Don't Look Back Pt.1 [CD-single] [Import]

Don't Look Back Pt.1 [CD-single] [Import]

Track Listings

1. Don't Look Back

2. Breathe In (Live)

Editorial Reviews
Product Description
The British singer/songwriter with the killer voice, Lucie Silvas is back with the strongest single yet from her platinum debut album `Breathe In'. The title track is backed with the live version of 'Breath In'. Mercury. 2005.

Tracks:

Don't Look Back
The Journey
It's Easy
A Man I'll Never Be
Feelin' Satisfied
Party
Used To Bad News
Don't Be Afraid

Customer Reviews:

It's not fair to compare it to the first album.......2007-07-09

Coming out with something as good as their first album was all but impossible. But their 2nd is still good on it's own.

Great Follow-up.......2007-05-21

Continuing the theme from the first album, the only thing this lacks is 'progress' in the sense that the sound was codified in the first album and remains the same here. Where does the first album end and the second album begin.

As a musician, I like to see growth in the sound of a band, and in the writing. Boston's only lack here, and on their third album, too, is that their sound is so set in stone that there is no growth in this regard. They're stuck. Future albums I've heard are not the same, actually a digression, like de-evolution, going backward. I don't know, haven't heard them.

All I can say is that while the writing is consistent -- a must for my continued interest, the sound remains the same. And that is often a bad thing because people change and the music, and its sound, should reflect that change, be a part of that change.

However, all that said, if you liked the first album, you'll like this one. Only a couple less than great songs are on this effort. Most bands should do this well in their creative processes. I wish they would learn to spend the time necessary to create something worth recording as Boston did, even if it is sonically the same as the first.

Not bad!.......2007-03-25

Could've sworn the cassette tape I had that this was to replace (got munched)had more songs on it, but hey, it's Boston!!!

A superb second album, in spite of Tom Scholz' misgivings.......2007-03-20

I find it hard to believe, now, that the first time I heard music from Boston I didn't like it. What I heard first was their first album, self-titled "Boston", which is, I think a slightly stronger album than this, their second album. Looking back I'm sure that at least part of the reason that I didn't like Boston's sound was simply because it was so different. There was nothing in rock'n'roll even vaguely like the sound Tom Scholz's had conjured up in his basement. It didn't take me long to learn to appreciate the music, but it sure was strange at first.

Now Boston is one one of my favorite rock'n'roll bands of all time due, in large part, to Tom's guitar theatrics. Actually, that's the wrong word to describe his guitar playing,Jimi Hendrix was theatrical, Tom Scholz is simply magic. I think that his work is too often under-rated, probably because there is so little of it. To me, though, there is simply nothing to compare to the glittering glissandos that he seems to bring forth in effortless endless profusion. Combine the very tight overall musicianship of the band, Brad Delp's unforgettable vocals, and lyrics that still, in many cases, speak as much to the social issues of today as they did when written some thirty years ago, and you have an unbeatable combination.

The melody of "A Man I'll Never Be" is insanely complex for a rock'n'roll song, which is probably why (along with its six and one-half minute length) that it never got very high on the pop music charts. Tom Scholz is all over the frets on his guitar and is coaxing every bit of feeling he can get out of it. When one realizes that he plays no chords throughout this song his mastery of his instrument is truly apparent. He is, to me, in the same class as Eric Clapton, Duane Alman, Gary Moore, and Roger McGuinn when it comes to a short list of the best rock'n'roll guitarists of all time.

But he doesn't do it by himself. Boston was, until their breakup over legal issues with their record label, one of those bands in which each member can be considered a master of his instrument, whether it's Brad Delp and his voice, or Fran Sheehan and his bass, Sib Hashian banging away on the drums , or Barry Goudreau's wonderful rhythm and second lead guitar. Together they were far more than the sum of their parts as one can tell when listening to any of their various solo efforts or work with other bands. It was a magic combination such as happens once in a generation or less.

What makes Boston's music even more special is that the vast majority of what one hears on the albums was composed and performed by just Tom Scholz and Brad Delp. They had little help making their music, except for some lead guitar by Barry Goudreau and drums by Jim Masdea. It wasn't until the first album was sold to CBS that a real band was put together to produce the Boston sound. Thus, the folks playing up on stage are not only playing some of the most complex rock music ever conceived, they played it note perfect every time, so that Boston's live sound was as close to the album sound as it's possible to get.

The remastering that Tom Scholz did for this re-issue is simply remarkable. The richness of Brad Delp's voice on all the songs, but particularly on "A Man I'll Never Be"' has to be heard to be believed. The remix has transformed one of my best-loved Boston songs from a work of art into a true gem of the craft of music-making. Everything about the remix transforms this album and brings the sound alive in a way that one could never experience outside of a Boston concert. In this day of sound alike rap, hip-hop, and techno, the music of Boston stands as a beacon and an example of true muscianship and dedication to one's craft. Would that there was more music of this caliber.

Poor Remaster, Good Album.......2007-03-16

I guess I'm one of the few that doesn't like the sound of this remaster. It sounds EQ'd for all the wrong reasons. There is audible distortion in places that sounds like clipping. Please Tom, give these master tapes to another set of ears. It sounds like you tried to make these remasters the difference between night and day. We just wanted a good transfer from the master tapes with some high quality ADC's. Some minor tweaking perhaps, but this is just too much. I suspect you've heard your own searing guitar solos quite a few times and your ears don't hear the album like a fresh pair might. I'm not sure if I'm hearing added compression, perhaps the original album sounded that compressed, but it certainly was mastered too hot. I wish the guy that did the Boston SACD remastered this too. Now that is one awesome sounding disc. But again, I appear to be in the minority (as well as comparing an SACD to a regular CD). I wonder if "hot" cd's and overly compressed music has finally taken it's toll on joe six-pack, so much that he comes to expect it.

Average customer rating:

Artistry and innovation, what Johnnie Lee was
Some Fine Blues...
GET IT DON'T REGRET IT
doesn't get better
DONT LOOK BACK

Don't Look Back
John Lee Hooker
Manufacturer: Virgin Records Us
ProductGroup: Music
Binding: Audio CD

Contemporary Blues | Blues | Styles | Music

Delta Blues | Blues | Styles | Music

General | Blues | Styles | Music

Traditional Blues | Blues | Styles | Music

Electric Blues Guitar | Blues | Styles | Music

Modern Blues | Blues | Styles | Music
Similar Items:

Chill Out
Mr. Lucky
The Healer
Boom Boom
The Best Of Friends

ASIN: B000000WD2
Release Date: 1997-03-04

Tracks:

Dimples
The Healing Game
Ain't No Big Thing
Don't Look Back
Blues Before Sunrise
Spellbound
Travellin' Blues
I Love You Honey
Frisco Blues
Red House
Rainy Day

Amazon.com

Don't Look Back is credited to John Lee Hooker and produced by Van Morrison, but effectively functions as a duet between the two, who have appeared and recorded together previously (Hooker's Never Get Out of These Blues Alive and Chill Out). Here, Morrison lends his hypnotic chanting--an intriguing complement to Hooker's spellbinding approach--to his own, "Healing Game," as well as contributing freely elsewhere, both vocally and on rhythm guitar. This set is more meditative than other recent Hooker discs, with the bluesman thoughtful and cogent on Morrison's "Don't Look Back," Hendrix's "Red House," and a number of originals. --Rickey Wright

Customer Reviews:

Artistry and innovation, what Johnnie Lee was.......2004-11-03

Like too many blues artists, Hooker tends to be reduced to a primitivist stereotype. Rather than being a creative artist whose depth of spirit, intellect, music and poetry create a new power and product with his music, he is misinterpreted as some kind of relict of an older or truer blues tradition. Rather than a real artist, he is dehumanized as the real thing! Nothing could be further from the truth. Nothing could minimize his artistry more.

Hooker's music falls into the generation of the R & B bluesmen of the late 1940s who brought the stream of music from the Delta--Johnny Lee being from Clarksdale--to the North, Muddy Waters to Chicago, Johnny Lee to Detroit. Johnny's music, particularly his music from the late 1940s and 1950s when he was popular not among white ex folkies or whites who think they love the blues, but in the Black community, is impossible to understand outside of the context of postwar R & B, not the initial delta blues. The dance rhythm that proceeds from Boogie Chillun, King Snake, Boom Boom Boom, wouldn't have worked in a 1920s Juke Joint. It belongs someplace like Henry's Swing Club where a rockin' rhythm is coming from the attempt to combine the power of swing with the rock of the blues that created R & B in the 1940s.

Hooker was a highly sophisticated musician who developed his own off-shoot from the traditional trajectory of blues artists. Starting with the great female blues stars and Blind Lemon Jefferson, the direction of blues has been to harmonize the essential modal African-based musics of the blues.

Hooker took the music in an entirely different method, by returning to the modal base of the music. To do so he essentially goes away from the tendency of blues musicians to develop the music into a band music. He solves the problem of filling the sound that had become expected without the harmonizing basis for different instruments to work together in a band by technological innovation, not tradition. He was the first bluesman to take full advantage of the ability of electric guitars and amplifiers to do more than make the sound of a guitar louder. He used the settings on guitar, amplified, and recording studio to create a new and different sound, and used the amplification to fill the spaces in the music others would need bands to fill. This decision was really in the vanguard of the electric guitar revolution in blues, rock, country, and all popular music that exploded in the 1950s and has yet to end.

Hooker with accompanying musicians and bands. Some of the best sides came when he was recorded not with other blues players but with some of the top Jazz players in the late 1950s. His modal music, excellent timing, free form improvisation and general cool made his records sell not only among blues players but Jazz lovers back in the day. This speaks to how advanced his rhythmic sense really was. There was also a confluence between Hooker and some of the most advanced Jazz players of the late 1950s and 1960s who sought similar modal solutions to the problems of jazz improvisation.

Get this, and then get everything else Hooker Did. My favorites are the recordings Hooker did in the late 1940s and early 1950s aimed at an R & B audience as well as the sides he did in the 1960s for Vee-Jay a Black owned record company that produced him as a quality artist with great soundwork and free selection of his material. Hooker is really an electric artist, so some of the sides cut during the 1960's "folk revival" where he's made to play an acoustic are kind of an insult to his artistry and history, though like everything Hooker did,they were great music.

Some Fine Blues..........2004-03-27

This is Hooker's latest original recording and the last one before he died in 2001. I have to say it's quite different from most Hooker recordings I've heard. It is very important to note that this CD is one big collaboration with Van Morrison, and the blues you'll hear here (with the exception of the first track) are mellow, laid back, and smooth. It's an excellent recording, although more mainstream than the real raw Hooker that can be heard on earlier recordings. He's aged like fine wine, and at about 80 years old, I'd say he's holding his own with amazing class :)

If you're new to Hooker, start either with this CD or "Healer". Healer is also an excellent recording (it does, however, have a lot more guest musicians). On this disk, you hear a more diluted Hooker, but you need to hear this before you hear the real raw Hooker.

The first track with Los Lobos is excellent - makes you want to get up and dance. Second and Fourth track are duets with Morrison and are both excellent work. Red House is a take on a Hendrix classic, and while the guitar work can't compare to the Hendrix guitar, the vocals, I thought, are a lot better, grittier, more bluesy than Hendrix's own version.

Get it - you won't regret it.

GET IT DON'T REGRET IT.......2003-10-05

As a late convert to JLH's music, I like this a lot. More than the Healer actually.

To sound this good at his age is like sipping a fine vintage wine.

Long live Hooker!

doesn't get better.......2003-02-01

If you're a fan of Van Morrison and his mellow style then you'll love this blues album. Of all the distinctive voices out there, John Lee's has to be the most unique. His almost-mumble singing plays well with Van's high pitched repetative style. An excellent collaboration produced by Van. A must have by fans of both musicians. Standout : "Don't Look Back".

DONT LOOK BACK.......2001-12-13

ONE OF THE BEST THAT JOHN LEE HOOKER HAS PUT OUT. IAM GOING TO MISS HIM.

Average customer rating:

I waited for this for five years
Excellent collection but BIG PUBLISHING MISTAKE!
ONE OF LLOYD WEBBER'S BEST COMPILATIONS, DESPITE A FEW FLAWS
SUCH MAGICAL MUSIC OF THE NIGHT!
A Must Have for Sir Andrew fans

Andrew Lloyd Webber: Now & Forever
Various Artists
Manufacturer: Decca Broadway
ProductGroup: Music
Binding: Audio CD

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Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music

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Similar Items:

Gold: The Definitive Hits Collection
The Very Best Of Andrew Lloyd Webber: The Broadway Collection
Evita (Original London Cast)
Andrew Lloyd Webber - The Royal Albert Hall Celebration
Andrew Lloyd Webber - Masterpiece (Collector's Edition) (Bonus CD)

ASIN: B00005R5UJ
Release Date: 2001-11-20

Tracks:

Jesus Christ Superstar: Overture - Andrew Lloyd Webber
Jesus Christ Superstar: Everything's Alright - Yvonne Elliman/Murray Head/Ian Gilllan
Jesus Christ Superstar: I Don't Know How To Love Him - Yvonne Elliman
Jesus Christ Superstar: Gethsemane (I Only Want To Say) - Steve Balsamo
Jesus Christ Superstar: Superstar - Murray Head
Evita: Oh What A Circus/Sing You Fools - Antonio Banderas
Evita: I'd Be Surprisingly Good For You - Elaine Paige/Joss Ackland
Evita: Another Suitcase In Another Hall - Barbara Dickson
Evita: Don't Cry For Me Argentina - Julie Covington
Evita: High Flying, Adored - Mandy Patinkin/Patti LuPone
Cats: The Jellicle Ball - Andrew Lloyd Weber
Cats: Memory - Elaine Paige
Cats: Gus: The Theatre Cat - Susan Jane Tanner/John Mills
Cats: Mr Mistoffelees - Paul Nicholas
Song And Dance: Take That Look Off Your Face - Marti Webb
Song And Dance: Tell Me On A Sunday - Marti Webb
Song And Dance: Unexpected Song - Sarah Brightman
Song And Dance: Nothing Like You've Ever Known - Sarah Brightman
Song And Dance: Introduction - Andrew Lloyd Webber
Song And Dance: Variations 1 -4 - Andrew Lloyd Webber

Tracks:

Starlight Express: Starlight Express - El Debarge
Starlight Express: Crazy - Greg Ellis/Reva Rice/Caron Cardelle/Samantha Lane/Voyd
Starlight Express: Next Time You Fall In Love - Reva Rice/Greg Ellis
Starlight Express: I Am The Starlight - Lon Satton/Ray Shell
Starlight Express: Light At The End Of The Tunnel - The Company
Requiem: Hosanna - Placido Domingo
Requiem: Pie jesu - Sarah Brightman/Paul Miles-Kingston
The Phantom Of The Opera: The Phantom Of The Opera - Michael Crawford/Sarah Brightman
The Phantom Of The Opera: The Music Of The Night - Michael Crawford
The Phantom Of The Opera: All I Ask Of You - Sarah Brightman/Steve Barton
The Phantom Of The Opera: Entr'acte - Andrew Lloyd Webber
The Phantom Of The Opera: Masquerade - The Company
The Phantom Of The Opera: Wishing You Were Somehow Here Again - Sarah Brightman
Aspects Of Love: Aspects Of Aspects - Orchester Der Vereinigten Buehnen Wien
Aspects Of Love: Love Changes Everything - Michael Ball
Aspects Of Love: Seeing Is Believing - Michael Ball/Ann Crumb
Aspects Of Love: The First Man You Remember - Kevin Colson/Diana Morrison
Aspects Of Love: Anything But Lonely - Sarah Brightman
Aspects Of Love: Chanson D'Enfance - Sarah Brightman

Tracks:

Joseph And The Amazing Technicolor Dreamcoat: Any Dream Will Do - Jason Donovan
Joseph And The Amazing Technicolor Dreamcoat: Joseph's Coat - Maria Friedman/Richard Attenborough/Donny Osmond
Joseph And The Amazing Technicolor Dreamcoat: Close Every Door - Donny Osmond
By Jeeves: Travel Hopefully - John Scherer/Martin Jarvis/Don Stephenson
By Jeeves: When Love Arrives - Steven Pacey/Diana Morrison
By Jeeves: Half A Moment - Sarah Brightman
Sunset Boulevard: With One Look - Glenn Close
Sunset Boulevard: New Ways To Dream - Glenn Close/Alan Campbell
Sunset Boulevard: The Perfect Year - Glenn Close/Alan Campbell
Sunset Boulevard: Sunser Boulevard - Alan Campbell
Sunset Boulevard: As If We Never Said Goodbye - Glenn Close
Whistle Down The Wind: Whistle Down The Wind - James Graeme/Lottie Mayor
Whistle Down The Wind: Cold - Everly Brothers
Whistle Down The Wind: No Matter What - Children/Adult Chorus
Whistle Down The Wind: The Nature Of The Beast - Marcus Lovett/Lottie Mayor
The Beautiful Game: Overture - Andrew Lloyd Webber
The Beautiful Game: The Beautiful Game - The Company
The Beautiful Game: Our Kind Of Love - Hannah Waddingham
The Beautiful Game: Dont Like You - Josie Walker/David Shannon
The Beautiful Game: Let Us Love In Peace - Josie Walker/Omagh Youth Community Choir

Tracks:

Oh What A Circus - David Essex
Memory - Betty Buckley
The Phantom Of The Opera - Sarah Brightman/Steve Harley
All I Ask Of You - Sarah Brightman/Cliff Richard
Love Changes Everything - Michael Ball
Any Dream Will Do - Donny Osmond
Amigos Para Siempre (Friends For Life) - Sarah Brightman/Jose Carreras
As If We Never Said Goodbye - Barbra Streisand
The Perfect Year - Dina Carroll
With One Look - Petula Clark
You Must Love Me - Madonna
The Heart Is Slow To Learn - Kiri Te Kanawa
A Kiss Is A Terrible Thing To Waste - The Metal Philharmonic Orchestra
Whistle Down The Wind - Tina Arena
No Matter What - Boyzone
The Vaults Of Heaven - Tom Jones
Try Not To Be Afraid - Boy George
Pie Jesu - Charlotte Church

Tracks:

Make Believe Love - Wes Sands
Down Thru' Summer - Ross Hannaman
I'll Give All My Love To Southend - Ross Hannaman
Believe Me I Will - Sacha Distel
Joseph And The Amazing Technicolor Dreamcoat (1969 Radio Luxembourg Commercial) - Joseph Consortium/Pete Murray
Try It And See - Rita Pavone
Come Back Richard Your Country Needs You - Time Rice And The Webber Group
Goodbye Seattle - Paul Raven
John 19:41 - The Andrew Lloyd Webber Orchestra
What A Line To Go Out On - Yvonne Elliman
Disillusion Me - Gary Band
The Ballad Of Robert And Peter - Tim Rice
Christmas Dream - Maynard Williams
It's Only Your Lover Returning/All Through My Crazy And Wild Days/Don't Cry For Me Argentina - Julie Covington
It's Easy For You (1977 Jungle Room Session Version) - Elvis Presley
Magdalena - Tony Christie
Buenos Aires - The Roja Rockers
Pollicle Dogs And Jellicle Cats - Andrew Lloyd Webber
Mungojerrie And Rumpleteazer (Live At The Sydmonton Festival 1980) - Gemma Craven
I Could Have Given You More - Petula Clark
I've Been In Love Too Long - Marti Webb
Benedicite - The Stephen Hill Singers

Album Description

Disc 1: Selections from Jesus Christ Superstar, Evita, Cats, and Song and Dance

Disc 2: Selections from Starlight Express, Requiem, Phantom of the Opera, and Aspects of Love

Disc 3: Selections from Joseph nad the Amaziong Technicolor Dreamcoat, By Jeeves, Sunset Boulevard, Whistle Down the Wind, and The Beautiful Game

CD 4: 1. "Oh What a Circus" --David Essex 2. "Memory" - Betty Buckleey 3. "The Phantom of the Opera" -Sarah Brightman, Steve Harley 4. "All I Ask of You" --Sarah Brightman, Cliff Richard 5. "Love Changes Everything"--Michael Ball 6. "Any Dream Will Do"--Donny Osmond 7. "Amigos Para Siempre (Friends for Life)"--Sarah Brightman, Jose Caerras 8. "As if We Never Said Goodbye"--Barbra Streisand 9. "The Perfect Year"--Dina Carroll 10. "With One Look" --Petula Clark 11. "You Must Love Me" 12. "The Heart Is Slow To Learn" --Kiri Te Kanawa 13. "Whistle Down the Wind"--Tina Arena 14. "A Kiss Is a Terrible Thing To Waste"--The Metal Philharmonic 15. "No Matter What"--Boyzone 16. "The Vaults of Heaven"--Tom Jones and Sounds of Blackness 17. "Try Not To Be Afraid"--Boy George 18. "Pie Jesu"--Charlotte Church

Disc 5: (All tracks available for the first time) 1. "Make Believe Love"--Wes Sands 2. "Down Thru' Summer"--Ross Hannaman 3. "I'll Give All My Love to Southend"--Ross Hannaman 4. "Believe Me I Will"--Sacha Distel 5. "Joseph and the Amazing Technicolor Dreamcoat: 1969 Luxembourg Radio Commercial--The Jospeh Consortium, Pete Murray 6. "Try It and See"--Rita Pavone 7. "Come Back Richard Your Country Needs You"--Tim Rice and the Webber Group 8. "Goodbye Seattle"-- Paul Raven 9. "John 19:41"--The Andrew Lloyd Webber Orchestra 10. "What a Line To Go Out On"--Yvonne Elliman 11. "Disillusion Me" --Gary Bond 12. "The Ballad of Robert and Peter"--Tim Rice 13. "Christmas Dream" --Maynard Williams 14. "It's Only Your Lover Returning/All through My Wild and Crazy Days/Don't Cry for Me Argentina--Julie Covington 15. "It's Easy for You" (1977 Jungle Room Session version)--Elvis Presley 16. "Magdalena"--Tony Christie 17. "Buenos Aires"--The Rioja Rockers 18. "Pollicle Dogs and Jellicle Cats"--Andrew Lloyd Webber original demo 19. "Mungojerrie and Rumpleteazer" (Live at Sydmonton Festival 1980)-Gemma Craven 20. "I Could Have Given You More"--Petula Clark 21. "I've Been in Love Too Long"--Marti Webb 22. "Benedicte"-- Stephen Hill Singers

Customer Reviews:

I waited for this for five years.......2006-06-30

Between Amazone, Ebay and Napster, I don't usually buy CDs anymore, and I usually wait till I can buy them cheaper "new and used". When this set came out, I was excited, mainly by Disc 5, but wasn't going to spend $70 on it. I waited till it was cheap enough, and got it for Father's day this year.
It was worth the wait.

The concept is great. The packaging is great. The recording is great. Disc five is really cool for an ALW aficionado. There are a few real gems on it; my favorites are Petula Clark's "I Could Have Given You More" and "Benedicite."
I've always thought "Gus the Theatre Cat" made a great medley on the piano with "Unexpected Song" and "I DOn't Know How to Love Him," but wished there was an alternate lyric to match the other two songs. Now that I know there *is*, and it's a good lyric, it's a dream come true.
The melody of "Benedicite" is one of my favorites from _Sunset_ (the book mis-identifies it as "SUrrender"; it's actually "The Lady's Paying" and "Eternal Youth is Worth a Little Suffering"). The lyrics are the canticle from Daniel 3, which comes up every odd Sunday in the Divine Office, so it's nice to have cool music to sing it with.

I haven't bought _By Jeeves_ or _THe Beautiful Game_ yet, to it was great to sample them.

There are other parts of the CD taht aren't found in my collection. I like CD 4 "The Hits."

But the selections on CDs 1-3 don't make sense.

First, any self-respecting ALW fan has the Original London Cast of _Phantom_, so six tracks are totally useless. Why not draw from the Canadian cast with Colm Wilkinson? Or pull out some obscure recordings never published.

Why two different tracks with Michael Ball singing "Love Changes Everything", yet they're hardly any different?

On Disc 5 is "It's Only Your Lover Returning," sung by Julie Covington. It's an early draft of the song (Lloyd Webber and Rice went through several suggested titles) and quite nice. The very thing one expects on a Boxed Set.
So why have the Julie Covington "Don't Cry for Me" on disc 1?? The only difference is a few words, but it's otherwise identical. Why not Elaine Paige or Patti Lupone or Madonna?

The _Evita_ section is otherwise the best, choosing a sample from each major recording, though I'd have chosen slightly differently (as above).

There is a great selection of "Mungojerrie and Rumpleteazer" from the Sydmonton festival, using the original music that was changed when _Cats_ went to Broadway_. It would have been nice if they'd included more recordings from Sydmonton, like the original lyric of "All I Ask of You" shown on the second DVD to the _Phantom_ movie.

With so many great actress-singers who've played Norma Desmond, why does the collection beat us over the head with Glenn Close?

Paul Miles Kingston must be set for life in royalties, for the number of albums the original recording of "Pie Jesu" has appeared on. "Amigos Para Siempre" is nice, but it reminds me of Shari Lewis's "The Song that Doesn't End," especially when it's been used on so many compilations.

In short, this is a great collection for the obscure material, if you can get it cheap. But for a boxed set, it's a poor sampling, drawn mostly from the most familiar recordings.

Excellent collection but BIG PUBLISHING MISTAKE! .......2006-01-10

Please beware they made a mistake on this. It's actually the shortened Ray Shell version of STARLIGHT EXPRESS from the original 1984 London cast - NOT the El Debarge single from 1987 like it says on the box. I don't know how they let that goof pass. Sorry to Ray Shell. Having said that, this is an outstanding compilation of Lloyd Webber's greatest hits.

ONE OF LLOYD WEBBER'S BEST COMPILATIONS, DESPITE A FEW FLAWS.......2005-03-21

Regardless of the fact that some of his latest efforts (most notably, The Woman in White) are disappointing, there can be little doubt that Andrew Lloyd Webber is one of the greatest composers ever to work in the musical theatre. Ever since his "Jesus Christ Superstar" hit the stage in the early 70-is, it was clear that the conception and perception of musicals are never going to be the same again. Many of his songs became standards not only in the theatre history, but also as tops on the charts. Even though he's British, his influence on the shape of the modern musical theatre expanded over the West End boundaries long ago and has thus made an enormous impact on Broadway. Two of his shows ("Cats" and "The phantom of the opera") hold the record as two the longest running shows in the history of Broadway. He has also been the only composer to have three of his shows running at Broadway concurrently. Some of his awards include three Grammies, a Golden Globe, an Oscar and a bunch of Tony awards. But perhaps most of all, Lloyd Webber is responsible for bringing the musicals and the theatre appealing to the wide audiences, who in different circumstances would not consider seeing a musical. The secret of his success is probably the mixture of beautiful and catchy melodies, interesting subject matter (though some, like Starlight Express, are too thin) and grandiose staging.

Over the years many compilations of his work have emerged. In the late 80-is and early 90-is it was the "Encore" series and lately the one-disc collection called "Gold". The one in question here can be considered one of the best currently on the market. First, it includes a 3-disc selections from all of his shows, minus the latest one, i.e., "The Woman in White", which, considering the triviality of the score, is no great lost. The fourth disc covers some of his most known songs sung by the famous artists. Then, there is the fifth disc with previously unreleased material, most of which are the songs ALW wrote with Tim Rice for various artists during the 70-is. The disks are all neatly packed in a hardcover book that features 67 pages of pictures and text with information about each of ALW's shows. One of the other assets here is the perfect sound quality, since all of the tracks have been digitally remastered.

Here are my basic impressions and comments regarding the material on the discs:

* Disc #1 has the selections from "Jesus Christ Superstar", "Evita", "Cats" and "Song & Dance". The Superstar material mostly comes from the Concept Recording. Although the songs sound beautiful as always, their orchestration is a bit dated now. Only Steve Balsamo's "Gethsemane" from the 1996 revival cast has a modern rock sound. "Evita" comes with the material from all of the major recordings: London, Broadway and the movie productions, as well as the Concept album. No objections here; since this is one of ALW's most satisfying works, every song is just perfect, although Patti LuPone, the Broadway and overall the best Evita, is left with only a couple of lines. With the selections from "Cats", however, I have some doubts. A plus to the choice of the "Jellicle ball" impressive orchestral sequence from the 1998 movie version and "Mister Mistoffelees" from the 1981 London cast. One of the best known ALW's songs, "Memory", also comes from that album. It's a pretty version and Elaine Paige's rendition cannot be matched, but why include this when the definite version, featuring an 80-piece orchestra and Elaine Paige with much better interpretation, can be found in the same movie version. Thusly, one has to buy Elaine Paige's latest 2-disc compilation "Centre Stage: The very best of Elaine Paige" to get that one. And "Gus the theatre cat" is more a recital than a song, so there was not much point in including that. Marti Webb brings her vocal charm to the "Song & Dance" sequence, Sarah Brightman sings "Unexpected song" with her famous soprano, but as much as I like her version, Bernadette Peters, who was in this show on Broadway is strangely left out here.

* Disc # 2 starts with "Starlight Express". This was never one of my favorite ALW's shows; the plot is even lighter than in "Cats" and the 1984 original cast recording is terribly dated. Yet, here we have one terrific duet, "I am starlight" from the original together with three songs from the later revivals and it seems that fresh orchestrations were just the thing Starlight needed. My favorite remains a touchy ballad, "Next time you fall in love". "Requiem" is the most solemn of all ALW's compositions, written in 1985 to commemorate the death of his father. Placido Domingo's tenor rides together with the chorus all the way through the strong "Hosanna", only to be joined by Sarah Brightman in the final moments of this song. She then gives an echoing deliverance of "Pie Jesu". What can be said of ALW's next show, "The Phantom of the Opera"? A phenomenon in its own right, it's easy to see from the six numbers included here why this is one of the best and most beloved musicals of all time. The cast, the music, the story - everything is perfect. Although "Aspects of love" was never a popular hit, it does have some of the most beautiful love melodies ALW has ever written. "Love changes everything" sung by Michael Ball is probably one of the best tunes ever about love. The rest of the selected material here has a dreamy love flavor and the melodies find their way into your brain in the best Lloyd Webber way.

* ALW's first musical, "Joseph and the amazing Technicolor dreamcoat" was more successful in its revival form than the original from the 70-is. The three songs included here are sung by the show stars, Jason Donovan and Donny Osmond. Maria Friedman was not a lucky choice to play the narrator, as the track from the 1998 movie version shows. "By Jeeves" was ALW's only big flop when it came to the stage in the 70-is. The 1995 revival sounds much better though, full of funny numbers in the best manner of the musical comedy. "Travel hopefully" remains one of the show's highlights on this compilation. "Sunset Boulevard" comes next. "Sunset" remains for me one of Webber's best scores; lush and beautiful. I listen to the original cast recording with Patti LuPone all the time. However, here most of the songs are performed by Glenn Close. A big mistake. If you've ever listened the American premiere recording with her, you'll know what I am talking about. She may have a strong stage presence, but her vocal abilities are too limited, and her aggressive approach to the role lacks any subtlety. Therefore, the two big numbers from this show, "With one look" and "As if we never said goodbye" are ruined by the fact she can't sing. The same goes for the American Joe Gillis, who was played by Alan Campbell. Luckily, Patti LuPone and Kevin Anderson, the original Norma and Joe from the London production, make their brief entrance here with the "Perfect year"; enough to show how better they are. The funny thing is, on the jacket and inside of it, Glenn Close and Alan Campbell are credited as performers in this song as well. If this was a mistake on ALW's part, it was a good one. The next ALW's show, "Whistle down the wind" was never a critic's dear and yet the audiences rushed in to see it in London. The score brings back ALW to his rock and roll roots of the seventies and the story is quite interesting. But the selections here are not the happiest, since the cast recording boasts with much better songs. And finally, "The Beautiful Game". Again, we have one of those ALW's shows that is worth in its individual parts rather than as a whole. "Our kind of love" and "Let us love in peace" are two catchy ballads. The latter is a nice amalgam version not available elsewhere. The two other tracks here I could live without.

* Disc # 4 has the songs from all the above shows performed by different artists. The assembled tracks have their pros and cons. For example, we have some previously unreleased stuff, like Dame Kiri Te Kanawa's operettic rendition of "The heart is slow to learn", or a stunning and epic "A kiss is a terrible thing to waste" from "Whistle down the wind", performed by The Metal Philharmonic Orchestra. Then again, what was the point in including almost identical tracks as the ones on the previous disks? So we have Michael Ball again singing "Love changes everything" with only a bit different orchestration; Sarah Brightman comes out again with the same Phantom duets, but only with the different male singers. It would be much more appropriate to include tracks from the Toronto Cast of the Phantom, with Colm Wilkinson. Other pop deliverances (Tina Arena's "Whistle down the wind", Barbra Streisand's "As if we never said goodbye", Boyzone's "No matter what" and many more) were wisely chosen. Patti LuPone is again nowhere to be found and Petula Clark's "With one look" sounds too worn-out.

* The last disc is probably the one that will be of most interest to Lloyd Webber aficionados. It consists of entirely previously unreleased material ALW for the most part wrote for various artists during his early years, with Tim Rice. Some of these tunes, not successful as a singles, were later used in his shows. Thus "Down thru' summer" became "Buenos Aires"in Evita, "Try it and see", an unsuccessful attempt for the Eurovision was used for "King Herod's song" in "Superstar" and so on. Some of these songs are nicely made pop songs: "Make believe love", ALW's first recorded composition, for which he provided the lyrics; "Goodbye Seattle", sung by Paul Raven, who later became Gary Glitter; "Come back Richard, your country needs you", from a never made musical, sung here by Tim Rice, or Latin flavored "Magdalena", with Tony Christie singing. My all time favorite here is a song called "It's easy for you", sung by none other than Elvis Presley himself. Lloyd Webber and Rice sent him a demo recording that he accepted and recorded this live version a couple of weeks before he died. It's amazing to hear how his voice remained in the perfect shape. Also, there is a track of Andrew Lloyd Webber singing "Policle dogs and Jellicle cats" while plying the piano. His voice doesn't sound bad at all.

Taken as a whole, this compilation makes a perfect birthday or Christmas present to any fan of Andrew Lloyd Webber shows, or just anybody interested in some of the best tunes from the modern era of the musical theatre; despite the flaws I mentioned above. To the former, it may just be the final addition for the Andrew Lloyd Webber collection.

SUCH MAGICAL MUSIC OF THE NIGHT!.......2003-01-19

"Evita." "Sunset Blvd." "Starlight Express." "Jesus Christ Superstar." "Joseph and the Amazing Technicolor Dreamcoat." "Requiem." "Aspects of Love." The man who is the most recognized composer in the history of the musical theatre, the man who has won more Tonys than any other composer, the man who boasts the best-selling show of all time ("The Phantom of the
Opera") and the longest-running show of all time ("Cats"), the man whose homes are filled with three Grammys, five Oliviers, a Golden Globe, and Oscar and too many other honors and hosannas to mention, the man knighted in 1992 certainly doesn't need an introduction. Now Decca Broadway pays tribute to Sir Andrew Lloyd Webber with "Now and Forever," a spectacular 5-CD set compiled and produced by Sir Andy himself. It's cheaper than a
ticket to "The Producers" ... and more much exciting. This treasure trove contains highlights from all of Webber's shows, and a bonus disc of tunes sung by Betty Buckley, Barbara
Streisand, Jose Carreras, Boy George, Charlotte Church, Madonna, Tom Jones, Petula Clark, even Elvis! A must for lovers of theatre---and good music.

A Must Have for Sir Andrew fans.......2002-05-21

This five-CD collection of Andrew Lloyd Webber's career is fantastic. It leaves virtually no stone unturned. I have no doubt that diehard Webber fans will love this, especially for the 5th disc entitled "From the Vaults." This disc alone is worth the price as it contains tunes never before heard by the typical fan. Who knew Elvis did a Lloyd Webber tune?!? I didn't! Also the tune "Benedictine" which the composer wrote for his most recent marriage is not only pretty, but it has the same medley as "The Lady's Paying" from "Sunset Blvd." which I found highly enjoyable. Another great track is the composer himself singing a cut song from "Cats" entitled "Pollicle Dogs and Jellicle Cats" which has the same tune as "Jellicle Songs for Jellicle Cats," but to hear Sir Andrew sing is a blast...he sounds a lot like Al "Year of the Cat" Stewart.
The cuts from the musicals are great but are likely owned by ALW fans as they are on the original cast albums. And I'm glad that there were tunes included from the composers most recent efforts which have yet to make it beyond London (Whistle Down the Wind, Beautiful Game).
My only complaint is the inclusion of way too many tracks by Sarah Brightman. She must've received a great divorce settlement that included having tunes on any ALW collection until the end of time!! Her interpretations of some of the tunes were limp and uninspired. I would've much rather heard casts from around the world rather than yet another song by this disdainful soprano! How about Colm Wilkinson's version of "Music of the Night" from the original Canadian cast of "Phantom"? Or Michael Crawford's version of "Unexpected Song"? What? No Betty Buckley from "Sunset Blvd."? And of course there are songs you KNOW are going to be on the collection before you even listen to it as they have been on EVERY ALW collection for the past decade or so.
A great collection but too much Sarah Brightman!

Average customer rating:

Best track on a superb album

Don't Look Back
Antigone Rising
Manufacturer: Lava
ProductGroup: Music
Binding: Audio CD

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From the Ground Up
Antigone Rising's Traveling Circus
From the Ground up
New & Used
Traveling Light

ASIN: B0002VYPGM
Release Date: 2004-09-14

Tracks:

Don't Look Back
Last Try
Jealousy and Human Kindness

Customer Reviews:

Best track on a superb album.......2005-09-23

Antigone Rising blast off with this single from the "From the Ground Up" CD. That it's recorded live makes it all the more impressive. Crisp production and superb vocals. Easily one of the best singles of the past 5 years.

Average customer rating:

Not As Good As The First Album
Boston is back for an encore--this album brings back memories...
More Boston Magic-Another 5 Star Winner!
A rushed follow up to the debut album
Shadowed By It's Predecessor

Don't Look Back
Boston
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Boston
Third Stage
Walk On
Corporate America
The Grand Illusion

ASIN: B0000025C0
Release Date: 1990-10-25

Tracks:

Don't Look Back
The Journey
It's Easy
A Man I'll Never Be
Feelin' Satified
Party
Used To Bad News
Don't Be Afraid

Customer Reviews:

Not As Good As The First Album.......2006-10-25

"Don't Look Back" came out two years after the first one and although it maintains all of the familiar elements that made the first album so good, it does not measure up to said album. I am not sure what it is, since in many ways "Don't Look Back" is very similar to the first one, but it just is not as good. The title track got tons of airplay back in the day (and still gets a lot on classic rock stations today), and is a cool tune. "A Man I'll Never Be" is another really strong ballad full of buildup and bombast, but the rest of the album somewhat leaves me cold. The songs are not bad, they just aren't great either. The music is mostly a re-hash of things done before, and the lyrics are very, very average 70's rock n roll good time party stuff. The album is also a bit on the short side, even for 70's vinyl standards. All in all "Don't Look Back" is a bit of a letdown from the band's debut, but probably better than everything that came after it.

Boston is back for an encore--this album brings back memories..........2006-10-05

I did this in my 'Third Stage' (1986) review as well: Judging by the title, you'll probably assume I was alive (and old enough to know what living was) when this release came out, and that the memories to which I am refering happened circa 1978.

Nope. Not even close.

My first exposure to this album was in January 2005, when I finally took the plunge and started expanding my Boston collection (I already had the debut, which I had bought in 2003). I was 16 years old, which is of course a very impressionable age. And, unlike most of my peers, I listened (and still listen) to classic and progressive rock music. So, on a blusteringly cold January evening, I bought 'Don't Look Back' (1978). And I haven't looked back. The memories I forged during that period of my life (I listened to this and 'Third Stage' incessantly for about a month or so) will stay with me forever. That's why I love this album so much.

As I said in my review of the debut, there are those who seem to have a taboo against Boston (I dated one once--it didn't last long). I really can't see where that comes from, considering Boston is not like any of the other AOR bands with which it is usually lumped. The band, the brainchild of MIT graduate and instrumentalist extraordinaire Tom Scholz, pioneered some completely new ground with its eponymous debut album. 'Boston' (1976) has sold, to date, over 17 million copies, which at one time was a record for a debut album (which has since been broken). I feel like I would be repeating myself to recount the whole story of the band (I gave a detailed account of this in my review of the debut), so I'm just going to jump right into the song-by-song breakdown.

A track listing, along with my comments on each song:

1. "Don't Look Back' - This anthemic, majestic rocker has been a staple on classic rock stations ever since it was released. This was the only song from the album I had ever heard prior to buying it. What can I really say? Through and through, this is classic Boston: soaring guitars, operatic layered vocals, and that unique Boston sound that has never been and can never be imitated. It's a strong opening song, which segues into the next track.

2. "The Journey" - This is a very short instrumental work, played mainly on organ, with Scholz's cosmic guitar sound effects in the background. It segues into the next track.

3. "It's Easy" - This is a pretty standard rock song, albeit very well done because it's Boston. The usual elements of Boston-esque excellence are all here, and in just the right amounts in order that they not cheapen the franchise through overzealous pretension.

4. "A Man I'll Never Be" - This is a departure for Boston. Most of the songs up to this point were clearly rock songs. "A Man..." is actually a ballad, penned long before the myriad such ballads in the 1980s. As such, it's somewhat different in style than the cheesy 80s interpretation--different and better by far. This is how the band "Boston-izes" a rather dull artform and makes it something really special. I have always liked this track: the gradual buildup, the lyrics, the melody, and the rocking organ at the end are just awesome. Oh, and this is the first time Boston ever used a piano as accompaniment (according to the liner notes, it's a Steinway, though it sounds somewhat thin--I suppose Tom didn't know how to record a piano properly).

5. "Feelin' Satisfied" - Some people say this is a throw-away song. I honestly don't know why they would think that; "Feelin' Satisfied" is one of my favorite songs from the album. Boston really hit on something special with their unique style because, as I'm writing this review, I find that I would be repeating myself quite a bit were I to describe each song in full detail. And yet, somehow Boston never gets boring, even if the band does use the same formula time and again. Boston's is a timeless recipie for success, I suppose.

6. "Party" - As I pointed out in my review of the debut, I don't particularly care for party songs. This song's counterpart on the debut is the infamous "Smokin'", and I don't like that one much, either. As I said in the other review, if you like this sort of thing, Boston does it at least as well as anyone else.

7. "Used To Bad News" - Again, many people say this is filler. I couldn't disagree more. This is another of my favorite songs from the album, and is an instance in which the timing is perfect. The song is placed perfectly between two rockier, more hard-hitting songs. In addition, "Used..." is short, yet perfect in length. Any longer and it would have lost some of its effect. Structurally, this song reminds somewhat of "Hitch A Ride" on the debut album, except that "Used..." does not include the instrumental fadeout. Other than that, the two follow similar song formats, both have call-and-answer melodic structures, and both are smooth, flowing songs. Regardless of what others think, I enjoy this song very much.

8. "Don't Be Afraid" - If the previous song was an example of exploiting a musical idea to the correct duration, then "Don't..." is an example of stretching it too far. The song is just too long and repetitive. It's not a bad song, but there are several instances where cadences are struck, only for a jarring reprise to begin the theme anew. It's a weaker closer than "Let Me Take You Home Tonight" on the debut.

It is prudent to note that this particular edition of the album is the original 1990 digital transfer. Its sound quality is notoriously poor. However, you're in luck because earlier this year Tom Scholz personally remastered both this album and the debut. So if you're shopping for Boston albums, make sure you get the remastered editions of the first two releases (they're in digipaks and should have stickers proclaiming the involvement of Tom Scholz in the remastering project). Also, Amazon carries the remasters of both 'Don't Look Back' and 'Boston'. And right now they're being offered for a very reasonable price.

All in all, I can't say anything bad about this release. There are those who say it's not as good as the debut, and perhaps they might have a point. But it's still an impressive effort, and it's not nearly as far behind 'Boston' as most people seem to think. I believe the fact that everybody knows Tom Scholz wasn't satisfied with this album (he wanted to add one more song, as well as work on the other selections a bit more) has affected their judgement somewhat. But, regardless, this is a classic album that has stood the test of time. If you don't have it yet, what are you waiting for? Get out there and buy it!

More Boston Magic-Another 5 Star Winner!.......2006-09-10

I always get a kick out of people who come on this site and blast an artist. I have read such things as "a shadow of their
former selves, song writing not up to par, blah, blah, blah. How can anyone give an album as superb as this one any less than 5 stars? Has anyone listened to what passes as music in the 21st Century? Bob Dylan had it right a few weeks back when he said today's music is pitiful. Back to the second Boston album. The only problem I have with this album is it is too short! Whereas
the debut by Boston has great light/shade and bombast (in a good way) the second Boston album is one which is more of a steady ride. It also contains the best song Boston ever released "A Man I'll Never Be." Brad Delp shows incredible maturity in his songwriting on this album. The great guitar tones are back for a second appearance, there is nothing like the sound of a Les Paul with a bit of "sweetening". There is also a bit of keyboard which accents and never overshadows any of the tunes. Mr Scholz's production is again, like the debut, very well realized. Like the debut-10 stars!

A rushed follow up to the debut album.......2006-06-30

To me, Boston falls into the One Hit Wonder category, only in their case, their "one hit" was their entire first album, released on Epic Records in 1976. That album has gone platinum an incredible seventeen times, and all of the songs on it were staples of radio back in the day. Don't Look Back on the other hand, was less than half as popular as its predecessor, and it is easy to see why: it simply was not as good as the first album! In 1978, the fat, balding, cigar smoking record company executives in suits and ties had grown very impatient with Tom Scholz's meticulous production style, and kept pressuring him to get the album out so they could add some more millions to their bank accounts. As a result, some of the songs sound rushed and not quite finished. No wonder Boston's record sales have been so sluggish from 1978 onwards. The music industry was just too greedy and demanding for Tom to produce his music the way he saw fit.

Shadowed By It's Predecessor.......2006-03-29

How does a band follow the greatest selling debut album in history and avoid becoming a "One Hit Wonder"? It's done by releasing another solid album which stands on its own to this day.

BOSTON's self-titled debut was an absolute smash and hit the music world by surprise in 1976, but 1978's Don't Look Back is a worthy album in its own right. Building off of their first album and the sound which continues to inspire, Don't Look Back had many hits including `Don't Look Back', `A Man I'll Never Be', and `Feelin' Satisfied'.

The lineup was headed by lead guitarist and musical mastermind, Tom Scholz, an MIT graduate whose hobby as a guitar player turned into an obsession. An avid perfectionist in the studio, Scholz meticulously harmonized instruments as much as he could, sometimes having two or three guitars playing the same lick. In addition, the pure Rock vocals of Brad Delp were the perfect compliment to Scholz guitar work. The rest of the lineup was rounded out by Barry Goudreau on rhythm guitar, Fran Sheenan on bass, and the versatile Sib Hashian on drums.

Don't Look Back's first track `Don't Look Back' is clearly the best song on the album. It showcases every aspect of BOSTON's sound from start to finish. The signature driving opening riff leads into a more melodic verse, which leads to a sharp chorus that features Scholz and Goudreau's double melodic guitar licks. Delp's ability to hit harmonies on command gives Goosebumps during the song's final climactic chorus.

`The Journey' is an eerie instrumental which leads very nicely to the easy rocking `It's Easy', which is a lighter song that's not centered on specific riffs such as `Don't Look Back', but nicely showcases Scholz's improvisational skils.

The A-side is rounded out by the ballad, `A Man I'll Never Be', which is a soft but solid track that is once again centered ar
ound a double guitar riff, which almost acts like a chorus in itself. Again Delp's creamy vocals are incredible as he puts all of his emotion into his voice.

Being pressed by their record label, Epic, Scholz felt rushed in creating the album and admits that it wasn't the perfection that he had hoped for. Ultimately this perfection cost BOSTON as their next albums took many years to produce and suffered in record sales. It's worth saying that the B-Side has a couple of good tracks such as `Feelin' Satisfied' and `Party' and is rounded out by minor songs `Used to Bad News' and `Don't Be Afraid'. However, some of these B-sides closely resembled tracks on BOSTON's first album and cause some to argue that this album is just the same formula repeated over again. This clearly is not the case for the whole album as BOSTON expanded the melodic sound that they originated in '76, and created a monster A-side, which arguably rivals BOSTON's first album.

Overall, Don't Look Back was a very strong follow up effort for BOSTON in 1978 and cemented their status as a staple in rock history. As mentioned above, the A-side is phenomenal, with about 20 minutes of Tom Scholz finest guitar work and the best of Brad Delp on vocals. It is truly an album which stands on its own, even though it will forever be in the shadow of BOSTON's 1976 debut.

Average customer rating:

Don't Look Back
GREAT LYRICS AND MUSIC
Soon To Be The Next Big Thing.
An amazing group!

Don't Look Back
Povertyneck Hillbillies
Manufacturer: Cort Records
ProductGroup: Music
Binding: Audio CD

General | Country | Styles | Music
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ASIN: B000CAKJNQ
Release Date: 2005-06-28

Customer Reviews:

Don't Look Back.......2006-02-28

Awesome CD. My favorite is Kinda Cool, Ain't It. But, all are good up beat songs.

GREAT LYRICS AND MUSIC .......2006-01-07

THE POVERYNECK'S SIMPLE, DOWN-TO-EARTH, LYRICS HAVE HIGH IMPACT!! I LOVED THE GROUP FROM THE FIRST TIME I SAW AND HEARD THEM ON PGH'S WQED DURING THANKGIVING 05. DON'T LOOK BACK IS A GREAT ALBUM!

Soon To Be The Next Big Thing........2005-11-25

One Night In New Orleans and She Rides Wild Horses are well worth the price of the cd just for those two songs. The rest are pretty dang good too.

An amazing group!.......2005-11-21

This is a must have CD for ANY country music fan. Once you start listening to this CD, it may never come out of your CD player! It is filled with high energy, upbeat tunes and a couple slower, beautiful ballads, and ends with a new version of "Mr. Right Now." I've had the priveledge of seeing these guys live, and they are unbelieveable! One day soon, they will be taking Nashville by storm.

Average customer rating:

Some of Oasis' Best!
One of the best Oasis singles
What a Gem
ESSENTIAL TO ANY OASIS FAN

Don't Look Back in Anger
Oasis
Manufacturer: Creation
ProductGroup: Music
Binding: Audio CD

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Shakermaker

ASIN: B00004WX22
Release Date: 1996-01-01

Tracks:

Don't Look Back in Anger
Step Out
Underneath the Sky
Cum on Feel the Noize

Customer Reviews:

Some of Oasis' Best!.......2005-11-09

This single is fantastic. Not only does it include "Don't Look Back in Anger," one of Oasis' most successful and popular songs, but it also has "Underneath the Sky" and a wild cover of "Cum on Feel the Noize."

If you're not a huge fan of Oasis, this might be a good starting point. It gives you some examples of what Oasis is good at: heartfelt songs, beautiful lyrics, and some great rock n' roll.

One of the best Oasis singles.......2004-04-14

Don't Look Back in Anger can be called the best Oasis single ever done. You can argue other ones as well, but this is a great single.

"Don't Look Back in Anger" is one of the best songs Oasis has ever done. It's one of the more popular songs they've had an America. It has a catchy chorus and guitar rifts. However, it's a fantastic written song by Noel Gallagher who is the best living songwriter not name Paul McCartney. The song has some deep meaning and I love how Noel isn't afraid to speak his mind.

Step Out is an ok song. It's nothing to get to excited about it. It's definetly one of there b-songs but I still like it.

Undearneath the Sky is a great song. Everybody can realte to what is being sung about in the song. This single was good enough to be included on the Oasis album "The Masterplan." It's Noels' favorite song he's ever written and thats a statement saying the guy has wrote so many good songs.

Cum on Feel the Noize is a great cover. I like it a lot better than the cover that Quiet Riot did back in the early 1980's. It's the closest to the original. Liam's vocals sound really great on the song. Once again this single is the only place to find this song.

What a Gem.......2004-02-22

Just a fantastic single. The three B-sides, the near-perfect romp "Step Out", the melancholy, restless spirit of "Underneath the Sky", and the rollicking cover of "Cum on Feel the Noize", are just flat out brilliant. Oh, and the A-side isn't so bad either. If you're new to Oasis, and are willing to shell out 12 bucks for a single, don't hesitate on buying this.

ESSENTIAL TO ANY OASIS FAN.......2003-04-09

Singles seem superfluous as they usually include only radio edits of songs from the album, but not with Oasis. Here you have classic songs that are essential to anyone's Oasis collection.

Don't Look Back in Anger - Top tune of Whats the Story (Morning Glory), you probably already have this one so lets move on.

Step Out - This song got dropped from the album at the last moment, but is definitely one of the greatest pop tunes ever. Sung by Noel and full of energy. A must have.

Underneath the Sky - This is a good song, but available on The Masterplan. It has a cool feel to it, definitely worth a listen.

Cum On Feel the Noize - A cover of a cover, but it still rocks. Usually considered the best Oasis cover (and they've done a few). I like it better than the Quiet Riot version.

Overall, you gotta have this one.

Don't Look Back
Average customer rating:
Don't Look Back
John Lee Hooker
Manufacturer: Shout Factory
ProductGroup: Music
Binding: Audio CD

General | Blues | Styles | Music
Traditional Blues | Blues | Styles | Music
ASIN: B000OPO6WO
Release Date: 2007-07-17

Tracks:

Dimples
The Healing Game
Ain't No Big Thing
Don't Look Back
Blues Before Sunrise
Spellbound
Travellin' Blues
I Love You Honey
Frisco Blues
Red House
Rainy Day
Bonus Track: Send Me Your Pillow
Bonus Track: Blues Before Sunrise

Average customer rating:

Don't Look Back
Boston
Manufacturer: Sony Japan
ProductGroup: Music
Binding: Audio CD

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ASIN: B000G1T3H4
Release Date: 2006-07-31

Tracks:

Don't Look Back
Journey
It's Easy
Man I'll Never Be
Feelin' Satisfied
Party
Used to Bad News
Don't Be Afraid

Album Description

Exclusive Japanese limited edition digitally remastered reissue of this 1978 album, packaged in a miniature LP sleeve. The sophomore album by mastermind Tom Scholz's Classic Rock legends features eight tracks including 'Feelin' Satisfied' and the title track. Sony. 2006.

Album Details

Japanese 24bit Digitally Remastered Limited Edition Reissue of the Group's Sophomore Album Classic in a Deluxe, Miniaturized LP Sleeve Replica of the Original Vinyl Album Artwork. This Edition was Personally Overseen by Band Founder Tom Scholz to Assure the Utmost Quality of Sound, the Same Attitude He Had When the Album was First Recorded.

Average customer rating:

Fine reissue of a classic set

Purcell: Theatre Music

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Lute Music, Vol. 2

ASIN: B0001Y4JHA
Release Date: 2004-10-12

Customer Reviews:

Fine reissue of a classic set.......2006-05-24

Think about the stupidest, most formulaic Hollywood movies you can think of: cheesy action pictures, fluffy, unfunny comedies, big but stiff epics. Now imagine that one of the greatest living composers was working in Hollywood, turning out astonishing, hauntingly beautiful and stirring musical scores for these throwaway movies. That's what you get with this set: music Henry Purcell composed for some two dozen often utterly forgettable plays (trust me--I've read a number of them!) Occasionally, when he teams up with a playwright worthy of his stature, such as John Dryden, Aphra Behn, or William Congreve, the results are even better, but for the most part you can enjoy the music here without knowing anything about the original plays.

This set originally appeared as separate LPs in the 70s and 80s, and has been long out of print. That's a pity, since Purcell spent a good deal of his short professional life in the theatre, either writing the incidental music contained on these CDs, or the music for his larger works, the semi-operas (King Arthur, The Fairy Queen, and the like). Almost all of these works are enjoyable gems; certainly, they represent a pinnacle of English 17th century music. Purcell had a genius for spinning musical gold out of the most leaden lyrics (check out his Odes and Welcome Songs on Hyperion if you don't believe me), and he does the same with the song texts in these plays.

Hogwood and the AAM offer clean, listenable performances, and the sound on these old analog discs has been cleaned up and brightened--although they were pretty good, even in the late 70s. As with most Hogwood, emotional extremes are kept to a minimum, so the "otherworldly" nature of late 17th century music, so often emphasised in more recent Baroque performances, doesn't come across here. It would be interesting to see what a group like The King's Consort would do with this music, but this set fills the major gap in the Purcell canon quite nicely.

My only beef with the reissue, as with many reissues, is that the liner notes are rather thin for a 6-cd set--the lyrics to the songs, for example, are especially missed. Still, it's a worthwhile set, and a must for fans of Purcell, English Baroque music, or anyone who just wants to experience a taste of the last days of the Restoration stage.

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