stones aficionados, in fact, prefer a bootleg from the same tour (Liver Than You'll Ever Be, to which this album was unleashed in response), or their amazing the-show-must-go-on performance in the jaws of hell at Altamont (preserved in the Gimme Shelter film). Fans that are unconcerned with picky comparisons such as these will still find Ya-Ya's an outstanding album, and it's certainly the Stones' best official live recording. ~ Richie Unterberger Returning to the American concert scene after a three-year layoff, the Rolling Stones recorded GET YER YA-YA'S OUT! during a triumphant two-date stand at Madison Square Garden in late November 1969 that found B.B. King and Ike & Tina Turner opening for them. Having amassed an impressive recorded output during their three years away from touring, the Stones peppered their sets with hits, including "Honky Tonk Women," "Jumpin' Jack Flash," and "Street Fighting Man." Tipping their collective hats to Chuck Berry, the band also included covers of "Carol" and "Little Queenie" alongside more blues-influenced numbers such as "Stray Cat Blues" and "Love In Vain." Having been a member of John Mayall's Bluesbreakers, new guitarist Mick Taylor parlayed his experience into some impressive slide guitar work. The piŠce-de-resistance of what is arguably the best live Rolling Stones recording is the eight-minute-plus reading of "Midnight Rambler." Between Mick Jagger's unearthly harmonica playing and the tight interplay between Taylor and Keith Richards, the sinister vibe emanating from this song was eerie, foreshadowing the tragedy that would occur at Altamont less than two weeks later. Observant fans will catch the cover's subtle visual reference to a certain lyric from Bob Dylan's "Visions of Johanna" from BLONDE ON BLONDE.

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$10
Ultimate Mancini [ECD] [SACD Hybrid] *
 

Ultimate Mancini [ECD] [SACD Hybrid] *

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$10
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Ultimate Mancini [ECD] [SACD Hybrid] *
"Ultimate Mancini" (08/24/2004) Easy Listening 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. Arranger: Henry Mancini. Henry Mancini was easily one of the greatest composers for film soundtracks, so putting together a collection of 17 songs nominated for various awards (Grammy, Golden Globe, or Academy Awards) was easy. But finding the proper mix of musicians was important. His daughter, Monica Mancini, is a talented singer in her own right, so she was an obvious choice. And it was only natural to invite tenor saxophonist Plas Johnson to reprise his most famous solo in "The Pink Panther Theme," which he recorded with Mancini for the original soundtrack. For the most part, Mancini's arrangements are utilized, but there are some twists. Stevie Wonder is featured on harmonica with the vocal group Take 6 in the pretty ballad "Moon River," while organist Joey DeFrancesco shines in the breezy "Mr. Lucky." But it is Monica Mancini who makes the biggest impression (along with her father's music, of course). Her sensual rendition of "Moment to Moment," and her lightly swinging duet with singer Kenny Rankin of "Dreamsville," both of which are complemented by Tom Scott's superb alto sax, make it apparent that she inherited her father's musical genes. Among the several arrangements contributed by Patrick Williams, his gorgeous chart for Monica of "Dear Heart" features the singer backed mostly by George Doering's sensitive acoustic guitar. As Donald Fagen of Steely Dan puts it in his brief note to the CD: "All bow before the High Priest of Hollywood Cool!" In other words, fans of Henry Mancini should snap up this rewarding CD right away. ~ Ken Dryden 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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$10
A Love Affair:... [SACD Hybrid] [1/25]
 

A Love Affair:... [SACD Hybrid] [1/25]

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$13
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A Love Affair:... [SACD Hybrid] [1/25]
"A Love Affair: The Music of Ivan Lins" (01/25/2005) International Various Artists, Telarc/SurroundIncludes 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. Bring together an all-star lineup of singers and musicians, match them with accessibly romantic melodies and radio-friendly arrangements, and the results will either be lightweight pabulum or superb high-quality pop music. In the case of producer Jason Miles' A Love Affair, it's unquestionably the latter. Even after 30 years on the world music scene, Brazilian musician/composer Ivan Lins may not have had a high profile. However, as this tribute recording demonstrates, his music is as fine as anything that has come out of his native country since the bossa nova heyday of the early '60s. Taken individually, each of these songs is a piece of joyous musical exuberance. Taken as a whole, this recording is better than an hour with any radio station you're going to find on the dial or online. A Love Affair opens with the never before recorded "She Walks This Earth," a performance by Sting that is as good as anything he's recorded as a solo artist. Vanessa Williams has never sounded better than on the sultry "Love Dance," and "So Crazy for This Love" is a piece of funk featuring a multi-tracked Chaka Khan purring a deceptively complex, original, and memorable melody that also has "hit" written all over it. Grover Washington, Jr. defines smooth jazz with his ride through "Camaleao," while Freddy Cole recalls a smokier version of his brother Nat in his reading of the beautiful ballad "I'm Not Alone." Lins himself plays piano on several tracks and closes the album with a vocal of his own on "Somos Todos Iquais Nesta Noite." Kudos go to producer Miles for bringing this remarkable assemblage together, and a special mention is due to guitarist Romero Lubambo and percussionist Cyro Baptista, whose work throughout the recording is exemplary. Don't miss this CD. ~ Jim Newsom

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$13
Slowhand [SACD Hybrid] [Remaster]
 

Slowhand [SACD Hybrid] [Remaster]

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$13
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Slowhand [SACD Hybrid] [Remaster]
"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). After the guest-star-drenched No Reason to Cry failed to make much of an impact commercially, Eric Clapton returned to using his own band for Slowhand. The difference is substantial -- where No Reason to Cry struggled hard to find the right tone, Slowhand opens with the relaxed, bluesy shuffle of J.J. Cale's "Cocaine" and sustains it throughout the course of the album. Alternating between straight blues ("Mean Old Frisco"), country ("Lay Down Sally"), mainstream rock ("Cocaine," "The Core"), and pop ("Wonderful Tonight"), Slowhand doesn't sound schizophrenic because of the band's grasp of the material. This is laid-back virtuosity -- although Clapton and his band are never flashy, their playing is masterful and assured. That assurance and the album's eclectic material make Slowhand rank with 461 Ocean Boulevard as Eric Clapton's best albums. ~ Stephen Thomas Erlewine 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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$13
Toto IV [SACD]
 

Toto IV [SACD]

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$14
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Toto IV [SACD]
"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. 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. 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. Ultradiscs are mastered from the original master tapes using Mobile Fidelity's proprietary mastering technique, then plated with 24 karat gold and housed in a stress-resistant lift-lock jewel box. 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

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$14
Drops Of Jupiter [SACD]
 

Drops Of Jupiter [SACD]

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$14
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Drops Of Jupiter [SACD]
"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. Personnel: Pat Monahan (vocals, saxophone, trumpet, vibraphone, percussion); Jimmy Stafford (guitar, mandolin, background vocals); Rob Hotchkiss (guitar, harmonica, background vocals); Charlie Colin (guitar, background vocals); Carl Gorodetzky, Michael Markman (violin); Kris Wilkinson String Section, Kristin Wilkinson, Evan Wilson (viola); Daniel Smith, Suzie Katayama, Dan Smith, Bob Mason (cello); Chuck Leavell (piano); Scott Underwood (keyboards, drums, percussion, programming); Brendan O'Brien (keyboards); Fleming McWilliams (background vocals). Audio Mixer: Brendan O'Brien. Recording information: Capitol Studios, Hollywood, CA; Ocean Way Nashville; Oceanway Nashville, TN; SOuthern Tracks Recording, Atlanta, GA. Illustrator: Tony Hernandez. Photographer: Ralf Strathmann. Arranger: Paul Buckmaster. Although Train's singles got heavy rotation on "alternative" radio stations, there's nothing cutting-edge about the band's sophomore effort, Drops of Jupiter. Train is a classic rock wannabe band in the mold of Counting Crows, although that's not always a bad thing. In fact, the best moments on Drops of Jupiter are the most blatant rip-offs, which means the band can sound endearing even when they don't sound unique. Does the hit title track remind you of Madman Across the Water-era Elton John? Well, it's no coincidence. Paul Buckmaster, who arranged the soaring strings on much of John's best work, reprises that role here, and session keyboardist extraordinaire Chuck Leavell channels John on the piano. And when lead singer Pat Monahan sings "When I get this feeling" in "It's About You," just try not to sing "I want sexual healing" over the actual lyrics that follow. Overall, this is a safe, solid second effort from a band that knows how to write hit singles. ~ Mark Morgenstein 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.

starting at

$14
Playmate Of The Year [SACD]
 

Playmate Of The Year [SACD]

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$14
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Playmate Of The Year [SACD]
"Playmate of the Year" (10/03/2000) Heavy Metal 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. Having failed to score commercially with their debut album Waste of Mind, Zebrahead returns two years later with more of the same, which is to say fast-paced hard rock on which Justin Mauriello's male adolescent musings are augmented by Ali Tabatabaee's aggressive raps. At their best, on the title song (sort of a musical version of a Farrelly Brothers movie in under three minutes), the group approaches the sound of Cheap Trick, with their shimmering guitar lines, furious rhythm playing, and Mauriello's self-deprecating, humorous lyrics. A few other songs, notably "The Hell That Is My Life" and "Wasted," are almost as effective, but much of Zebrahead's music is too busy for its own good, and when they attempt social commentary on "What's Goin' On?" (where have we seen that title before?) the results are embarrassing, while as a change of pace like "Livin' Libido Loco" is more reminiscent of Barry Manilow than Ricky Martin. The hidden track at the end of the album is a prank call made by Mauriello to Sony Music in which he impersonates his mother and demands to know when he is going to start seeing some money from his record contract. It may indicate the band will pack it in unless Playmate of the Year breaks through, but even with a tie-in to Playboy magazine that still seems like a long shot. ~ William Ruhlmann 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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$14
Days Of Future... [SACD] [6/6]
 

Days Of Future... [SACD] [6/6]

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$17
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Days Of Future... [SACD] [6/6]
"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 Additional personnel: Peter Knight (conductor); The London Festival Orchestra. Includes liner notes by Hugh Mendl. This is a DTS CD, which features DTS 5.1 Surround Sound technology and is playable on a DTS-capable 5.1 Surround Sound system. Additional personnel: Peter Knight (conductor); The London Festival Orchestra. Includes liner notes by Hugh Mendl. 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. This album marked the formal debut of the psychedelic-era Moody Blues; though they'd made a pair of singles featuring new (as of 1966) members Justin Hayward and John Lodge, Days of Future Passed was a lot bolder and more ambitious. What surprises first-time listeners -- and delighted them at the time -- is the degree to which the group shares the spotlight with the London Festival Orchestra without compromising their sound or getting lost in the lush mix of sounds. That's mostly because they came to this album with the strongest, most cohesive body of songs in their history, having spent the previous year working up a new stage act and a new body of material (and working the bugs out of it on-stage), the best of which ended up here. Decca Records had wanted a rock version of Dvorak's "New World Symphony" to showcase its enhanced stereo-sound technology, but at the behest of the band, producer Tony Clarke (with engineer Derek Varnals aiding and abetting) hijacked the project and instead cut the group's new repertory, with conductor/arranger Peter Knight adding the orchestral accompaniment and devising the bridge sections between the songs and the album's grandiose opening and closing sections. The record company didn't know what to do with the resulting album, which was neither classical nor pop, but following its release in December of 1967, audiences found their way to it as one of the first pieces of heavily orchestrated, album-length psychedelic rock to come out of England in the wake of the Beatles' Sgt. Pepper's and Magical Mystery Tour albums. What's more, it was refreshingly original, rather than an attempt to mimic the Beatles; sandwiched among the playful lyricism of "Another Morning" and the mysticism of "The Sunset," songs like "Tuesday Afternoon" and "Twilight Time" (which remained in their concert repertory for three years) were pounding rockers within the British psychedelic milieu, and the harmony singing (another new attribute for the group) made the band's sound unique. With "Tuesday Afternoon" and "Nights In White Satin" to drive sales, Days of Future Passed became one of the defining documents of the blossoming psychedelic era, and one of the most enduringly popular albums of its era. On CD, its history was fairly spotty until 1997, when it was remastered by Polygram; that edition blows every prior CD release (apart from Mobile Fidelity's limited-edition disc) out of contention, though this record is likely due for another upgrade -- and probably a format jump, perhaps to DVD-Audio -- on or before its 40th anniversary in 2007. ~ Bruce Eder 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 orchest

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$17
In The Flesh [SACD]
 

In The Flesh [SACD]

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$20
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In The Flesh [SACD]
"In the Flesh Live" (11/13/2001) Rock & Pop Waters, Roger, Columbia (USA)Personnel: Roger Waters (vocals, guitar, bass); Jon Carin (vocals, guitar, lap steel, keyboards, programming); Andy Fairweather Low (vocals, guitar, bass); Doyle Bramhall II (vocals, guitar); Katie Kissoon, Susannah Melvoin, P P Arnold (vocals); Snowy White (guitar); Andy Wallace (Hammond organ, keyboards). Recorded live at The Rose Garden Arena, Portland, Oregon; America West Arena, Phoenix, Arizona; MGM Grand Arena, Las Vegas, Nevada; Verizon Wireless Amphitheatre, Irvine, California. Includes liner notes by Roger Waters. This is a Super Audio CD playable only on Super Audio CD players. Roger Waters' tours of the U.S. during the summers of 1999 and 2000 were a pleasant surprise, since the reclusive rocker had not toured since 1987. In his liner notes to this two-CD set drawn from those performances, Waters does not shy away from discussing his antipathy to big concert venues. But he makes a distinction between stadiums and arenas, and he also notes that he found himself becoming more comfortable in the role of a frontman. This more personable Roger Waters isn't what comes across on the album, but the closer relationship he perceives to his audience is nevertheless palpable. As the man who wrote Pink Floyd's lyrics, he is far more concerned with their meaning than his old bandmates, and his singing is emphasized without robbing the music of its magisterial power. In fact, with a band boasting several guitarists to make up for the lack of David Gilmour, Waters effectively re-creates the sound of his Pink Floyd work, which dominates the set list. The album contains only five selections out of 24 from Waters' solo albums: one track from The Pros and Cons of Hitchhiking and four from Amused to Death, with Radio K.A.O.S. left out completely. He does not choose the most obvious solo material, but he makes his selections work, especially "Perfect Sense (Pts. I & 2)" and "It's a Miracle," from Amused to Death. A new song, "Each Small Candle," finds him still obsessed with world problems, but seemingly more optimistic. Waters had seemed to allow his anger about Pink Floyd's continuance without him to keep him from claiming his own part of their legacy. His 1999-2000 touring changed that, and In the Flesh Live makes the point for those who couldn't get to the shows. ~ William Ruhlmann With IN THE FLESH, ex-Pink Floyd vocalist, bassist, and genius behind THE WALL Roger Waters releases a superbly recorded live album that covers his entire career. Acknowledging that his old band has performed DARK SIDE OF THE MOON many times, and that a live version of THE WALL was recently released, Waters delivers a set of FM staples, mixed with rarities that aficionados will appreciate. Floyd classics are given new twists, such as the female vocals on "Mother," and Waters' singing lead on "Another Brick in the Wall, Part 2." Going back to Pink Floyd's psychedelic early days, the seven-minute "Set the Controls For the Heart of the Sun" is performed both eerily and masterfully. "Perfect Sense (Parts I and II)" works as an excellent crowd singalong, and is wonderful companion material to the previously mentioned Floyd albums. "Each Small Candle," the only new song in the set, and the centerpiece of an upcoming album, shows that Waters is as creative as he's ever been. IN THE FLESH--LIVE is perfect for those who want to relive these dramatic performances, and those who want a document of a compelling live concert.

starting at

$20
Goodbye Yellow Brick... [SACD Hybrid] [CD & DVD]
 

Goodbye Yellow Brick... [SACD Hybrid] [CD & ...

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$22
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Goodbye Yellow Brick... [SACD Hybrid] [CD & DVD]
"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. Goodbye Yellow Brick Road was where Elton John's personality began to gather more attention than his music, as it topped the American charts for eight straight weeks. In many ways, the double album was a recap of all the styles and sounds that made John a star. Goodbye Yellow Brick Road is all over the map, beginning with the prog rock epic "Funeral for a Friend (Love Lies Bleeding)" and immediately careening into the balladry of "Candle in the Wind." For the rest of the album, John leaps between popcraft ("Bennie and the Jets"), ballads ("Goodbye Yellow Brick Road"), hard rock ("Saturday Night's Alright for Fighting"), novelties ("Jamaica Jerk-Off"), Bernie Taupin's literary pretensions ("The Ballad of Danny Bailey"), and everything in between. Though its diversity is impressive, the album doesn't hold together very well. Even so, its individual moments are spectacular and the glitzy, crowd-pleasing showmanship that fuels the album pretty much defines what made Elton John a superstar in the early '70s. ~ Stephen Thomas Erlewine 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.

starting at

$22
Deals on Sacd in Rock & Pop Music. Visit BizRate to find the best deals on Rock & Pop Music. See which Music stores have the Sacd that you want. Read reviews on Music merchants and buy with confidence. Find savings on A Soap Opera [SACD] [Remaster] [1/11] - Bob Dylan: The Limited Edition Hybrid SACD Set [Box] by Bob Dylan (CD - 09/16/2003).