Greatest Hits

Greatest Hits


With 47 tracks, this is a genuine 'Greatest Hits' album, and it is usually available at discounted prices, so if you want one sprig of Hollies in your collection, this is the one to pick. The current alternatives are Sony's single-disc 2002 The Hollies' Greatest Hits, and the Anthology album. The latter looks like the worst choice because it omits the earliest hits like Bus Stop and On A Carousel. That's like a Beatles collection without She Loves You or I Want to Hold Your Hand. The Sony disc has 13 tracks that comprise all the essential songs and sells at about the third of the cost of this CD new, and about half the cost when used copies are compared. The insert notes on the Sony disc are minimal. Go for that only if you are really counting pennies, otherwise opt for this one.

The insert notes incorporate the excellent idea of pictures of every lineup (a dozen) over the years, with names to let you know who's who. In every picture, from 1963 to 2003, Tony Hicks looks just the same! There are also track listings that tell you at least as much as you want to know (Jennifer Eccles reached number 2 in Malaysia).

The group is still going, albeit with no original members apart from the ageless Hicks, although Bobby Elliot is almost original. Actually, the lineup has changed less frequently than most perennial groups but for me, Alan Clarke was the essential member, and during his brief absence in the 70s and since his retirement, they are The Hollies in name only. Clarke's singing is their trademark. Graham Nash got more attention, because of his later association with Crosby, Stills & Nash (& Young). But Nash was never a great singer, in either group. Watch the DVD of The Monterey Pop Festival to hear just how bad CS&N could be.

The Hollies are light and frothy and poppy, but musically good nonetheless. They are very derivative. They are an amalgam of The Everly Brothers and the early Beatles. It is no surprise to see that many of these tracks were recorded at Abbey Road, including a George Harrison song, If I Needed Someone. Their lack of seriousness is most plainly heard in their kitsch, big-band swing version of Dylan's Blowin' In The Wind, which has to be heard to be believed. But they are great fun and very listenable. And let's not forget that He Ain't Heavy, He's My Brother is one of the very greatest popular songs ever. That particular song absolutely has to be in your collection.

The Piper At The Gates of Dawn

The Piper At The Gates of Dawn (3-disc Bundled Package)



1967's "The Piper At The Gates Of Dawn" is the one that started it all for Pink Floyd, back in the early days when bassist Roger Waters, keyboardist Richard Wright & drummer Nick Mason were led by the genius, but doomed singer/guitarist Syd Barrett. Psychedelic rock doesn't get much more trippier than "Piper," a totally far-out collection of avant-garde space rock, songs about gnomes and scarecrows, off-the-wall production and sound effects, and superb performances by a tight British art-rock band that were destined to become rock legends. Although he made one last "cameo" appearance with the Floyd on their second album, "A Saucerful Of Secrets" with that album's closing number, "Jugband Blues," the lion's share of Syd Barrett's legacy with the band is all contained right here on "Piper," barring a few early singles. Writing all but one song, and, with a charismatic singing voice and incredible guitar-playing skills, Barrett was truly a musical genius, and his equally-talented bandmates match him song for song. Every track on the album is a highlight in it's own right, but certainly worth mentioning are such tracks as the opening space rock of "Astronomy Domine," the before-there-was-alternative alternative rock of "Lucifer Sam," the far-out instrumentals "Pow R Toc H" and "Interstellar Overdrive," the frenetic rock of "Take Up Thy Stethoscope And Walk" (written & sung by Waters, in his debut composition for the band), the charming tale of "The Gnome," and the classic, half children's song/half freak-out finale, "Bike," which starts out cheerily enough before giving way to some deliciously wacko noises and sound effects.Sadly, and tragically, shortly after the release of "Piper," Syd Barrett's experimentations with psychedelic drugs ultimately destroyed him, and he was finally ousted from the band. Roger Waters more-or-less took over as the group's leader, and Barrett's vacated slot was filled by guitarist David Gilmour. Barrett, despite his drug-addicted state, would record a pair of solo albums before dropping out of the music business altogether. Not well enough to look after himself, he quietly lived in the care of family members until his death in 2006. Pink Floyd, meanwhile, would go on to major superstardom and sell millions of albums, with such classics as "Dark Side Of The Moon," "Wish You Were Here," "Animals" and "The Wall." But "The Piper At The Gates Of Dawn" was the band's very first chapter, and one that would not have been possible without the great Syd Barrett. "Piper" is outstanding psychedelic rock, and a Pink Floyd classic. And thank you, Syd, wherever you are.

The Essential Lynyrd Skynyrd

The Essential Lynyrd Skynyrd



If all you know about Lynyrd Skynyrd is "Sweet Home Alabama" and "Free Bird," this album will open your eyes. From their 1973 debut through 1977's Street Survivors (released just three days before the fatal plane crash), Skynyrd was responsible for some of the most powerful rock music of the Seventies. The triple lead-guitar threat of Allen Collins, Gary Rossington and Ed King (later replaced by Steve Gaines) coupled with the gritty vocals of songwriter Ronnie Van Zant was indeed a potent combination. In addition to the aforementioned songs, "Gimme Three Steps," "Saturday Night Special," "Gimme Back My Bullets" and "That Smell" (among others) have become FM radio staples. If you want to delve even further into the band's history, pick up either of their first two albums or Street Survivors. Their three-disc box set also offers a healthy dose of demos and live cuts. HIGHLY RECOMMENDED

Live Licks

Live Licks



The Rolling Stones: another tour, another live album (after "Flashpoint", "Stripped" and "No Security" to document the previous 3 tours), are you surprised? The twist this time is a double-CD, one documenting the hits and one with more obscure songs.

"Live Licks" (23 tracks, 109 min.) gives "Greatest Hits Live" on CD1 (11 tracks, 49 min.), and is totally unnecessary. I mean, do you really need aonther live version of, say, "Start Me Up" or "Satisfaction"? Much better is CD2 (12 tracks, 60 min.), which brings first-ever CD live versions of such lesser-known classics as "Monkey Man" (the best song on this collection), "Can't You Hear Me Knocking", "Worried About You", but also nice covers such as "Everybody Needs Someone to Love" and "That's How Strong My Love Is". Given the depth of the Stones' catalogue and their varied song selection on the "40 Licks" tour, it's surprising that the CD's full 80 min. is not used.

If CD2 of "Live Licks" had been issued as a single CD, I would have rated it 4 stars. CD2 is reminiscent in fact of the succesful strategy behind "No Security", which I still think is a pretty good live collection. Anyway, having seen the Stones on the "40 Licks" tour, I thought this is a pretty nice tour souvenir. I just won't play CD1.

Tchaikovsky: Nutcracker

n USA we have come to associate the Tchaikovsky ballet, the Nutcracker, with the holiday season in November-December-January. Whether you call this season Christmas, Hanukkah, Winter Festival, or something else, if you live in a large USA city with a professional ballet company, chances are very high that they will be giving the Tchaikovsky Nutcracker.

Too bad dear old gay Tchaikovsky is not still alive to be an icon of the gay pride parades while he rides in a solid gold pink Cadillac down main streets in San Francisco, Chicago, New York, Boston, Atlanta, Saint Louis, Miami, Dallas, to show off his royalty monies, maybe.

And at first glance, Russian pride of show seems to be the point here. We get a real, working professional Russian opera and ballet orchestra from the Bolshoi Theater, Moscow. Our conductor is the current Bolshoi music director (since 2001), the gifted and brilliant Alexander Vedernikov. And our engineers are the redoubtable multi-channel super audio team from Polyhymnia in the Netherlands who are doing about as much as anybody else ever has to bring us the best Russian orchestras and soloists now playing or singing before the public.

The bottom line here is nothing but sheer musical magic.

My previous fav sets of the Nutcracker have been the two outings led by Antal Dorati, one with the LSO on old Mercury Living Presence LP's, and the other with the Royal Concertgebouworkest which also came out in the vinyl era, I think. When CD's came along, both of these recordings were quickly transferred to the new format, and now although the CGBO reading lags behind, the LSO reading has also been transferred to super audio.

I can listen to quite a range of approaches in this music, since after all, it is a ballet and probably has had its tempos and textures adjusted in live performance, as many different times as different star soloists and ballet companies have danced it. That said, a recording is above all an auditory outing, like hearing the full ballet performed in a concert setting.

Marvelously, what the band and conductor give us here is a lovely combination of all the best traditions and approaches.

For one thing, since Vedernikov's claim to fame is that he leads real world opera and ballet, all over the world now (including Milan's La Scala), we can hear a reading grounded in the real world in a real music hall. The technical notes are not exact, but it seems as if the venue here is indeed the Bolshoi Theater. Its probable recreation in your own home theater five channel listening room will be subtle, but full, present, vivid, and vital. Bravo, Polyhymnia team.

Like the famed Antal Dorati, Vedernikov encompasses this ballet story as one great whole. Not a symphony, but symphonic in sweep, color, scope, and drama nonetheless. No solo passage or set piece is neglected, but each smaller section unfolds inside a coherent larger music view. One comes to the end of each Act, glowing and satisfied to have been hearing all that has just passed. One would guess that Vedernikov has led enough live Bolshoi Nutcracker's to bring all the athletic grace and power of real dance to this reading, too. The tempos are amazingly rock steady, without becoming dogged. Their integration and flow keeps us moving right along as the ballet's story unfolds. Inside his chosen tempos, Vedernikov encourages the band departments to characterize brilliantly, as if the Late Romantic era had indeed invented the palette that later splashed across our High Definition video screens in a zillion digitized colors.

Between hearing the two acts, I realized that two other conductors were coming to mind as points of reference for the lovely magic that Vedernikov and his Bolshoi players are capturing. One is the legendary figure of Evgeny Mravinsky. I don't think he ever got to record the Nutcracker commercially, but his Tchaikovsky is deservedly recognized. Mravinsky's recordings of the Tchaikovsky symphonies captured all the Slavic soul and sweetness, carried along on the floating, athletic, balletic grace that Vedernikov and company bring to bear in this set. My other conductor is still living. Anthony Pappano often leads performances which manage to capture his music whole, while not stinting on the many particulars. Pappano is also an experienced opera conductor, and so his readings always sing and breathe. Bravo, Vedernikov, for soul, singing, strength, and athletic grace.

None of this inspired leadership would be so lovely if the band were not equal to the challenge. No department of the Bolshoi orchestra fails or lacks. The woodwinds are scintillating. Woody lower reeds to root or medium reeds giving character. Platinum upper lights to give shine or ice. The strings carry the bulk of the musical work, never showing a second of boredom or over-familiarity or deadness of phrasing. We hear nary a hint of any of the old Soviet orchestra shortcomings. No thinness in the strings. No wobbles in the brass, not even the horns. No over-balancing by the woodwinds. One imagines this orchestra has played this ballet music so many times that any member could do it, asleep. But the Bolshoi is certainly not asleep here. Awake, involved, and seeming still to be in deep and fast love with music and with ballet and with Tchaikovsky.

To round out the second disc, you get an excerpt from Swan Lake, plus the polonaise from the opera Eugene Onegin. My idea? Get these wonderful performers to do the other two Tchaikovsky ballets as soon as possible. Then add in the complete symphonies, including Manfred.

These days we can so little afford to take any incarnation of love for music, for granted. If you already have a Nutcracker you dearly love, this set will keep it very good company. If you do not have a Nutcracker, this set will start you right off, at the top of the super audio recordings heap. Let your listening room be transmuted into the Bolshoi Theater, Moscow.

Christmas With The Westminster Choir

Christmas With The Westminster Choir

I must admit, this took a few good listens to really appreciate ALL of the tracks (upity versions of songs like "12 Days of Christmas" always make me chuckle), but this really is a cd of beautiful vocals with carols you don't often hear. A magnificent version of "Carol of the Bells". Enjoy!

The Best of Andrea Bocelli - 'Vivere

The Best of Andrea Bocelli - 'Vivere'


Andrea Bocelli, the world's most popular tenor (and Best selling) and pop sensation as well, has recorded The Best of Andrea Bocelli, Vivere what is a wonderful collection of his crossover (semi classical pop) songs and is a must for every Bocelli fan. Every song on the CD is wonderful and all the hit songs have been re mastered (or remixed) and sound better than ever.

The Songs include a nice selection of some of Bocelli's best work (it would take a 10 CD set to give us all of his best work-both clasicl and Popular); Bocelli has a very beautiful voice, that expresses much emotion. His tone and diction are excellent and his Volume is much better then the critics claim, he voice is always moving, his singing touches one's heart and goes righ into ones soul. The tracks include Songo; from the Songo album; It may be his best song ever. IL Mare Calmo Della Sera from the Romanza album (and an Earlier Album with the tital IL Mare Clamo Della Sera); this was his first hit and was used my Todd Eldridge, figure Skater, in the Olympics and US championships. Canto Della Sera, from the Songo album; Besame Mucho, from the Amore album; Mille lune Mille Onde, (included on the Delux edition as an extra track and is the song used in the Brilla Pasta advertisement) from Cieili Di Toscana; Time to Say Goodbye-Con Te Partino (with Sarah Brightman), from the Romanza album; Vivo Per Lei (with Giorgia who is an Italian pop star with a wonderful voice) from the Romanza album; Melodrama from the Cieli De Toscana album; The Prayer (with Celine Dion, from the Songo Album and the Quest soundtrack, (as well as Celine Dion albums;) and Because We Believe from the Amore album, the great theme for the Olympic's in Italy.

The songs also include a new English/Italian version of Vivere called Dear To Live; with Laura Pausani a popular Italian singer. A wonderful song called La Voce Del Silenzio; a beautiful song called A TE; A very cool classical song with Lang Lang, on Piano, called IO CI SARO; and another song, very contemporary, called BELLISSIME STELLE which may be my favorite song on the CD.

The Deluxe edition comes with one extra songs as I mentioned above and also a bonus DVD that was 8 live songs from Bocelli's Statue Of Liberty concert, which was recorded back just after the release of the Songo album; and just after His Father died, the concert is very emotional and very beautiful. You can see the wonderful New York City in the background and the Twine towers standing proud. It is a wonderful DVD it looks fantastic and sounds fantastic. My only complete is that its not the whole concert. The whole concert has only been available from PBS as a VHS tape. The 8 songs are La Donna E Mobile; Di Quella Pira; Brindisi-Cavaileria Rusticana; O Soave Fanciull; Santa Lucia Luntana; Torna A Surriento; O Sole Mio; And Brindisi-La Travita. If you can I would pop the few extra bucks for the Deluxe edition and get the DVD.

This is a great CD (and or set) for any Bocelli fan, for the fan because it has the 5 new songs (4 new and one alternative version). And is a great set for new fans because it has many of his hits. this would be a good first CD for someone new to Bocelli.

Phantom Of The Opera

Phantom Of The Opera


When I first heard the music from 'The Phantom of the Opera' 8yrs ago, almost instantly, a surge of emotion and inspiration tingled up my spine and I was in awe of the brilliance of Andrew Lloyd Webber, Charles Strouse, and Richard Stilgoe. The composer, Lloyd Webber, has simply out done himself in this album, more so than in any of his other fantastic musicals. Not only did he choose a fascinatingly mysterious story to create his operatic musical, but his music is so powerful and so stirring for the listener, that they become part of the action in the musical. The lyrics, written by Charles Strouse and Richard Stilgoe, are brilliantly descriptive which creates rich imagery for the listeners. With the combination of both Lloyd Webber's compelling music and the lyricists' words, 'The Phantom of the Opera' is infallable. 'The Phantom of the Opera' consists of a number of songs which would appeal to listeners. The title song, "The Phantom of the Opera", involves the two leading characters, the Phantom and Christine, singing of how the former is incessantly in the mind of the latter. As this song contains rock and opera it would appeal to a wider variety of listeners. "The Music of the Night", one of Lloyd Webber's greatest pieces of music, is one of the most descriptive songs I have ever heard. A soft and haunting tune, this song's lyrics evoke fantastic description for listeners, and create a tension yet a resolution; and is in fact rather paradoxical, but amazing to listen to, as it is powerfully beautiful. "All I Ask of You" is one of the few positive songs in the album, which reveals the strong love between the main female character, Christine, and another central character, Raoul. This song has a touch of opera but is more of a 'musical' type song. Once again the lyrics are superb, involving passionate description. "Wishing You Were Somehow Here Again", is a very stirring song on this album, as it is set in a graveyard. Christine creates a sense of sadness as she sings of how she misses her father, and the listeners are coerced into pitying her situation. Lloyd Webber's music is powerfully emotive and the lyrics are passionate, and thus appeals to the listener's own emotions. "Past the Point of No Return" is another haunting song in this album. When the Phantom sings it, with Christine, he is disguised as another character and he is actually performing to an audience on the stage. This song reveals the situation to the listeners, Christine is past the point of no return, she cannot turn back and must stay with the Phantom all of her life in his dark 'dungeon' below the opera house. The music and the lyrics are both emotive and stirring. The last scene is full of action and resolutions. However, the album leaves the listeners with a mystery, as the Phantom dissapears and leaves nothing but his mask. Yet, the last scene brings my favourite part of music in the whole album, which is when Raoul and the Phantom are singing together; The Phantom: "For either way you choose, you cannot win"; Raoul: "Either way you choose, he has to win." The harmony and the power created when these lines are sung are just outstanding and emotionally stirring. On every other 'Phantom' album I have heard I have not heard it sung nearly as well. Portraying a deformed, violent, obsessive murderer, yet passionate in music and Christine, Michael Crawford had a challenging task ahead of him when he was playing the Phantom. Yet, out of every Phantom I have heard, he is the greatest. Indeed he is not as emotional as Colm Wilkinson (who breathes too much in his portrayal), but he portrays the Phantom graciously and smoothly; Crawford has a massive lung capacity, as he holds onto notes for large amounts of time. The songs in the Phantom do not call for an abrupt and loud voice, as Colm uses in the "Original Canadian Cast" version, but a compellingly soft and smooth voice in which Crawford uses in this album. In fact, I believe Crawford uses fantastic emotions to depict the Phantom, such as when he is singing "I gave you my Music..." at the end of the first disk; the emotions Crawford uses are not over the top, but they are just right, and in my opinion, no one has matched Crawford's unique ability to portray the Phantom yet. Sarah Brightman, out of every other 'Phantom' I have heard, depicts Christine far greater than anyone else. Her voice is very clear and high-pitched and no one else seems to be able to compare. Steve Barton's Raoul is very good, although his voice is not very powerful, he is still very emotive. Overall, "The Phantom of the Opera" 1986 Original London Cast, is by far the greatest album to buy out of all of the other albums. The cast is the best I've heard and the music and the lyrics are awe-inspiring. I have one complaint, though; I would have loved the album to be complete. However, Andrew Lloyd Webber is a genius and with his lyricists has immortalised Gaston Leroux's early twentieth century gothic novel.