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Year and a Half in the Life Of... Pts. 1 & 2 [#1]
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Year and a Half in the Life Of... Parts 1 & 2 documents the
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recording and promotion of the group's 1991 self-titled, Grammy-winning effort, aka the Black Album. The first part of the documentary follows the group in the studio, writing and recording songs like "Enter Sandman," "Sad But True," and "Unforgiven," and also covers the music video shoots for the album's singles. The second part gives a warts-and-all look at the band's marathon tour around the world supporting Metallica and includes clips from their appearances at the Grammys, the MTV Music Awards, and the Freddie Mercury tribute concert. At four hours long, Year and a Half in the Life Of... is meant for hardcore fans only, but for them it provides a remarkably extensive and candid look at all the aspects of Metallica's existence. ~ Heather Phares, All Music Guide
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Exit 0
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Steve Earle once told a reporter that after listening to
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the final mix of 1987's Exit 0, he and his band hopped on their tour bus and played yet another gig that night, which is what they'd been doing during most of their time off from recording sessions. Exit 0 was recorded with Earle's road band, the Dukes, instead of the usual team of Nashville session pros, and as a consequence it boasts a leaner, tougher sound than his debut, Guitar Town, though the slightly slick cookie-cutter production by Tony Brown, Emory Gordy, Jr., and Richard Bennett saps a bit of the music's power. The album features a few great songs, including "I Ain't Never Satisfied" (which could practically be Earle's theme song), "The Week of Living Dangerously," "The Rain Came Down," and "Sweet Little '66," but there's a faint hint of sophomore slump to Exit 0 -- "No. 29" is far too sentimental for its own good, the Doug Sahm homage "San Antonio Girl" isn't nearly as good as the songs that clearly inspired it, and "Angry Young Man" feels like filler, something in short supply on most Steve Earle albums. Exit 0 is just uneven enough to qualify as a genuine disappointment, though that's within the context of Earle's body of work; this is still livelier stuff than nearly anyone in Nashville was cranking out at the time (short of Dwight Yoakam) and the high points confirm the guy who wrote "Guitar Town" had more fine tunes where that came
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1962-1966
$35.99
Assembling a compilation of the Beatles is a difficult
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task, not only because they had an enormous number of hits, but also because singles didn't tell the full story; many of their album tracks were as important as the singles, if not more so. The double-album 1962-1966, commonly called The Red Album, does the job surprisingly well, hitting most of the group's major early hits and adding important album tracks like "You've Got to Hide Your Love Away," "Drive My Car," "Norwegian Wood," and "In My Life." Naturally, there are many great songs missing from the 26-track 1962-1966, and perhaps it would have made more sense to include the Revolver cuts on its companion volume, 1967-1970, yet The Red Album captures the essence of the Beatles' pre-Sgt. Pepper records. ~ Stephen Thomas Erlewine, All Music Guide
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Super Hits of the '70s: Have a Nice Day, Vol. 13
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Latching onto this volume of Rhino Records' Have a Nice Day
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series is like finding a rich vein of tin -- yes, mining it might make you rich and successful, but there's no glamour in it. The opening track, Maria Muldaur's "Midnight at the Oasis," fools you because it's actually a worthwhile and enduring piece of pop/rock that wouldn't do anything but delight audiences in any era -- and some of the stuff here, such as Golden Earring's "Radar Love" and Wet Willie's "Keep on Smilin'," does endure about as well as the Muldaur cut. On the other end of the scale are numbers like Jim Stafford's "My Girl Bill," which is too cute for its own good no matter how you take it, and is the kind of record that made many '60s listeners think of giving up radio, and "Billy Don't Be a Hero" by Bo Donaldson & the Heywoods, which could have pushed people over the edge if the Stafford song didn't -- although it was at least encouraging as a change in attitude from earlier songs such as "The Ballad of the Green Berets" and "Long Live Our Love," which seemed to celebrate the meat-grinder carnage of Vietnam. In between those poles are Andy Kim's "Rock Me Gently" and Bo Donaldson & the Heywoods' "Who Do You Think You Are," passable airwave fillers that are of interest here for the clarity that the CD mastering gives them, which allows one to appreciate the playing and craftsmanship of those records. Similarly, one is unlikely to own First...
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Super Hits of the '70s: Have a Nice Day, Vol. 3
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The 37 minutes of prime early '70s radio fare on this, the
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third volume of Super Hits of the '70s: Have a Nice Day, shows just how lucky AM radio listeners were in 1970-1971. The material runs the gamut from heavily produced pop/rock product like the Partridge Family's "I Think I Love You" through Mungo Jerry's skiffle-like international hit "In the Summertime," to the downright strange, chant-like "Neanderthal Man" by Hotlegs (the post-Mockingbirds and Mindbenders, pre-10CC incarnation of Eric Stewart, Kevin Godley, and Lol Creme), but it's all eminently listenable, and much of it is surprising. Alive & Kicking's "Tighter, Tighter" was one of Tommy James's big successes of his post-Shondells career, as well as the one national hit for which the Brooklyn-based group is remembered. Similarly, Brian Hyland's blue-eyed pop-soul rendition of Curtis Mayfield's Impressions-era classic "Gypsy Woman" was a triumph for producer Del Shannon, returning Hyland to the charts for the first time in eight years. There are lots of one-shots and near one-shots here: Denver-based Sugarloaf's "Green-Eyed Lady" seemed to point the way to a big future that somehow got derailed -- why the Jerry Corbetta-led quartet couldn't come up with another hit for four years is anyone's guess, given that this was an original and the group (especially Corbetta at the keyboards) had a field day expanding the song in s...
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Super Hits of the '70s: Have a Nice Day, Vol. 9
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A celebration of hits from 1972, this volume of Have a Nice
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Day opens with a great one-two punch and stays strong until near the end, when it falls into a boringly conventional vein. The intro is "Brandy" by Looking Glass, one of the most powerful one-shot hits of the decade, and in second spot is the upbeat, catchy acoustic-textured "Beautiful Sunday" by Daniel Boone, which, if it isn't in the same league with Looking Glass's entry, at least has great hooks and holds up to repeated listening. Gary Glitter's strange, quasi-instrumental (or at least wordless) Top Ten hit "Rock and Roll Part 2" represents one of the more successful glitter rock entries onto the U.S. charts, and "Speak to the Sky," a number 15 hit by Rick Springfield in 1972, is closer in spirit to the good-time music of the later Easybeats than to the earnest emoting of "Jessie's Girl" a decade later. "Popcorn" by Hot Butter was an almost proto-disco number that, despite its underlying silliness, had an almost hypnotic power over listeners with its swirling synthesizer arrangement and the soaring melodic arc at its center. Some of what's here isn't quite as distinctive as those entries; "I'd Love You to Want Me" is merely a superb piece of pop/rock from Lobo, and "I Believe in Music" is a suitably upbeat pop adaptation of a much more spiritually oriented original by Mac Davis. Cashman & West's "American City Suite," after an opening that seems to imita...
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Total Recall
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Total Recall is Negative Approach's complete discography --
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essential '80s hardcore with an impact that will always feel extreme. Minor Threat and Bad Brains traveled similar loud/fast ground, but NA were a direct line to pure hate and anger. The band never sounds cartoonish, just stripped-down and mean, a sound that could have only come from Detroit. "Can't Tell No One," "Nothing," and just about every other studio track are hardcore anthems waiting to be discovered by the next confused kid who cannot stand a repressive world. The only lacking material on Total Recall comes from the live shows that round out the release. This is due to poor sound quality that makes them barely listenable, though the Stooges and Blitz covers are of historical note. The songs culled from the Touch and Go seven inch, the Process of Elimination compilation, and the Tied Down twelve inch however, are a powerful enough document to make Negative Approach matter well beyond the times that produced them. ~ Matthew Kantor, All Music Guide
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Barcelona
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With Barcelona, Queen singer Freddie Mercury realized his
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long-lived dream of performing with an opera singer; in this case, Montserrat Caballe. While it's certainly a treat for any fan of Mercury's to hear this album, it's a difficult record to recommend. Most fans of opera will probably find it far too simplistic and pop-based, while many rock fans are sure to find the record too classical. The first half of the album, however, is deserving of a spin for any open-minded listener. Consisting of semi-operatic melodies with grand production, songs like "Barcelona" and the Eastern-sounding "La Japonaise" are startling in their beauty; the two singers from opposite ends of the music spectrum working surprisingly well off each other. The most classically operatic pieces of the project, "Ensueno" and "The Fallen Priest," are alternately gorgeous and powerfully dramatic. Unfortunately, the second half of the album is less successful as it reverses the formula of the first half. While Mercury can do well in semi-operatic settings, Caballe sounds awkward on the more pop-oriented tracks "Guide Me Home" and "How Can I Go On." "The Golden Boy," largely a gospel track with a full choir, is well-written and performed by Mercury, but Caballe's voice is simply not suited for the genre and the operatic opening sounds jarring against the gospel midsection. Nonetheless, despite its weaknesses, the record con...
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Big Hits and Nasty Cuts: The Best of Twisted Sister
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Big Hits and Nasty Cuts: Best of Twisted Sister rounds up
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ten of the metal band's best-known songs, including "We're Not Gonna Take It" and "I Wanna Rock," adding five live tracks as an enticement for hardcore Sister collectors. Even though the live tracks are of questionable quality, the disc remains an excellent summation of the group's career. ~ Stephen Thomas Erlewine, All Music Guide
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Blind
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Featuring gentle, folk-based guitars and pop melodies, the
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Sundays' second album isn't much of a sonic departure from their first album. While it does have several fine numbers, it doesn't have as many outstanding songs as Reading, Writing and Arithmetic; nevertheless, Blind will please most fans of the group. ~ Stephen Thomas Erlewine, All Music Guide
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Bone Machine
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Perhaps Tom Waits' most cohesive album, Bone Machine is a
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morbid, sinister nightmare, one that applied the quirks of his experimental '80s classics to stunningly evocative -- and often harrowing -- effect. In keeping with the title's grotesque image of the human body, Bone Machine is obsessed with decay and mortality, the ease with which earthly existence can be destroyed. The arrangements are accordingly stripped of all excess flesh; the very few, often non-traditional instruments float in distinct separation over the clanking junkyard percussion that dominates the record. It's a chilling, primal sound made all the more otherworldly (or, perhaps, underworldly) by Waits' raspy falsetto and often-distorted roars and growls. Matching that evocative power is Waits' songwriting, which is arguably the most consistently focused it's ever been. Rich in strange and extraordinarily vivid imagery, many of Waits' tales and musings are spun against an imposing backdrop of apocalyptic natural fury, underlining the insignificance of his subjects and their universally impending doom. Death is seen as freedom for the spirit, an escape from the dread and suffering of life in this world -- which he paints as hellishly bleak, full of murder, suicide, and corruption. The chugging, oddly bouncy beats of the more uptempo numbers make them even more disturbing -- there's a detached nonchalance beneath the horrific visions. Even the narrator of the catchy, playful "I Don't Wanna
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Shadows & Light
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This is a big step forward for Carnie and Wendy Wilson and
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Chynna Phillips. Their first album, which was a phenomenal success, was shiny and happy and upbeat for the most part; this follow-up is murkier, with denser arrangements and hooks that aren't quite as obvious on first listen. This works both for and against the group. With their soaring harmonies, they bring a joyful brassiness to the hopeful "It's Only Life," which is this album's "Hold On" -- though it is far from being a blueprint. The affirmation of love on track nine, "All the Way From New York," juxtaposed with track ten, the sexy rocker "Fueled for Houston," works, and it is the brightest spot on the album. Unfortunately, though, while their hearts seem to have been in the right place, much of this material just doesn't work. In fact, they even sing in "Goodbye, Carmen": "We're convinced our intentions are good/But we live in this world often misunderstood." This certainly applies to that cut, about a maid. It's odd subject matter, and it doesn't quite fly. The girls end up sounding pretentious and condescending. Where "Flesh and Blood" is a heartfelt plea to Carnie and Wendy's estranged father, Beach Boy Brian Wilson, it gets muddled by too much synth, which makes the entreaty too cold. And "This Doesn't Have to Be Love," "Where Are You," and "Alone," which is similar sounding to "You Won't See Me Cry," the album's first single -- though it lacks that cut's co...
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Very Best...And Beyond
$14.99
The Very Best...and Beyond falls somewhere between Records
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and Rhino's anthology as an entertaining trip through the bulk of Foreigner's biggest hits. With a sufficient 17 tracks, this collection leaves out only three of the band's Top 40 hits and extends up to 1987's Inside Information album. But best of all, the album combines the strongest of Foreigner's early material ("Juke Box Hero," "Urgent," "Hot Blooded") with the most appealing cuts from the band's post-4 releases, such as "I Want to Know What Love Is," the only number one hit from the platinum-selling Agent Provocateur album, and "Say You Will" from Inside Information. Extending past Records' ten tracks, songs like "That Was Yesterday" and "I Don't Want to Live Without You" prove that the band could still churn out some amicable pop/rock material while focusing on an older audience base, with Lou Gramm toning down his vocals a couple of notches to appease more mature fans. More than anything else, The Very Best...and Beyond does an excellent job of representing Foreigner's emergence into a softer rock sound by channeling the band's talents rather than truly depleting them altogether. For anyone wanting to dive even deeper into Foreigner's career, then the double-disc Jukebox Heroes is definitely the next step. ~ Mike DeGagne, All Music Guide
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Timeless: The Classics
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It's hard to resist the notion that Michael Bolton, who
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took considerable flak in the press for storming the charts with copycat reproductions of '60s soul hits -- "(Sittin' On) The Dock Of The Bay," "Georgia On My Mind," "When A Man Loves A Woman" -- felt "suddenly compelled," as he put it here in a sleeve note, to devote an entire album to cover songs after publicly confronting his critics at the Grammy Awards ceremony in February 1992. "I believe that a great song can live forever," he also noted, and it may be added that one definition of a standard is that it can survive any treatment -- there's not much you can do to "Yesterday" or "White Christmas" at this point, and those attracted to Bolton's phlegmy approach doubtless appreciated having his takes on them. On the other hand, as with his previous R&B appropriations, versions of songs like The Four Tops' "Reach Out I'll Be There" and Sam And Dave's "Hold On, I'm Comin'" only succeeded in confirming Bolton's inferiority to his predecessors. Perhaps the most appropriate matchup (and the album's hit single) was The Bee Gees' "To Love Somebody": hacks meet hack, and the result is a draw. Still, it's hard to get through an entire Michael Bolton album without pondering the question-- how long can you stay that choked up without actually asphyxiating? ~ William Ruhlmann, All Music Guide
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Uh-Oh
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Uh-Oh was only David Byrne's second pop-oriented solo album
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and his first to be released after the formal end of Talking Heads. Though informed by his various investigations into world music, the album was a natural successor to the Talking Heads records, relying on involved percussion tracks topped by Byrne's quirky singing and lyrics. By this point, disaffected fans may have grown accustomed to the idea that a David Byrne solo album could contain anything from an extended flirtation with Latin styles (Rei Momo) to an eclectic instrumental score (The Forest), to name only his most recent solo projects. Maybe Byrne and his record label failed to get out the message that he was back to making Heads-style pop/rock (he didn't organize a tour until the album had come and gone on the charts), but Uh-Oh never reached its potential audience. Talking Heads fans should give it a listen. ~ William Ruhlmann, All Music Guide
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