Jackson Browne faced the nearly insurmountable task of following a masterpiece in making his second album. Having cherry-picked years of songwriting the first time around, he turned to some of his secondary older material, which was still better than most people’s best and, ironically, more accessible — notably such songs as “These Days,” which had been covered six times already, dating back to Nico’s Chelsea Girl album in 1967, and “Take It Easy,” a co-composition with the Eagles’ Glenn Frey that had been a Top 40 hit for the group in 1972.
Essential: a masterpiece of Jazz-Fusion music
One of the most elegant and smooth jazz albums I ever heard
Oregon jazz band from USA, created a very unique album in my opinion with a lots of unusual instruments for this kind of music, like Sitar, Tabla, Flugelhorn and Oboe and give a new dimension to the jazz music.
The third biggest-selling album in the group’s history, Crazy Eyes is also the group’s liveliest and most bracing work and contains some of their most soulful music. In short, it’s the fruition of everything they’d been working toward for four years.
Excellent addition to any rock music collection
Since Traffic originally planned its self-titled second album as a double LP, the group had extra material left over, some of which saw release before the end of 1968 (there was a new, one-off single released in December, “Medicated Goo”/”Shanghai Noodle Factory”). In January 1969, Steve Winwood announced the group’s breakup.
Excellent addition to any prog rock music collection
My entry to ”Traffic” was the single that was released from this live album. It was clearly labelled ”Traffic” and it was of course the great rendition from the Spencer Davis Group: ”Gimme Some Lovin”.
Mason was back for a few live appearances and two songs out of his first album are featured in this live testimonial (”Sad And Deep As You” and ”Shouldn’t Have Took More Than You Gave”). But even if the latter is particularly very much soul oriented, the final guitar part is so good, that I ended up by liking this one.
Features 24 bit digital remastering. Comes with a description. An unusual global session for Atlantic Records – an album that has John Lewis presenting work by three other musicians that he feels are ripe for wider discovery! The set's got some killer work from Rene Utreger – a key Parisian player in the postwar years, working here with dexterity that's almost at a Bud Powell level! Dick Katz is also featured on the set – with some nice colors and tones in the mix, similar to some of the work he'd go onto do for Atlantic and other labels. And perhaps the least known here is the British player Derek Smith – stepping out with a lyrical style that's captured surprisingly well here – and which makes the record a key addition to Smith's catalog.
Cream was a band born to the stage, a fact that the band and their record label realized the public fully understood by the number one U.S. chart placement for Wheels of Fire, with its entire live disc, and the number two chart peak for Goodbye, the posthumous release that was dominated by concert recordings. And in response to those success, we got Live Cream, Vol. 1 (originally known simply as Live Cream) in the spring of 1970, nearly 18 months after the trio’s breakup.
After the multi-platinum success of Music from the Original Soundtrack and More: Woodstock that accompanied Michael Wadleigh’s documentary film Woodstock (two million copies sold and it spent four consecutive weeks at the top of the Billboard charts, and even a Top 20 spot on its R&B chart!), Woodstock Two was inevitable as a sequel. Released as a double LP in 1971 with more stills from the film — though none of the music here was included — this set featured many of the same artists who’d appeared on the first volume, with two additions: Mountain, and Melanie. If anything, this set, more concise and more focused, is a better bet than its predecessor. Disc one is a stunner on more than one level. First, there are three tracks by Jimi Hendrix and his expanded lineup after breaking up the Experience (adding guitarist Larry Lee), and a trio of percussionists along with Mitch Mitchell and bassist Billy Cox. There’s the killer “Jam Back at the House,” which rolls in riffs and an instrumental array of tunes from his catalog including “Rainy Day Dream Away”; there’s a killer take on “Izabella” that’s raggedy but full of killer improvisation — check the interaction between Cox and Mitchell — and “Get My Heart Back Together,” also known as “Hear My Train A’Comin’.” These 20 minutes of music make it worth the purchase of this collection if you don’t already possess the Jimi Hendrix Live at Woodstock disc.