Well balanced later Isham Jones
935995
This cd appeared in 1994 to commemorate Isham Jones's centenary. The 22 recordings are drawn from two transription sessions from april 1935 and november 1937 and, in my opinion, give a more balanced view of this band's later years that the HEP issue ("Blue Room") which spotlights the jazzier side of the band (although the results are musically equally rewarding). This collection sports a fair number of pleasantly bouncy foxtrots (mainly instrumental, three with a vocal by Eddie Stone; Woody Herman is only to be heard as a clarinet soloist), which the band plays with great warmth, making excellent use of the deep brass (including brass bass) and baritone saxophone (such as "My Dance", "Restless", "You Took Advantage of Me" and "Once Upon a Time" but also quite a few hotter sides such as "Sugar", "Crazy Rhythm", "Doin' the New Low Down", "Oh Peter" and "Royal Garden Blues", "Sugar Foot Stomp" etc. The arrangements are very well done, never reverting to cheap effects as many other "sweet" bands used to do. Many tunes exceed the usual 78 playing time since the transcription discs allowed more space, the total time coming at just over 75 minutes. The sound quality is very good and the booklet with very informative liner notes by Paul Lindemeijer (who also wrote the notes for the HEP release) comes with full discographical information.
Although essentially a dance band (and not a jazz or swing band) and slightly old-fashioned for the times, judged by its own merrits this disc offers a very enjoyable listening experience.
4203832
This is quite an enjoyable documentary that takes you on a journey around the 9/11 truth movement.

It is unusual for a film like this to made by a British Director, but he has done a reasonable job in getting some interesting footage, particulary getting to speak with Cynthia McKinney on her trip to London.

It starts with a look at some activists in UK/Europe, unfortunately it comes over as he is fighting a losing battle, in his attempt to get the 9/11 truth to the British public.  Yes, Blair & Co. have done an equally good job on us, as Bush did to the US.

The film then moves to the US, this is by far the best part as he gets to speak with W Rodriguez, First Responders, US 9/11 truth activists and films Alex Jones during various events.  He gets to the many issues around 9/11 that are being ignored or covered up by the US government.  The piece with First Responder John Feal is excellent, highlighting the suffering still happening as a result of 9/11.

Some of the footage you will have seen before if you follow Alex Jones films, and the style of the film is similar to a Jones production, which is no bad thing.

This is a decent introduction to 9/11 truth, as it gets its message across in a balanced and respectful way.  Its encouraging people are now realising the mainstream media and governments are working together to feed us untruths.
1815965
Although a bit banal, and here and there going for the jugular (an eternal tendency of Holywood) it is a thoroughly enjoyable picture. Pacino (at the helm), Bening and Plummer deliver great performances. Some of the lesser known actors ain't chopped liver either. A new child star is born. At the start, I couldn't understand how the director let an actor, child, or not, be so hyper. Shortly, it was revealed that she is ADHD which is at the center of the story. Perfect!
436359
It seems as though we forget too easily just how vital Steve Winwood is. His release rate is sporadic, and as the saying goes, `out of sight, out of mind.' Nevertheless, he's been providing us with great music since the British Invasion (yeah, it's been that long) as a member of the Spencer Davis Group, then with Traffic, then Blind Faith, then the revised Traffic, and finally, as a solo artist. His music has always been relaxed and reflective, but with a strong rhythmic drive and a timeless quality that keeps his music relevant through all sorts of stylistic changes. He may not make a lot of records, but he always makes good ones, so it shouldn't surprise me to learn that "Nine Lives" is as good as it is. The surprise is that it's even better than I had any right to expect.
 "Nine Lives" sounds a lot like second-generation Traffic, with less noodling and more focus. The songs build on blues riffs, jazz, and folk-rock, all coupled with African and Latin influences. There is precision and elegance to virtually every track on this album, without a single extraneous note. It all makes perfect sense, from the nailed down rhythmic grooves to the song lengths, which linger only long enough to make you want more. "Nine Lives" hearkens back to an era when good music defined our culture, but it doesn't sound the least bit dated or forced. In the best sense, this album could have been released in 1972. With nine tracks passing by in approximately fifty minutes, it's even the right length for a classic vinyl album.
 From a topical perspective, Winwood is still relying on the imagery that has served him well in the past. There are lots of metaphors here - flying, drowning (or more specifically, not drowning), raging seas and struggling to find higher ground. He's not a lyrical genius, but the songs are so strong that his words take on a sense of import, and most importantly, he sounds like he really is trying to convey something honestly. Apparently, he still feels as though he's struggling to hang on to something (Relevance? Sanity in a world without pity?), yet the music is never less than relaxed and confident. Is "Nine Lives" as good as his previous solo albums? Definitely. It is certainly his best record since "Arc of a Diver," maybe even since "Low Spark of High-Heeled Boys." There is no filler here, just 100% vintage Steve Winwood, and that is better than good enough for me.  A  Tom Ryan
3554427
The content of this film has already been discussed, but fans will be pleased that most of the major issues dealing with Robeson, his career, and the controversy are all handled well in the allotted time. It also does not shy from some of the less flattering aspects of his career (such as his actual knowledge of Stalin's crimes, but his refusal to openly speak on this because he felt his bigger enemies were at home), but this is handled well and you come away with a good idea of what the man was about in his outspokenness on issues of oppressed people. Only monor complaint is the lack of special features on this DVD, but overall, it's worth the money.
2020172
I prefer Goodall's WNO Parsifal, despite EMI's thin sound, to this one, but this is definitely an interesting recording and performance. It was captured all in one shot - 8 May 1971 - and it sounds like what it is, a radio broadcast. There is very little audience noise but some stage noise. It is live after all. Many have bemoaned the "incoherent" slowness of Goodall's Parsifals, that Wagner himself tended to conduct faster than most, but I've always found quicker Parsifals very irritating.

The singers are good all around, with Vickers being one of the main reasons to get this set. The sound is good but again is from a live BBC broadcast so, though big and lush and expansive, can tend to pinch a bit. Goodall's conducting is gorgeous, but the playing of the brass can squawk a bit here and there.

Definitely worth it if you're a Goodall or Parsifal fan. The length, breadth and lushness of this recording make it perfect for Sunday morning listening, when all your chores are done and no one is expected at the door. Goodall walks you through the dark Medieval forest of Wagner's disturbing mystical music drama, and he does it live.
2466621
Nice video, good sound.  Kenny Jones doesn't deserve the rancor so many give him, his best parts are on the newer songs he recorded, and the whole show makes more sense with the ITS HARD songs then, say,Who's Last, which had no new material and sort of left Kenny out to dry.  He rest of the band is in fine shape, especially Roger.  A nice piece of history.
1541399
This album is unfortunately the most muted in the Isbell solo era.  I'm a huge fan (back to the DBT album Decoration Day) days and have traveled to see him play 9 times (including four times to other states.)  Despite many of the other reviewers seemingly handing out the 'automatic 5 star' for Isbell, perhaps as a cumulative review of the musician or loyalty stamp, this is intended to be an ALBUM review only -- I'd give Jason Isbell the musician/songwriter 5 stars too.

Musically, this album is soft.  I don't mind soft - Southeastern was softer but outstanding.  This is soft and dull.  The great band behind Jason, the 400 Unit, is relegated to soft and sometimes indistinguishable background fare on close to half the album.  Lyrically, this album appeared to rely too much onto a simple recipe-format: first person, in a place, with a vague challenge.  The lyrical sketches often lack the vividness or grittiness of past offerings.  Check out the music industry review by Pitchfork - they VERY accurately review this album.

This is NOT a bad album.  There are some good songs here, like 24 Frames and the title track, Something More Than Free.  For the Isbell fans, its worth it to add to our catalogues.  I do not believe that any of the songs on this album will go down as the 'classics' that Isbell will play on tour for years to come with fans eagerly awaiting their arrival and enthusiastically singing along.

I'm eagerly awaiting the next album - and hoping there's perhaps a change in producer.
1037708
Just received my B6's direct from Elac.  Superb and balanced sound. Listening to the Beatles mono vinyl set, the subtle details are evident and pleasing. I have these hooked up to a Rega turntable and a vintage Sony receiver. Best detail heard at low to medium volume.
The only "complaint" I have is the finish - plain and nondescript. But ultimately, these speakers deliver on their promise. Another winner from Andrew Jones.
2692863
Good but uneven.  The story is only 8 months after the original, but would be more believable further down the road.  Maggie Smith and Judy Dench are excellent and understated as usual.  Penelope Whilton's reprise was really not needed, but the Richard Gere storyline was a good replacement for the much missed Tom Wilkenson.  The main storyline is somewhat annoying due to the overacting of the male lead.  The music, cinematography, and India are breathtaking.  Worth the watch.
4795453
Solid character piece, with a nice balance of emotional and intellectual. DW at the top of his game--and John Goodman in a small but memorable role.
1079690
Never saw Ashley Judd before but she certainly has the look and the moves to make this film a good one. Some fairly brutal shots but, on the whole, more of a who-done-it than a bang 'em up show. Jackson handles his role with authority while the rest of the cast mostly support nicely.  Actually, much as an old fashioned mystery, pretty much plays fair with the audience as to the what,  if not the who, at the core of it all. In summary,  quite a neat 90+ minute package.
2183018
I would give this 4.5 stars but have rounded up.  The last Stones album to feature Mick Taylor and the first one to be produced by Jagger and Richards under their pseudoname 'The Glimmer Twins'.

ITS ONLY ROCK N ROLL is not as good as 'STICKY FINGERS' or 'EXILE ON MAIN STREET' but much better than the previous 'GOATS HEAD SOUP' in which the group sounded drained of energy and is a much better album than is given credit.

Some really good tracks on the first half - the title track, the opening 'If You Can't Rock Me', 'Til the Next Goodbye' and 'Time Waits for Noone', although long, has got one of Mick Taylor's best guitar solos. Side two unfortunately features some filler; 'Dance Little Sister' is overly repetitive, as is 'Short and Curlies', although the latter is quite amusing.  'Luxury' is a strong stab at reggae and the closing 'Fingerprint File' is excellent.

Enough good stuff to ensure that it remains a permanent fixture in my collection.  Only recently upgraded from the vinyl to the remastered CD which enhances the sound quality.  This and 'SOME GIRLS' are easily the best Stones albums post 'Exile on Main Street'.  The others are fairly average.  'Its Only Rock N Roll' is well worth considering.
214968
The original members of The Who had an amazing chemistry when they were on the stage together, and they were astonishing.  They seemed to feed off of each other's energy, creating some of absolutely phenomenal music.  Their live shows were second to none, and one of their better performances was filmed at the Isle of Wight Festival on August 29th, 1970.  Previously released by Image, a new remastered version of this classic rock concert has been released.  With restored video and remixed multichannel audio supervised by Pete Townshend, this disc is a great chance to see one of rock's greatest bands in their prime.

Larger than Woodstock, the 1970 Isle of Wight Festival was attended by an estimated 600,000 people.  It was a tumultuous event, with the fences breaking down and thousands of people getting in for free, fights breaking out, and general chaos.  But at 2 am in the morning, the Who took the stage and wowed the crowd. This is a high energy show, with all of the band members being in top form.  As a big fan of The Who, I really like this concert DVD, and it is only through a superhuman example of restraint that I am able to refrain from commenting on each and every song.

After playing some of their hits, the group launches into Tommy.  The group had given a splendid performance up to this point, but now they really start to shine.  Roger's voice is strong and confident, with John's fingers effortlessly flying up and down the neck of his bass guitar.  Keith Moon is drumming like a man possessed, which he very well may have been, and Townshend jumps around the stage like a whirling dervish.  From the first notes of Overture to the last chorus of See Me Feel Me, the guys did a fabulous job.  (Though it is interesting to note that they changed the order of the songs in Tommy slightly.  I assume that the order was not rearranged in the editing room since the same order appears on the CD.)

In addition to seeing The Who at the top of their game playing music, you get to see Keith Moon bantering back and forth with Pete.  I really wish that Keith was mic'ed so that it was easier to understand what he was saying.  When he admonishes the crowd to be quite just before Tommy because it's a ROCK OPERA and very serious business, I was roaring with laughter.

Being a live show, the band was more interested to playing to the crowd than the movie camera, and this is as it should be.  The camera work was very good under the circumstances.  Sometimes a stage hand gets in front of the camera, and there is some "60's" style fast cutting and rapid zooming in and out but that annoying camera work is kept to a minimum.  As usual, the camera spends the least amount of time on John, who just stands there belting out intricate bass riffs as if it were boring and mundane work.  This is something that has always disappointed me, because I've always been mesmerized watching John's hands fly over his instrument.  It often appears that his mind is wandering, almost like his fingers have a life of their own.  I can understand why directors spend more time on the other band members, but it is unfortunate that they do.

On all the tracks, the audio sounds great. The restored full screen video looks very good, the colors are more accurate, and there is a bit more definition and slightly finer details.

Overall, they gave one of their greatest performances, and it's is luck for us that it was recorded for posterity.
1521147
So many critics mention purportedly negatives re. this album: he resorts to guest starts; much of the material is 'old,'; his voice ain't what it was. But, what does the album have? Well, it's a full album. The track sequence was well done. It's a balanced album containing a variety of MUSIC. It's a 53 minute music experience that will not make you jump for the FWD, but rather, ... Smile. Be Happy. Excellent backing vocals, tight musicanship, and full, surround-stereo sound. This is cool. Yes, "Make a Wish" is very childish with poor lyrics. But, it does work. If you'd rather have someone scream about Iraq, great. But BW keeps the vibes high, while serving a fine antidote to the blues.
1253585
DRAMA:  Overall, this is a very good album.  I'm a HUGE Jon Anderson fan, so you might think that without him on this album, or without Wakeman, I might not rate it so high.  But this really rocks, and it's well done, well written and well played.  Along with the first ASIA album, this may very well be Geoff Downe's best work with Yes/Asia.  And Trevor Horn did a fine job pulling off this album with Squire's voice layered in harmonies, etc.  Nice material on here.  Good in it's own way.  I don't play it often, but when I do, it's very listenable and enjoyable.  Would not rate it higher than most Yes albums, but for what it is, it's very well done, and I do like it a lot.
2773713
Critically blasted when it was released, it seems the reaction to "Extra Texture" was a bit unwarranted and extreme. It's a good album from Harrison although the material isn't quite as strong as what came before, Harrison took the criticism of the production for "Dark Horse" to heart in making this album which, ironically, lacks the extra texture that was evident in the production style for the preceding albums. "Extra Texture" is a glossy, polished album and plays very much like counterparts to John Lennon's "Walls and Bridges" and Paul McCartney's "Venus and Mars" although in the case of the former Lennon had (with Elton John's help)a #1 with the catchy "Whatever Gets You Through The Night" and Paul's critical standing was high again due to the success of "Band on the Run".

The album opens with the punchy "You" which was written back (and demoed)in Feb. 1971 but left off of "Living In The Material World"(and possibly written with Ronnie Spector in mind just as "Try Some, Buy Some" was). George is in strong voice on "Extra Texture" a marked contrast to his hoarse singing (although that "style" worked well with most of the material for "Dark Horse" in retrospect).

"The Answer's In The End" and "This Guitar (Can't Keep From Crying)" are both strong, attractive songs the former inspired by an inscription in George's home and the latter a sequel of sorts to "While My Guitar Gently Weeps". There's a marvelous alternate version (with guitar played by Dave Stewart)that closes out the album as a bonus track and it's a terrific alternate version of this song (pardon the pun). Humor was creeping back more directly into George's music over the course of his solo career and "Extra Texture" is no exception with jokes on the mini-LP sleeve backpacking here that mimic the original.

Although the material is a bit uneven after these three, there are highlights to be found on the album.

Like "Walls and Bridges" slickness is the salvation even on the weaker material for "Extra Texture". While the troop of L.A. session musicians may lack the gritty, raw edge that would have given this material the texture it deserved, their precise playing does keep the melody at the forefront which is probably what George wanted.

The only criticism I can throw at this reissue is the lack of bonus material. The original unadnored 1971 version of "You" which formed the basis for this version (Harrison and crew overdubbed parts for the version here and he added a new vocal)would have been nice to have here as would surviving demos that George recorded. I suspect these are being held for some sort of later rarities compilation.

The remastering is quite nice--the original CD incarnation was (more or less) a flat transfer of the mastertapes but this remaster has added depth and "texture" evident in the mastering.

The booklet does a nice job of summerizing what George was attempting with "Extra Texture" as he quickly returned to the studio to "atone" for the sins that critics pointed out on "Dark Horse". While he isn't completely successful, "Extra Texture" has enough enjoyable moments to make it essential for Harrison fans.

In some respects, "Extra Texture" has aged better than "Living in the Material World" an album always more highly regarded as there were fewer expectations and the opening three tracks are substanial songs.

3 1/2 stars.
3 1/2 stars.