| | History - America's Greatest Hits CD America Discography of CDs
 (11 Customer Reviews)
To their detractors, they were Crosby, Still, Nash and Young Lite, but nonetheless, this premature career retrospective of soft-rock icons America holds up extremely well against most pop records of the early to mid-'70s. In part, that's due to ex-Beatles producer George Martin, whose considerable studio expertise nudged country-ish tunes like "Sister Golden Hair" as close to power pop as they were feasibly going to get. But the fact is that America had a genuine knack for crafting catchy, radio-ready singles, and this album offers just about all of them, including the Neil Young-esque "Horse With No Name," and the genuinely lovely "Ventura Highway."
Producers: Ian Samwell, Jeff Dexter, America.
Compilation producer: George Martin.
Engineers include: Robin Black, Ken Scott, Geoff Emerick.
America: Gerry Beckley (vocals, piano, bass); Dewey Bunnell (vocals, 6-string guitar); Dan Peek (vocals, 12-string guitar).
Additional personnel: Henry Diltz (banjo); Joe Osborne, David Dickey (bass); Kim Haworth, Ray Cooper, Dave Atwood, Hal Blaine, Willie Leacox (drums, percussion); Chester McCracken (congas); Venetta Fields, Clydie King, Jessica Smith (background vocals).
History - America's Greatest Hits Music History - America's Greatest Hits Songs | 1. | Horse With No Name, A |
| 2. | I Need You |
| 3. | Sandman |
| 4. | Ventura Highway |
| 5. | Don't Cross the River |
| 6. | Only in Your Heart |
| 7. | Muskrat Love |
| 8. | Tin Man |
| 9. | Lonely People |
| 10. | Sister Golden Hair |
| 11. | Daisy Jane |
| 12. | Woman Tonight |
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History - America's Greatest Hits Music History - America's Greatest Hits Music Review Buy History - America's Greatest Hits CD Purchase History - America's Greatest Hits CD To buy, Click on price to add to cart | Michael Jackson Thriller CD (1982) Bonus Tracks; Remastered; Special Edition
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| | Necks Hanging Gardens CD (1999)
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Hanging Gardens, the Necks' seventh album, was first released in 1999 on their own label, Fish of Milk, and ...
| | Louise Taylor Velvet Town CD (2003)
History - America's Greatest Hits music CDs
$13.89
Velvet Town is a good title for Louise Taylor's latest album, because it alludes to a style that extends beyond typical singer/songwriter concerns. While a song like "Little Collette" distinguishes itself with a catchy chorus and Kristin DeWitt's harmony, the album's real difference -- the velvet -- shows up on pieces like the title cut and "Maps of Venice." The lyrics may say "singer-songwriter," but the colorings of the soundscape are pure jazz with Taylor offering subtle vocals. Indeed, the deeper one delves into Velvet Town, the more one suspects that she isn't a singer/songwriter at all. Many of the lyrics, as in "Call My Name," are impressionistic and spare, and Taylor relies heavily on vocal nuance and fresh arrangements to get her emotional message across. The backing ...
| | Nadas Coming Home CD (2000)
History - America's Greatest Hits songs
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Additional personnel includes: Paul Wright (guitar, mandolin, piano, organ).
The Nadas are a heartland foursome with a good ear for melody and a clever lyricist in the form of Mike Butterworth. Some musicians in their position decide to take a self-important attitude that betrays the simplicity that this sort of music deserves. On top of that, many also try and dumb down their lyrics ...
| | Sloan Never Hear The End Of It CD (2006) Import
History - America's Greatest Hits album
$29.79
A few records after their career-defining 1996 third album, One Chord Leads to Another, Sloan seemed to fall into a trap that snared many classicist guitar pop bands: their devotion to classic hooks and harmonies, the very thing that set them apart from their peers, began to turn from fresh to familiar. Not that the band's skills diminished, but they were now merely reliable, with each new album offering subtle variations on their signature sound: one might be a little sunnier, one might be a little rougher, but each record could easily be classified as just another good Sloan album. All of this makes their eighth album, Never Hear the End of It, such a welcome shock: it's unmistakably the work of the same band that loves '60s guitar rock -- everything from Merseybeat to the Velvet Underground -- as much as they love new wave and college rock, but they have found a way to make the familiar sound fresh again by constructing the album as a seamless suite spread over 30 songs and fitting on a single CD. The easiest touchstone, of course, is the second side of Abbey Road, where brief snippets separated longer songs that were often multi-segmented, as they are here, but Never Hear the End of It isn't nearly as lush or grandiose as the Beatles' career-capping final recorded album. It's densely saturated with color, yet it's also lean and direct; it may swirl with rushes of psychedelic harmonies and shards of punk guitars, but it's precisely constructed upon the quartet's knack for sharp, memorable pop hooks, so there's a sense of momentum and purpose in how the album winds through the detours and main roads on these 30 songs. This has some of the shaggy eclecticism of The White Album, yet it flows like Rundgren's deliberate head trip A Wizard, a True Star, all the while never abandoning Sloan's pop strengths, which makes Never Hear the End of It a rather remarkable piece of art pop -- one where the concept is evident, but one where the pop elements are never sacrificed for art. Cut for cut, segment for segment, this is as indelible as the best of Sloan, but here the emphasis ...
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