Superb release: 25 stars
935104
There are many reasons for my 5-star review. Five reasons to be exact (sadly with no posiiliity of giving this one a 5x5=25-star-review.)
First, the enterprise itself is very compelling. It is not easy to plan a solo violin CD and make it "attractive". So there has been a lot of thought and work into this one. It is a succulent 79+ minutes that you can take at once.
Then, the music; some of it recorded elsewhere, most of it not. The arrangements are outstanding. Take 'Asturias','Recuerdos del Alhambra' or 'Jeux Interdits', so guitar-oriented, and yet so convincing here.
Then, the liner notes. As with previous releases, this is the way it should always be. Informative, full of interesting detail, even personal. The only thing I missed was the date-of-composition (or arrangement). In most cases is not mentioned and I find it important for historic context.
Next, the performances.  Ms. Barton Pine is a wonder of nature and a true humanist. Apart from her personal story (an example of beating the odds) her artistry is amazing; hats off!  And I hope that someone notices this in the future when it comes the time to decide who gets the Kennedy Center Honors Prize!
Lastly, to Cedille. It is not often that we find a US label so refined,so professional while truly adventurous. You can feel how their main purpose is not merely making money, but a true labor of love. An enterprise where Ms Barton Pine is always involved. Kudos to eveyrone.
Highly recommended.
3459819
This disc is FANTASTIC. I really can't express in words how good it is. [So much for my budding career as a music critic...] This 2 disc LE package has the album and a bonus DVD with 2 videos. Mind you, these aren't "VIDEOS" per se...they're more like companion pieces. [I realize some Tori fans might be upset that they're NOT vids but hopefully there'll be a video collection somewhere down the line...HINT, HINT Epic...] Anyways...do NOT hesitate to pick this album up. One of the BEST of the year. If not THE best.
2327970
First, ignore some of the rather uninformed comments about the quality of this black-and white film, which is actually perfectly fine.  The production was conceived as a melding of kabuki theater with Italian commedia dell' arte traditions, and the resulting highly stylized combination suits the story to a T.

Second, the singing is uniformly strong.  Franco Corelli was THE Calaf of the ages, and this is the finest of his several commercial and live recordings.  The nervous self-consciousness that sometimes marred his studio efforts is completely absent, and he sings with golden burnished tones that are simply stunning.  Lucille Udovich, an American who made her career mostly in Europe, is a superior Turandot.  Her one commercial recording on LP was the 1956 EMI Idomeneo led by John Pritchard, in which she turns in a fine Elettra.  Here, she is a little too cool and correct in "In questa reggia", but becomes fully involved beginning with the riddle scene, and handles her entire part without evident strain.  Her minor drawbacks are that her decidedly Slavic facial features (she was of Ukrainian descent) and obviously 40-ish age make for a rather homely-looking princess, and her voice also is more Slavic than Italianate in sound.  Renata Mattioli is a fine Liu, though her aria "Signore, ascolta" is taken at too fast a clip and with none of the needed rubato.  (Contrary to one claim made here, nothing is missing from it due to a bad film splice.)  Plinio Clabassi is a first-rate Timur; Mario Borriello, Mario Carlin, and Renato Ercolani make for a fine Ping/Pang/Pong trio; Nino del Sole is a solid Emperor; and Teodoro Rovetta is a suitably menacing mandarin.  (The one-word role of the Prince of Persia is not credited, to my recollection.)  The chorus is fine, and except for in the Act I aria of Liu previously noted, Fernando Previtali turns in a superior account of the score, keeping it lean and brisk but not slighting on the orchestral color.

This is one of three excellent versions of Turandot on DVD.  The other two are the Metropolitan Opera's opulent Franco Zeffirelli production with Eva Marton, Leona Mitchell, Placido Domingo, and Paul Plishka under James Levine, and the outdoor Arena di Verona production by Brian Large with Ghena Dimitrova, Cecilia Gasdia, Nicola Martinucci, and Ivo Vinco under Daniel Oren. Overall I prefer the singers in the Verona production.  Dimitrova is the Turandot for the ages, with a voice as titanic as her physique is zaftig, whereas Marton is already showing signs of the vocal wear and tear that presaged her imminent vocal decline. Likewise, Nicola Martinucci brings his decidedly baritonal voice effectively (if unsubtly) to bear as Calaf, whereas Domingo is not in his best form and shows moments of strain. Gasdia and Vinco are likewise superior to Mitchell and Plishka (and Gasdia to Mattioli as well).  However, the recorded sound in the outdoor venue is somewhat diffuse, and the conducting a bit slack compared to either Previtali or Levine, and of course the Zeffirelli staging is in a class by itself.  (Ignore the asinine carping of snotty New York critics, who scorn anything traditional and also despise Zeffirelli for irrelevant political reasons.)  It also has the bonus of the great Hugues Cuenod as the Emperor.  Personally, I couldn't live without all three versions in my collection, so don't ask me to say that one is better than another -- just get them all and revel in them!
2480147
Firstly, because Amazon insist on combining all reviews for a product, regardless of the media type or date of release, this review is an amendment of my 2007 review of the Wounded Bird release which was transferred automatically by Amazon to this BBR CD.

This is the second CD release of the album "Special Things", the Pointer Sisters 1980 effort for Planet Records, the first being from Wounded Bird in 2007.  While the track listing on both issues is the same, the sound quality and packaging of the 2010 BBR release defies comparison, other than to say that it is brilliant, whereas the Wounded Bird CD was merely adequate.

The third of six albums for Richard Perry's Planet label, "Special Things" marked a deliberate attempt to create a mainstream pop album, with potential chart hits. Their previous release, "Priority" (1979), was rock at it's finest, yet produced no successful singles, and was something of a surprise to their non-plussed fans who had bought "Energy" (1978) (the first Planet Records release, and designated P1) because of the high charting cover of 'Fire'.

Richard Perry brought in songwriters with a guaranteed hit-factor, such as Tom Snow & Cynthia Weil, Burt Bacharach & Carole Bayer Sager and Peter Allen. With high production standards the results were predictable. "He's so shy" was a massive hit, and other tracks such as "Could I be dreamin'" also did very well, once more establishing the Pointers as bankable artists. Taking a glance at the musicians gracing "Special Things" gives you a good idea of how high the bar had been placed - even the legendary Burt Bacharach arranged the strings for his two co-penned tracks : "The love too good to last" & "Where did the time go"

This CD issue includes a bonus track, "Movin' on", written by the Pointers, Trevor Lawrence and Marlo Henderson, but there are no details provided about the musicians or at what session this track was recorded.

BBR have to be commended for the incredibly good mastering of this issue. The sound quality is even superior to the Sony/BMG remasters of certain tracks included in their many compilations.

Not only is the sound fantastic, but the packaging is of the highest order. Extensive liner notes, full track listings and credits (excluding the bonus track) and great images make this an outstanding release. Worth every cent.

When you buy this CD, make sure you get the 2010 BBR release and not the poorer quality 2007 Wounded Bird release.
3797448
Larry and Jenny made this album just after the three other members of the group had just quit.  Considering the upset this must have caused, Larry and Jenny did a tremendous job with this excellent, if sadly publicly ignored album.
Contained here are many superb songs.  There is a clear evolution from '83's 'From the Hip'.  Whatever the year, Section 25 always sounded ahead of their time.  As we now know, this could often be more of a hindrance than a help in the stagnant world of the record industry.
There is a clear warmth to this album.  'From the Hip' was a more precise, colder album.  There are songs on here that could even be described as part 'folk' songs!  The superb 'The Guitar Waltz' is the example.  A wonderful flute solo runs through the song, combining well with the more standard instruments.
The album was made using electronic equipment; synths, keyboards as well as the conventional (at that time) guitars and drums.  So don't worry, it's no all out folk-fest!  It sounds like a warmer, updated take on 'From The Hip' with more complex and rewarding rhythm patterns and better lyrics.
Without doubt their best song is featured here.  'Crazy Wisdom' wipes the floor with what New Order were doing at that time (and I'm a big New Order fan!).  It's a terrific little number, comprising of an electro beat, layered with warm synth sounds and bleeps.  Combined with a superb male/female duet, this one just stands out from the rest.
Other top songs are 'Sweet Forgiveness', 'Bad News Week' and 'Sprinkling Petals into Hell'.  There's even a top-notch take on Erik Satie's 'Gymnopedies'!
Don't ignore this album like so many others have done, it's their loss.  Another stunning release on the great LTM label.
3468690
When I purchased this marvelous disc from Amazon, the customer ratings stood at 22 five-star raves and two equivocal three-star posts that focused on alleged audio deficiencies. Perhaps an average run-of-the mill surround sound system registers defects, but I can attest that the recording sounds fabulous on a state-of-the-art stereo rig. Needless to say, sound technology has developed considerably since - of all people! -- famed director Henri-Georges Clouzot ("Les Diaboliques" and "The Wages of Fear") filmed this in 1967. Still, it is damned good, with virtually no audible distortion and a tremendous dynamic range. I was delighted! It's always fun to watch the pompous but brilliant von Karajan, and the now legendary soloists are fabulous - especially Fiorenza Cossotto. Despite that disturbing whoop of a slur Leontyne Price often made, she is at her glorious best; Giaurov is superb; and Pavarotti never sounded as wonderful as he did in his youth. Clouzot's filming is exemplary and the 4:3 video image is quite clean and clear.
1301511
Marvelous! This is my favorite release of the year. Transcendant album that is Beck Hansen's "Pet Sounds" - this album is built with incredible production integrity and sounds amazing - reverb-laden vocals just glide off into the dusk while gutsy old Martins strum away. One of the few albums that stands as an integral whole. Superb composition by one of the bright, shining stars of American Music!
1231949
FINALLY - this stellar album is available in the USA. So it's time to trim and update this review from the UK edition.

Coldplay's Guy Berryman produced The Pierces strongest album to date, one that bridges the sonic gap between their softer "Light of the Moon" album and the edgier "13 Tales of Love and Revenge." I have owned and cherished it since last May. Last year, I bought more than 100 CDs and digital albums and You & I was my absolute favorite. It is a breathtaking work that soars far above their two previous masterpieces.

The sisters look look like supermodels and are often photographed in delicate dresses, but don't let down your guard; their music packs a punch. Inventive lyrics, daring tales, soaring choruses, monster hooks and powerful rhythms propel most of the tracks. The rest are rich, sweet, angelic and heavenly. There is not a single "filler" track on the album.

That said, I made a few modifications to the running order to turbo charge this release. You can build your own "deluxe edition" today by ordering the CD or MP3 (with digital booklet) and adding on the four b-sides and bonus track from the MP3 store.

My YOU & I DELUXE EDITION:

1. Piece of You (b-side of You'll Be Mine - clever lyrics; one of their most powerful songs kicks off album in high gear)
2. You'll Be Mine
3. Love You More
4. To The Grave (b-side of Love You More - a haunting and uplifting song straight out of the early 60's)
5. We Are Stars
6. Glorious - stunning, a complete reinvention of the James Levy original
7. It Will Not Be Forgotten (bumped from the CD's #2 position, this steadily became my favorite song on the album)
8. The Good Samaritan
9. Kissing You Goodbye
10. Close My Eyes
11. Space & Time
12. Drag You Down
13. I Put Your Records On (original album closes on this dreamy, lullaby)
14. Me and Him (B-side to You'll Be Mine - steadily ramps up energy for a worthy encore)
15. We Can Make It (B-side to Love You More)
16. Doesn't Matter (this is actually a Kasper Bjorke dance song with The Pierces on vocals - why not end the album on an upbeat note?)

I also picked up the Glorious CD single on import because it also sports an "original version" of the title track - I brought out the world's best forensic experts and can not detect any differences from the album version.

If you love stunning, beautiful, clever, well-produced music that will change your life, pick this album up ASAP, and then dive into their back catalog (but not too deep, their pretty self-titled debut is, as the song goes, a little bit boring.).

Check out The Pieces on tour with Coldplay (and on the Tonight Show Tuesday 3/27).

And after all that, if you're still can't get enough of their glorious sound, Allison Pierce already has a new album out with "Glorious" songwriter James Levy. "Pray to Be Free" by James Levy & The Blood Red Rose (see my other reviews) is a throwback to another country and era (Serge Gainsbourg's swinging 1960's).
3103420
Klaus has put out another classic EM release here. There is plenty of depth here, presented in a rather laid back manor. If you can get the two disc special edition, go for it! The second disc is easily as good as the first. The Rhodes Violin and Tibetan Loop are both excellent compositions. The whole release features some really solid guest musicianship. Lisa Gerard (Dead Can Dance) on vocals and Thomas Kangermann on violin, flute and vocals really shine. Crysta Bell and Julia Messenger also contribute vocals to the album, to great effect. This is not just a chill recording, turn it up! This release can be enjoyed both as a laid back mood piece, or as a dynamic experience. As a long time Klaus Schulze fan, I would say that this is one of Klaus's best albums of the new Millennium!
3455180
These import two-fers' are terrific.  They feature terrific sound quality and great packaging.  The albums included are:

UNITED (1967; with Tammi Terrell)  ****  (4 out of 5)  After artistically promising but commercially unrewarding collaborations with Mary Wells and Kim Weston, Motown finally captured lighting in a bottle by pairing Marvin with the demure Tammi Terrell.  The incredibly attractive pair were born to sing with one another, and remain one of the all-time great duos in the history of recorded sound.  Three big hits were scored right out of the box, including the immortal cuts "Ain't No Mountain High Enough" (#19 Pop, #3 R&B), "Your Precious Love" (#5 Pop, #2 R&B), and "If I Could Build My Whole World Around You" (#10 Pop, #2 R&B).  The rest of the album follows the fairly disjointed `60s Motown formula, however "Two Can Have A Party," "Give A Little Love," and the beautiful, Gaye-penned "If This World Were Mine" (which received some airplay as the flip side of "If I Could") are almost as strong as the majestic singles.  There are a few faulty selections (such as the silly "Sad Wedding" and the unbelievably straight-faced cover of Frank and Nancy Sinatra's hit "Something Stupid"), but Marvin and Tammi's immense chemistry can make even the most worn clichs seem new and exciting

YOU'RE ALL I NEED (1968; with Tammi Terrell)  ****1/2  (4.5 out of 5)  Stronger album tracks and a more unified feel make Marvin and Tammi's second release together superior to their first.  The big hits "Ain't Nothing Like The Real Thing" (#8 Pop, #1 R&B) and "You're All I Need To Get By" (#7 Pop, #1 R&B) are two of the finest singles to ever grace the Motown label.  The third single "Keep On Lovin' Me Honey" (#25 Pop, #11 R&B) was less successful, but is just as amazing as any of the duo's other hits.  Unlike many of Motown's sixties releases, the singles are not the only strong tracks on YOU'RE ALL I NEED.  Several of the album tracks are nearly as stunning as the singles and sound like they could have been hits in their own right, including the infectious "You Ain't Livin' Until You're Lovin'" and the joyous "When Love Comes Knocking At My Heart."

In an effort to save time, over half of the "duets" were actually recorded separately.  Most of these were Tammi's previously unreleased solo songs, with Gaye's vocals added later.  The overdubbing is seamless though, and the chemistry between Gate and Terrell vocals is remarkable.  "I Can't Help But Love You" and "That's How It's Been (Since You've Been Gone) are perfect pop and, for my money, their version of "Come On And See Me" is superior to both Tammi's original solo version and the later version by the Supremes.  YOU'RE ALL I NEED is the finest album Motown released in the sixties, and it stands as Gaye and Terrell's golden moment together.
1624454
Really, that's the best way I can sum up ambient/post-rock duo Hammock's latest double-album Departure Songs, which looms as their boldest and most brilliant effort in what is already an extremely impressive catalog. But massive in what ways exactly, you may ask?

-Musically. Marc Byrd & Andrew Thompson's arrangements have been maturing considerably since their first album, 2005's Kenotic, and this time the pair are swinging for the fences. Consider how thickly the layers of synth, guitar washes, cinematic strings and even horns envelop melodies in tracks like "Ten Thousand Years Won't Save Your Life" and "Tonight We Burn Like Stars That Never Die" (heck, even the song titles are massive). Expect more drums and more gorgeous vocals too. Just turn up the volume and let this thing take you apart slowly.

-Thematically. Departure Songs deals primarily with capital "I" Issues of death, loss, and absence--and the beauty, joy, and victory of Living even amidst such realities. Indeed, what always strikes me as remarkable in Hammock's music is how even the most somber of subjects is tinged with an inevitable air of hopefulness.  You will find that these 19 tracks evoke quite a range of emotions, and it's all the better; Hammock offering us "the whole catastrophe" time and again only makes our listening experience that much more meaningful.

-In terms of sheer volume of music. With a running time of nearly  1 hour and 50 minutes, there's a lot here to love and there's plenty of time to love it. If you're a longtime fan, think of everything you love about Hammock already and amplify it. You might just end up with Departure Songs. And if you're not a fan yet, let me just say this: ten thousand years might not save your life, but Hammock might just help you enjoy the ride.

FAVORITE TRACKS:

"Frailty (For the Dearly Departed)" - A dignified elegy with strings in full lament, "Frailty" is the literal centerpiece in Departure Songs & probably one of the most elegant tracks Hammock has ever created.

"Hiding But Nobody Missed You" - The vocal interplay here between Marc & his wife Christine Glass Byrd as the drums and synths amble along is magical. This is one for the ages.

"Tape Recorder" - Patient, nuanced perfection.

"Ten Thousand Years Won't Save Your Life" - Never has a revelation of life's impermanence sounded this triumphant and amazing.

WATCH FOR:

-The clever reworking of an old Hammock classic in "(Leaving) The House Where We Grew Up."

-The aggressive drums on "(Let's Kiss) While All the Stars Are Falling Down" - especially in the outro.

-The gorgeous coda of strings and guitar ambience that brings "Pathos" to a stirring close.

-Everything about "Artificial Paradises" (which features Helios mastermind Keith Kenniff).

-All the epic song titles, which are an art all their own. My all-time favorite is still "Lonely, Some Quietly Wander in the Hall of Stars" (off the Longest Year EP), but some of the weightier ones here come close.
4872195
One curse of an audiophile is often music purchases are made on a single track or the sonic worth of a particular mastering. As a consequence, I have a stack of CD's that are not that musical.
This SACD is recorded with the warmth, detail, depth and spatiousness one would expect from the Chesky label. The wonderful surprise is Rebecca's crystalline voice floating in the phantom center channel with a blend of celtic folk music that  truly appeals to me.
The open and natural rendition of Spanish Harlem is simply stunning, and I am sure has been used at many hi-end audio shops to sell gear.  The double bass is tight, the piano and guitar are not smeared, and the shaker is 7-10 feet back from center stage. Kaleaka, You Got Me and remember me are three songs that are truly enjoyable to listen to simply for the melody and the lyrics.
Normally I click through a CD quickly to find songs that are immediately interesting. I found that I listened to the entire disk, skipping to the end of only two songs. Following this, I put the player on repeat for several hours.
I realize i am a little late discovering her, and many probably know her more for her films, but she has made an instant fan. I am afraid I cannot compare this to the CD version, as I only bought the SACD.
Definitely a worthy addition to any collection.
2262875
Reviewers may have given poor reviews to the Blu-Ray release (and deservedly so, again) for the unplayability of the disc but you have nothing to fear about technical issues on the Audio CD counterpart of this release.
Well, actually, the technical aspects are what make this CD such a gem!  Most likely you have already heard (and loved!) the band's self-titled debut album and this double CD has 17 tracks to reaffirm that these players not only recorded a great album, but for those fortunate enough to see them in their very limited tour, they also performed fantastic shows!  But enough of the adjectives, let's get to some facts:
To begin with, CD 1 has the following track list
1. Blue Ocean ( tack 1 from their debut release)
2. Shoulda Coulda Woulda (track 2 from their debut release)
3. Love Is What I'm Waiting For (track 6 from their debut release)
4. Can't Find A Way (a Casey McPherson [the band's lead singer] original)
5. The Storm (track 4 [and one of my three favorites] from their debut release)
6. Odyssey (written by Steve Morse, originally from the Dixie Dregs' 1978 album "What If")
7. Forever In A Daze (track 5 from their debut release)
8. Hallelujah (YES< the Leonard Cohen original, made famous by Jeff Buckley et al)
9. Better Than Walking Away (track 8 from their debut release)

CD 2:
1. Kayla (track 3 from their debut release)
2. Fool In My Heart (track 10 from their debut release)
3. Spur Of The Moment (Written by Dave LaRue, a solo Bass piece)
4. Repentance (Dream Theatre's song off the Systematic Chaos album, although the original is 10min long, this is only 5)
5. June (Neal Morse, originally recorded by is band Spock's Beard)
6. All Falls Down (track 9 from their debut release)
7. Everything Changes (track 7 from their debut release)
8. Infinite Fire (track 11 from their debut release)

Apparently, this album is a complete recording of their 09/20, 2013 show in Tilburg Holland, complete with stage banter, dialogue and, dare I say, imperfections.  CD 2 features Mike Portnoy singing "Fool In My Heart" after a lengthy introduction at the end of Kayla.  While interesting at first, this is where you understand why CD/DVD combos have different track listing or are edited, as after the first listen, many of the lengthy (45 second talking feels lengthy) intervals grow old.  And sadly, some talk bites are the only addition to the songs.. no extended solos, no rearrangements, just those eleven fantastic songs from the debut album played as expertly as possible.
Regardless, the playing is flawless and the quality of musicians along with the band personae (not a flashy prog-rock combo, but a melodic outfit) make for similar-to-studio live performances of the songs, which suits them just fine.  Probably the vocal melodies are the most innovative of the album, not because they are unique arrangements, but because the live mix makes them stand out in ways that went unnoticed for some non-audiophiles like me in their debut album.  Despite the lack of notorious differences from the studio counterparts, the fact that they played all the songs off their album is testimony to the power of the songs and, to those that enjoyed the album, this live release is exactly what we could have expected, nothing more, nothing less... yet quite simply, extraordinary!
4766570
Although not especially a fan of Grace Jones, I've always enjoyed this concept album -- masterfully produced by Trevor Horn -- that takes the title song through several permutations and ends with an explosive flourish. There are several excellent reviews already posted here that delve into the music and individual tracks. My posting is to clear up some of the confusion over which CD is the "complete" release, and to comment on the sound quality.

Unfortunately, Amazon lumps all the reviews together regardless of which date, remix, or remastering is listed. I can't comment on the LMLR label's vinyl replica release as I have not heard it, but if it is related in any way to the Culture Factory replicas it should be avoided like the plague (massive brickwall compression is the hallmark of all Culture Factory remasters I have heard). The LMLR, however, does include the interview snippets that are missing from some of the earlier CD releases.

Despite what a couple of posters have written, the older Island Masters CD release [IMCD 65 (842 612-2)] also includes all the interview material, and the mastering is excellent. It is very lightly compressed and boasts great dynamics. You only need to turn up the volume a few notches if you want to hear it extra loud, and unlike brickwalled CDs it still sounds great when cranked up. In short, I recommend the Island Masters CD, which as of this writing can still be had cheap.
14488
It had been 25 years of off and on musical partnership and constant friendship, and this album is the celebration.  Like other recent efforts from each of them, just about every favorite genre is polished off and perfected, particularly samba but also baiao, straight-ahead rock, and a touch of reggae.  If only they hadn't already made so much unforgettable music already, I'd say this is a remarkable album.  As it is, I'll just say buy the album and hear a highpoint in the epic careers of Brazil's finest popular performers and experimental poets.
3543103
First, this is probably the greatest live album to come out of Rock music. There is nothing I could say to add to the performance recorded herein except to say that I'm glad they finally made it available to Westerners.

The sound quality for every release of this album has always been astonishingly good, but I suspect this is as good as it gets on a standard CD. The package is a meticulously faithful replica of the original album (for the longest time available only as a Japanese import).

Now the CD package finally gets the treatment that the album itself deserves. It's almost embarrassing to see an album of such astronomical quality being tossed together into a double-thick jewel case. (Well, at least I haven't seen it stuffed into one of those masterpieces of planned obsolescence, the digi-pack!)

This three-CD format is better than the two-CD package in one very important respect. When I transfer my albums to my portable player, I like to keep uninterrupted live segments as a single file. With three CDs, this becomes easier to manage than with two CDs, although with both packages the engineers left several gaps in the middle of the sides, allowing us to divide the Japanese package into more than three files, whereas the two-CD package has blended many of these together in an attempt to simulate an uninterrupted concert experience.
755910
I purchased these superb sounding Dan Fogelberg 2CD reissues by Beat Goes On Records of England way back and have been meaning to review them ever since. I've covered Volume 1 "Home Free" (1972) / "Souvenirs" (1974) and Volume 2 "Captured Angel" (1975) / "Nether Lands" (1977) in separate reviews. Here are the details for Volume 3...

Disc 1 (34:44 minutes):
Tracks 1 to 10 are his 5th album "Twin Sons Of Different Mothers" [credited with Jazz Flautist TIM WEISBERG] first issued September 1978 in the USA on Full Moon JE 35339 and in the UK on Epic EPC 82774.

Disc 2 (42:52 minutes):
Tracks 1 to 10 are his 6th LP first issued December 1979 in the USA on Full Moon Records PE 35634 and in the UK on Epic EPC 83317.

Like the other reissues in this superb series - the 16-page booklet is excellent - all artwork reproduced, lyrics to both albums, full credits and liner notes in this case by noted writer JOHN O'REGAN. With the outer card wrap - it's a classy presentation. But the big news for fans is the fabulous remasters. ANDREW THOMPSON at Sound Mastering in London has done the deed (he's handled large numbers of BGO's reissues) and his transfers on this 2CD set are beautifully handled. On to the music...

I can still recall the shock of "Twin Sons..." Having done 4 albums of Eagles-type singer-songwriter fare - Fogelberg went Instrumental and probably scared the crap out of his loyal fans. Excluding an acoustic/string ditty here and there - most of the 7 instrumentals on the 10-track LP are Flute Driven Jazz Fusion of sorts - a little like Jeff Beck's "Blow By Blow" or "Wired" but without the lead guitars. One of the three vocal performances "The Power Of Gold" even became a minor US 7" single hit (features Don Henley on barely perceptible backing vocals). Beautifully produced - it was given a Half Speed Mastered Vinyl LP reissue in the Eighties. So it's not surprising that the CD remaster here is breathtaking. I only wish I could say that the album warrants it because for me "Twin Sons..." has always been a failed curio. Some of the tracks are interesting for sure (like "Intimidation") - but there are no real songs on here. But if "Twin Sons" is three stars then Fogelberg more than made up for it when he returned in 1979 with what is easily his most accomplished all-rounder album - the five-star "Phoenix"...

Opening with a fantastic double-whammy of the pretty acoustic instrumental "Tullamore Dew" - it launches into the long rocking "Phoenix" (lyrics above). The trio of gorgeous soft ballads "Gypsy Wind", "Heart Hotel" and especially "Longer" were tailor-made for Radio and not surprisingly "Longer" became a hit single for him in January 1980 (reached Number 2 on the Pop charts). But I've always felt that the album finisher "Along The Road" is a true Dan Fogelberg masterpiece - haunting to this day. And having lived with the crappy Eighties American CD all these years - I can't stress enough how good this 2011 remaster has made the album sound. Wonderful...

He would really open out with "The Innocent Age" double in 1981 (featuring a rare duet vocal appearance by Joni Mitchell on the track "Nexus").

I posted a note on Dan Fogelberg's website when he sadly succumbed to cancer in December 2007 - yet another teenage hero of mine gone to the great gig in the sky.

Luckily this beautiful-sounding 2CD reissue does his musical legacy proud.