| | Herman's Hermits Years May Come CD - Import Herman's Hermits Discography of CDs
While Herman's Hermits will undoubtedly never get the critical respect afforded other British Invasion groups like the Beatles, the Who, the Rolling Stones, the Animals, or the Kinks, as a group they weren't as silly as most people remember them. OK, maybe they were. But they had the good sense to pick solid songs to cover (the Goffin/King nugget "I'm Into Something Good," "Silhouettes," originally done by the Rays, and Sam Cooke's great "Wonderful World"), and they worked with one of the best pop producers of the era, the late Mickie Most. This compilation has most of the hits, although it does lack the irritating but infectious "I'm Henry VIII, I Am" and misses one of their most interesting singles, the group's cover of Donovan's "Museum." There are more comprehensive single-disc sets available, but if you just want a fun dose of pure British pop, this collection works fine. ~ Steve Leggett Years May Come Review
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Purchase Years May Come CD To buy, Click on price to add to cart | ABBA Visitors CD (1981) (Import) Bonus Tracks; Germany
Years May Come album
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24bit digital remastering with new liner notes, complete lyrics, and four bonus tracks.
From he muted sleeve of Abba's eighth and last album, with its pained front photo of the four bandmembers studiously avoiding one another's gaze in a darkened room, it's clear that 1981's THE VISITORS is a somber record. The disturbingly confessional minor-key masterpieces within, such as "When All Is Said and Done" and "Like An Angel Passing Through My Room," as well as the bizarre, paranoid title track, contribute to the feeling of darkness and alienation. Recorded as the band was imploding amidst romantic breakups, THE VISITORS has the beauty and melancholy of earlier ABBA albums, but ...
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Chad & Jeremy's first album in 15 years was a pleasant pop/rock reunion, even if it sounded a bit like two solo albums ...
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When a singer/songwriter fights the big record label -- in this case Dreamworks -- because it doesn't understand the artist's vision, then the artist buys his way out of a contract so he can go somewhere that cares, it's admirable and has a "this must be good stuff" allure for sure. Give one listen to The Clarence Greenwood Recordings and you might have a guess at why Dreamworks "mishandled" Citizen Cope. Ponderous, unfinished, and pointless when it's at its worst, the album Citizen Cope -- singer/songwriter Clarence Greenwood's alias -- fought so hard for is filled with metaphors and characters that are murky. Nothing in the surrounding context suggests you should try to figure them out either. A lost soul who falls in love with a billboard is the subject of "Pablo Picasso," but there's no insight, no pathos, and no point. It's sad when anyone mistakes inanimate objects for someone who loves them, but Citizen Cope's use of the character is so detached it borders on exploitive. The timely "people wanna bomb us" number, "Bullet and a Target," is the album's centerpiece and single, but it's just another shock-value laundry list of depressing situations -- Billy Joel's "We Didn't Start the Fire" for the Dave Matthews generation. It also has one of those horrible Parental Advisory sticker-dodging moments that kept rearing its ugly head in 2004. The "father" in the story -- another faceless character who doesn't get fleshed out -- just doesn't give a F word, which is removed, leaving an audible blank space that the lyric sheet claims should've been filled with the word "enough." Turns out the devil you don't know (Arista in this case) might be as bad as the devil you do know (Dreamworks) and that the music artists rescue from big business isn't always worth hearing. ~ David Jeffries
When a singer/songwriter fights the big record label -- in this case Dreamworks -- because the label doesn't understand the artist's vision, then buys back a record so he can find someone else who cares enough to release it, it's admirable ...
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