| | Yardbirds Ultimate Collection CD Yardbirds Discography of CDs
(1 Customer Review)
If the single-disc GREATEST HITS, VOLUME 1 (1964-1966) didn't satisfy your hunger for '60s blues-rock pioneers the Yardbirds, then try 1999's more thorough, double-disc THE ULTIMATE COLLECTION. All eras of the band are featured, from its blues-based work (a cover of the standard "Train Kept A-Rollin'") through pop ("For Your Love") and psychedelic ("Shapes of Things") directions. Longtime fans will be pleased with such rarities as an alternate take of Jeff Beck's "Jeff's Blues" and with the live set that opens up the second disc.
36 track retrospective of the legendary British rock group's early years on Epic. Contains hits like 'For Your Love', 'Heart Full Of Soul', 'Still I'm Sad' & 'I'm A Man', as well as covers of blues standards and eight live tracks. Double slimline jewelcase. 1999 release.
Personnel: Topham, Jeff Beck (guitar).
The Yardbirds includes: Keith Relf (vocals, harmonica); Eric Clapton, Jeff Beck, Jimmy Page, Chris Dreja (guitar); Paul Samwell-Smith (bass); Jim McCarty (drums).
The Yardbirds include: Eric Clapton, Jeff Beck (guitar).
Q (10/99, p.157) - 3 stars out of 5 - "...the work-in-progress takes of unfinished studio tacks and A-sides should prove a selling point....illuminating sleevenotes fill in the blanks..." Ultimate Collection Music Ultimate Collection Music Review Buy Ultimate Collection CD Purchase Ultimate Collection CD To buy, Click on price to add to cart | Blackfoot Strikes CD (1979)
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| | Jean Cocteau Poetes And Chansons: Cocteau CD (2003) Import
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$13.35 These poems were drawn from diverse and uncommon books of verse including La Lampe d'Aladin, Cocteau's very first published volume; Plain-chant, a set of love poems for Raymond Radiguet, and Poemes a Jean Marais, inspired by the star of Orpheus and Beauty and the Beast. While the disc contains no actual recordings of Cocteau reading his own verses, this beautiful tribute does offer a surprising range of textures, arrangements, voices and instrumentation. "Amour Si Soucieux," delightful and somewhat irresistible, receives a Caribbean treatment using steel drums, marimba and saxophone chorus. "Le Mauvais Tapis Volant" comes across almost like cowboy saloon music, with piano, banjo, tenor guitar and ricky-tick percussion. Smoky voiced Colombe Frézin intones the rather lonely, reflective verses of "Calme" backed by mandolin and piano. "Nocturne," with piano, banjo and fretless bass supporting Philippe Bilheur's moody intonation, brings to mind the darkened ballad style of Tom Waits. "Au Moment de Plonger" acts as a sort of flip side for the preceding track, continuing the mood but as if inhabiting a realm devised by the young Tim Buckley. It's almost like Giorgio de Chirico meets Nick Drake, if such ...
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| | Dusty Springfield Complete A & B Sides 1963-1970 CD (2006) (Import) Germany
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$17.89 It's practically a cliché to say that Dusty Springfield was the greatest white soul singer to ever come out of the U.K., but like most clichés, it's a commonplace wisdom that's based in an obvious fact. While most blue-eyed soul belters sounded as if they were determined to worry a song into submission though brute force and melismatic torture, Springfield's gift was a superb instrument and the wisdom to do its work with a careful balance of emotional force and instinctive restraint (perhaps the product of her fondness for jazz and smart pop as well as rock and R&B). Springfield was also a gifted songwriter who was a shrewd judge of material, and she knew how to match her voice to either Phil Spector-esque bombast or a more subtle and elegant production, and anyone looking for a perspective on just how sure Springfield's instincts in the studio were should give a listen to this set. Complete A and B Sides 1963-1970 is just what its title says it is -- every U.K. single Dusty released during this eight-year stretch is included (except for a stray Yuletide release), with all the A-sides on disc one and the flip sides on disc two (except for the B-side to "Morning Please Don't Come," which was a solo track from her brother Tom Springfield and subsequently left by the wayside). The consistent quality of these recordings is truly a wonder -- there are no throwaway B-sides, no major artistic missteps, and every tune appears to been crafted as if Springfield and her studio helpers were convinced it could be a hit (and in a wiser alternate universe, perhaps they all were). While American fans will notice that a number of Springfield's biggest U.S. hits are missing (remarkably, "I Only Want to ...
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