Complete Sessions 1980-1983 [Import]

complete sessions 1980-1983 [import]

Track Listings

1. No Secrets

2. Poor Baby

3. Wasted Sleepless Nights Darkroon

4. Face The Day

5. Night Comes Early

6. Alexander

7. The Moment

8. Im Scared

9. Devils Gate

10. Back On You (Bonus Track)

11. Alexander (Early Take) (Bonus Track)

12. Hot Shit (Bonus Track)

13. Hard Sell (Bonus Track)

14. Staring Voices (Bonus Track)

15. Im Scared (Live) (Bonus Track)

16. Face The Day (Single Edit) (Bonus Track)

17. Public Enemy (Bonus Track)

18. Into The Heat (Bonus Track)

19. Long Night

20. Running Wild

See all 53 tracks on this disc

Editorial Reviews
Product Description
The Complete Sessions 1980-1983 features the legendary Australian rock band's 3 most successful albums Dark Room, Night Attack & Watch The Red each with bonus tracks including rare B-sides, demos, live tracks and previously unreleased material. This set a

Complete Sessions 1980-1983,Angels,Angels,Pop,Rock/Pop

Complete Sessions 1980-1983 [Import]

Average customer rating:

A Wonderful Gift to Starved Dusty Fans
LIVE DUSTY MAGIC

Complete BBC Sessions
Dusty Springfield
Manufacturer: Umvd Import
ProductGroup: Music
Binding: Audio CD

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Release the Stars

ASIN: B000OONPIQ
Release Date: 2007-06-11

Tracks:

Swahili Papa (Bbc Russ Conway Show 26/7/62)
Dear John (Bbc Russ Conway Show 26/7/62)
Say I Won't Be There (Bbc Ken Dodd Show 14/7/63)
La Bamba Bbc Top Gear 16/7/64
Tossin' And Turnin (Bbc Top Gear 16/7/64)
I Just Don't Know What To Do With Myself (Bbc Top Gear 16/7/64)
I Can't Hear You (No More) (Bbc Top Gear 10/11/64)
Wishin' And Hopin (Bbc Top Gear 10/11/64)
Losing You (Bbc Top Gear 10/11/64)
I Can't Hear You (No More) (Bbc Saturday Club 5/7/65)
In The Middle Of Nowhere (Bbc Saturday Club 5/7/65)
Mockingbird (Bbc Saturday Club 5/7/65)
Little By Little (Bbc Saturday Club 24/1/66)
Uptight (Everything's Alright) (Bbc Saturday Club 24/1/66)
Chained To A Memory (Bbc Saturday Club 24/1/66)
We're Doing Fine (Bbc Saturday Club 12/4/66)
Every Ounce Of Strength (Bbc Saturday Club 12/4/66)
You Don't Have To Say You Love Me (Bbc Saturday Club 12/4/66)
Good Lovin (Bbc Saturday Club 12/4/66)
To Love Somebody (Bbc Dlt 5/1/70)
Son Of A Preacher Man (Bbc Dlt 5/1/70)
(Your Love Has Lifted Me) Higher & Higher (Bbc Dlt 5/1/70)

Album Description

Dusty Springfield was the finest female vocalist of her era, a performer of remarkable emotional resonance whose body of work spans the decades and their attendant musical transformations with a consistency and purity unmatched by any of her contemporaries. This wonderful collection compiles her complete surviving BBC sessions onto one CD for the very first time. The first three tracks, by The Springfields, includes their first single `Dear John' alongside two follow up singles `Swahili Papa' and `Say I Won't Be There'. This session and the following solo session in 1964 have only recently surfaced at the BBC, having been considered `lost' for a number of years. The album racks up five Top 10 hits alongside a string of album tracks and b-sides but most excitingly includes 'To Love Somebody', a cover of the Bee Gees classic that was originally recorded in Atlanta for inclusion in the seminal Dusty In Memphis album however that version was destroyed in a fire. This track and 'Tossing and Turning', 'Up Tight (Everything's Alright)', 'We're Doing Fine', 'Good Loving' and 'Higher and Higher (Your Love Keeps Lifting Me)' only exist in the BBC's archives. 22 tracks. Mercury.

Customer Reviews:

A Wonderful Gift to Starved Dusty Fans.......2007-06-17

Whenever any lost song by the great Dusty Springfield turns up, it's an event for her fans, but when an ENTIRE ALBUM of rare or previously unreleased material hits the marketplace, well, it's a cause for celebration. Okay, so the sound quality on some of these tracks isn't the best, and the performances by the backing musicians might be a bit muddy here and there, or the arrangements similarly cluttered, but none of this takes away from the superb vocal performances. Dusty didn't think of herself as one of the Great Ones, and she was a notorious perfectionist in the studio, but the songs included here show her to be a gifted live performer. There's a rawness and a spontaneity here that makes listening to this a real treat for those of us who mostly know the studio album versions of many of these tunes, and have heard them so many times we have memorized every second of every sound and syllable.

The first three tracks, by The Springfields, did not overwhelm this listener, and impatience began to set in almost immediately. Then, a rushed, almost frantic rendition of "La Bamba" (with poorly pronounced Spanish lyrics) threatened to sink expectations for a sublime Dusty experience. But what followed was a surprising, energetic Motown-styled version of "Tossin' And Turnin'," and these ears began to perk up. An emotionally bare and intimate reading of "I Just Don't Know What To Do With Myself" set up the rest of the CD, and from there it never let up.

Two very different performances of "I Can't Hear You No More" are included here, and it's a toss-up as to which is better. On the first one, the band really gets it going, The Echoes do their backup vocals just like they do on the record, but Dusty's singing is just shy of breaking apart. It's a powerful moment. The second version is a tad slower and more laid back, and has less of a wall of sound behind the vocals. It's also more like the album version. In between, a perfunctory "Wishin' & Hopin'," never a particular favorite of mine, manages to gain some interest by having a slightly kickier beat than the original single, and after that a beautifully sung version of her hit song, "Losing You" keeps this collection on the beam. The bass and drums on this one almost make it better than the original recorded studio version, and the backup vocalists are perfection itself. Another song that doesn't add any new ground is "In The Middle Of Nowhere," but it's typically well done by Dusty, and then she follows it up with a fun performance of the Charley & Inez Foxx hit, "Mockingbird," which features one of the Echoes in place of the second Dusty heard on the album version.

The final ten songs bump this CD up to the stratosphere. "Little By Little" is crystal clear and, I think, much better than the hit single version, which always sounded to me like it was recorded in a bathtub. Soul classics never put to vinyl by Dusty, "Uptight (Everything's Alright)," "We're Doing Fine," "Good Lovin," and (Your Love Has Lifted Me) Higher And Higher" are all given the typical, devoted Springfield treatment. She clearly loved doing this kind of music. Two of Dusty's best known hits also come in this final stretch, an impassioned "You Don't Have To Say You Love Me," and "Son Of A Preacher Man," which may not include the perfection of the Memphis musicians, but Dusty sings it even better here, if that's possible.

For me, there are two transcendent moments on this CD: "Chained To A Memory," which is sung with heartbreaking immediacy, and Robin Gibb's "To Love Somebody," which was recorded during the Memphis sessions but lost in an infamous Atlantic warehouse fire (that also robbed the world of many other great artists' master recordings). It's a truly wonderfu gift to starved Dusty fans everywhere, not only to have this song at last, warts and all, but to have each and every one of these recordings.

I'm sure I'll wish that I could get rid of the announcer's voice at the beginning of many of these tracks, after I've listened a few times, but on the other hand, this is pop music history, so I guess I really don't mind too much. The mono and sometimes mirky recording quality of this CD made me tempted to only give it four stars, but that would be unfair, since these imperfections were anticipated. The songs, and Dusty's one-of-a-kind voice are what make THE COMPLETE BBC SESSIONS so special.

LIVE DUSTY MAGIC.......2007-06-08

Having collected Dusty's records since the 60's, it's always great to have something different to add to your collection.

Most of Dusty's solo tracks on this cd were released exclusively through the Dusty Springfield Bulletin some years ago but on this new commercially released cd we had the addition of some of The Springfields hit rsongs and how well they sound LIVE!

All the tracks on the cd are from radio broadcasts and the quality is excellent, there are some of Dusty's huge hits like Son Of A Preacherman, Losing You, I Just Don't Know What To Do With Myselfg and her worldwide smash You Don't Have To Say You Love Me.
Tracks that Dusty never recorded in a studio such as Tossin' & Turnin' have a great early rawness that really adds to the performance, we also have The Bee Gees hits To Love Somebody - Dusty did record this but it was lost when there was either a fire or flood in the Atlanic studios.
Another point of interest is the inclusion of two different versions of I Can't Hear You (No More).
The Jackie Wilson hit (Your Love Has Lifted Me) Higher & Higher is also another great performance from Dusty and the whole cd is such a welcome release.
Look out for the companion dvd to this set, it should be released late August so go ahead and treat yourelf to both!

Average customer rating:

How could you rate this less than 5 stars
The Motherlode
Terrific tunes
The Best-Sounding Gram Reissue yet!
The Complete Reprise Sessions - Gram Parson

The Complete Reprise Sessions
Gram Parsons
Manufacturer: Rhino / Wea
ProductGroup: Music
Binding: Audio CD

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ASIN: B0009CTUSW
Release Date: 2006-06-20

Tracks:

Still Feeling Blue
We'll Sweep Out The Ashes In The Morning
A Song For You
Streets Of Baltimore
She
That's All It Took
The New Soft Shoe
Kiss The Children
Cry One More Time
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Tracks:

Return Of The Grievous Angel
Hearts On Fire
I Can't Dance
Brass Buttons
$1000 Wedding
Medley Live From Northern Quebec: Cash On The
Barrelhead, Hickory Wind
Love Hurts
Ooh Las Vegas
In My Hour Of Darkness
Return Of The Grievous Angel (Instrumental) [Bonus Track]
Gram Parsons Interview: Did You Sing "Hickory Wind" At The Grand Ole Opry?, What Differences Do You See Between Pure Country And Country Rock (Bonus Track]

Tracks:

She (Alternate Version)
That's All It Took (Alternate Version)
Still Feeling Blue (Alternate Version)
Kiss The Children -- Duet With Barry Tashian
Streets Of Baltimore (Alternate Version)
We'll Sweep Out The Ashes In The Morning (Alternate Version)
The New Soft Shoe (Alternate Version)
Return Of The Grievous Angel #1 (Alternate Version
In My Hour Of Darkness (Alternate Version)
Ooh Las Vegas (Alternate Version)
I Can't Dance (Alternate Version)
Sleepless Nights (Alternate Version)
Love Hurts (Alternate Version)
Brass Buttons (Alternate Version)
Hickory Wind (Alternate Version)
Sleepless Nights
The Angels Rejoiced Last Night

Album Description

Singer-songwriter Gram Parsons, the architect of country-rock and patron saint of American roots music—"alt" and otherwise—died in 1973 at age 26, but the enormity of his influence remains constant. Florida-born and Georgia-bred, Parsons began playing at age 14 and launched his first group, the International Submarine Band, in NYC in the late `60s. Transplanted to L.A., he joined the Byrds, shaping their landmark album Sweetheart Of The Rodeo, and made further musical history with the Flying Burrito Brothers. After discovering Emmylou Harris playing in a D.C. bar, he went on to record two now-legendary solo LPs, GP and Grievous Angel, that spotlight the peerless harmony of their divergent voices, hers angelic and pure, his ragged and scorched by his demons. Rhino's historic set presents those two soulful albums remastered and expanded, plus a third disc of precious alternate takes from those recordings.

Customer Reviews:

How could you rate this less than 5 stars.......2006-12-29

Like many of you thinking of buying this, I was tempted by the outtakes. Some of them I had on bootleg, but I was so desperate to get anything "new" by GP that I broke down. Good sound--can't say it's better than previous issues. Some outtakes are more noticably different than the standard fare. I only wish that the record companies would clean up some of the great bootlegged recordings. Now that would be a box set worth having.

The Motherlode.......2006-12-06

If only every reissue of a classic album could be this good. I am thunderstruck at the depth of Parson's ability and genius.

Terrific tunes.......2006-08-24

Sounds great, clean refreshing, a remembrance of all that is good..go out and buy it now!!

The Best-Sounding Gram Reissue yet!.......2006-08-13

I was extremely excited about this set when it was rumored to be released, and then I was annoyed at the format. We know that the two albums here fit on one disc, so why separate them and make us pay for 3 discs instead of 2? This kept me from buying it straightaway (coupled with the fact that if you have the two-fer disc already, you have the bulk & best of this set already). I, of course, broke down and bought it like any true fan and I was not disappointed in the slightest. Although I have most of these songs already, these mixes are superb -- better than perfect almost -- it's easily the best-sounding Gram Parsons related reissue of the CD era & some of the alternate takes are amazingly good, if in tentative arrangements -- "Hickory Wind", "She", "Love Hurts" & "Ooh Las Vegas" all rival the master takes & "Return of the Grevious Angel #1" is a revelation if for no other reason than to hear another cut of this fantastic song (albeit with Gram flubbing the words a bit and EmmyLou not really opening up on the harmony part). The format is questionable and as one reviewer mentioned, since the albums are kept separated, it would've been nice to marry the SLEEPLESS NIGHTS tracks back up with the Grevious Angel album instead of tacking them on at the end. Similarly, the interviews and radio tracks (while pleasing) are simply fluff: why do we need an instrumental (karaoke) version of a Gram Parsons song? I would like to have seen the two records on one CD, the outtakes on another and all the radio stuff on a third, abbreviated "Bonus Disc" or something. Ultimately this really means nothing, though, since the music in this package is all fantastically performed & remastered & the price tag is reasonable. We can only hope for the same treatment of the Flying Burrito Brothers' first two records & eliminate the SLEEPLESS NIGHTS album altogether, get "Bonie Moronie" on CD and purge the vaults, there's no reason to hold back at this point.

The Complete Reprise Sessions - Gram Parson.......2006-08-06

This was Gram Parsons just as I remembered him. His wonderful voice, command of a song and Emmy Lou Harris harmonies. It had been many years, but when I saw the compilation was available, I couldn't resist. It is a wonderful step back into the past with an amazing artist.

Average customer rating:

Ahead of it's time
Complete Go Sessions
Very Good
Fusion Lovers Dream
Legendary

Complete Go Sessions
Stomu Yamashta's Go , Steve Winwood , Al Dimeola , and Klaus Schulze
Manufacturer: Raven
ProductGroup: Music
Binding: Audio CD

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ASIN: B0008FHP46
Release Date: 2005-04-19

Tracks:

Solitude
Nature
Air Over
Crossing The Line
Man Of Leo
Stellar
Space Theme
Space Requiem
Space Song
Carnival
Ghost Machine
Surfspin
Time Is Here
Winner/Loser
Space Song (Live)
Carnival (Live)
Windspin (Live)
Ghost Machine (Live)
Surfspin (Live)
Time Is Here (Live)
Winner/Loser (Live)
Solitude (Live)
Nature (Live)
Air Voice (Live)
Crossing The Line (Live)
Man Of Leo (Live)
Stellar (Live)
Space Requiem (Live)
Prelude
Seen You Before
Madness
Mysteries Of Love
Wheels Of Fortune
Beauty
You & Me
Ecliptic

Album Description

In the 1970's, Famed Japanese Percussionist/Composer Stomu Yamashta Recorded a Series of Legendary (And Long Out-of-print) Albums with his Go Ensemble that have Been a Holy Grail Among Aficionados of Jazz Fusion/Space Rock. Raven Has Combined all Three Go Albums for "The Complete Go Sessions": Featuring Three Complete Albums: "go" (1976), the Double LP "go: Live from Paris" (1976) and "go Too" (1977) on a Double CD Set, Over 145 Minutes of Music with Superb Audio Quality. Yamashta Recorded These Albums with a Stellar Cast of English, European and American Musicians - a True East Meets West Collaboration of Tremendous Scope. Features Prominent Contributions from Master Musicians Steve Winwood, Al Dimeola, Michael Shrieve, Klaus Schulze, Paul Buckmaster, Pat Thrall, Soul Diva Linda Lewis.

Album Details

Customer Reviews:

Ahead of it's time.......2007-05-05

I bought this album on vinyl in the late 70s while in college. Yamashta's beautiful synths and thundering percussion meld perfectly with Winwood's crystal clear voice to create a modern fusion masterpiece. A who's who of late 70s music contributes to this masterpiece. Is it jazz? Pop? Ambient? Classical? You be the judge. Rejoice that this is now available in all it's CD glory!

Complete Go Sessions.......2007-03-14

Although I recognise how brilliant these musicians are,I found most of it heavy going and very technical.

Very Good .......2007-02-11

I bought the original GO and GO TOO brand new on LP many years ago unfortunate couldn't find the Live in Paris version and the GO sesions on CD till now all in one and only if it was digitally recorded I would give it 5/5 so if your into jazzrock fusion and like Aldi Meola's guitar playing as much as I do is worth buying recommended .

Fusion Lovers Dream.......2006-08-09

I got this Cd over a recomendation of a friend of mine who told me it was very good and with that line up I was very curious about it. Al Dimeola who needs no introduction, Steve Winwood from Traffic, German Electronica pioneer Klaus Schulze (Cosmic Jokers, Tangerine Dream), Ex Santana's drummer Michael Shrieve contributes with Stomu Yamashta in this really mind blowing Space/Fusion/Jazz/Rock stravaganza that makes this CD a must. Highly recommended

Legendary.......2006-03-06

For all of you who cannot grasp the sure sensationality of this, think again....Okay, maybe the re-production of this may not be up to speed, but you must rememeber this was done before most of you were born and without saying, one of the most brilliant recordings ever done. Then, we have a super-house of compositions into the world of some very far-reaching sonic excursions not heard since 1976. I have the vinyls, all of them, and with out doubt, this is sensational recorded history of one of the most ambitious projects ever undertaken with a host of legendary composers, notwithstanding, a brilliant spread of musical tapestry not found often in the world of contempory music and Al DiMeola delivers a myriad of tasty guitar solo's that would make Jimi Hendrix roll over in his grave... So, when I tell you this should be in your CD collection, make it so, if not, then find something else better to listen to............highly recommended

Tell Mama: The Complete Muscle Shoals Sessions

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Tell Mama: The Complete Muscle Shoals Sessions
Lord Have Mercy
A wonderful, varied soul record
What a re-issue should be!
Blistering, bluesy R&B

Tell Mama: The Complete Muscle Shoals Sessions
Etta James
Manufacturer: Mca
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005B7GT
Release Date: 2001-04-24

Tracks:

Tell Mama
I'd Rather Go Blind
Watch Dog
The Love Of My Man
I'm Gonna Take What He's Got
The Same Rope
Security
Steal Away
My Mother In Law
Don't Lose Your Good Thing
It Hurts Me So Much
Just A Little Bit
Do Right Woman, Do Right Man
You Took It
I Worship The Ground You Walk On
I Got You Babe
You Got It
I've Gone Too Far (Previously Unreleased)
Misty (Previously Unreleased)
Almost Persuaded
Fire
Do Right Woman, Do Right Man (Alternate)

Customer Reviews:

Tell Mama: The Complete Muscle Shoals Sessions.......2006-11-10

Not my favorite piece, but Etta always pleases.

Lord Have Mercy.......2006-03-16

Tell me mamma... I love this CD. I think it should come with a warning label. "Caution: You will wake up the neighbors". Buy it. I can't play it quiet... I can't not sing along with it... I can't stop dancing when it is on.

A wonderful, varied soul record.......2005-06-11

More soul than blues, Etta James' "Tell Mama" originally came out in 1968 as a twelve-track LP. And here it is in its remastered 2001 incarnation, bolstered by no fewer than ten bonus tracks which earns the reissue the subtitle "The Complete Muscle Shoals Sessions".
The sound is terrific, clear and realistic, as is the production by Rick Hall. And those who feel that Etta James' Chess recordings featured too many violins and not enough power need to pick up "Tell Mama" right away!

The original album was top-notch in its own right, featuring the all-time classic soul ballad "I'd Rather Go Blind", excellent covers of Ed Townsend's "I'm Gonna Take What He's Got", Otis Redding's "Security" and Jimmy Hughes' "Don't Lose Your Good Thing", and a couple of driving up-tempo numbers, most notably Don Covay's "Watch Dog" and the magnificent title track.
Etta James never sounded better than during these four 1967-1968 sessions, and the various musicians never set a foot (or a finger) wrong.

There really isn't a single weak track among the twelve songs originally issued. Even practically unknown songs like the swaggering soul stomper "My Mother In Law" and the slow "It Hurts Me So Much", which have never been covered by anyone and don't appear on any of Etta James' compilation albums, are highly enjoyable, and Etta's rendition of "Just A Little Bit" (AKA "I Just Want A Little Bit") is a supremely funky slice of soul-blues.

And the bonus tracks aren't rejects by any means. They include "Almost Persuaded", "Misty", the rocking "You Took It", a very good interpretation of Sonny Bono's "I Got You Babe", and two soulful takes on "Do Right Woman, Do Right Man", a song which has been interpreted by everybody from Aretha Franklin to the Flying Burrito Brothers.
I'm no big Etta James fan, actually, but this album is something special. I completely fell for it the first time I put it on, and to me "Tell Mama" is the best record Etta James has ever made, one of the finest, most cohesive soul and R&B records of the late 60s.
You really ought to give it a listen.

What a re-issue should be!.......2005-02-23

In addition to the 12 re-mastered original tracks, there are 10 more (including 2 versions of "Do Right Woman, Do Right Man"). There are some good songs here that are not included on either "Her Best" or "The Chess Box", including "Watch Dog", "My Mother In Law", "It Hurts Me So Much", "I've Gone Too Far", and her funked-out Soulful rendition of "I Got You Babe". This is a must-have for Etta fans.

Blistering, bluesy R&B.......2003-01-15

The ever-vivacious Etta James is one of R&B's true greats, an artist whose work will always stand the test of time and this album, originally released in 1968, is one of her best-known and most powerful. More dynamic than expressive, James was a gal who clearly knew how to rock, capable of the same sort of expansiveness as Jimmy Rushing or even jump blues shouters such as Wynonie Harris, but also with a touch of the sleekness seen in Dinah Washington and Ella Fitzgerald. The "Tell Mama" album is a flawless, timeless crowd pleaser, packed with upbeat, compact material, a tailormade showcase for James' mousy snarl. Backed by the best of the Muscle Shoals crew, this is music that can't easily be faulted; with ten bonus tracks added on for good measure, this CD edition is pretty hard to resist.

Elusive Butterfly - The Complete 1966 Jack Nitzsche Sessions

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Elusive Butterfly - The Complete 1966 Jack Nitzsche Sessions
Bob Lind
Manufacturer: Big Beat UK
ProductGroup: Music
Binding: Audio CD

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Cult Camp Classics 1 - Sci-Fi Thrillers (Attack of the 50 Ft. Woman 1958 / Giant Behemoth / Queen of Outer Space)
Cult Camp Classics 3 - Terrorized Travelers (Hot Rods to Hell / Skyjacked / Zero Hour!)
Cult Camp Classics 2 - Women in Peril (The Big Cube / Caged / Trog)

ASIN: B000PATZRO
Release Date: 2007-07-18

Tracks:

Elusive Butterfly
Mr. Zero
You Should Have Seen It
Counting
Drifter's Sunrise
Unlock The Door
Truly Julie's Blues (I'll Be There)
Dale Anne
The World Is Just A `B' Movie
Cheryl's Goin' Home
It Wasn't Just The Morning
I Can't Walk Roads Of Anger
Go Ask Your Man
Oh Babe Take Me Home
West Virginia Summer's Child
Eleanor
San Francisco Woman
The World Is Just A `B' Movie Meets Reno, Funtown, USA
A Nameless Request
Remember The Rain
I Just Let It Take Me
We've Never Spoken
I Can't Walk Roads Of Anger (Alt Version)
Whose Is The Funeral (Demo)
Bring It On Down (Demo)

Album Description

A first ever UK CD release for the material on which this critically admired 60s singer-songwriter's reputation was founded - including the original versions of such classics as `Mr Zero' (Keith Relf), `Cheryl's Goin' Home' (Adam Faith/The Cascades) and the eternally popular `Elusive Butterfly' (Bob himself and, er, Val Doonican...)

Arranged and produced by none other than Ace favourite Jack Nitzsche, this set consists of Bob's two original World Pacific albums, plus the added bonus of some previously unissued vocal and guitar demos from Mr. Nitzsche's personal acetate archive.

Remastered from the original World Pacific album tapes, and with notes that tell Bob's story in his own words, this is a set that no lover of 60s singer songwriters will want to pass up.

Album Description

A first ever UK CD release for the material on which this critically admired `60s singer-songwriter's reputation was founded - including the original versions of such classics as 'Mr Zero' (Keith Relf), 'Cheryl's Goin' Home' (Adam Faith/The Cascades) and the eternally popular 'Elusive Butterfly' (Bob himself and Val Doonican). Arranged and produced by none other than Ace favourite Jack Nitzsche, this set consists of Bob's two original World Pacific albums, plus the added bonus of some previously un-issued vocal and guitar demos from Mr Nitzsche's personal acetate archive. Re-mastered from the original World Pacific album tapes, and with notes that tell Bob's story in his own words, this is a set that no lover of `60s singer songwriters will want to pass up.

Everybody Else is Doing It So Why Can't We? (The Complete Sessions 1991-1993)

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Angst, Anger and Love
Close to my heart
A Classic Album!
Timely & in GOOD condition!
real cranberries

Everybody Else is Doing It So Why Can't We? (The Complete Sessions 1991-1993)
Cranberries
Manufacturer: Island
ProductGroup: Music
Binding: Audio CD

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No Need to Argue: Comp Sessions
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Wake Up and Smell the Coffee
No Need to Argue
Stars: The Best of the Cranberries, 1992-2002

ASIN: B000068VHP
Release Date: 2002-07-30

Tracks:

I Still Do
Dreams
Sunday
Pretty
Waltzing Back
Not Sorry
Linger
Wanted
Still Can't...
I Will Always
How
Put Me Down
Reason
Them
What You Were
Liar - (Pret A Porter Movie remix)
How - (Radical mix)

Customer Reviews:

Angst, Anger and Love.......2006-06-24

This CD was the Cranberries' first, and was refreshing even though they deviated little from middle of the road pop. Dolores O'Riordan's lovely Irish voice, delivered periodically in a grunge style, made this debut album fun to hear. In general the music here is safe, though the lyrics sometimes are not. The Cranberries have a history of choosing sometimes distressing topics for their music. It can sometimes be uncomfortable to confront their world, which seems to be tainted by despair and a variety of angst.

"I Still Do" is an angst-ridden track, heavy on mellow bass, about someone who is in love, and wants to break it off, even though that person is still in love. The reason for breaking it off is not clear, and it need not be. This song is the generic break up song when you have mixed feelings about the relationship but realize that it is in at least one person's best interests to end the relationship.

We go from the angst of a possibly impossible relationship to the dream relationship in "Dreams," which was featured in "You've Got Mail." A pretty, fast-paced, song, Dolores tells her significant other that she has given herself to him, and he now has her heart, so please don't hurt her. She also says that she is amazed by his mind and how caring and understanding he is. The ethereal music with a rock beat I personally find to be very satisfying.

We go back to angst again with "Sunday." This time the singer cares for or loves someone, but can't seem to make the connection. This situation has happened to me, and I'll bet it's happened to many of you. Dolores starts singing this one is a grunge style, slowly. Then the pace picks up and the song attains a solid pop beat. Seems like anything Dolores sings is pretty.

"Pretty" has throwaway lyrics to vaguely blues-sounding music with heavy bass. Dolores gets to trill her voice in that endearing way. My guess is that the intent of the lyrics is to be there for the sound more than for the meaning. It works!
"Waltzing Back" is an angry song. How did these people come back into your life? They are going to take you away from me. It's not fair. In the end, there's nothing she can do about it; it's your life. It doesn't mean she has to be happy about it.

I like the next song. The style of "Sorry" makes solid use of Dolores's ability to hit high notes. This song is combination anger and angst; she's upset and angry, but at the same time you sense that she wanted it to work out. She still misses him, but is still angry too. The rock beat in the background punctuates her anger with heavy bass and percussion, and a fast beat. There is a good contrast musically between her bluesy angst laments and her anger.

The Cranberries love angst about love. "Linger" tells how she saw her significant other with someone else, and communicates the hurt she feels. She wonders why he can't just go with her instead of letting her believe that they have any hope of a relationship. This song is all string laments; solid angst.

And the angst just keeps on rolling with "Wanted." A fast-paced song, here Dolores sings about the communication gap between two people, and their ability to understand each other's needs. Just what is it you want, what are you trying to say?

"Still Can't..." starts acoustically, and then takes off with bass and backing drums. Dolores' sultry voice expresses her anger that her significant other is telling lies about the situation between her and him. He won't apologize, he's laughing about the situation behind her back. I don't think I'd want to be the other person in this song.

"I Will Always" expresses the simple thought that she gives everything of herself to him. He needs to do whatever he will do, and she'll be there. The music here is slow and mellow, Dolores sings very slowly, mournfully. She still manages to hit the high notes with a grunge flavor, even though it's not really a grunge song. Grunge blues maybe.

I get the feeling that "How" is the Cranberries version of "You're so Vain," which was sung by Carly Simon. The words express how he is self-centered, and he left her alone, at least emotionally, if not physically. Dolores was looking for a closeness that he isn't providing. There is a heavy drum beat in this relatively fast-paced song.

"Put Me Down" again makes such wonderful use of Dolores's voice, sultry to start and then going for the high notes. The topic of the song is pretty much like the title says: she keeps getting put down; she keeps trying, but keeps getting treated like a second-class person; this was a lovely song to finish off the original CD.

There are several versions of this CD. This version has five tracks added to the original release. I am a little mixed on the value of these tracks. I like the Cranberries a lot, and so the bonus tracks are nice to have. However, are they worth the extra money this CD costs over the previous version? That depends on how much you like the Cranberries. If you are a huge fan, the extra tracks are nice to have. Otherwise, if you have the original version, this CD did not have any improvement over the previous version that I could tell.

This CD is full of heavily orchestrated music, very well played. Dolores has an incredible vocal range, and her Irish accent adds something to these songs. There are so many influences that it is hard to categorize the music. I call it lovely and mellow, and my favorite Cranberries CD. I give this CD five stars plus.

Close to my heart.......2006-04-05

From start to finish, one of the most emotionally honest albums ever made, and one of my top 5 favorite albums of all time. It's 1993 and I'm 18 every time I listen to this CD. Love it.

A Classic Album!.......2005-12-11

When I first heard this album it was many years ago, but even now its still sounds fresh and beautiful. Doris's voice has a natural beauty about it which shines throughout the entire album and reminds you of a better, more innocent time. Great production, good lyrics and strong support from the other members. On this album, they transcended to a place reserved only for a choice few. A great piece of Art and Music.

Timely & in GOOD condition!.......2005-10-23

The item arrived quickly & was in good condition. Thank you!!

real cranberries.......2005-01-05

I just can say i love this album for the simple reason it is the first one and never equaled in sound, elegance, quality, essence, delicate sadness and youth. It is incomparable and it deserves to be listen by good and pacient tastes in post XX century pop music.

I do recomended.

(...)

Oscar Peterson & Fred Astaire: Complete Norman Granz Sessions

Average customer rating:

Don't Judge a Book by It's Cover!
S'Marvelous

Oscar Peterson & Fred Astaire: Complete Norman Granz Sessions
Oscar Peterson , and Fred Astaire
Manufacturer: Jazz Factory Spain
ProductGroup: Music
Binding: Audio CD

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Steppin' Out: Astaire Sings
The Complete London Sessions
The Irving Berlin Songbook
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The Essential Fred Astaire

ASIN: B00076SFX6
Release Date: 2005-01-10

Tracks:

Isn't This a Lovely Day
Puttin' on the Ritz
I Used to Be Color Blind
Continental
Let's Call the Whole Thing Off
Change Partners
'S Wonderful
Lovely to Look At
They All Laughed
Cheek to Cheek
Steppin' Out with My Baby
Way You Look Tonight
I've Got My Eyes on You
Dancing in the Dark
Carioca
Nice Work If You Can Get It
New Sun in the Sky
I Won't Dance
Fast Dances [Instrumental]
Top Hat, White Tie and Tails
No Strings
I Concentrate on You
I'm Putting All My Eggs in One Basket

Tracks:

Fine Romance
Night and Day
Fascinating Rhythm
I Love Louisa
Slow Dances [Instrumental]
Medium Dance [Instrumental]
They Can't Take That Away from Me
You're Easy to Dance With
Needle in a Haystack
So Near and Yet So Far Away
Foggy Day
Oh, Lady Be Good
I'm Building Up to an Awful Letdown
Not My Girl
Jam Session for a Dancer [Instrumental]
Astaire Blues [Instrumental]
Second Astaire Blues [Instrumental]

Album Description

For the first time, the complete 4 LP albums of 'The Fred Astaire Story' on a double-CD set. 20-bit remastered, with comprehensive notes. Jazz Factory. 2005.

Album Details

Because He was World Renowned as a Dancer and Quite Popular as a Movie Actor, Fred Astaire Has Tended to Be Underrated (If Not Completely Overlooked) as a Jazz Singer. Although Not Really an Improviser, Astaire's Phrasing Always Swing and his Occasional Vocals on Record were Usually a Joy. This TWO-CD Set is Something Special for it features Astaire with Six Members of Jazz at the Philharmonic: Tenor-saxophonist Flip Phillips, Trumpeter Charlie Shavers, Pianist Oscar Peterson, Guitarist Barney Kessel, Bassist Ray Brown and Drummer Alvin Stoller. In this Los Angeles Sessions the Musicians have Plenty of Opportunities to Stretch Out, and Astaire Sings 34 Swing Standards (Many of which He Had Originally Introduced in Movies), Dances on Five Ad-lib Numbers and Sits Out on One Instrumental Number. Featuring Jazz Versions of Splendid and Unforgettable Songs Such as "isn't this a Lovely Day," "puttin' on the Ritz," "the Continental," "`s Wonderful," "cheek to Cheek," and Many More.

Customer Reviews:

Don't Judge a Book by It's Cover!.......2007-04-28

Okay, first of all, I am a jazz musician and I know what most serious jazz fans will think when they see this: Fred Astaire + Jazz = More Norman Granz 40s/50s failed exploitations. Now, I love the old films with Astaire and always found them to be very entertaining. However, the thought of him recording with one of the greatest jazz pianists in the history of the genre was very offsetting. However what this set presents is the original Verve LP set "The Fred Astaire Story" plus bonus tracks. Although the LP set received little recognition at the time, it contained a lengthy and warmly performed set of jazz standards performed in a jazz setting, by the man who introduced them all.

The thing that perhaps appeals to me most about this is the casualness of the setting. Astaire sings not like a colossus the likes of Sinatra, but more like an every-day man who is singing to his girl. The performers are Charlie Shavers (tpt), Flip Phillips (tnr. sax), Oscar Peterson (p), Ray Brown (b), and Alvin Stoller (d). The performances are warm and easy listen to, with a special emphasis on the lyrics of the song, not lengthy solos. Many of the cuts are under 4 minutes with little or no solos. However the band plays marvelously and provides an intimate background for many of the romantic songs that Astaire delivers.

The sound quality is excellent on this set, especially considering the 1954 production dates. Now some might argue that the older Verve releases have superior quality, less tape hiss, and louder bass. While this is true, what is lacking in those older releases of the material is the high range which is edited to eliminate the tape hiss. The music is more than listenable, and if there is not enough bass for you, adjust the eq.

I cannot say anything else except this: If you like Fred Astaire, Oscar Peterson, or some easy-listening early 1950's jazz with some of the best players of the day, do not hesitate in buying this set.

S'Marvelous.......2005-09-22

Finally, Fred Astaire's 1952 recordings with Oscar Peterson and Jazz at the Philharmonic are back in print. One wonders why Verve has ever let these go out of their catalogue and why a Spanish record company are the currently the only people with the good sense to issue these--but it is probably a better idea just to buy the album.

Astaire may not have had a voice for the ages, but the man certainly knew his way around a lyric. He imbues these classic numbers with an honest sensitivity and panache that often make these chesnuts sound completely brand-new. (Which makes sense, given the number that were originally for him.) The small jazz combo backing was something unique in Astaire's recording career: gone are the deliciously overblown Hollywood orchestrations, replaced with Oscar Peterson's elegant piano playing and some inspired solos by the two horns, Charlie Shavers and Flip Phillips.

All the tracks on this album are stellar, but the four standouts (in my mind) are "Puttin' on the Ritz," "Dancing in the Dark," "Night and Day," and "Lady Be Good": on these, the interaction between Astaire and combo creates some of the most inspired readings of these numbers ever. This album also demonstrates Astaire's absolute genius as a dancer: lots of people have sung the blues extremely well, but who else could actually manage to tap-dance a blues and convey the same passion as Bessie Smith or Jimmy Rushing without singing a single note?

The one minor caveat a listener might have with this album is that the remastering job seems to be uneven: some tracks have a pretty silent background, while there is audible tape hiss on others. This may be a problem with the source material, since the tracks on Verve's domestic compilations like "Fred Astaire's Finest Hour" suffer the same problems.

Still, this album should be on the CD rack of every person who has even a passing interest in the repertory of American songs. Astaire was the best thing ever to happen to the musical film, and he's still one of the best thing ever to happen to the record industry. This is, quite simply, great stuff.

Artie Shaw: The Complete Gramercy Five Sessions

Average customer rating:

One Of The Great Leaders Able To Turn A New Generation Onto Swing And Jazz
Unique small band swing from a master musician
ALL the Gramercy Five session on one GREAT CD!
It's Almost Shaw's Best Music
Disappointed

Artie Shaw: The Complete Gramercy Five Sessions
Artie Shaw
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Begin the Beguine

ASIN: B000002WBD
Release Date: 1990-10-25

Tracks:

Special Delivery Stomp
Summit Ridge Drive
Keepin' Myself For You
Cross Your Heart
Dr. Livingstone, I Presume?
When The Quail Cone Back To San Quentin
My Blue Heaven
Smoke Gets In Your Eyes
The Grabtown Grapple
The Sad Sack
Scuttlebutt
The Gentle Grifter
Mysterioso (Take 1)
Mysterioso (Take 2)
Hop, Skip And Jump

Amazon.com

Many of the big-band leaders of the swing era featured a small group from within the band, a throwback to their own origins in "hot" jazz. Artie Shaw's Gramercy Five, though, was an exceptional combo, as distinctive in its way as Benny Goodman's trio, quartet, and sextet. While the purpose of such bands was blowing, something Shaw did brilliantly, the clarinetist also used the opportunity for striking instrumentation.

The first eight tracks come from 1940 and the first version of the group. Trumpeter Billy Butterfield adds assorted mutes to vary his glorious open trumpet sound, while pianist Johnny Guarnieri turns exclusively to harpsichord. As with Shaw's unusual use of a string quartet in 1936, the inclusion of harpsichord is genuine innovation, not just novelty, and it becomes even more striking when Shaw adds electric guitarist Al Hendrickson. The result is classic small-band swing that can't be readily placed in time.

The final seven tracks come from 1945, including two takes of "Mysterioso" --a harmonically advanced Shaw composition, not the Monk tune. Shaw was always a kind of proto-modernist, and here the band includes the explosive swing trumpeter Roy Eldridge and two young boppers, pianist Dodo Marmarosa and guitarist Barney Kessel. --Stuart Broomer

Customer Reviews:

One Of The Great Leaders Able To Turn A New Generation Onto Swing And Jazz.......2006-02-09

The introduction of the harpsichord in lieu of the piano on these tracks was pretty novel adding a totally new dimension to swing with this small group fronted by a master, Artie Shaw,a man who never compromised his creativity.
Reminiscent in experimentation to vibes by the likes of Hamp and Milt Jackson or for that matter the violin of Jerry Goodman into the fusion of Mahavishnu Orchestra, this radical approach of the day works and listening to these tracks today only adds to the appreciation of glorious swing with the high caliber playing of the musicians on these sessions...The remaining sessions minus the harpsichord substituting the piano brings in the distintinctive tone of the great trumpeteer Roy Eldridge...this cd contains the totality of 3 sessions, September 1940, December 1940 and the latter band from Jan,july and August 1945.
Very cool music...rock and rollers can give a listen...the guitar playing of Al Hendrickson and Barney Kessel is superb.
These are the best sounding sources using sonic solutions NoNoise..they sound great,some minor flaws but 65 years later they still sound very good..

Unique small band swing from a master musician.......2004-03-12

Artie Shaw is one of the geniuses of American popular music. He was always searching for ways to expand and experiment, and he chafed at the restrictions of the music industry. He disbanded one the most popular swing orchestras in history when he could no longer tolerate the business side of music making. But until the 1950s, he always found himself drawn back again and again to the music world, and each time he brought something new the to mix. His recordings with his small group "The Gramercy Five" in the 1940s, all of which are presented on this wonderful CD, show him as a great jazz innovator, superb swing artist, and one of the finest clarinets ever to pick up the instrument. Jazz fans, swing dancers, and lovers of the big band period will all thrill to the unique music captured in these sessions.

Many of the big bands of the day had a "band within the band," a small group which recorded outside of the main orchestra. Benny Goodman had his trio and quartet, Tommy Dorsey had the Clambake Seven, and Count Basie made recordings with just his rhythm section. But Artie Shaw and His Gramercy Five stands as the most original and fascinating of these bands. There were two Gramercy Five groups. The first, which comprises tracks 1-8 of this CD, was formed in 1940 from members of Shaw's current, massive orchestra (this is the orchestra that had hits with "Frenesi" and "Temptation"). The second group, which comprises tracks 9-15 of the CD, was created in 1945 from members of Shaw's last great (and most experimental) big band.

The first Gramercy Five had an incredible line-up: Shaw on clarinet, Billy Butterfield (later a bandleader himself) on trumpet, Al Hendrickson on guitar, Jud DeNaut on bass, the superb Nick Fatool on drums, and Johnny Guarnieri on...harpsichord? Yes, you read that right. A harpsichord. And here lies the genius and the unique sound of this group. Most people associate the harpsichord with baroque music and Bach; I usually think of Handel's "Sarbande" playing over the credits to the movie "Barry Lyndon." But Shaw recognized the possibility of this instrument in jazz, and it fits perfectly in the ensemble. It adds an incredible bounce and sense of sophistication to the music; it really is the harpsichord that ties the first Gramercy Five together and makes them swing so superbly.

The first eight tracks are all incredible. "Special Delivery Stomp" and "Summit Ridge Drive" (both Artie Shaw originals) often appear on collections of his music, and deservingly so. "Special Delivery Stomp" is a fast pounder of a number that shows off everyone in the band, while "Summit Ridge Drive" is a great blues and the shining moment for the harpsichord. Among the other tracks are some incredible gems: "Cross Your Heart" mixes traces of the old tune "Anything Goes" with real Dixieland sass. "Keepin' Myself for You" has one of Shaw's most beautiful solos. "Dr. Livingstone, I Presume," tells a funny narrative story. Forget about B.B. King when you hear "My Blue Heaven," this is something entirely different in the hands of Shaw and the Gramercy Five. And "Smoke Gets in Your Eyes" is as romantic as swing gets; Shaw's solo here is pure magic.

The second Gramercy Five is also great, but they just can't quite hold up to the standard set by the first. The harpsichord no longer fit the style of this band, which was making experiments with be-bop, and its unique sound is still greatly missed. Nevertheless, the musicians involved are just as amazing as the first group: Shaw on clarinet, Roy Eldridge (a legend himself) on trumpet, Dodo Marmarosa on piano, Barney Kessel on electric guitar (one of the early greats on this instrument), Morris Rayman on bass, and Lou Fromm on drums. The most impressive track from the second group is the hard-bouncing, swingin' and bopping "The Grabtown Grapple." Also terrific is slow bluesy "The Sad Sack," with great piano and guitar work. The album -- and the Gramercy Five themselves -- end with the fun Artie Shaw original, "Hop, Skip and Jump," which changes tempos to echo the title of the song. The guitar has its best solo on this piece.

In general, the sound quality is excellent, with minimum noise and great frequency for all the instruments. Shaw's clarinet soars beautifully, and the harpsichord and electric guitar come through crystal clear. The liner notes by John P. Callanan are extensive and set the time and place for both groups, as well as providing a concise but revealing biography of Artie Shaw.

If you already own some of Artie Shaw's big band recordings, this album is a MUST! It will add so much to your appreciation of one of the greatest, most creative popular musician in American history. The Gramercy Five is gone (even if Artie is still around in his 90s!), but they live on in these superb jazz recordings.

ALL the Gramercy Five session on one GREAT CD!.......2004-01-03

This is a cd that reissued all of Shaw's Gramercy Five sessions, a small group that gave Shaw a chance to stretch out and improvise a bit. This si essential small group swing, and belongs in every swing/jazz fans library. Infectious hot small group swing, and virtiouso clarinet playing!

It's Almost Shaw's Best Music.......2003-06-12

Few of the swing era's small groups-within-the-big-bands were as distinctive, or swung as brightly, as Artie Shaw's. ("Gramercy Five," in case you hadn't figured it out, was Shaw's telephone exchange at the time.) His work with the Gramercy Five did more than any of his other work to challenge the ancient critic (his name has long since escaped me) who suggested that, while Shaw was one of the greatest clarinetists ever to play jazz, it didn't make him one of the greatest jazzmen ever to play the clarinet. Perhaps it was his choice of partners in the Gramercy Five which put the ginger into his stubborn enough tail; you'd have a hard time staying compressed, too, if you had Billy Butterfield and, later and especially, Roy Eldrige as your trumpeter. But Shaw himself plays with less self consciousness and a little more willingness to loosen up and fly, without going off into the fifteenth dimension, than he could let himself do in his large bands. And he turns out to be a remarkably sensible improvisor as well as remaining his usual melodious, half-breezy, half-brooding self.

On the other hand, you have to be knowing something to have your orchestra pianist keep it to the harpsichord in a small group and he makes this usually unswinging instrument swing its heads off. That touch by itself made the Gramercy Five at least as distinctive as the original Benny Goodman Quartet was getting with Lionel Hampton's vibraphone. But there's no need to compare the two. The Gramercy Five makes its own acquittal in the recordings presented here. "Summit Ridge Drive" may or may not be the best remembered of the lot, but there isn't a bad cut on the disc. And it sounds almost more fresh today than do the best of Shaw's big band recordings, and those hold up impeccably enough.

Disappointed.......2001-11-01

Because the title was The Complete Gramercy Five Sessions I was disappointed that a tune titled Dig dees' Blues was not included. My original 45 was broken and I am still searching. Some radio stations used it as a lead-in back in the early fifties.

Thank you

Paul

The Complete Jack Johnson Sessions
Average customer rating:

i thank the boxers for this one

mmmm

Un altro dei capolavori del Davis elettrico nasce come colonna sonora di un documentario sul pugile Jack Johnson

Incredibly Interesting and Great Music. Hear How Teo Put it All Together.

For the serious fan

The Complete Jack Johnson Sessions
Miles Davis
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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The Miles Davis Quintet, 1965-68: The Complete Columbia Studio

The Complete Columbia Recordings: Miles Davis & John Coltrane

ASIN: B00022UJAW
Release Date: 2005-08-23

Tracks:

Willie Nelson [Take 2][#]
Willie Nelson [Take 3][#]
Willie Nelson [Insert 1][#]
Willie Nelson [Insert 2][#]
Willie Nelson [Remake Take 1][#]
Willie Nelson [Remake Take 2]
Johnny Bratton [Take 4][#]
Johnny Bratton [Insert 1][#]
Johnny Bratton [Insert 2][#]
Archie Moore [#]

Tracks:

Go Ahead John, Pt. 1 [#]
Go Ahead John, Pt. 2A [#]
Go Ahead John, Pt. 2B [#]
Go Ahead John, Pt. 2C [#]
Go Ahead John, Pt. 1 [Remake][#]
Duran [Take 4][#]
Duran [Take 6]
Sugar Ray [#]

Tracks:

Right Off [Take 10]
Right Off [Take 10A][#]
Right Off [Take 11][#]
Right Off [Take 12][#]
Yesternow [Take 16][#]
Yesternow [New Take 4][#]
Honky Tonk [Take 2][#]
Honky Tonk [Take 5][#]

Tracks:

Ali [Take 3][#]
Ali [Take 4][#]
Konda [#]
Nem Um Talvez [Take 17][#]
Nem Um Talvez [Take 19][#]
Little High People [Take 7][#]
Little High People [Take 8][#]
Nem Um Talvez [Take 3][#]
Nem Um Talvez [Take 4A]
Selim [Take 4b]
Little Church [Take 7][#]
Little Church [Take 10]

Tracks:

Mask, Pt. 1 [#]
Mask, Pt. 2 [#]
Right Off
Yesternow

Customer Reviews:

i thank the boxers for this one.......2007-04-29

when i bought a tribute to jack johnson on vinyl i didn't like the music. i'm not a big fan of rock, and the heavy repetitive beat was marketed for giant speakers pulsating the music at full volume in some car where the passengers couldn't hear themselves speak or hear the music. with repeated listening over the years the music kind of grew on me.

i was curious about the sessions, and some reviewers said it was probably one of the better compiled box sets. then there was my other complaint: the numerous takes.

the sessions turned out to be a really good collection of music, containing more playing by miles davis than the tribute did, and most of his playing is melodic instead of brooding and searching. and, something i never believed i would say, all of the retakes are worth a listen.

ali is a stellar composition. maybe i missed it on another recording. if this was its first release, then i'm amazed it was kept under wraps so long.

mmmm.......2007-01-16

this is john mclaughlin and mils davis at their finest. Before miles went fully into fusion, this "jazz-rock" is quite exquisite. SUPERB!

Un altro dei capolavori del Davis elettrico nasce come colonna sonora di un documentario sul pugile Jack Johnson.......2007-01-12

A tribute to Jack Johnson è il disco chitarristico per eccellenza fino a quel punto della carriera di Davis; le tastiere di Hancock appaiono invece molto in penombra -- un chiaro segnale della tendenza sempre più forte in Davis ad assegnare un ruolo predominante alla chitarra elettrica, a scapito delle tastiere, tendenza sviluppata poi in modo definitivo e a volte quasi devastante nei dischi di psycho-hard-jazz degli anni successivi. Al sax soprano compare il giovane Steve Grossman, appena maggiorenne come il nuovo bassista elettrico Michael Henderson -- quest'ultimo a quanto pare strappato di forza al gruppo di Stevie Wonder. Alla batteria Billy Cobham, proveniente dal gruppo di Horace Silver e futuro membro della Mahavishnu Orchestra di McLaughlin, prende il posto dell'inizialmente previsto Buddy Miles, il batterista di Hendrix, che avrebbe dovuto nelle intenzioni di Davis fornire insieme al bassista un forte impatto soul al clima della registrazione, ed anche avere responsabilità compositive, ma che non si presentò alle sedute.
A dispetto di molte estatiche dichiarazioni dei musicisti, il modo in cui si arrivò alla realizzazione del disco non porta a pensare che Miles avesse le idee chiarissime sul risultato finale o che avesse tutto sotto controllo: anzi sembrerebbe che ancora una volta le sue (e di Macero) doti di improvvisatore sul campo abbiano avuto il sopravvento e, in definitiva, ragione. Perché Jack Johnson è semplicemente un altro capolavoro di Davis, ed in prospettiva storica è forse, pur nella sua "crudezza", il più grande lavoro di electric jazz mai realizzato; questo nonostante alcune imperfezioni, di cui la modalità di realizzazione del primo brano può essere un esempio efficace.

Incredibly Interesting and Great Music. Hear How Teo Put it All Together........2006-11-05

At first, when I put on the disc 1 and heard about 1/2 dozen takes of Willie Nelson, I thought to myself, "what was I thinking buying this?" As it turns out, I have only one regret: I should have purchased the smaller compact edition (still 5 discs, same documents and stories,just neater). The long box has its problems as the booklet is not attached. When I compare this to the packaging I got with The Complete Cellar Door Sessions, I realize I should have waited for the nicer packaging.

Ok, so what's so great about this? Well, if you are a musician and you are interested in Miles's electric period then this boxset is going to be very instructional. It's very interesting to see how all of the Go Ahead John takes were rolled together to make the version that appeared on Big Fun. Another nice thing about this box set is you get to hear Go Ahead John without all that auto-switching of the stereo effect that made listening to it on Big Fun simultaneously enjoyable and annoying.

In addition to Go Ahead John, you get to see how Right Off and Yesternow from the Tribute to Jack Johnson release was put together.

Even the 1/2 dozen takes of Willie Nelson are very good and worth sitting through. However, I don't think Sharrock's contributions show that he was much of a real player. I don't know much about the guy but he isn't showing me anything here. In the past, I thought the person fooling around with the echo-plex speed control on Yesternow was Chick Corea or Herbie Hancock. It's Sonny Sharrock and that's pretty much all he does. I wonder if he got paid for these sessions. If he did then Miles was robbed.

Look at the track listing and you will see there is lots of other out-take material on this release and most of it is really good stuff. I really enjoy Little High People and Airto's kazoo playing (very different from any kazoo playing you've ever heard).

Throughout the discs you'll hear Miles's raspy voice giving directions to the musicians and commenting on their playing ("that's some raunchy s*** John").

Ok, so in summation, if you are a musician and want to hear how a great and historic album from the early 70's was made then you will want to pick this up. If you are an electric Miles fan you will hear a lot of new stuff but the repetition of some of the tracks might get on your nerves unless you are trying to analyze what is going on.

The booklet is nice, there's lots of great pics and lots of good insight into Miles's recording activities and the band changes that took place during the 16 weeks over which these tracks were put together.

'nuff said. If you arent' sure, buy the long box because it's a lot cheaper. However, I do wish I'd picked up the short box version. Packaging of the short box editions in this Miles series are far superior!

For the serious fan.......2006-09-07

This collection isn't for everyone but for those who want to sit in on the sessions that turned into 'Jack Johnson' this is Christmas morning.

The Complete Library of Congress Sessions, 1941-1942

Average customer rating:

Essential
Son House is the real deal. Listen and learn
Son House, King of the Delta
The Real Blues--Raw and Dirty
Son House -- Library of Congress sessions

The Complete Library of Congress Sessions, 1941-1942
Son House
Manufacturer: Travelin' Man
ProductGroup: Music
Binding: Audio CD

Delta Blues | Blues | Styles | Music

General | Blues | Styles | Music

Traditional Blues | Blues | Styles | Music

Acoustic Blues | Blues | Styles | Music

Slide Guitar | Blues | Styles | Music

General | Traditional Country | Country | Styles | Music

General | Blues | Indie Music | Stores | Music

Traditional Blues | Blues | Indie Music | Stores | Music

Delta Blues | Blues | Indie Music | Stores | Music
Similar Items:

Complete Recorded Works of Son House & the Great Delta Blues Singers
Father Of The Delta Blues: The Complete 1965 Sessions
The Complete Early Recordings of Skip James
Complete Recorded Works (1928-1929)
The Complete Recordings

ASIN: B000001BLT
Release Date: 1996-01-16

Tracks:

Levee Camp Blues
Government Fleet Blues
Walking Blues
Shetland Pony Blues
Fo' Clock Blues
Camp Hollers
Delta Blues
Special Rider Blues
Special Rider Blues
Low Down Dirty Dog Blues
Depot Blues
Key of Minor
American Defense
Am I Right or Wrong
Walking Blues
Country Farm Blues
Pony Blues
Jinx Blues, Pt. 1
Jinx Blues, Pt. 2

Customer Reviews:

Essential.......2005-01-16

These 1941-1942 recordings are the only ones ever made of Eddie "Son" House playing with a band, and this 19-track disc collects all 15 songs originally issued on Biograph's "Delta Blues" album and adds four more tracks, none of which are sung by House ("Fo' Clock Blues", "Camp Hollers", an incomplete "Special Rider Blues", and the instrumental "Key Of Minor").

Folklorist Alan Lomax came to Mississippi in late August 1941, bringing with him a 300-pound "portable" disc-cutting machine, and cut five acetate masters - the first four tracks on this album plus "Delta Blues".
Now, these cuts may not quite match the power of House's ferocious 1930 Paramount recordings, but barely anything does, and these are tremendous recordings in their own right.
Perhaps the chatter of the other three musicians on the first three tracks, and the sound of Joe Martin picking his mandolin, dulls the raw intensity of Son House's music a little, but you can still hear why Muddy Waters was so much in awe of Son House, stating that "back where I came from, down in the Delta, Son House was the king!"

The 1941 recordings were cut in the back room of Clack's country store in Robinsonville by Lake Cormorant in Mississippi, with guitarist Willie Brown (another former playing partner of Charley Patton), "Fiddlin'" Joe Martin - who actually played mandolin - and harpist Leroy Williams. At one point, you can actually hear a train passing by outside.

The remaining numbers (which include a longer version of "The Jinx Blues") were cut the following summer, and on these tracks, House performs alone. This is where the power and intensity of House truly shines through, showcasing what an effective guitar player he really was. Son House may not have been Charlie Christian, but his loud, grinding, strongly rhytmic playing, filled with wailing slide riffs, was the perfect background for his huge voice and emotionally charged singing.

Among the highlights of this collection are "Delta Blues", superbly performed with only Leroy Williams backing House up, "Low Down Dirty Dog Blues" and "Depot Blues", which features some of the most impressive guitar playing House ever comitted to tape, "Walking Blues" (especially the 1941 version), and "The Jinx Blues", set to an effective shuffle beat. Just listen to the way House snaps his bass string against the fretboard!
This collection is one of the all-time great documents on early Delta blues. The sound is as good as can be expected, and this is a worthy testament to one of the most important figures in modern popular music.

Son House is the real deal. Listen and learn.......2004-03-03

Son House taught Robert Johnson the slide blues. Son House taught Muddy Waters. When Son House started performing at Blues festivals again in the mid 1960s, some of Muddy's younger band members would start to go off for a smoke or whatever when the old man came on stage. Muddy wouldn't let them. Muddy Waters would tell all his band members to be quiet and pay attention when the man played because even compared with Muddy, this was the real deal.

Rediscovered in Rochester, New York, relearning to play the guitar, (how this country abuses the masters that come from its people, particularly its Black people), put back on the stage by the folk revival's blues section.

People outside of the blues life focus on the guitar playing or the rhythm of the singing, but where the power comes from is the feeling and the words that are put together, the life and the meaning of the blues. Son House in his youth and his old age, on this and his other sides, always gave it.

So Like Muddy Waters, I would like you to know that
Son House is the real deal.
Listen and learn

Son House, King of the Delta.......2002-09-13

Son House is the most important and influential Delta Bluesman to ever live he was a major influence to Muddy Waters & Robert Johnson and every one else including me. Buy this C.D. it is very essential stuff this is hardcore Delta Blues there are some trks with Son House in a band setting with Willie Brown and others (perfect example of what a DeltaBlues jam session probally sounded like). These are field recordings and I mean they were actually recorded outside on trk.4 "Shetland Pony Blues" you actually hear a steam locomotive (train) go buy in the background. If your a aspiring blues guitar player get this if your a fan of the Blues your C.D. collection is seriously lacking if this is not part of it. also get "Masters of the Delta Blues, The Friends of Charlie Patton" all of Son Houses earliest recorings are on there (1930) with some other Delta Blues Legends

The Real Blues--Raw and Dirty.......2002-05-03

This collection is essential to any blues collection...you cannot truly appreciate the blues until you've heard these recordings.

Son House is my favorite blues performer. No one--not even his proteges Robert Johnson or Muddy Waters--could match him when it came to the raw emotion. Sure, Robert inspired later blues-rock giants like the Rolling Stones, Eric Clapton, Led Zeppelin, Aerosmith, Stevie Ray Vaughn (to name a few...) and Muddy revolutionized the blues by 'inventing' electricity. But this collection, when coupled with the album "The Complete Recorded Works of Son House & the Great Delta Blues Singers" (ASIN: B000000J26--recorded in 1930; another essential disc), offers the listener a true glimpse into history.

The first few tracks include House singing and playing guitar with his band: Willie Brown (who has since attained legendary status as his name is mentioned in Robert Johnson's lyrics; he was also was the central character in the 1986 movie "Crossroads") on harmonica, and Fiddlin' Joe Martin on mandolin. These songs are amazing. The only word I can use to describe House's slide guitar technique is FEROCIOUS. His mixture of slams and slaps, when combined with the shouts, moans, and grunts of his vocals, is nothing short of frightening. "Walking Blues"--which, of course, was a hit for both Robert Johnson and Muddy Waters but was written by House--is one particular standout. It is nearly seven minutes long (House is famous for his "epic" performances...in concert, his songs were known to exceed twenty minutes), a relentless barrage of blues. "Levee Camp Moan" is another strong point. The rhythms and shouts are incomparable.

Perhaps the best analogy is "a frontal assault on the soul".

The remaining songs are House's solo efforts, although the striking force has not deminished at all. In fact, they may be even more powerful--it's hard to believe that only ONE guy is singing...!

When House was rediscovered during the '60s blues revival, he recorded his first and only studio album in 1965 ("Father of the Delta Blues"--ASIN: B000002877) for the Columbia label. Most who have heard of Son House know him based on these recordings alone. There is no arguement that this is a magnificent album--the emotional quality has only increased with is age. But while the sound quality is definitely better than these early field recordings (mono recordings into a single microphone in the stockyard of a train depot--you can even hear railway sounds in the background!!), House's old age hindered the ferocity of his slide guitar playing, forcing his tempo to slow down. If you want to hear the true capabilities of the man who I think is the greatest bluesman who ever lived, you must listen to these Library of Congress recordings (and then check out "...and the Great Delta Blues Singers").

Son House -- Library of Congress sessions.......2000-04-12

Son House has, arguably, the best blues voice, ever. (His rivals are his pupil, Robert Johnson, and BB King). This is his best album, ever. Great voice, great words, great guitar, and (on one cut) a train in the background. Recorded sound quality is adequate -- better than most for the period. This is one of the five or ten indispensible blues recordings of the twentieth century--Changed how I thought about music.

- Blues ain't nothin'but a lowsown shakin' chill, - If you ain't had them, I hope you never will.

Music:

Music

music

1. No Secrets
2. Poor Baby
3. Wasted Sleepless Nights Darkroon
4. Face The Day
5. Night Comes Early
6. Alexander
7. The Moment
8. Im Scared
9. Devils Gate
10. Back On You (Bonus Track)
11. Alexander (Early Take) (Bonus Track)
12. Hot Shit (Bonus Track)
13. Hard Sell (Bonus Track)
14. Staring Voices (Bonus Track)
15. Im Scared (Live) (Bonus Track)
16. Face The Day (Single Edit) (Bonus Track)
17. Public Enemy (Bonus Track)
18. Into The Heat (Bonus Track)
19. Long Night
20. Running Wild
See all 53 tracks on this disc