Released just after George left Apple for his own Dark Horse label (and appearing in stores just in time for the Christmas season of 1976), The Best of George Harrison neatly splits into a side of Harrison solo hits and a side of his Beatles tunes.
While the Beatles still largely stuck to love songs on Rubber Soul, the lyrics represented a quantum leap in terms of thoughtfulness, maturity, and complex ambiguities. Musically, too, it was a substantial leap forward, with intricate folk-rock arrangements that reflected the increasing influence of Dylan and the Byrds…
Arriving in 1967, Greatest Hits does an excellent job of summarizing Dylan’s best-known songs from his first seven albums.
Where Dylan’s first Greatest Hits took its title literally, Greatest Hits, Vol. 2 is a greatest-hits album only in the loosest sense of the term. While the double album does contain several genuine hits — “Lay Lady Lay,” “Tonight I’ll Be Staying Here with You,” the non-LP “Watching the River Flow” — it is largely comprised of album tracks that became classics, either through Dylan’s own version or through covers.
Essential: a masterpiece of progressive rock music
OH WOW! Another perfect Renaissance album. Maybe Annie Haslam has her best voice on this record: using headphones, the experience is more than pleasant! Other musicians’ backing vocals support very well Annie’s lead vocals.
Features 24 bit digital remastering. Comes with a description. his 1966 date by Duke Pearson with an octet was originally issued by Atlantic. Reissued by Collectables, this is Pearson in full soul-jazz mode, driven deeply by the blues, with an all-star band (not all members play on all tunes): drummer Mickey Roker; Harold Vick on soprano; James Spaulding on flute and alto; bassist Bob Cranshaw; trumpeter Johnny Coles; tenor George Coleman; guitarist Gene Bertoncini; and Pearson on piano and celeste.
On the Grateful Dead’s Anthem of the Sun the studio with its production work dissolves into live performance, the carefully crafted is thrown together with the casually tossed off, and the results are spliced together. The end product is one of the finest albums to come out of San Francisco, a personal statement of the rock aesthetic on a level with the Jefferson Airplane’s After Bathing at Baxters. To be sure, the album has its weak points, but as a total work it is remarkably successful, especially when compared to the first Dead album.
Excellent addition to any prog rock music collection
A legendary Heavy-Prog album if there ever was one. And a trio at that. These guys look so cool in the liner notes. Man you get Crane and Cann together and look out it’s time to cook !
“Death Walks Behind You” opens with haunting piano lines before the guitar starts to make some noise. Full sound a minute in, vocals follow. A calm with piano after 3 1/2 minutes. It kicks back in. “Vug” opens with some very impressive organ by Crane as the guitar supports. Lots of organ 2 minutes in. The guitar is more prominant after 3 minutes. They’re cooking now ! “Tomorrow Night” is a somewhat catchy tune. Nice organ solo 2 minutes in.Tasteful guitar a minute later. It ends on an experimental note. “7 Streets” opens with organ. Crane used a device to make his Hammond organ sound like church organ on this one. The drumming is excellent on this track but then so is the whole song. This along with “Nobody Else” are my favourites. Some ripping organ and guitar after 3 minutes as they trade solos. I wish all the songs were this dynamic.
Appearing the timeless “Please Come To Boston”
Kenny Loggins’ second cousin hit the big time for a couple of months in 1975 with “Please Come to Boston,” a serviceable and sentimental soft rock gem from his second album, Apprentice (In a Musical Workshop).
Paranoid was not only Black Sabbath’s most popular record (it was a number one smash in the U.K., and “Paranoid” and “Iron Man” both scraped the U.S. charts despite virtually nonexistent radio play), it also stands as one of the greatest and most influential heavy metal albums of all time. Paranoid refined Black Sabbath’s signature sound — crushingly loud, minor-key dirges loosely based on heavy blues-rock — and applied it to a newly consistent set of songs with utterly memorable riffs, most of which now rank as all-time metal classics. Where the extended, multi-sectioned songs on the debut sometimes felt like aimless jams, their counterparts on Paranoid have been given focus and direction, lending an epic drama to now-standards like “War Pigs” and “Iron Man” (which sports one of the most immediately identifiable riffs in metal history).