Let It Roll

Track Listings

1. Maybe Someday Baby

2. Fool for Your Love

3. Shama Lama Ding Dong

4. Keep on Sittin' on It All the Time

5. Some Kind of Wonderful

6. Easy Comin' Out

7. Is a Blue Bird Blue

8. Baby, What You Want Me to Do

9. Love Song Medley

10. Johnny B. Goode

11. First Impressions

12. In a Letter

13. Love Sickness

14. Ocean Boulevard

Let It Roll,Various Artists,Ripete Records,Pop,Pop/Rock,Popular Music,Rock,Soul/R & B

Let It Roll

Tracks:

Two Of Us
Dig A Pony
Across The Universe
I Me Mine
Dig It
Let It Be
Maggie Mae
I've Got A Feeling
One After 909
The Long And Winding Road
For You Blue
Get Back

Amazon.com

Sloppy in conception, and even sometimes in the playing, Let It Be often gets a bad rap. Unfairly, as it's often as charming, well written, and (oh yeah) rocking as the Beatles' "better" albums; it's also more outright fun than Abbey Road, the masterpiece it followed into the stores. With Lennon and McCartney working together on the perfect "I've Got a Feeling," "Two of Us," and "Dig a Pony," it's hard to believe these guys were about to implode. --Rickey Wright

Customer Reviews:

Let it Beatle.......2007-07-30

I bought this CD specifically for a copy of "Two of Us" for music for my son's wedding and was surprised how well all of the music continues to hold up. Of course, I have the vinyl album from back in the day but it was never one of my very favorites. I am really glad I rediscovered it. And, of course, it is the only Beatles album produced by Phil Spector. How time does bring things to circle.

I'M TIRED, SO TIRED...........2007-07-12

TO MY SURPRISE, NOTHING REALLY STOOD OUT AS I EXPECTED IT TO. THIS ALBUM DIDN'T DO IT FOR ME 35 YEARS AGO EITHER. I WAS HOPING I WAS WRONG; PERHAPS I'M JUST TIRED LIKE 'THEY' WERE THEN...

The Convoluted End.......2007-07-08

The heavy black border on the front cover, the inexplicable reversion by the band members to "younger" looks, the red apple label, the "new phase Beatles album" line on the back cover, all played their part in confusing one particular 13-year-old upon this album's release. It would only be about five years later, once the Beatle literature began to proliferate in earnest, that I comprehended the situation behind what many commentators bemoaned as a painfully weak finish to a spectacular musical career, indeed epoch. All these years later I still find myself agreeing that it was a shame the Beatles didn't keep this one in the vault and let Abbey Road stand as their true swan song.

Overall, though, Let It Be really does little to tarnish the Beatles' reputation. There are small pleasures here that stand the test of time better than some of the Beatles' more grandiose efforts. "Two of Us" and "Get Back" can proudly take their place among the best of Lennon-McCartney, and even the overproduced "Across the Universe" and "The Long and Winding Road" still have a haunting melodic beauty.

And the Beatles, being the Beatles, didn't leave this without an odd wrinkle or two in the backstory. For one thing, this is the album for which the final Beatles recording sessions were conducted. Absent John, the rest of the group convened sometime after Abbey Road was put to bed to record George's "I Me Mine", which was featured in the Let It Be film, but only in rough form. They also put some finishing touches to the title track. These sessions were conducted in January 1970, which gave the Beatles the barest toehold as a working group in the new decade. The initial release of the album also reportedly featured a book of photos that one commentator described over thirty years ago as "useless", though I've never seen that book and would very much like to, if only to say I did.

And there is this: the album is entirely free of even the barest hint of the sometimes painful tension on display in the film. I'm not sure what that means, except that they obviously had moments even at this nadir when they could rally and make the magic happen.

This Album gets such a bad rep.......2007-07-05

And i dont really know why. It has some of the beatles better songs on it, and its a pretty cohesive album on the whole. yes, it does seem that spector can be accused of overproduction; it would have undoubtedly been better if martin was producing. dont pass this album up. its essential to anyone's catalog.

Let It Be.......2007-06-08

I never recieved this DVD.......I emailed the seller and all he wanted was my zip code,which I sent to him....I have emailed him three times but never recieved my purchuse. I am on a fixed income and wanted it to give as a gift..I am very disappointed.....Lois Eddy

Average customer rating:

A very strange album-with one all time classic song
OH MY GOD! MAYBE THIS IS THERE BEST ALBUM? ANOTHER MASTERPIECE!
Stones And Guests make a classic.
A another Stones classic
Worth it?

Let It Bleed [DSD]
The Rolling Stones , and Rolling Stones
Manufacturer: Abkco
ProductGroup: Music
Binding: Audio CD

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Beggars Banquet
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ASIN: B00006AW2G
Release Date: 2002-08-27

Tracks:

Gimme Shelter
Love In Vain
Country Honk
Live With Me
Let It Bleed
Midnight Rambler
You Got the Silver
Monkey Man
You Can't Always Get What You Want

Amazon.com essential recording

One of the Stones' most beloved albums, 1969's Let It Bleed was a benchmark for several reasons. First, founding guitarist Brian Jones died during the recording process. Second, the Stones take their last significant look at pure blues (Robert Johnson's spooky "Love in Vain") and country ("Country Honk," the two-stepping alter ego of "Honky-Tonk Women") before folding both styles into a cohesive rock & roll vision. Third, it contains some of the band's most eerie hits, such as the flame-enveloped "Gimme Shelter," the drug-reality anthem "Monkey Man," the epic "You Can't Always Get What You Want," and Mick Jagger's menacing "Midnight Rambler." --Steve Knopper

Customer Reviews:

A very strange album-with one all time classic song.......2007-07-20

I bought this album after initially being satisfied that my 3cd Stones' compilation and their later "Jump back" compilation were sufficient for having the best Stones' songs. What changed? I saw Mick Jagger perform solo in Australia many years ago and a guy I went to the concert with got excited when a certain song started to be played [along with the audience]. I asked what it was...thought he said "Jimmy Shelter", which just confused me!

Anyway, when I heard Jagger play that song live, I considered it to be an instant classic. It's started to be played more on Australian commercial FM radio since then, fortunately. And I do remember this song being listed on some internet poll as the Stone's greatest song...a sentiment I have to agree with, or at least share the honour with "Jumpin' Jack Flash". Gimme Shelter just has has a nice subtle guitar sound and male/female vocals which put goosebumps on the back of your neck.

On this album, there is distortion of this song, and I'm guessing that the recording technology was not able to capture the bigness of this song's sound.

So, why only two stars for this album? Firstly, I don't give albums a lot of stars for merely having ONE great song on it. Secondly, like I say in the headline of my review, this album is passing strange-I did NOT expect an album full of blues and country music from a pop/rock group!

It's been a while since I've listened to this album after I bought it recentlylish [some months ago]-so, going on memory, I think that "Country honk" is what WOULD become a compilation staple, Honky Tonk Women. Unfortunately, it is a little too country for me.

This album does have other songs that often make Stones' compilations, but it's just that I don't particularly like those songs! E.g. "You can't always get what you want".

If you've never heard "Gimme Shelter" [which absolutely shines as a song due to the great female vocals in the song], then either buy this album, or the Stones' compilation "Hot Rocks". If you choose to buy this album, however, then make sure you like or are open to blues and country music.

I'm not sure if this album often gets listed as one of the Stones' great albums, but for me it is not that good [this is the only regular Stones' album I have, along with my two compilations comprising 4 cds].

For die hard fans only, I think, though Gimme Shelter is a 5 star song, in my opinion.

OH MY GOD! MAYBE THIS IS THERE BEST ALBUM? ANOTHER MASTERPIECE!.......2007-07-11

Wow! What a line up! As soon as you hear the opening guitar of Gimme Shelter you know your in for something special! I love "Country Honk" How many groups have that kind of balls to not include a classic hit like "Honky Tonk Woman" and do a country version of that song for the album? Most groups could only dream of having enough great material to do something like that! The Stones were at the top of the game between "Beggar's" & "Exile". They managed to put out four of the greatest albums of all time, a fantastic live album(Ya Ya's) and an incredible hits set with Hot Rocks! This is an album that should be in every music lovers collection!

Stones And Guests make a classic........2007-07-05

The Rolling Stones and their guests made a great one with Let it Bleed. Keith is at his best, His song Silver is one of the best. Nicky Hopkins piano at the start of Monkey man is creative.Byron Berlines fiddle makes Country Honk better. Al Kooper plays Frech horn, Piano and Organ on Cant always get what you want. Bobby Keys has a good solo on Live With Me. Ry Cooders mandolin is good on Love In Vain. Mick is great on here his vocals are great and good harmonica on Midnight Rambler.

A another Stones classic.......2007-05-24

Led It Bleed is the follow up to Beggers Banquet and its just as good if not better than Beggers Banquest with its country, blues, and rock music.

Worth it?.......2007-04-29

The album has been reviewed for content excellently on these pages. I will only comment on this New Edition.
I have listened to this album since 1973, and have LP and CD.

Was it worth to buy this Remastered version?

Absolutely. I hear things in the mix that I'd never heard before (even with my older and well-abused ears!).

Same for Aftermath, and Beggars Banquet. There's a new freshness on these re-editions that is simply staggering.
Of course, only if you have listening equipment that can capture these details... But even on my old Quad and Heresy's the difference is amazing.

Average customer rating:

Paul,it's too late....
Let It Be...Naked is a Great Studio Album
Stellar Sound
Forget the Original and Buy this one.
Good but Maybe Not Essential - For Completists

Let It Be... Naked
The Beatles
Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

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Let It Be
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Help! [UK]

ASIN: B0000DJZA5
Release Date: 2003-11-18

Tracks:

Get Back
Dig A Pony
For You Blue
The Long And Winding Road
Two Of Us
I've Got A Feeling
One After 909
Don't Let Me Down
I Me Mine
Across The Universe
Let It Be

Amazon.com

Re-recorded, remixed, overdubbed and repackaged--all before its 1970 American release, mind you--Let It Be has long been the most second-guessed album in the Beatles otherwise sterling catalog. This curious, three-decade-late, stripped-down rethink offers up yet another spin on what started as a back-to-the-roots album/documentary project called Get Back in January, 1969, but ended up as the band's de facto swan song 18 months later. Paul McCartney in particular has long been irked by producer Phil Spector's grandiose orchestra and choir overdubs to the title track and "The Long and Winding Road," and indeed the "bare" versions here have a distinct, plaintive charm lacking in Spector's typical pomp. All the various snippets of studio and live chatter that seasoned the original have been removed, leaving the recordings to be judged on their essentially live-in-the-studio merits. If the intent was to "de-Spectorize" the album, the inclusion of John Lennon's 1968 benefit track "Across the Universe" and George Harrison's "I Me Mine" (which marked the last-ever Beatles session in January, 1970) in their original versions seems equally odd, the legendary producer having appended them to the album's original track listing in the first place. The rambling "bonus disc" of conversation and song snippets culled from hundreds of hours of session and film tapes may fascinate diehard fans, but it also underscores the murky, often unfocused state of affairs the Fabs found themselves in during the last year of their remarkable career. --Jerry McCulley

Customer Reviews:

Paul,it's too late...........2007-07-29

First,kudos to Paul McCartney for enter HIS entry in the "Let It Be"/"Get Back" album "contest".Granted,it's Spector-less,sonic wise it's as clean as it can be and the new order is okay.True,it IS the better album,BUT...it's been over thirty years.A clean version of "IMM" and "TLAWR" came out on "Anthology 3" in 1996 and a clean version of "ATU" came out earlier that year on "Anthology 2".
What I'm trying to say is despite the fact that "LIBN" is the better sounding album,people are used to the original...and I don't think most people are willing to part with it.

Let It Be...Naked is a Great Studio Album.......2007-07-27

Let It Be...Naked is a great Beatles studio album. Every track on this CD is great.

I love The Beatles' music and I'm sure I always will but I never bought or wanted to buy the original Let It Be because I thought I'd wait until I had their better albums first. I already had a lot of the songs on other Beatles CD's like the 1967-70 Blue Album and Past Masters Vol. 2. The versions of these songs from Let It Be were either overproduced with the distracting girl singers and unnecessary layers of strings or they were the cold winter rooftop concert versions which is not the ideal environment to record an album in.

What is great about Let It Be...Naked is that the producers and engineers were given permission to do their jobs. They cleaned up, edited, and EQ'd the original recordings with the tools available in professional recording studios today. The result is what everyone expects today when a high budget major label studio album comes out. The engineers did a great job taking windy, noisy live tracks from the rooftop concert and cleaning them up to make them sound like they were recorded in the studio. The mix is great. You can really hear all 4 Beatles and Billy Preston clearly. The sound is crisp and punchy, the arrangements are flawless, the mistakes are fixed and the in between banter is edited out, just like every other Beatles album. I believe if The Beatles continued their routine of going into the studio with George Martin to record Let It Be it would have come out more similar to this CD than the original release.

Some people prefer bootlegs and demo tapes to professionally produced music and other people get attached to the original versions of songs. If you are one of those people you'd probably prefer the original release. Although I love to watch the rooftop concert footage which is available on The Beatles Anthology DVD's and hopefully will be available one day in it's complete form, when I listen to a Beatles CD, I want to hear the best possible produced studio recordings. Let It Be...Naked does that for these batch of songs.

Stellar Sound.......2007-07-26

Many other reviews discuss the "Spectorisation" of three tracks, which is the most glaring difference between the original and this "naked" production. Personally, I like the orchestral versions better overall (sorry Paul).

However, for those who appreciate clear, crisp sound, this remixed CD wins hands-down. I'm a former audio engineer, and am very impressed. The stereo aspect is also superior. The energy seems better, too.

I just wish I could get the "Spectorised" cuts with this much clarity.

Forget the Original and Buy this one........2007-07-02

A lot of people don't want history messed with, but I, for one am glad that this has come out. I bought the original album in the 70's and as a Beatles fan was very disappointed. It just didn't sound like them to me. I replaced all my Beatles albums on CD when the time came--except for this one. You know from other reviewers the tale of this album's creation, but let me say that this is probably the closest we will get to hearing these songs as they might have sounded if The Beatles had stayed together long enough to actually finish this project. This sounds, to my ears, much more like the Beatles. The greatly improved sound quality is reason enough to buy this cd. I don't miss "Maggie Mae" or "Dig it" which were nothing but useless filler. All the banter being gone, makes it a much more polished album. Including "Don't let Me Down" makes perfect sense, since it is in the film, backs the "Get Back" single and strengthens the collection of songs. I can't imagine why it wasn't there in the first place.

A minor complaint would be that it would have been nice to have a few bonus songs such as "The Ballad of John and Yoko", "Old Brown Shoe", "You Know My Name, Look Up the Number" and the single version of "Get Back." The first two, though not part of the "Let it Be" project, were comtemporaneous with the other songs and have the same sound. The Latter two were from singles related to the album. It would have also been more in keeping with the traditionally generous song selection on other Beatle albums, and these songs have never properly been put on an album(and this would be the one). Only eleven songs seems a bit stingy. The inclusion of these songs would have made this a killer album at the time, on par with their other albums, instead of the sad affair it was. I also dislike the flippant title and art work. In hindsight (always 20/20) it would have been much better to do a deluxe release of the original "Let it Be" that included these recordings. A double CD that probably would have made everyone ecstatic, since they would have what they want and could make the comparison. The Fly on the Wall bonus seems pointless and could have probably been much more substantial. Oh well.

In summary, greatly improved over the original in terms of songs and sound quality, but could use a few more songs for the money. Get this one and forget the original. If you have a need for the Spectorized versions for completeness or sentimentality, you can find them on "One" or other repackagings.

Good but Maybe Not Essential - For Completists .......2007-06-15

As David Goodwin says in his review here, there isn't much different about this album from what most people know about Let It Be - I certainly didn't feel or notice anything dramatically different except a cleaner sound. Artistically, this was not the Beatles' most outstanding album, but neither is it unlistenable. It's hard to pinpoint why this album - which is certainly above average in every respect became relegated in the Beatles pantheon. (NOTE: I give this three stars, but that's based on Beatles standards!)

This is the band returning in many ways to its roots, still experimenting with a more American sound, while McCartney is secure in his role as a ballads composer. The jam quality of the sessions (One After 909), hearken back to where the Fab Four were, earlier in their career - and yet, seem out of place. Only McCartney sounds polished. John's standout track is Don't Let Me Down, and Get Back remains a rock classic in the vein of Back in the USSR.

It isn't an uneven album at all, but my guess is that a lack of dynamism in some respects, and the legacy of being the Beatles' final release and a somewhat throwaway effort - has created an uneven legacy for this album. Not to forget that Let It Be followed an entire slew of concept albums from the Fab 4. The sweetness of Abbey Road and the intentional disparateness of the White Album and the vividness of Sgt Peppers left Let It Be as a conceptual void of sorts.

Let It Be Naked is probably best for completists. Across the Universe is one of my favourite tracks but the version here is average. Plus I'm not sure if Paul McCartney's signature pieces - Let It Be and The Long & Winding Road - are really better off without Phil Spector's strings. Simply because most of us have been listening to those versions for years! You don't miss the stripped instrumentation on these versions either. They will likely play in your head as you hear the naked versions.

Let It Rock: The Best of the Georgia Satellites

Average customer rating:

Georgia Satelites
If you like Webb Wilder or Jason and the Scorchers, or Cheap Trick, you'll love these guys!
KEEP THIS ONE FOR YOURSELF!
****1/2 - superb!
Good compilation!

Let It Rock: The Best of the Georgia Satellites
The Georgia Satellites
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002HB4
Release Date: 1993-01-19

Tracks:

Don't Pass Me By
Keep Your Hands To Yourself
Battleship Chains
The Myth Of Love
Can't Stand The Pain
Nights Of Mystery
Let It Rock (Live)
Open All Night
Sheila
Mon Cheri
Down And Down
Saddle Up
Hippy Hippy Shake
I Dunno
All Over But The Cryin'
Six Years Gone
Hard Luck Boy
Almost Saturday Night/Rockin' All Over The World
Dan Takes Five
Another Chance

Customer Reviews:

Georgia Satelites.......2007-01-13

A very fun, enjoyable, rocking CD. For those into Southern Rock(esp. 'old' Southern Rock) you'll enjoy listening to this CD. It brought back memories for me of when I was younger.

If you like Webb Wilder or Jason and the Scorchers, or Cheap Trick, you'll love these guys!.......2006-06-07

Outstanding 20 cut sollection of
a band that has undergone many per-
sonnel changes over the years. I saw
them live twice here in Virginia and
they are very good, though they didn't
have the original memebers still, then.
Pick Up On It!

KEEP THIS ONE FOR YOURSELF!.......2005-11-18

One of Southern Rock's last gritty, greasy great gasps, these guys kicked more hiney than a high school football coach, letting fly with a raunchy, raspy ROCK 'N ROLL attitude flecked with country, blues, and bar band boogie. Helmed by bad boy belter/geetar slinger Dan Baird, the Satellites had it all... brontosaurus chops, snotty swagger, AND a sense of humor (which never hurt NOBODY nohow in the music biz). Monster hit KEEP YOUR HANDS TO YOURSELF sets the piledriver pace for this career roundup appropriately named after one of Chuck Berry's most tread upon pieces (Bob Seger's good, but he ain't THIS good!). Crash 'n burn covers (HIPPY HIPPY SHAKE, originally written and performed by Chan Romero, Caesar's son), Ringo's DON'T PASS ME BY (one of but two Beatles tunes he penned), and a party perfect John Fogerty medley of ALMOST SATURDAY NIGHT/ROCKIN' ALL OVER THE WORLD blend seamlessly with Baird's bare bones double entendre OPEN ALL NIGHT and the bloozey ALL OVER BUT THE CRYIN'. Cranked to an especially high thrash threshold is Terry Anderson's BATTLESHIP CHAINS, not quite three minutes of rock so primitive I'm surprised Fred and Barney didn't write it. Love it loud? Need it nasty? Crave it crazy? Trust me. The Georgia Satellites will put you into orbit! RATING: FIVE BEER BLASTS

****1/2 - superb!.......2004-06-26

This excellent 20-disc compilation gathers almost all the best from the Georgia Satellites three studio albums. I picked it up some ten or twelve years ago on a whim, knowing little or nothing about the Satallites, but I loved it straight away, and I still take it out and play it from time to time.

Equal parts Chuck Berry and AC/DC, the Satellites played rough, tough and gritty rock n' roll, joyous three chords romps with lots of firepower and the gap-toothed Dan Baird in front alongside lead guitarist Rick Richards.
Their debut album, which featured the hit single "Keep Your Hands To Yourself", got lost amid the pop metal of the mid-eighties, and the next two ones sank without a trace, which is a real shame, because the Satellites did what very few other bands could or would in the 1980s - they played real rock n' roll.

And there are plenty of highlight here. From "The Georgia Satellites" come the tough-as-nails hard rock of "Can't Stand The Pain" and the Hindu Love Gods' "Battleship Chains", and the album "Open All Night" provides songs like "Mon Cheri" and a supremely gritty rendition of Ringo Starr's "Don't Pass My By".
"In The Land Of Salvation And Sin", the Satellites' last album, was more stylistically diverse than its two predecessors, and the acoustic shuffle "Another Chance" is one of the group's best songs...all four musicians sing, and Baird's lyrics are some of his best ever.

"Let It Rock" also includes a few non-album tracks, like the title track (a live rendition of the Chuck Berry-number), and a fine medley of John Fogerty's mid-70s classics "Almost Saturday Night" and "Rockin' All Over The World", and a nice little essay by Jimmy Guterman.
This is a near-perfect introduction to an often overlooked little rock n' roll combo which deserved better.

Good compilation!.......2004-04-29

This is a good compliation of the Satellites. But where you need to start is with "In The Land of Salvation and Sin" record and go from there. That is an all time classic of rock and roll. This has tastes from that record, but you need more than an appetizer!

Average customer rating:

you cant beat an Ira lyric.
A Wonderful CD
Quiet and elegant
Disappointed
they can't take that album away from me

Pure Gershwin
Michael Feinstein
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002H4W
Release Date: 1990-10-25

Tracks:

S' Wonderful
Our Love Is Here To Stay
Liza
The World Is Mine
They Can't Take That Away From Me
Isn't It A Pity?
Let's Call The Whole Thing Off
Embraceable You
What Causes That?
He Loves And She Loves/How Long Has This Been Going On
They All Laughed
The Girl I Love
Someone To Watch Over Me

Amazon.com

Pure Gershwin was Michael Feinstein's first album, and it remains one of his best. It may not have the production values of his later Gershwin tributes, Nice Work if You Can Get It (1996) and Michael & George (1998), but it simply and directly presents Feinstein in his piano-bar days, singing to his own tasteful accompaniments with occasional contributions from bass and drums and a second piano. Establishing the patterns for his later albums, he sings unjustly neglected verses to familiar songs, uncovers some never-before-recorded gems ("The World Is Mine," "What Causes That"), and provides song-by-song notes. Longtime friend Rosemary Clooney guests on "Isn't It a Pity?" --David Horiuchi

Customer Reviews:

you cant beat an Ira lyric........2007-01-05

this is good...and just to hear a REALLY GREAT "Isn't A Pity" duet with Rosie is well worth the price of admission. I REPEAT: just to hear a REALLY GREAT "Isn't A Pity" duet with Rosie is well worth the price of admission. listen & enjoy some great american music. you cant beat an Ira lyric.

A Wonderful CD.......2005-05-19

PURE GERSHWIN is just that, pure!. Feinstein interprets Gershwin the way it was meant to be performed. This is pure delight!

Quiet and elegant.......2003-04-20

Michael Feinstein's thin voice is compensated by his apparent enthusiasm for the material and a spare arrangement of piano, bass, and drum that gives this recording the ambiance of an intimate piano bar. Before hearing this disc, I knew only Gershwin's biggest hits, so many of the numbers here were new to me and increase my appreciation of that great American composer.

Disappointed.......2003-04-10

I bought this cd because I am a huge Gershwin enthusiast and am always on the lookout for versions of one of my favorite pieces, "Liza". I'd heard a lot of buzz about Feinstein and the supposed wonderfulness of his Gershwin interpretations, so I thought I would give this album a shot.

I was extremely disappointed. Feinstein seems to suck the life out of Gershwin's compositions, a feat I would have previously thought impossible. Though I concede that vocalists are free to reinterpret songs (many to a great success, as in Louis Armstrong's and Ella Fitzgerals's enjoyable versions of Gershwin), I think Feinstein's lazy tempos "loungy" voice make the tracks on this album boring and annoying.

I have loved to listen to and sing these songs my entire life. I just wanted to warn listeners who perhaps, like myself, enjoy George Gershwin's music for its beautiful clarity and energy (as easily experienced through Gershwin's own recordings, early interpretations by artists such as the Astaires, and even recent broadway "Crazy For You") that they will not experience any feeling of the sort from Michael Feinstein.

Amidst all the gushing that has recently been done over him, I found Michael Feinstein to have attempted to murder "Liza" and the other songs on this album. He merely displays a very unexceptional voice and poor interpretive taste. Fans beware, Feinstein proves that it is possible to make a bad cd of Gershwin songs. I'd recommend listening elsewhere.

they can't take that album away from me.......2002-05-09

they say the third time's a charm, but in this instance, it is the first time -- michael feinstein's first gershwin album -- that is the charm. this album is by far better and more listenable than the next two -- "feinstein sings gershwin" and "nice work if you can get it".

the listenability of this album may stem from the fact that it is a bare-bones arrangement, with two pianos, a bass and drums, a la a jazz trio, with no embellishment, so michael feinstein's then sincere and unsophisticated voice is the featured instrument.

i heartily recommend this album, as every song on it is a gem and feinstein's voice is more appealing than on the two later albums, when he jazzed it up with what sounds like an echo chamber and other electronic enhancements and he seems to be doing the songs by the numbers.

feinstein's version of "liza," slowed down to ballad form and plaintively phrased, is the best i have ever heard. the duet with rosemary clooney on "isn't it a pity," again brings out the best of feinstein's then-new voice and shows why george's (clooney) aunt is rightfully considered a jazz legend.

the combined "he loves and she loves/how long has this been going on" is another melodic/poignant highlight, while the album's finale, "someone to watch over me," is a stirring anthem to wanting and needing someone and is done with vocal and instrumental passion; it brings this collection of songs to a fitting crescendo.

for a lawyer's kid from columbus, ohio who started out cataloguing gershwin estate material for the reclusive ira and then began singing the songs for family and friends, michael feinstein has done all right for himself. he has become the recognized interpreter of the gershwin legacy, sort of the same way his pseudo-cousin, john, jr. feinstein, has become the recognized interpreter of the bob knight legacy... .

michael feinstein may have hit a home run his first time up with this album, and it may be his best, as it is the purest and most joyful celebration of gershwin tunes, while the others are fancier, more jazzed up and ponderous and less appealing.

Tracks:

Hate To Lose Your Lovin'
One Clear Moment
Cajun Girl
Hangin' On To The Good Times
Listen To Your Heart
Let It Roll
Long Time Till I Get Over You
Business As Usual
Changin' Luck
Voices On The Wind

Customer Reviews:

Little Feat from a modern perspective........2007-06-27

I think kids today are missing out on great music such as this, because it is not hot or new. These boys are great musicians. I have been a fan for years, and I love the unique sound they produce. Everyone I think would benefit from a serving of "Dixie Chicken" every now and then. "Let it Roll" and turn it up.

GOOD IN PARTS - BUT NOT ONE OF THEIR BEST.......2007-02-20

Judging by other reviews, this album has been well received. I've been a LF fan from almost the beginning and, whilst I enjoyed many of the tracks, I'm not as enthusiastic about this album as most other reviewers. The album is a 'mixed bag' of musical styles - about evenly shared between songs which retain much of the band's 70's sound, those with a sound much closer to the centre ground of rock music and others that are 'middle of the road' pop songs without much character.

Many people think that Craig Fuller sounds like Lowell George, but I just can't agree - I feel there are more differences than similarities. Lowell had a more 'laid back' delivery and his voice had a soulful/emotional edge which is largely absent with Craig Fullers vocals (listen to songs like 'Rock and Roll Doctor', 'Roll Um Easy', 'Skin It Back', and 'Long Distance Love' - surely you can notice the difference ?). Nevertheless, I quite liked Craig Fuller's voice - compared to Lowell, his voice is not as 'rough around the edges' so he has the sort of voice that is suited to soft-rock/country-rock music. Maybe it's this, together with the more 'mainstream' pop-rock sound of the album, which appeals to many listeners.

I can't complain about about the band's playing - LF are a bunch of highly accomplished rock musicians, most of whom have been playing together for over 20 years. Full marks also for the additional harmony vocals courtesy of Linda Ronstadt, Bonnie Raitt, Bob Seger, Marilyn Martin, Shaun Murphy and Renee Armand.

Some comments about my favourite tracks :

'HATE TO LOSE YOUR LOVIN'' - Up tempo song with some fine piano and slide guitar soloing, decent vocals.

'CAJUN GIRL' - A song with a strong zydeco/country flavour, some great accordion (played by Craig Fuller); interesting tempo change about 2 minutes into the song.

'LET IT ROLL' - LF back on form with boogie music, great organ and slide guitar solos, vocals pretty good too.

'LONG TIME TILL I GET OVER YOU' - Strong ' no nonsense' rock song with driving base and percussion, energetic 'full blooded' vocals.

Most of the remaining songs are reasonably good but I thought 'Business As Usual' and 'Voices On The Wind' were very ordinary and instantly forgettable.

So, have I got it all wrong ? Constructive comments welcome - I rest my case.

Let It Roll by Little Feat.......2007-01-10

Great music! This CD just plain makes you feel good while tapping your foot.

Respectable but uneven comeback .......2004-11-15

Little Feat's Let It Roll album was their first new studio release in 9 years and the first since their leader Lowell George passed away in 1979. Many longtime fans to this day feel that George was the heart and soul of the band, similar to Jerry Garcia's role with the Grateful Dead, and that the band should not have reunited under the Little Feat name. While this question will always be debatable, the band has recorded some strong music since their reunion and remain an impressive live act.

Let It Roll proves that the band are still fantastic musicians who can play a wide range of styles. Craig Fuller was recruited to replace George and his voice sounds very similar to his predecessor. As for the songs, there are many highlights. The title track is easily the best song the band has recorded since the comeback and has been featured in many films and commercials. The solos from both keyboardist Bill Payne and guitarist Paul Barrere really shine here. The tracks "Hate To Lose Your Lovin'", "One Clear Moment", and "Long Time Til I Get Over You" are all excellent songs that possess memorable choruses and melodies. The upbeat sounding "Cajun Girl" and the ballad "Hangin' On To The Good Times" are also strong tracks. After these songs, the album gets off track. The ballads "Listen To Your Heart" and "Voices On The Wind" are both unmemorable and the glossy production makes them sound painfully close to adult contemporary. Upon hearing these songs, you see where the band really misses Lowell George. The remaining tracks "Business As Usual" and "Changin' Luck" while well played are mediocre compared to the rest of the album. All told, this album is similar to Time Loves A Hero in that it's a hit and miss affair. Their next album Representing The Mambo is a more consistent album even if it doesn't have a classic like "Let It Roll."

Best CD ever.......2003-11-25

One of the best CD's I've ever heard put together, there are no weak songs and every cut seems to work with it's predecessor and successor. If you could have only 1 CD to drive across country - this is the one you should have.

Tracks:

Gimme Shelter
Love In Vain
Country Honk
Live With Me
Let It Bleed
Midnight Rambler
You Got the Silver
Monkey Man
You Can't Always Get What You Want

Amazon.com essential recording

Customer Reviews:

One of the Stones' finest!.......2007-07-04

A bit of rock, a bit of blues, a bit of soul, a bit of raunch... just what you need to make a classic Rolling Stones album! Some will say this is the group's best, and if it weren't for Country Honk (a fiddle-driven parody of the contemporary #1 Honky Tonk Woman, which is infinitely better), it would be. Now it'll have to settle for being prime Stones. I'm sure it won't mind.
Is Gimme Shelter the best opener the Stones or anyone else ever recorded? Possibly. It's a terrifying song, in a positive way: the best fade-in known to man, wailing harp, one of the best guitar solos known to man, and Mary Clayton's chilling vocal. Cool! And that guitar solo... Keith Richards is better known for his rhythm guitar, but his leads all over the record are excellent. You can hear more of that great playing on the hilarious, sleazy title, country-blues title track (Stu really gets down and boogies!), the creepy classic "blues opera" Midnight Rambler, where Charlie plays the drums of a lifetime; the sneering Live With Me, which is also pretty funny (and Bobby Keys plays a cool sax!), and the underrated blues Monkey Man, which is again quite funny (listen to Mick's monkey impression in the fade! And the guitar/drum tradeoff thing they do in the instrumental break! And Bill's vibes! What a SONG!) While we're talking about Keef Riffhard, alias the King of Cool, we must mention You Got the Silver. This was the first Stones song he sang lead on, and he sings it well - not a bad little country-folk tune either!
The Stones do the soft as well as the loud (an acoustic take on Robert Johnson's classic Love in Vain - love it!) and the philosphical as well as the sleazy (the multipart classic You Can't Always Get What You Want, my favorite Stones song ever - just listen to all the stuff they managed to layer into this one! Their best lyrics, too). What's not to like? Oh yeah, Country Honk. We'll just pretend that it's Honky Tonk Woman, shall we?
Oh, and a little message to anyone who thinks this is a rip-off of the Beatles' Let It Be. That's just proving you know nothing about either group. Let It Bleed was released before either the album or the single Let It Be. Besides, listen to both albums side-by-side. Pretty different, no?

My Favorite Stones.......2006-07-14

Let it Bleed should be near the top of any rock cd list. Sticky Fingers is close behind.

Monkey Man is so crazy cool
Midnight Rambler
Gimme Shelter
Can't Always Get What You Want
Live With Me is also crazy cool

Amazing! Something else that is amazing is how fast they went down hill in the late 70's. There were a few good songs here and there after the mid 70's, but nothing compared to the era of late 60's and very early 70's.

By the way, I think Exile is a solid album with a cool vibe, but it's not in the same ballpark as Let It Bleed. How Exile gets put on the top 10 list ever is a joke. It's good, but not that good.

Anyway, LET IT BLEED rocks & should be in the top 10 ever.

Love in Vain.......2006-06-11

The Stones turned out a masterpiece with "Let it Bleed." There is not a bad song in the bunch, in fact the fact that every song on this album is a treasure makes it hard to pick a favorite, but for me, I have to go with the band's cover version of Robert Johnson's "Love in Vain." The soulful acoustic guitar work, Mick's pleading voice, the sad, unrelenting song, it's almost all too much. I cry every time I hear it. I've loved in vain, who has not. Then there is the dangerous sounding song, "Midnight Rambler." Boy that one will shake you. I also really love the way Mary Clayton's voice blends with Mick's in "Gimme Shelter. "And how could I not mention "You Can't Always Get What You Want." What a message in that song. Still, like I said, "Love in Vain," it's a heartbreaker, yes it is.

Knocked Out Abbey Road.......2006-06-11

Because of the problems the band was having with Brian Jones, Keith did most of the guitar work on "Beggar's Banquet," and what a job he did. One almost wonders why they needed another guitarist at all, however the boys is the band felt they did and hired Mick Taylor, who is great. Keith's work on "Gimme Shelter" is just chilling and his first solo vocal effort on "You've Got the Silver" is terrific. Dare I say it, this guy could have had a pretty good career all on his own, but if you've got to play in a band, he picked a pretty good one. Mick Jaggar is in top form rocking his socks off in "Midnight Rambler." That song is just scary, scary good, not scary bad. In fact the whole bloody record is scary good. It's easy to see why "Let it Bleed" dethroned the Beatles" "Abbey Road" as the number one record in England way back in Nineteen Sixty-Nine.

The Stones' Best.......2006-06-11

In some ways "Let it Bleed" could be called sort of a transition record. When the band started the recording sessions, Brian Jones was a member of the Greatest Group on Earth, when they finished he was out, soon to be dead and Mick Taylor had taken his place. Brian is only on two of the songs, but Mick Taylor is only on two songs as well. This is also the first record where Keith takes over the lead vocals on a song (You've Got the Silver). And this record picks up where "Sympathy for the Devil" left off. It's a rocker and it propelled the Stones into the stratosphere. No more are they living in the shadows of the Beatles. They are the number one band in the world now. It happened because of this record. "Let it Bleed" is to the Stones as "Blood on the Tracks" is to Dylan, an outstanding work that one simply cannot ignore.

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"I ain't gonna never change" (* * * * 1/2)
Why We Remember This Band
wanna hear a little bit of gossip?
Every current so-called punk band owes thier careers...
Possibly the finest punk / Alternative record ever

Let It Be
The Replacements
Manufacturer: Restless Records
ProductGroup: Music
Binding: Audio CD

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Tim
Pleased to Meet Me
Hootenanny
Zen Arcade
Double Nickels on the Dime

ASIN: B0000018V5
Release Date: 1991-07-01

Tracks:

I Will Dare
Favorite Thing
We're Comin' Out
Tommy Gets His Tonsils Out
Anadrogynous
Black Diamond
Unsatisfied
Seen Your Video
Gary's Got A Boner
Sixteen Blue
Answering Machine

Amazon.com essential recording

On their first releases, even amid all the smirking irreverence, the Replacements seemed to have more ambition than other post-punkers, but it wasn't until Let It Be that they actually realized it. There's still plenty of smirking here--"Seen Your Video" is a great snotty taunt--but there's also smartly-crafted pop like "I Will Dare" and not-quite-love songs like "Answering Machine," not to mention a rocking cover of uncool Kiss that's played perfectly straight. This is classic, all-over-the-board indie rock, especially the angst-ridden empathy of "Sixteen Blue," where Paul Westerberg, all of 23, remembers just how it is to be a teenager. --David Cantwell

Album Description

Remastered reissue of their 'five-star' 1984 album. RestlessRecords. 2002.

Customer Reviews:

"I ain't gonna never change" (* * * * 1/2).......2007-01-07

Let It Be is not as consistent as its follow-up, Tim, but it contains more of the band's best songs than that album does. It also contains filler in the worst sense of the word, but that is forgivable since it is surrounded by wonderful hardcore and straightforward rockers, as well as sincere acoustic guitar and piano based-ballads.

"I Will Dare" - featuring old-timey guitar and even a mandolin - and "Favorite Thing", also with a twangy guitar, are cleaner (but hardly pristine) updates of their earlier sound. After these opening tracks, the band revisits that earlier sound with the album's hardest-rocking numbers, "We're Coming Out" and "Tommy Gets His Tonsils Out". (The latter provides two minutes of comic relief, but it's too bad that Westerberg stumbles over the lyrics in the second verse.) Following these four rockers, the rest of the worthwhile tracks are basically ballads, and are just as good and sometimes better than the disc's rock songs. "Androgynous", which follows on the heels of "Tommy", is a stunner. Musically, it is shoved along by a weeping piano. Lyrically, it vividly portrays the desolate streets of a small Midwestern town, where anything other than stiflingly normal is suspect: "Kewpie dolls and urine stalls/Will be laughed at/The way you're laughed at now". (I am originally from such a town, so I know what I mean.) This song shows the influence of the more haunting moments of the Big Star record Third/Sister Lovers. The acoustic "Unsatisfied" and the electric "Answering Machine" makes Westerberg's influence on the alternative scene that blossomed in the early 90s blatantly obvious.

The album is not perfect, of course. "Seen You're Video" and "Gary's Got a Boner" are the previously mentioned offending filler. The cover of Kiss's "Black Diamond" isn't terribly bad, but it isn't terribly inspired, either. Finally, "Sixteen Blue" is often praised for its portrayal of "the hardest age". Granted, it makes some accurate enough observations, but as a song, it isn't really anything special (except for Bob Stinson's cool fade-out guitar). This is one of several songs on the disc that indicate that Westerberg was looking to his teenage years for lyrical inspiration. However, the Kiss cover and Ted Nugent riff on "Gary's Got a Boner" suggest that he and Stinson may have relied too much on their teenage record collection for musical inspiration. Nevertheless, there are several more palpable points of reference, too, such as the New York Dolls, Alex Chilton (duh), and that other Minneapolis post-punk outfit, Husker Du.

I was only 8 years old when Let It Be was released, and too into classic rock when my high school classmates got into The Replacements via Paul Westerberg's solo work. For both reasons, I don't have any memories of listening to the band when I could have really related to their songs. In fact, I didn't really start listening to them until I was in my late 20s. The fact that they can be appreciated so many years after the fact is evidence of the timeless quality of their songs, and proof that they were as responsible for albums that were as essential to the 80s as those by American peers such as Husker Du, R.E.M., and The Pixies.

Why We Remember This Band.......2006-09-27

The Replacements are probably one of the greatest hidden treasures to be dug out of the 80s. They were a band that could easily have been shoved aside, but those of us who found what made this band great, we knew they could never be forgotten or put to the bottom of any pile.

Granted, The Replacements were dirty, nasty, drunken, and did about as much to destroy their fame that they could. And sure, on half of this album, one can hear a band that surely were quick and dirty and had a devil may care attitude and perhaps the listener could be forgiven for asking why should we care too? These songs are at the best just simple fun and at their worst a dirty joke that isn't funny or even boring.

However, there is that other half of the album which is why we remember this band. The fact is, Paul Westerberg could be brutally honest and sometimes showed us the pain he felt which was the pain we all felt. All the posturing to be tough boys on tracks like "We're Coming Out" is quickly forgotten with "Androgynous", which he looks at the social outcasts and wonders why they are laughed out when all they've done is dropped one of the seperators in the world.

Towards the end of the album, they drop "Sixteen Blue", which in 4 minutes puts the social awkwardness of being a teenager onto the track, the whole too old to be a kid but too young to be an adult. Anyone could write "Everything's sexually vague" but who else could follow that with "And you wonder to yourself that you might be gay"? That track alone shows us why people love this band. Paul Westerberg had something to say about being human.

This album is a perfect split between mindless fun songs and deep introspective songs. They hadn't dropped that dirty riotious attitude that they were infamous for, and they were beginning to show off that introspection that they became one of the greatest rock bands for. Purely, one of the greatest albums ever.

wanna hear a little bit of gossip?.......2006-05-24

okay, okay, okay: everyone knows this is a classic garage/punk/whatever album. of course it is. buy it! but i've heard some information about the band itself that you may find interesting: it seems that back in the day, when they made this album, they consumed alcoholic beverages to a degree that was not entirely healthy for young men. somehow, despite this behavior, they still made great rock 'n' roll records. go figure!

Every current so-called punk band owes thier careers..........2006-05-06

To these guys! Goo Goo Dolls, Green Day, etc...This is the blue print for you guys. What else can you say about "The Replacements" except this is pure genius and pure rock and roll. Anyone that doesn't own one of their albums just doesn't like music. They were the best band of the 80's. I think I've listened to "Unsatisfied" about 100 times in my lifetime and get goosebumps everytime!

Possibly the finest punk / Alternative record ever.......2006-04-02

The Replacements were one of the 5-10 greatest rock bands ever. This is arguably their greatest album.

Their entire career (1981-1991) was sadly during the era when radio was dominated (obliterated..) by the retro "Classic Rock" format. As a result, the 'Mats were never heard by most people. Their legacy is the dozens of major bands who, by their own admission, owe part or all of their sound to the influence of the Replacements ( including: Nirvana, Wilco, Goo Goo Dolls...)

If you are a fan of punk, grunge, or Alt Rock, you should own this record.

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Let It Roll
Willard Grant Conspiracy
Manufacturer: Reincarnate Music
ProductGroup: Music
Binding: Audio CD

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Flying Low

ASIN: B000MM1FJG
Release Date: 2007-02-27

Tracks:

Distant Shore
Let It Roll
Dance with Me
Skeleton
Flying Low
Breach
Crush
Mary of the Angels
Ballad of a Thin Man
Lady of the Snowline

Amazon.com

Bandleader Robert Fisher doesn't just write about the corners of the soul where death, revenge, transcendence, and spiritual crisis confuse human will. On the Willard Grant Conspiracy's brilliant sixth album, Fisher conjures them in grand sonic chiaroscuro: bright and brooding textural arrangements that pit swirling guitar feedback against wistful violins and layers of keyboards, percussion, and voices. The grandest instrument of all is Fisher's Jim Morrison-like baritone, which perfectly expresses his dark poetry--especially in the nine-minute title number, a tale of blasphemy and retribution as arresting and expansive as the Doors' "The End." Well-tailored production and experimentalism take this disc a few steps away from the roots/Americana foundation of the California-based group's earlier recordings. Nonetheless, a cover of Dylan's "Ballad of a Thin Man" fits right in, thanks to the fractured backbone provided by guitarist Jason Victor. Steve Wynn cowrote the lyrics to the survivor's song "Flying Low," and John Dragonetti, Blake Hazard, and other indie-rock darlings make cameos. But Let It Roll is obviously the product of Fisher's own strong, singular vision, and could win the Willard Grant Conspiracy a following of the same heroic proportions they already enjoy in Europe. --Ted Drozdowski