Dave Mason - "Alone Together/Headkeeper"

Dave Mason, does the name sound familiar? If not do not worry, Mason is an unassuming rock guitarist and songwriter.  He was most active during the late 1960s and through the 1970s though he continued to record and release albums through the 1980s and more sparingly but all the way into the first decade of the 2000s.  Mason has a decent following and he has had hit songs that will be instantly familiar to many a listener ("Feelin' Alright" is his composition, first performed as a member of Traffic) his most famous song is "We Just Disagree" (written by friend Jim Krueger) a big hit in 1977 and still getting radio play.

Born in England, Mason is a very adept guitarist but never gained the popularity (or reached the innovation) of contemporaries like Clapton, Hendrix, and George Harrison.  He first gained notice as a founding member of Traffic with Steve Winwood, Jim Capaldi, and Chris Wood.  But Mason was not a team player while the other three worked as a composing unit Mason worked solo.  Mason left the group in 1968 after the release of their second album.  He went to work as a session guitarist for Jimi Hendrix's "Electric Ladyland" album most notably playing on Hendrix's version of "All Along the Watchtower."  He toured with Delaney and Bonnie and Friends appearing on their album "On Tour with Eric Clapton."  After that he was a session guitarist on George Harrison's epic "All Things Must Pass" album.

Shortly after working with Harrison, Mason completed and released his debut album 1970's "Alone Together." With backup from Jim Capaldi, Rita Coolidge, Leon Russell, Jim Gordon, Carl Radle, Jim Keltner and Delaney and Bonnie.  This started Mason solo career with such promise, all eight tracks are solid.  Opening with the semi-hit "Only You know and I know." There are nice banjo and acoustic numbers like "Just a Song" and "World in Changes."  The piano ballad "Sad and Deep as You." "Shouldn't have took More than you Gave" and "Look at you Look at Me" are more rock oriented and sound like Mason's work with Traffic. "Waitin' on you" is gospel styled obviously influenced by Delaney and Bonnie. "Can't Stop the Worrying, Can't Stop loving" is pure smooth pop.

After a second album that was a partial duet with Mama Cass Elliot.  Mason started recording his third album but got into a contract dispute with his record label.  The label took the five tracks that Mason had completed for his third album and paired it with five tracks recorded live (I believe at the Troubadour) and called the album "Headkeeper."  The record company released the compiled album without Mason's permission and Mason publicly denounced it.  Despite the controversy the live tracks are well performed but are not very different from the studio versions, however the studio tracks are some of the best of Mason's career. "To Be Free" with its great piano lines is gorgeous and ends with a Stephen Stills-esque choral movement. "Here we Go Again" with its chiming guitars, mandolins, and hand claps is one of Mason's catchiest compositions. "A Heartache, a Shadow, a lifetime" is wonderful pop. They find Mason expanding and capitalizing on the promise of his debut album.

In 2005 Mason released these two records on one CD set, for record buyers in England.  Available as a reasonably priced import from Amazon and other sources this is a great record and some of Mason's finest work.  There is a foldout booklet that is a bit short but still interesting.  If you are interested in Mason's work, a fan of Delaney and Bonnie's "On Tour" or Eric Clapton's solo debut this is a great addition to your collection. I'm glad I own it.

Stephen Stills - "Stephen Stills 2"

For the 68th Birthday of one of my all time favorite musicians Stephen Stills, I am writing about his second solo album released in 1971, a mere seven months after his first. This also happens to be my first post of 2013. Happy New Year everyone.
[I previously posted about his debut album for his last birthday check it out.
http://loosenthekey.blogspot.com/2012/01/stephen-stills-stephen-stills.html]

Stills had been making great music with a streak of excellence that goes from Buffalo Springfield, Super Session, CSN, CSNY, to his solo debut. After all that success it was no surprise that Stills stumbles a bit here. He mostly falters when he goes into Chicago (the band) territory adding a horn section (The Memphis Horns) and creating his own version of the Wall of Sound. At the time of release the album went Gold but did not produce a big hit single like "Love the One You're With" and the critics ready to bash Stills found ample opportunity here.

Looking at the album now Stills really scores on about half of the tracks. "Change Partners" feels like a ballroom country dance with a swinging tempo and great chorus that gets things off to a great start.
"Fishes and Scorpions" starts slow with acoustic guitar then turns into a rocker in the second half with some nice work by Eric Clapton. "Know you got to Run," a banjo led tune (reworking of John Hopkins song) is a brooding dark accusation (the first two lyrics were used on CSNY's "Everybody I Love You").  "Singin' Call" has a tight acoustic picking and quiet reflective vocals that show off Stills' abilities. "Sugar Babe," is a blues based mid-tempo song with a great feel and good organ work. "Marianne" is superb catchy rock featuring Stills singing in a high register.  "Word Game" is a fast acoustic number  with swirling wordy ranting lyrics about racism and prejudice.

On the rest of the tracks is where Stills stumbles. "Nothin' to do but Today" and "Open Secret" mix gospel and rock, but they are take them or leave them tracks, listenable with choruses that may stick in your head but are not so great. "Relaxing Town" and "Ecology Song" feel unfinished and rushed. The lyrics are also below par on both and the production can be overbearing.

The closer "Bluebird Revisited" is one of those 'why would you remake this?' questions. Seemingly intended as a epic finish that does not succeed. It seems like Stills had a portion of a new song and decided to mix in verses from his Buffalo Springfield classic. The music has been redone and is not bad I especially like the trumpet playing before the last verse.

Like his debut album there are some famous guest appearances by Eric Clapton, Nils Lofgren, Billy Preston and David Crosby. As well as Henry Diltz photography (the back of the cover photo shows what could be a bag of white powder on the table next to Stephen). The CD version I have sounds good, certain vocals seem really soft though. iTunes may help listeners with this album because they will pick their favorite songs and leave the rest.

All in all as many critics pointed out Stills seems to have rushed the album out before enough strong material was ready. His creative energy, however, would get a shot of adrenalin from Manassas a year later. In the end this album has some good moments that many critics chose to ignore and it is definitely worth a look.

Happy Birthday Stephen Stills, let's wish for the much anticipated and long overdue release of the Stephen Stills Box Set this year.

Led Zeppelin - "The Best of"

"Been a Long time since a Rock and Roll" post.
After a long unintentional absence The Music Man has returned. Nice to see you all again.

Picking up where my alphabetical listings stopped about a month ago. (Last post was Carole King, check it out). Coincidentally my next album is Led Zeppelin who received a Kennedy Center honor this year.

My Led Zeppelin "Best of" collection was made for me by a gorgeous ballet dancer that was very special to me for a time, but I sadly have not seen her in many years. Anyway she and I used to trade music and she made me what she claimed was the perfect Led Zeppelin collection and I am inclined to agree. At the time the group had only released an expensive Box Set and "Early/Later Days" (the later of which was an affordable two disc set but poorly selected, no "Ramble On" what the hell?). So she made a wonderful two disc collection for me. She picked it pretty well because a few years later Zeppelin came out with "Mothership" an excellent greatest hits collection that is basically identical to the one my ballerina friend made me.

First off I want to say I enjoy a number of Zeppelin songs, "Over the Hills and Far Away" is my favorite, and the albums "Led Zeppelin II," "Led Zeppelin IV," and "Houses of the Holy" are very good. I am not a Zeppelin obsessive that thinks they are the greatest band ever, I think they are very good though.

Zeppelin make great guitar riffs, Robert Plant's vocals, and John Paul Jones is one of the best bass players out there. There is not much I can say about Zeppelin that has not been said already if you enjoy 1970s rock and have not checked them out you probably should. Pick up the compilation "Mothership" or the three album I mentioned in the paragraph above. If you are looking for they live performance (with excess jams that last 30 minutes!) check out "How the West Was Won" triple CD live album.

Well hope all is well and next time we will talk about John Lennon's "Imagine" see you then.

The Allman Brothers Band - "At Fillmore East"

One of the best live albums ever released.

The Allman Brothers Band were essentially Southern Rock and Blues band but by 1971, when this album was released, they were becoming well known for their powerful live shows. While all the members are excellent most of the popularity referred to the powerful twin guitar interplay between Duane Allman and Dickey Betts. Their long, but always lyrical and coherent, jams sometimes lasted 45 minutes on a single song. Though they were billed as a Southern Rock/Blues band they had a great Jazz influence which showed in their live performances with the flowing powerful instrumental jams that they created.

Other members of the band include two drummers, Jai Johanson and Butch Trucks, bassist Berry Oakley, and singer/organist/pianist Gregg Allman. All the members are able to shine on this album even if most of the hoopla goes to Duane and Betts' guitar playing. Also to credit for this album's excellence is super producer Tom Dowd who took two concerts recorded at the Fillmore East on March 12 & 13 and edited them into one album. Dowd condenses songs and merges two performances into one. While some may balk at this tactic, it works to the album's advantage by picking the finest moments in each performance and focusing on that excellence. And while some songs have been edited that does not mean they are short, two of the album's seven tracks are 20 minutes long and another is 13 minutes. The tracks, however, never bog down and the listener is always entranced.

I originally was very hesitant about buying this album for many years because I was leery about the length of some of the tracks. I was kept interested because of all the praise the album received over the years. I eventually picked it up when I had a sale coupon which got me the CD at a really low price. The album is excellent and the longer songs do not feel as long as they are because they are so dynamic.

The Allman Brothers Band, especially at this stage in their career, are a great band and really shine in the live format. The album was a big hit and gained The Allmans a wider audience. The original seven track album is highly recommended. There are also other box sets and deluxe editions which feature the original performances before they were edited but these longer editions are really for the die hard fan. The seven track album is a must for rock and electric guitar fans. Duane Allman is one of the finest guitar players ever and he sadly died in a motorcycle accident shortly after this album's release, but this is a fitting tribute to his immense talent.

Stephen Stills - "Stephen Stills"

In honor of one of my all time favorite musicians' 67th birthday I am writing this post to a true musical genius named Stephen Stills and reviewing his solo debut album (this also happens to be my first post of 2012!).

By 1970 Stephen Stills was on something of a winning streak, from his excellence on the three Buffalo Springfield albums, to "Super Session," through Crosby, Stills & Nash's debut album and CSN & Young's "Deja Vu" as well as the CSNY single "Ohio/Find the Cost of Freedom." He had nothing left to prove, yet he decided to prove himself again anyway.

Between late 1970 and early 1971 all four members of the recently disbanded CSNY released a solo album (in various formations at least two members worked on each other's  albums as back up) Stephen Stills' eponymous debut was the most successful of the four and in my mind the most enjoyable. Stills gathers a spectacular mix of great musicians of the era including, Jimi Hendrix (one of his last recordings, the album is also dedicated to him), Eric Clapton, Cass Elliot, Rita Coolidge, Booker T. Jones, John Sebastian, supposedly Ringo Starr is the drummer listed as Richie, and David Crosby and Graham Nash also lend their voices.

From Henry Diltz's excellent cover photo one might guess that this is a quiet singer/songwriter album, but in reality this album runs the gamut from pop to rock, folk, blues, and gospel. While it also has echos of his work with Buffalo Springfield and particularly CSN this album is completely different and fully Stills.

From the opening guitar strings along with the steel drum of the hit single "Love the One You're With" the album grabs you, the chorus of voices and a borrowing from the end of "Suite Judy Blue Eyes" are nods to CSN but then Stills moves into his own with the beautiful "Do for the Others" and superbly tackles gospel with "Church (Part of Someone)." "Old Times, Good Times" follows with some killer guitar by Hendrix and some great organ work by Stills on one of his best rock songs. "Go Back Home" is bluesy rock with Clapton and Stills trading guitar licks and Clapton turning in one of those great solos.

"Sit yourself Down" is one of Stills finest recordings with some great singing by all involved and I wish it was more talked about in terms of Stills' music, just such a great tune. "To a Flame" is a powerful piece of heavenly glory followed by the live acoustic blues of "Black Queen." The wall of sound of "Cherokee" would have fit well on his next solo album and the gospel style powerhouse closer "We Are Not Helpless" bring the proceedings to a epic close.

Throughout this album Stills gives one of his finest vocal performances ranging from bluesy to beautiful and etheral. His song writing is as usual flawless here. I can never pick which is my favorite Stills solo album this one or "Manassas" so I say it is a tie between the two.

Happy Birthday Mr. Stills and thank you for this wonderful album and all the wonderful music you make.

Jimi Hendrix - "Live at the Fillmore East"

This 1999 'official' release, by the Hendrix family, is a strong companion piece to my last post's "Band of Gypsys" album. Both were culled from the same four shows at the Fillmore. While the original "Band of Gypsys" album is six songs picked and edited by Hendrix himself, this album is 18 raw performances picked from the four nights. The nice thing about this release is also that which performance the song came from from is indicated in the track list.

Hendrix really tears into these songs and his guitar work is spectacular. Drummer Buddy Miles gets a bigger role on this release but his 'singing,' or wailing is probably a better term, is sometimes a little much. Thankfully, Hendrix never lets the center of focus leave him for very long.

This album gives a better view of the concerts even the off key "Stop" and the sometimes unevenness of the record add to this great view of Hendrix live in concert. For Hendrix collectors there is a great deal to gain from this album because even when songs from the "Band of Gypsys" are repeated here they are drastically different; such as "Who Knows" which is nearly instrumental here and the jamming "Power of Soul" (titled "Power to Love" on the "Gypsys" album). As are the two versions of the now classic "Machine Gun" that are presented here.

In the end if you only want one Hendrix live album (but really how could you want only one?) "Band of Gypsys" is the one to get. If you can find room for more than one, check "Live at the Fillmore East" I also enjoy "Live at Woodstock" but it feels long. I am interested in hearing the new recently released "Winterland" live tracks though. Anyway this is a good live recording with a great package and booklet. For now readers, I say until next time, happy listening. 

Jimi Hendrix - "Band of Gypsys"

"Band of Gypsys" is the only live album supervised by Hendrix before his death. This also may be his finest live recording despite the seemingly endless live recordings released in recent years by the Hendrix family.

In June 1969 The Jimi Hendrix Experience disbanded but Hendrix needed one more album to complete a record contract he had signed years earlier. He recruited Buddy Miles on drums and Billy Cox on bass, and went on to perform four concerts (two each day) at New York's Fillmore East on December 31, 1969 and January 1, 1970.

The concerts were a radical change in Hendrix's musical identity. Gone were the psychedelics and guitar burning stage antics. Instead focusing on a more blues/rock feel with definite touches of rhythm and blues. He also chose to play very few to almost none of his previously released songs with sets consisted of completely new material he had been working on.

While Hendrix's three studio albums (I am not counting all the random compilations and supposed new albums released by his family) are essential to any rock or guitar fan, particularly "Electric Ladyland." This, however, is the album (along with its companion album "Live at the Fillmore East") that proves what a killer he was in a live setting. What is amazing is all the guitar virtuosity Hendrix can fit into these relatively short songs. In an era when groups like Cream and Led Zeppelin were making 15 and 20 minute jam songs, Hendrix seems to fit the same amount of guitar virtuosity into a six minute song.

In the past Hendrix, much like a gypsy fortune teller, was always able to conjure up other worldly sound from the guitar, sounds that no one knew a guitar could make until Hendrix showed them it was possible. In this album's centerpiece track, the 13 minute "Machine Gun," he uses his magical guitar to again conjure up unheard guitar sound but this time in a social context. He creates harrowing images of war and a battlefield complete with air raid sirens, gun shots, bombs, and airplanes all through the six strings in his hands. It is an incredibly powerful statement for peace that only Hendrix and his gypsy powers could create.

This live album is actually structured very similarly to his three studio albums, even if the style is very different. Hendrix has picked and edited six of the best songs/performances from the four concerts and as you can hear on "Live at the Fillmore East" he has even edited various performances into one seamless song. In my opinion, now granted I have not heard the recently released Winterland box set, these concerts were Hendrix's finest audio live show. Isle of Wight was plagued with equipment problems, Monterey is really a visual performance as opposed to an audio one, Woodstock is pretty good but his back up seems lost and he seems nervous. At Fillmore East he is in command, his band is ready and willing, the equipment is working, he has a great batch of new songs, and he simply owns the stage. It is amazing the things he did with an electric guitar and even more amazing that he was only a recording artist for about four years before his untimely death less than a year after this album's recording. True genius.
Tune in next time for my review of "Live at the Fillmore East"!

George Harrison - "All Things Must Pass"

If I were to ask which of the four Beatles had the first number one single and biggest selling first solo album? Most people would probably guess John Lennon or Paul McCartney but they would be wrong. It is the quiet Beatle George Harrison with his landmark debut solo album "All Things Must Pass." The first triple disc record ever released (now on two CDs) made it even more astonishing because it was slightly more expensive than a regular length albums.

As the Beatles essentially disbanded at the start of 1970 Harrison joined forces with record producer Phil Spector and gathered a who's who of musicians. Largely gathered from Delaney and Bonnie's group the musicians included Eric Clapton and the soon to be Derek and the Dominos (Bobby Whitlock, Carl Radle, Jim Gordon), Dave Mason. As well as Billy Preston, the band Badfinger, bass master Klaus Voorman, and drummer Jim Keltner. There are also brief appearances by Ginger Baker and an unknown Phil Collins.

Harrison had been writing a massive amount of songs during the last few years of the 1960s. However, Lennon/McCartney were so prolific that they only allowed Harrison two songs on every Beatle album. He thus built up a large backlog of written songs that had to be recorded the majority of them became "All Things Must Pass."

Harrison never had a strong or distinctive singing voice but it serves its purpose here and thanks to Spector's wall of sound production Harrison's voice sounds very good and fits into the mix perfectly. Harrison's songs are also very strong and prove that he was a writer in the same league with Lennon and McCartney. Harrison was always interested in spirituality, particularly the religions of India, thus this album focuses on themes and ideas of Spirituality. The music is so melodic and pop/rock oriented that the songs never cease to be accessible, despite sometimes having philosophical, religious, or spiritual content. He also for the most part is not direct about the spiritual connotations of the songs. Only "My Sweet Lord" and "Hear Me Lord" blatantly call up higher powers. The rest of the songs could just as easily be about the love of a woman, the state of the world, and the state of life itself.

Sure the album is long but for the most part everything is a keeper, I personally may have removed "I Dig Love," "Let it Down" and "Apple Scruffs" but even those are pretty entertaining. The real flaw is the Original Apple Jam that ends the album (originally the third disc of the Vinyl Record). The Jam consists of five instrumentals (two are ten minutes) in which Harrison and Derek and The Dominos along with certain guests for each track basically just, well, jam. I think I know why Harrison included them; he was never really allowed to jam with The Beatles. Beatles music was a very expertly structured and arranged entity and they never allowed Harrison to really break out and jam on the guitar. So these sessions are a way for him to let out all his pent up guitar fury that had been built up during The Beatles.

The problem I find with the Apple Jam is that they are not all that interesting simply because there is too much going on at once. The 60s and 70s groups that jammed the best often were very small; like Cream Clapton was the main focus, Hendrix, CSNY focused largely on Stills and Young during their live jams. Harrison, however, often has seven or more people playing on the jams. Perhaps in a nod to Delaney and Bonnie's large band and Spector's wall of sound the music is very encompassing and thus makes it hard for any particular element to stand out, because there is so much going on at once. So often the jams are kind of boring and repetitive and are probably hardly listened to by many owners of this album.

None the less the 2001 remastered set makes everything at least listenable. The remastering makes all the difference. I remember I borrowed the original late 80s early 90s CD version of this album from my friend and I thought the album was awful. But when I heard all the glowing reviews of the 2001 remaster I decided to pick up the album and the thing sounds spectacular. Amazing what remastered sound can do; turning what I thought was awful into a great album. There is a wonderful booklet inside as well as one new song bonus track (that should have been on the original album), some alternate takes and a new version of "My Sweet Lord." The 2001 remaster is a great addition to any Beatle fan's music library.

Bruce Springsteen - "The Rising" September 11 2001

To honor the tenth anniversary of September 11, 2001 I am breaking my usual alphabetical postings to write a post about that harrowing day in America's history.

I remember waking up ten years ago to the sound of my radio alarm. Yet the normal classic rock that played to stir me from my sleep was a news report that morning. I groggily looked up at my alarm clock and wondered why a rock station was playing a news program and also why were they talking about New York City? I eventually got the facts that the World Trade Center had been destroyed by two airplanes. I rose from under the sheets and turned on the TV to find every station with the same images of the smoking towers. Living in Hawaii the attacks had happened many hours before it was morning where I lived. I was a Junior in High School and the day before was the birthday of this girl I had a crush on; I had spent much of the weekend looking for a gift for her. All that seemed very trivial a day later. I had never been to New York City, or the east coast for that matter, all I knew of the Big Apple or the World Trade Center was what I read in books or saw in Movies and TV. I was not sure how to feel as I did not know anyone who live in that part of the country and I felt so far removed. All I felt was sadness for all the people and the black cloud that covered that city of dreams known as New York.

In the following weeks the newspapers and TV screens were filled with information, specials, and fundraisers in support of the victims of 9/11. I along with the rest of the country was filled with a new found patriotism. Being a teenager and coming from the most isolated state in the union I never really felt the pull to say I am American. Never really thought about being American, I just thought of it as the country I lived in. Yet I suddenly found myself with a true identity of being an American. I watched the nearly eight hour "Concert for New York City" on television and wished I could be there.

As always in history music became the only place many people could find comfort and explanation whether it be the "Concert for New York City" or the music telethons "America, A Tribute to Heroes" and the like. While the concerts were definitely life affirming and tear jerking, in this confusing and troubling time none of the Music really captured the America of Post 9/11; neither did the music written especially for the tragic events such as Paul McCartney's "Freedom" or Neil Young's album "Let's Roll." Then ten months after 9/11 Bruce Springsteen released "The Rising."

More than any other modern musician Bruce Springsteen is identified with the American Landscape and so it is only fitting that the only true American musical poet be the only one to accurately and excellently capture Post 9/11 America.

In his first studio album with his excellent E Street Band since 1984's "Born in the USA." They reunited in 1999 after Springsteen was inducted into the Rock and Roll Hall of Fame. So it is only fitting that this is a return to form for The Boss after his poor albums of the 1990s. He is backed by a full band and he is writing American anthems again as only he can. The album is focused and direct yet it expertly captures the cloudy and uncertain feeling of America after 9/11. Even the artwork is cloudy and dark with only blurry images of the band members as if we are looking though all that dust at Ground Zero.

Bruce brings all his considerable Rock and Roll knowledge and his personal history with songs that could have fit on such landmark 70s albums as "Born to Run," "Darkness on the Edge of Town" and "Nebraska." The songs are obviously dark and inspired by a very dark day in history, yet in the end there is hope and the overall message that there is a greatness in everyday life. Some of the songs are truly great and excellent additions to Springsteen's vast catalogue including, "Lonesome Day," "Waitin' on a Sunny Day," "Mary's Place," "My City of Ruins" and particularly the title track. When the songs are not great they certainly are pretty good. He takes all different views, from a fireman who feels he's just doing his job on "Into the Fire" and"Nothing Man," to seeing things with non American eyes "World's Apart," "Paradise" and "The Fuse." To everyday people who have lost friends/family "You're Missing" and "Empty Sky." In the end the album closes with "My City of Ruins" where the people can only pray to whatever they believe in for the strength and the faith to rise up. The final words we hear on the album are Springsteen and a choir chanting "Come on and Rise Up." A call to all of America that we heeded. Thank you Bruce for helping us find the Rising. Thank you Bruce from the confused teenager that found some focus in your songs.

So on this tenth anniversary of September 11, 2001 may we remember those who fell. May we remember the patriotism for this truly great country called the USA. May we remember that it does mean something to be American. May we not loose sight of the wonderful life we live. May we "Come on up for the Rising, Come on up Lay your Hands in Mine, Come on up for the Rising Tonight."

Guns N' Roses - "Use Your Illusion II"

The second half of Guns N' Roses 1991 double release (a double album released as two single CDs) titled "Use Your Illusion I&II." Part 2 is a very different affair, while Part 1 largely retained GN'Rs blues hard rock 2 seems to take its cue from Queen and Elton John. Most of the tracks seem to take the excellent "November Rain" as a blue print which is a plus, and many of them are Rock Love Songs or more sophisticated Power Ballads, Axl's Grand Piano is featured on many of the songs.

The song writing for the most part is much stronger than on Part 1, where some of the lyrics seemed cobbled together to just get a song recorded. Here most of the songs seemed well thought out. The songs are largely slow to mid-tempo ballads and many are quite long (3 songs run nearly 10 minutes and most songs are over Five Minutes) which could have hurt the album but the longer songs are usually the better ones. "Civil War" is an ambitious social commentary which is quite good, "14 Years" and the excellent "Yesterdays" are power pop with a strong GN'R edge. "Knockin' on Heaven's Door" is good (of course its Dylan) but misguided electric guitar hero version. "Breakdown" is a wonderful Elton John tribute. Then there are the two "November Rain" songs "So Fine" and the truly excellent multi sequence "Estranged."

Like Part 1, there is also a half albums worth of filler and clutter, "Shotgun Blues," "Pretty Tied Up" "Locomotive" and "You Could Be Mine." The alternate version of "Don't Cry" is so minutely different that it really does not need to be here. There is the pure childish crap of "Get in the Ring" in which Axl calls out all his critics by name and tells them @*%&$ Off, over some guitar riffs. He literally uses the F-Word on every other line. The album closing "My World" is truly a WTF moment, it is Axl moaning over weird noises for a few minutes. Sadly it seems like the precursor to all that late 90s goth crap that became popular in certain circles.

Overall like Part 1, Part 2 has excellent guitars and Axl's killer voice. This is more ambitious and thus more rewarding when the songs work, but when they don't they are ten times worse. This is the perfect iTunes album because you can grab the good half album and let the rest fade away. Like I said in the previous post "Use Your Illusion I&II" could have been a perfect single album; but as the albums stand when Guns N' Roses are good they are unbelievably excellent and have some of the best songs around, when they are bad they are BAD.

Guns N' Roses - "Use Your Illusion I"

The difficult second album for Guns N' Roses was more difficult than most. Their first album, 1987's "Appetite for Destruction," was a monster that made the GN'R one of the biggest bands in the world. The recording was troubled, particularly Axl Rose is incredibly hard to work with, numerous fights and massive substance abuse took the group till 1991 to release their ambitious "Use Your Illusion I&II" albums. Essentially these are a double album but released as two single disc CDs. Pretty good marketing considering, instead of getting people to buy a double album for $25 they got them to buy two single discs for $15-$18.

Anyway to the album, Part 1 is certainly the harder rocking of the two. The problem is that on some of the songs the Guns sound like they are trying to be the fierce band that they once were like they are wearing a mask. On their first album they fully felt real here sometimes it seems like they are trying too hard. Axl in particular said he wanted the second album(s) to be different from the first, which is fine but he did not seem to know how to make them different. He also seems to feel that he needed to take up the mantle of the spokesperson of the generation writing faux social commentary and trying to send a message which really does not work. All in all it seems the group does not really know what it wants to say and thus recorded a bunch of music that jumps all over the map.

Izzy Stradlin' actually comes up with some of the best songs "You Ain't the First," "Double Talkin' Jive" and "Don't Cry." Axl's "November Rain" a nine minute piece that features a whole symphony orchestra is a powerhouse and one of the best songs of the decade. "Back off Bitch" and "Don't Damn Me" are other gems. There is a decent harder edged cover of McCartney and Wings' "Live and Let Die" but it seems odd that GN'R would cover a Wings song, come on a Wings song! it just does not match.

There is also half an album's worth of filler and lousy songs, "Coma," "Dead Horse," "Bad Apples," "The Garden" and "Garden of Eden (featuring Alice Cooper)."

Overall the guitars are constantly awesome, Slash and Stradlin' don't disappoint. Axl's voice sounds awesome as always. There are a number of strong even excellent songs but the album is messy and cluttered. Jumping all over the place this is one of those albums that will benefit from iTunes, that way one can buy the half album or so that is really good and let the rest go. In reality "Use Your Illusion I&II" had only enough good songs to make one killer album yet as the pair stands they are two flawed albums with brilliant moments among the clutter.

George Harrison and Friends - "The Concert for Bangladesh"

I am going to break with my usual alphabetical posts to celebrate the 40th anniversary of the spectacular "Concert for Bangladesh."

It was August 1, 1971 Vietnam was raging, Nixon was in the White House, Bangladesh was in shambles and in the music world Bob Dylan had vanished and The Beatles had broken up, which was a bigger blow to many Americans than all the other things happening at the time.

Upon the Beatles break up all 4 member released solo works Lennon's first solo album "Plastic Ono Band" and McCartney's "McCartney" while both were quite impressive (particularly Lennon's) they were met with low sales and harsh criticism.

Then came Harrison's triple disc masterpiece "All Things Must Pass" album with its No.1 hit single "My Sweet Lord" the album was nothing short of astonishing especially coming from the quiet Beatle. Ringo also had a big hit single with "It Don't Come Easy."

Ravi Shankar approach Harrison to help the problems facing Shankar's home area of Bangladesh and Harrison organized the very first superstar benefit concert. Two sold out shows on August 1, 1971 at Madison Square Garden, New York City with some top tier talent including Ringo, Billy Preston, Leon Russell, Shankar and his sitar band, Badfinger, Klaus Voorman, Jim Keltner, and Phil Spector arranging it all (building a living wall of sound on stage) and recording a live album. Eric Clapton, who at the time was in self imposed exile, flew over from England to play back up guitar.

Then there was Harrison on top of the music scene and always the center to the concert, wearing his white and orange suit with the OM symbol on his lapels. This was the first time any of the Beatles performed live (barring the performance on the roof of Abbey Road and Lennon's impromptu appearance at the Toronto music festival).

When Harrison plays an acoustic version of "Here Comes the Sun" the rays really fill the room. In this time of problems here were a bunch of rock stars doing something good for other people (none of them got paid for their performances). Here was an audience that wanted to feel good again and Harrison gave them that for a few hours.

Then the sun really shines when the poet of a generation comes out of the shadows, a friend of us all Bob Dylan. Also at his most reclusive point Dylan had not and would not perform live for five years with the exception of this concert. Wearing his acoustic guitar and harmonica Dylan reaches back to his early days to play five of his greatest songs, including "Blowin in the Wind," "Mr. Tambourine Man" and "Just Like a Woman." He had not played these songs in a while and more over he plays them straight. It is truly a magical moment which the listener feels.

Then when Dylan leaves the stage to thunderous applause, Harrison launches into his best song "Something" just to remind us that he is awesome.

So for this 40th Anniversary of "The Concert for Bangladesh" check out the free streaming of the concert film at http://www.theconcertforbangladesh.com/. Download the album or songs from iTunes all proceeds go to The George Harrison Fund for UNICEF. I own the Remastered set which has a cool booklet, great sound and the money I paid for it went to the George Harrison Fund. Long live George Harrison, the quiet one, who in 1971 made a lot of great noise.

Derek and the Dominos - "Live at the Fillmore"

To support their only album Eric Clapton, Carl Radle, Bobby Whitlock and Jim Gordon aka Derek and the Dominos went on a erratic tour of the USA. This live album is compiled from two of the shows at New York's Fillmore East auditorium in October 1970.

The Dominos were always Clapton's finest group, "Layla," their one album together, is Clapton's finest studio album and no surprise this is his finest live album. This would be the first time Clapton was the official leader of a group. He had been famous for years by this point and he was in great turmoil in love with Patti Boyd the wife of his best friend. These factors could account for his powerful performances.

Being the insecure guy that he was Clapton is uncertain of his singing and leadership ability thus he tries to cover up his insecurities with some killer guitar playing. He has never sounded as fierce or as inventive as he does here. His singing is perfectly good as well. The powerful "Have you ever loved a woman" blows the excellent album version away. The nearly twenty minute "Let it Rain" is jaw dropping with a killer drum solo by Gordon. This is also the only place, until the new 40th anniversary "Layla" album came out last month, to get the song "Got to Get Better in a Little While."

The songs are long, five of them run over ten minutes, but if you are a Clapton fan these are great great treasures. It is a shame that this album is not mention more often in Clapton's catalogue, I guess that makes it something of a great discovery for the Clapton fan. I personally was hesitant to buy this album because of the long songs; after all sometimes longer does not mean better. I finally picked this album up and am so happy, this is the finest live performance Clapton has ever released and one of the best live albums I have ever heard. If you want more from the Dominos this is the only place for it. Doesn't get better than this.

Derek and the Dominos - "Layla and other assorted love songs"

I believe I missed a week, sorry about that. Here is the triumphant return with my favorite album of all time. Derek and the Dominos lone studio album is not only one of the finest examples of rock music, it is also a testament to the creative power of love; whether it be euphoric or heartbreaking.

As it has been widely told before Eric Clapton was madly in love with his best friend's, George Harrison, wife Patti Boyd. Clapton had been working as a side man, with Delaney and Bonnie as well as on Harrison's "All Things Must Pass" album, to escape the spotlight of superstardom. Clapton joined forces with Bobby Whitlock, Jim Gordon and Carl Radle to form Derek and the Dominos. During the recording sessions Duane Allman joined the group as well.

The Dominos are Clapton's finest group able to adeptly support him but also work as a unit creating a true band sound. The title cut is a prime example of their great teamwork: halfway through the song all the blistering guitars fade to a whisper and the rest of the tune is a beautiful piano solo by Whitlock. This is truly a great band and it truly is a pity that they were not able to record more albums.

None the less their one album is a shining achievement. Clapton has never been better, he throws out blistering guitar parts that are among the best of his career. Some are fast straight ahead jaw droppers other are intricate quiet tunes. He uses the blues and rock equally to get his point across. Clapton has never before or since sounded as passionate or interested in his music as he does here.

The songs emit all Clapton's yearning, aching, depression and excitement that comes from being in love. Despite his turmoil the songs are often up tempo but there are a fine share of blues songs in there as well. The songs encompass everything that one feels when love is out of reach. There is also some hope though, in reality Clapton eventually married Patti Boyd largely in part due to this soul bearing album.

I could go on and on for days about the greatness of this album and how much I enjoy it but I shall stop soon. I believe one of the main reasons this is my favorite album is that I have more times than I want to admit been in the exact same place as Clapton, in love with someone who does not love me. I have never been as talented as Mr. Clapton and I can play only a few notes on the guitar; the only outlet I have is writing and listening to music. This is the music that connects us to each other, we as humans are consumed by emotion at all times and "Layla" reflects that. That is what this album does for me, not only is it great music; "Layla" reminds me that love conquers all and that in the end even a guitar god like Clapton is just as human as I am.

Eric Clapton - "The Cream of Clapton"

This is the first Eric Clapton CD I ever owned; my grandparents bought it for me at I think a store called something like SunCoast. As I would come to find after purchasing this compilation and then listening to other Clapton albums, he actually was best on individual songs. With the exception of the "Layla" album and arguably his first couple solo albums; Clapton has a mass of excellent songs but a large amount of just average albums. That is why this compilation is nearly perfect, not only does it focus on Clapton's most successful years it also gives the hits from the different groups Clapton performed with not only solo work.

There are five Cream tracks, basically the most famous songs the band recorded in their short career. There is "Presence of the Lord" the only Clapton composition on Blind Faith's only album. Two cuts from the "Layla" album including the classic title track. And finishing off with eleven of Clapton's biggest solo hits including, "Wonderful Tonight," "I Shot the Sheriff" and "After Midnight." Sure there are missing later hits like "Tears in Heaven" and "Change the World," but why carp? If you are a listener who wants more Clapton than is presented here but is unwilling to search through his individual albums the double disc compilation "Complete Clapton" may be more your style.

This one though is pretty hard to beat all his best songs, several pages of liner notes from Clapton biographer Ray Coleman and a number of old pictures from the years. All in all an excellent compilation for an excellent artist

Jeff Beck - "Performing this Week...Live at Ronnie Scott's"

This is a recent purchase, I actually caught a selection of the this performance on TV and thought it was excellent so I decided to pick up the album. This album did not let me down. After a number of successes in the 1970s, particularly the excellent albums "Blow by Blow" and "Wired," Beck became a little erratic. He toured constantly releasing average albums with large gaps in between. Then in 2006 Beck began to release albums pretty regularly he had two "official bootleg" releases of live performances in 06 and 07, he had a show stopping performance at Clapton's 2007 Crossroads Guitar Festival then he released this album which features the same bass player and drummer from the festival.

It is an excellent live album especially for lovers of the electric guitar. Though Beck does not have the same name recognition as some of his contemporaries his talent is definitely equal. There are 16 tracks, all instrumental, that run for nearly 80 minutes. The album almost plays like a studio recording, aside from the applause a the start and end of each song, the audience is entranced by Beck's guitar and as well they should be. This is a very good live album, it does remove all the duet performances that are available on the DVD of the same concert, but that is not really a minus. If you enjoyed Beck's 70s output particularly "Blow By Blow" and "Wired" this is the Jeff Beck Live album for you.