This album is flawless, Led Zeppelin jamming though their greatest hits live. The most striking thing is the sound quality, it's clear and crisp and absolutely punchy! Led don't stop on this album, at all, each song sounds slightly improvised and jammed. The rock highlights, like Immigrant Song, kick you right in the ears and the slower numbers, like Thats The Way, pull at your heart, they're very emotional and heartfelt.
All in all, this album is like having a private Led Zeppelin concert in your room, and common, who wouldnt want that?
>>More Details
It's strange to see how split opinions are on this album but I'm sure David Coverdale would rather elicit strong views either way than just have everyone say "Yes, it's okay I suppose".
Personally I wasn't overly impressed when I first played it. In fact I was very disappointed. However, as Whitesnake played such an important role in my musical development I persevered for a couple more listens and boy am I glad I did. While it is not perfect, it is still a very strong addition to the catalogue. I'd advise those of you who binned it earlier to revisit it and you might just realise that you made a mistake.
>>More Details
This was one of my earliest Hooker purchases and remains one of my absolute favourites.
The track selection is very good - given the HUGE number of Hooker recordings, its often hard to find a compilation without 2 or 3 duds, but this CD is an exception (apart from Baby Lee, which I've never rated).
Throughout, you are treated to the great man's totally distinctive sound - his stark, plain but striking voice and guitar, all of it entirely unadorned and unembellished - just a great master growlin' and howlin' and pickin' the blues!
An excellent sample of JLH's work, and one that has remained a favourite despite the passing years and expanding blues collection. You won't be disappointed.
>>More Details
Not a Rolling Stones album of course, but a fascinating source of information and exploration for anyone interested in finding out about the music that influenced the Greatest Rock 'n' Roll Band in the World (and should'nt that be Rhythm & Blues Band anyway?) when they were just a group of music mad teenagers scattered around various parts of North Kent, South London and Gloucestershire.
Rumour has it that Mick Jagger was carrying some of this very music with him when he first met Keith Richards on Platform 3 of Dartford Railway Station c.1962. Meanwhile down in Cheltenham, Brian 'Elmo' Jones was perfecting his Elmore James licks and working his way through the Muddy Waters songbook, including noting that Rolling Stone Blues might make ... Read More:
>>More Details
How do you follow a trio of the best rock albums in history, a ground-breaking world tour and a neck-breaking motorcycle accident? And how do deal with a music market which has, at the same time, Pet Sounds, Are You Experienced and Sgt Pepper......
Answer: you release an album of material so different, so low key and so laid-back that people have to really listen and think about it: John Wesley Harding.
The album has parables, stark tales, allusions to Bob's state of mind and his journey of self-discovery. It's fascinating, not just because it sounds nothing like Blonde on Blonde or the Basement Tapes, but because the music and lyrics are much tighter and simpler that most of Bob's previous work.
David Gilmour's second solo effort from 1984 see's him deliberately getting away from the distinctive, timeless sound of Pink Floyd. In doing so, About Face today sounds very much 'of its time' - drenched in mid-eighties synth, drums and an awful 'Phil Collins-esque' horn section.
Thats not so say there aren't redeeming factors here. Gilmour's solo's - when allowed to break through the horrid 80's gloss - are great, and there are some decent songs (Murder, Out Of The Blue, Near The End) but there is a lot that is instantly forgettable.
If you want Gilmour on top solo form get his 2006 'On An Island' album, or check out his amazing live DVD's.
'Me and Mr Johnson' has some solid playing from EC and his love and mastery of Robert Johnson's musics is pretty evident on this album. I think the reason why this album gets slated as much as it does is because the terrible Simon Climie production relegates it to the 'elevator' music described by other reviewers. The music and playing are pretty good (although without the fire and passion of 'From the Cradle') but the production is yet again flat and uninspiring. When will EC learn everyone hates this style of production and it does nothing for his music? This album is very polished and slick, which detracts from the rawness of the blues played, but there are some good tracks here and it's a good homage from EC of Johnson's amazing playing and song writing. A solid 3 stars, but ... Read More:
>>More Details
If this was the best of Clapton then there would be none of his albums in my collection. No surprise to see Phil Collins was involved, this is Clapton sans fire, sans soul, sans almost everything. Despite his inconsistent output he has produced some magical albums from Mayall onwards, be picky there are much much better albums than this MOR, corporate moneygrabber.
>>More Details
If this was the best of Clapton then there would be none of his albums in my collection. No surprise to see Phil Collins was involved, this is Clapton sans fire, sans soul, sans almost everything. Despite his inconsistent output he has produced some magical albums from Mayall onwards, be picky there are much much better albums than this MOR, corporate moneygrabber.
>>More Details
As a long standing Free fan (probably one of the oldest!) I was really surprised to find an album I had not got. Well, I have now and it is superb. Yes, there are several versions of Alright Now etc., but they are so contrasting in style. It is a pure gem and I for one, will be playing it all day every day.
>>More Details