Mick Martin and Harvey Mandel
587027
This is the real deal -- live and rockin' blues from a superb singer and harp player, and guest star Harvey Mandel on guitar.
2439044
The Yardbirds disc (disc one) is pretty good. I like the early seventies stuff also with Beck Bogart and Appice. It concludes with one of the only good Rod Stewart songs from the eighties, his cover of Curtis Mayfield's People Get Ready with Jeff B. on guitar. This collection is ideal 4 ya Beck newbies!
137535
The song selection and the mastering of this set is excellent.  A few of the songs here deserved to be on Michael's Anthology and were missed, now they've found a home and given the remastering they deserve. Unlike the Anthology, which featured cuts from every Warner Brothers albums and a cut from "Barefoot On The Beach" on the defunct Windham Hill Jazz Label, some albums this time were skipped in their entirety.  "The Camera Never Lies" could have been represented by "Now You're In My Dreams," a duet with session goddess Patti Austin, "Blue Pacific" with "The Art Of Love,"  "Dragonfly Summer" with "String Of Pearls," and "Barefoot On The Beach" with "Now Love Has No End" with Valerie Simpson.  A lot of Michael fans, myself included, were crying for an overhaul of his catalog up to 1990, his "Looking Back" album fueled the desire even more and his "Anthology" pacified that desire. Now listening to this cd and the potential his catalog represents, we're back to the overhauling idea. The repeats of his well known songs like "Popsicle Toes" and "The Lady Wants To Know" do nothing to detract the enjoyment of this well sequenced disc.
1533044
I'll never forget seeing Steve Martin in-concert, back in the Summer of 1978 in Columbia, Maryland. It was all there...the white suit, the banjo, the arrow-head, bunny ears, the "King Tut" sing-a-long and the 'catch phrases'. I remember marveling at how one lone guy, doing silly sight-gags on a stage, could attract these huge, cheering throngs of people. It's no wonder my favorite joke of the evening was, "And now for all you people out on the back lawn...the magic dime trick!!".

Well Steve Martin's latest book, "Born Standing Up" takes us back to those "One Wild and Crazy Guuuyyyy" concert years and what led up to them. This is a look at his time creating and honing this act. It recounts his boyhood working at Disneyland and also his first appearances on stage at Knotts Berry Farm. He looks at his unsatisfying professional career as a TV comedy writer ("Smothers Brothers Show", "Sonny & Cher") and his early days on the lonely road, trying to make or break his comedy act in a long string of unforgiving clubs. He goes on to recount, how he finally met success on TV talk shows and became a national phenomenon in seminal appearances on NBC's "Saturday Night Live". By the late '70s, he was doing his "Wild and Crazy Guy" in huge concert halls and amphitheaters in front of crowds, numbering in the tens of thousands. Martin discusses how in the end, he took the act as far as it could go and then had to walk away from it completely.

"Born Standing Up" is a fast and easy read, that keeps you interested throughout. Unlike many other celebrity tomes, this guy actually knows how to write. Martin does a good job of bringing alive the vibe of '60s & '70s era show biz and explores the hard work, that went into creating his brand of "anti-comedy". A good read for anyone, who ever enjoyed hearing the words, "Well Excuuussssse Meeeeee!!"
2813696
Great collection. Personal faves (this week) are the solos on Bertha and, particularly, Brown Eyed Woman. Jerry's tone is stinging.

Superb 'Eyes' and Scarlet > Fire too.

This (along with Live Dead) is the one I play people who've never heard the band (i.e. 99% of the British public).
3400932
Built To Last was first released on Halloween of 1989. To be honest, looking back it was pretty clear that there were going to be problems from the start. The wonderful Stanley Mouse cover art was rejected for this cover. The band also recorded most of the album in isolation from each other. The original recording sessions began at Marin Vets just as they had for their last album "In The Dark". Jerry and John Cutler were producing again. They quickly decided that the same approach wouldn't work and the recording sessions began getting moved around to various studios. The album was finally finished just a couple of hours before it was to be turned in. Unlike some, I like most of the songs but the problem for me here, as with Shakedown Street and Go To Heaven, is not the songs themselves but in the actual production. Jerry referred to it as "confined space" but to me it sounds more like "confined void". Despite this being a high end recording, the overall mix is actually very hollow and synthetic sounding.

The opening Foolish Heart is actually a very good song but it fades out before the beautiful closing jam which was usually great in concert. Just A Little Light is actually one of, if not, my favorite Brent songs. Unfortunately, here it doesn't have the cool synth introduction or the nice extra little jam near the end that the live versions have. Built To Last is another great song but here it's played so slow that it's plodding. Blow Away was a really good song until they decided to rearrange it in an over the top manner in typical late '80's style. Victim Or The Crime is actually one of the two songs that benefits from the albums production style. Musically, the song always had a Twilight Zone feel to it and that actually pays off here. I guess that there are some Dead Heads who didn't/don't like this song but I do. We Can Run is okay but once again, the keyboard isn't used starting instead with a very brief Jerry intro. The lyrics also sound a bit heavy handed as if they're trying to shove them into the song. Standing On The Moon is a Jerry ballad and it comes across very well here and is the only song to use an acoustic instrument (aside from drums) in the mix. Jerry's acoustic guitar give the album a very earthy feel missing elsewhere in the album. Bob's Picasso Moon is a nice rocking song and it's given a decent treatment here. I'm not a fan of I Will Take You Home and it's actually my least favorite Dead song. Some people find it sweet but it's just too much for me. Your mileage will vary. All in all, the album sounds very much like it was recorded in 1989 for 1989. It manages to capture a lot of what I didn't like about the late '80's production style.

This expanded cd version includes three extra live songs: Blow Away (which is from the show that would later be released as Crimson White & Indigo), an okay Foolish Heart (which was recorded during the run that would later be released as Downhill From Here although Foolish Heart isn't on Downhill), and the song California Earthquake which was played twice on the Fall tour after the San Francisco Earthquake of 1989.
2905524
1971 - a magical year of music from the Bay Area. With the breakup of the Beau Brummels we find Sal Valentino joined with Lynne Hughes former lead singer from Tongue and Groove and a former part time member of the Charlatans.  Stoneground features several lead vocalists: Annie Sampson, Lynne Hughes, Deirdre LaPorte, Tim Barnes, Luther Bildt, and Sal Valentino, a feat that is rarely used in any group, but with Stoneground you feel like you have been placed in the center of a great party with many friends sharing their music with you.  If you are serious about having a good time I recommend this album to you, it always makes me smile when I listen to it.
4231777
Having a Rave Up is one of the best albums from the 1960s. In particular, one might find interesting, I'M A MAN, STILL I'M SAD, HEART FULL OF SOUL, EVIL HEARTED YOU, and MISTER YOU'RE A BETTER MAN THAN I.

These tunes feature easy-to-learn guitar leads and riffs, some more developed than others.  In subsequent recorded work, Jeff Beck produced exciting and creative lead guitar solos and riffs in LOST WOMAN, SHAPES OF THINGS, JEFF'S BOOGIE, HAPPENINGS TEN YEARS TIME AGO and BECK'S BOLERO.  In particular, LOST WOMAN features the most interesting pairing of guitar and harmonica to be found in the entire genre of rock'n'roll, or perhaps even in the entire history of recorded music.

Moreover,what distinguishes this album is the deadpan, British-style singing of Keith Relf. Other examples of British deadpan singing can be found, for example, in anything by the 80s New Wave group, Squeeze, and anything by the 80s New Wave group, Gang of Four.

In guitar other work from that era, comparable lead guitar solo work can be found in Pink Floyd's COMFORTABLY NUMB, Vanilla Fudge's YOU KEEP ME HANGING ON, anything from The Greatful Dead's first album, and Quicksilver Messenger Service's THE FOOL.  I might also recommend Return To Forever's first album, HYMN OF THE SEVENTH GALAXY.  Unlike most "jazz fusion" albums, HYMN OF THE SEVENTH GALAXY cannot whatsoever be mistaken for easy listening music.  This album features excellent, easy-to-learn guitar leads in a style not too far removed from that of Jeff Beck.
2082772
Marty Gold is one of the great arrangers in the US from 1959 through 1969. These are in my opinion his two FINEST albums. Please give them a listen...you will not be sorry! What's more is that the restored recordings are audio delights!!!
299634
When I was a young lad, just becoming obsessed with films, I loved watching Martin and Lewis.  Later, when I began my career as a film historian, then specializing in film comedy, I could no longer stand the over-the-stratosphere scenery chewing of Jerry Lewis.  On the other hand, I have ALWAYS loved Dean Martin, as a beautiful singer, fine dramatic actor, the essence of cool, and--absolutely--as a comic artist with exquisite timing.  While Dean marveled at the vocal phrasing of Frank Sinatra, he himself equalled Frank's rhythmic genius as a straight man, to Jerry Lewis and a lot of other film and television performers throughout his career.  Though, for a long time, I didn't appreciate Jerry, I still watched the Martin and Lewis films, just to see and HEAR Dean.  As time wore on, though, I mellowed toward Jerry, and now truly appreciate the team and the amazing things they did together, even if Jerry's obnoxious interruptions of Dino's peerless crooning still grate on the nerves at times.  Even considering his legendary ego, I have always recognized Jerry's own comic genius, irregardless if it wasn't my own cup of tea.  He has written a very objective and well-balanced memoir of his relationship and teaming with Dean; and their break-up was indeed like a divorce.  This is an entertaining and very moving book.  It is simply one of the best memoirs I have ever read; and I have read a lot of them.  Thanks, Jerry.  Dean deserves it.
4438602
A ton of great songs were written at the Brill Building years ago. Early songs written by Neil Diamond, Carole King, Neil Sedaka, Boyce and Hart, Mann & Weil, others. A must for any 60's music fan!
467005
this hard to find cd for those who like the romantic balladeer Al Martino will like the remastered edition

  it was cut from masters and the song "spanish eyes " has the out takes of Mr. Martino talking

  saying " i hope this is a hit we worked hard it !" after the talking the song is complete and beautifully remastered!

  it that bothers you this is not for you !? but i like it and enjoy hearing the real Al martino
1992792
A great memory.  I remember watching this simulcast in a movie theater on Halloween night 1980.  The material on this DVD is not everything from that night, some is cut, and some is added from the night before.  This was the end of the 1980 acoustic/electric tour (15 shows in CA, 2 in the midwest, 8 in NY). These were the final two shows in NY.

These same shows were released in piecemeal compilations as "Reckoning" and "Dead Set".  The Space > Fire On the Mountain is the same as on the Dead Set CD.  Unfortunately, on Dead Set, they chop the Fire jam near the end and splice in Greatest Story Ever Told -- a nasty flaw on Dead Set.  Here, you will hear/see the entire Fire jam (one of the better ones played in the early 80s) and the jam segues into Not Fade Away.

Much better that that flawed Dead Set recording, but unfortunately, this show is cut up as well.  After Not Fade Away, Jerry played an absolutely exquisite Stella Blue on 10-31-1980.  A great version.  But its not included here.  The DVD cuts out Stella Blue > Goin Down the Road, and cuts straight to Good Lovin'.

All in all, this is still a great selection of their playing from 1980, a year when Jerry was healthy and full of energy, and the band cleaned up their sound and broke out the acoustic guitars for old times sake.  A real gem from one of the last years the Dead were still a great band.
2932529
After Peter Green's one year stint with John Mayall's Bluesbreakers, he, McVie and Fleetwood bailed and formed Fleetwood Mac the blues sensation that started it all  for Green and the band. It didn't happen immediately, it sort of evolved. A blues evolution, you could say.

I read an anonymous review as follows...

"This two disc set should be the cornerstone of any Peter Green / Fleetwood Mac collection. Intelligently sequenced, for both new insights and listening enjoyment, the tracks are cherry picked from titles scattered among other available compilations - most notably the two "Vaudeville Years"
sets.
Also included are four enlightening tracks with Peter Green guesting with the Brunning Sunflower Blues Band and seminal home recordings of Peter Green and Duster Bennett.
The emphasis, as the title suggests, is on Peter Green and the highlights are many for his fans - an impassioned "Do You Give A Damn For Me?"; supremely confident live renditions of "Black Magic Woman" and "Jumping at Shadows" recorded at the Boston Tea Party stand but not issued with those recordings; and two B.B. King slow burners, "If You Let Me Love You" and "Buzz Me Baby" the former with the Brunning Band, that showcase the control, feel and emotion that make Green's fans legion.
Proving that less is more, the six Jeremy Spencer cuts show off his patented Elmore James inspired singing and playing to their best advantage.
Danny Kirwan seems to be the odd man out here, with only four tracks, but a searing live version of "Coming Your Way" from 1970 is a standout of the set.
As stated earlier, all of the Fleetwood Mac material here is available on the two "Vaudeville Years" sets, along with some other tracks that should not be considered for completists only - but these two discs offer superior sound, a better price point and a more enjoyable listening experience.
A great introduction, or companion to the "The Complete Blue Horizon Sessions" box set."

The "Shrine 69" compilation is another great representation of the early Mac Blues Phenomenom which to this day stands the test of time.&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Shrine-69/dp/B00000JFRL/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Shrine 69</a>

The line-up...

Mick Fleetwood
Peter Green
Danny Kirwan
John McVie
Jeremy Spencer
Bob Brunning
Duster Bennett

This is the best of the 60's blues explosion. There is a lot going on here. The story behind the band and its members is fathomless with so many side chapters, it's hard to keep track. The members and their spin-off projects are too varied to keep track of but one thing is certain, no matter what they did, they did it with style and skill.

This is blues at its best. Let Peter Green and Fleetwood Mac take you to that special place and back again. This is a 36 tune compilation that is to die for, so live long and prosper, go pick it up.
1686936
Or Paul Jones, (Paul who?) or the great untold stories of the Stones?

For example, when Mick Taylor chose to bottom out - in some ways a survival instinct, since brilliant guitarist Taylor was well on his way to emulating his predecessor, the late Mr. Jones, Keith Richards, who always had an eye for suggesting those whose appetites rivalled his, enthusiastically suggested Stevie Marriott to replace Taylor. Marriott having just left Humble Pie. Marriott, himself an excellent showman and strong vocalist - he had been a child actor in his youth - came to the Stones' rehearsal, cautioned by Richards to not get too exuberant - otherwise Mick would feel threatened!

Well, Marriott stayed low-key for awhile, going through a couple of songs with Mick and Keith, the gigging was going great, and then screamin' Steve's basic instincts of stealing the show got the best of him - and he started wailin' as those of us who were fortunate to see Humble Pie live in concert know so well. Well, to make a long story short, Mick got angry, felt threatened, and alledgedly told his "glimmer twin" - NO MARRIOTT!

So after going through the motions with American guitarists Harvey Mandel of Canned Heat and Wayne Perkins, and even considering Badfinger's Joey Molland, Mick and Keith settled on Ronnie. Considering Keith's ill-starred friendship with Gram Parsons - also appetite, or shall we say, pharamecutical related, one can only wonder what a Stones' front-line of Jagger, Richards, Marriott could have been like.

I don't believe Mr. Davis' covers this episode in his book; or also notes that the Stones - namely Brian, actually considered Paul Jones, then known as Paul Pond, or "permanently pissed Pond" to be their original lead vocalist. For those not in the know, Paul Jones (not Zep's John Paul Jones) became the immensely popular vocalist of Manfred Mann ("Do Wah Diddy", "Pretty Flamingo"), and then went on to brilliant careers as a leading man on the London stage in Andrew Lloyd Webber musicals, including the first "Evita" soundtrack, and as a respected and formidable Blues man - his Blues Band, and the reformed (without Manfred Mann) Manfreds are very successful in Britain today, though alas, not in the U.S. - Jones may not be as famous as Mick is, but he remains a very popular and genial figure in Britain. But yes, Paul Jones almost beat out Mick for the Stones' lead singer position. Oh, how pop history might have been different.

And yes, Mr. Jagger may seem flamboyant and wicked on stage; offstage his love of history - he's reading a bio of "Mao" according to the London Daily Telegraph; his appreciation of the knighthood, and his strong believe in discipline - he dressed down Keith's buddy Gram Parsons for hanging around the Stones too much when he should have been recording with his own Flying Burrito Brothers, speak volumes about his own multi-faceted character. Not that he is the role model for the perfect spouse - lol, or parent, but that there is so much more to Mick than what meets the eye, while Keith still looks like (if he no longer acts like) a southern-fried chicken!
2656829
I wasn't a fan of "Wonder Years," but when I heard Richie Havens's version of "Peace Train" on XM's The Village, I had to find the recording. Frankly, this one song's worth the price of the CD and a 5 star rating from a non-fan.

The rest vary.  "For What it's Worth" by the Buffalo Springfield's always a great addition and so's Joe Cocker's "With a Little Help from My Friends." I could have done without hearing Debbie Gibson singing anything and we get two whole songs from her.

"20th Century Fox" by The Escape Club was a lost treasure.  So was hearing Carole King doing "Will you Still Love me Tomorrow."

Overall, I don't regret the purchase.  Wish the album was available on a track-by-track purchase, though!

Rebecca Kyle, July 2009
3671539
JEFF BECK is genius and here is in the company of Bogert and Appice from CACTUS. Like all the albums of CACTUS, the tracks seems to be recorded live. Great sound, that make me rembember LED ZEP, and JIMI HENDIX EXP, and also STEVE RAY VAUGHAN. This Supergroup doesn't last too much. This record also has the taste of Chess Records, like the JAM SESSIONS of PETER GREEN FLEETWOOD MAC