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	Ringo Starr - Beaucoups Of Blues
	"Ringo's 2nd solo outing."	2005-03-06
Ringo's second attempt at a solo outing isn't nearly as bad as his first simply because it's a field near and dear to his heart: Country music. And, by nature, country songs needn't require too much demands on its singer. The problem with this project is that it's a fish out of water no matter which way you look at it. The rock fans who witnessed the breakup of The Beatles expected something of the same from Ringo, so there's no way they would accept a country disc, no matter how good it is, from our hero. The country fans meanwhile, wouldn't accept it as a "true" country record since it was done by a pop star as a one-off project. Therefore, time had to be the true judge for a project such as this. Ultimately the verdict comes down on the postive side for "Beaucoups of Blues." Ringo effortly handles such country songs as "I'd Be Talking All Time" with fun and ease. His voice really cradles "Waiting" and his somber reading of "Silent Homecoming" make it one of the strongest anti-war songs of it's time. Also the production is top notch with much kudos going to Pete Drake who produced this disc (he also handled all steel guitar chores as well). The vocal group, The Four Jordanires, who backed Elvis show up to do the same for Ringo. The legendary drummer, DJ Fontana who also worked with Elvis takes turns on the stool with Ringo. Jerry Reed and Charlie Daniels also appear as session players. There are things that don't work however, and one is Ringo's duet with Jeanne Kendall on a song called "I Wouldn't Have You Any Other Way." The voices just don't blend. Also, the paint by numbers approach with the songs hurts the disc. As the songs were specifically written for Ringo by a crop of Nashville writers, they seem to have said, "Okay, now we gotta have a broken heart song. Now we gotta have a hooker with a heart of gold song. Etc, etc, etc" If you're expecting a good solid country disc, you won't be dissappointed. If you're expecting pop music......
	Harry Nilsson - Nilsson Schmilsson
	"Some good Harry..."	2004-12-18
"Nilsson Schmilsson" is a fine disc by Harry Nilsson, one of the better singer/songwriters of the 70's, who ironically, did not pen his own 2 biggest hits, "Everybody's Talkin'" and "Without You." Produced by Richard Perry who firmly put Nilsson into the pop world after Harry's earlier unfocused lightweight works. Released in 1971, "Nilsson Schmilsson" was the biggest critical and commercial success for Nilsson in his checkered career, and deservedly so. Side one begins with the chunky "Gotta Get Up" in which whose lyrics Hary can't resist throwing in his bawdy sense of humor. Most people either like or hate his humor. Personally, I like it and have looked for it throughout his career. "Driving Along" is more of a filler than actual good song on this disc. "Early in the Morning" features Harry's superb voice weaving in and out of this song making you forget how little there really is to it. Harry onces again kicks it up a notch with "The Moonbeam Song." His sense of humor and unparelled voice are quite a combination. At first you don't believe a voice so pure is singing those words. But that's the essence of the true Harry Nilsson. The uptempo piano based rocker "Down" is up next carried along by a barrage of horns that flesh out the tune beautifully. The classic, "Without You," is up next. Written by Badfinger the previous year, Nilsson saw the potential in the song and created the definitive version by layering his amazing voice on top of orchestration that seems to marry the melancholy of the words to the desperation in the music. "Coconut" also seems to work because Nilsson wills it to. He keeps on harping this coconut mantra over and over until we submit, and since it's not a bad little tune, it's succesful. "Let the Good Times Roll" is interesting but doesn't seem to reach the standards set by the other songs on this set. With its bass de-tunning start "Jump into the Fire" is known by many people before they even hear the words. This version isn't the radio version however, and features a drum break that hurts the effectiveness of the song. "Ill Never Leave You" is probably the only real mis-fire on this disc. This slow, overly dramatic song really isn't any good. It just doesn't do anything for me. "Nilsson Schmilsson" is a fine album and a good starting point if you've just discovered Harry Nilsson. However, I feel that because Nilsson is on the "quirky" side, this production is just a little too slick to present Nilsson as he truly is.
	Ringo Starr - Ringo
	"His last name isn't Starr for nothing!"	2004-08-09
After 2 than less than serious approaches to his solo career, Ringo lets go with everything and everybody in his arsenal. And it all makes "Ringo" his best solo work. Good writing and good playing abound everywhere. And it starts right from the getgo: "I'm the Greatest" starts off the disc and though John had written the bulk of the song years earlier, it's a perfect fit for Ringo who never took himself seriously. Harrison, who plays guitar on this, underscores the tune with nice Beatlesque guitar licks. It's a really good song and it sets the tone for this whole affair because it leaves you with a feeling of "what can top that?" So next Ringo serves up a nice underrated uptempo rocker "Have You Seen My Baby" led by Marc Bolan in a superb cameo. Bolan's guitar work has never fit a song better and expert ivory tinkler James Brooker adds some New Orleans style licks to make it all go. Up next is a Ringo-penned tune finished off by George, "Photograph." The mournfully felt words are conveyed well by Ringo, and when released as a single, gave Ringo his first number 1 as a solo artist. Fairing less succesfully is "Sail Away (Raymond)." While Ringo professes to try to have a country influenced number on every one of his discs (indeed, a whole album was dedicated to this genre), this number seems forced and totally out of the realm of say, something he would have done on "Beacoups of Blues." The only redeemable feature on this song is that George, who wrote the song, shows up again, as do members of The Band. "You're Sixteen" was the second single released off the disc and also, the second number 1. Harry Nilsson guests on backing vocals and does a excellent job of aiding Ringo on this remake. Paul McCartney's kazoo break gives the song that Ringo-silliness. "Oh, My, My", is an nonstop fun song led by hornmen Jim Horn and Tom Scott, two of the best in the business. Written by Ringo and session man Vinnie Poncia and helped a lot by Billy Preston and Nicky Hoplins on keyboards, it's virtually a party in a song. The next tune is more introspective "Step Lightly" and it's the only number on the disc proper solely written by Ringo himself. The solo features Ringo tap dancing! Why? He said they were in Apple Studios doing some overdubbing and he saw the shoes lying around and he thought, "why not give it a try." For me, Ringo's drumming fills at the end of this song are so typical and uniquely his that I play this song over and over just to hear his little nuances (and there are many). Up next is Paul McCartney's offering "Six O'clock." While a good song, the synthesier solo is a letdown. The piece is handled like such a classic love song that the sterile sound of the syntheiser sounds more out of place than anything. Ringo's lower register is marvelous for this song. And he virtually gives lessons in drumming for a song here. "Devil Woman" the second Ringo-Vinnie Poncia collaboration is not as good as their previous effort. While I like the energy and reckless abandon that's in this song, the drum solo between Starr-Keltner is nothing special at all. "You and Me (Babe) closes the set proper and although Harrison lets go with some brillant playing on it, the song is really only a vehicle (and a good one at that!) for Ringo to say his thanks to everyone who helped him. The bonus cut are great: "It Don't Come Easy"----if not the best solo Beatles record it's certainly one of them. The sizzling of the cymbal, Harrison's guitar picking, Ringo's drums, Badfinger's harmonies and then--Ringo's mantra. That sums up Ringo's best song. "Early 1970" shows that Ringo was not only a member of the Beatles, he was a fan. This is easily the best song about the Fabs. The last bonus cut is "Down and Out." It was the b-side of "Photograph" in 1973. Although redundant, its worthy as a bonus cut for the way it keeps our interest with the aggressive horns, Gary Brooker piano and amazing Harrison slide. "Ringo" would lay the foundation in the the way that Ringo Starr would henceforth do his recordings: Invite some famous friends, put down his idiosyncratic drumming, sing some covers, and have some of his charm shine through. While the formula got watered down as time marched on, here, it's Ringo at his best.
	The Beatles - Revolver [UK]
	"They were just getting better and better..."	2004-06-13
It is hard to believe that back in the day anything better could have followed "Rubber Soul." Well not only did it, but in less than a year, and by the same band! "Taxman" starts off this set and its a good start. Ringo is relentless on drums and the guitars are frantic, especially Pauls'---not George's lead. Many people later said when George wrote "Something" he was the equal songwriter of Lennon and McCartney. I disagree. I believe at the time of this disc he was and he proved it here. "Eleanor Rigby" is a haunting McCartney tune. The string section, reminiscent of Bernard Hermann's work with Alfred Hitchcock is very fitting for Paul's stark, dark piece. Also, on this disc, Paul noticeably raised his game to a whole new level as well. "I'm Only Sleeping" is John's tribute to his love of nod. A good song but pales in comparison to the two previous pieces. "Love You To" is George's second song and it's very much underrated. As opposed to his later Indian ragas, this one has a good tune and good words. "Here There and Everywhere" is a gem. It is just a superb song from McCartney---without the schmaltz. Excellent harmonies, nimble guitar work and nice feeling from Ringo on drums here make this song one of the best in The Beatles cannon. Up next is Ringo's "Yellow Submarine," and while easily dismissive, is an excellent choice for Ringo as he's usually given a countrish song to sing. With the variety on this disc, the change is very welcome. "She Said, She Said" features drug-influenced wordplay from John. The interesting thing for me in this song is the interplay between the stinging guitars which stand out, that and the excellent spastic drumming. Paul comes through next with "Good Day Sunshine." A happy singalong song as you might find from Paul. Good beat, good tune. The no-frills, straight ahead, take no-prisoners "And Your Bird Can Sing" is next. Befuddling lyrics (or are they?) and good guitar work from the boys make it a choice cut. Simply, Pauls' "For No One" is one of the best song's he's written (or sung for that matter). The use of the French Horn was just inspired. "Doctor Robert" is John's ode to a notorious physician. While not as distinguished as other tracks on here, the cutting in the lyrics is worth its placement. "I Want To Tell You" is George's third opus on this disc. It's got a good beat, good harmonies, but its easily the least significant of his three songs. "Got To Get You Into My Life" has Paul doing his soul thing and with his voice he's able to carry it off. Abley assisted by the horns, it adds even more versatility to the disc. The finale---"Tomorrow Never Knows" admittedly never did anything for me. Other people love it. It's John playing wierd for all he's worth. But the song really doesn't go anywhere or do anything. Many people think this is The Beatles best disc because of the wide variety of styles (while still retaining commercial sensibility) and total lack of filler.
	The Beatles - Rubber Soul [UK]
	"Another leap."	2004-06-06
The thing that amazes me most about The Beatles during this period was not their great songs, but just how far they had come creatively in such a short time. Three short years ago had them singing "Love Me Do." Now here they are with "Rubber Soul," complete with sitars and fuzz basses, not to mention some French lyrics. The Beatles may not have been the first pop band to use such items on their records but their ability to be open minded about such things put them in the forefront of new ideas. Now about this CD: Ironically, the disc starts off with a wannabe rocker that fails to impress. "Drive My Car" is a fair song the boys seem to want to move us with, but really, it's just not happening. Harrison's rather weak solo doesn't help matters either. "Norweigian Wood" is a min-masterpiece by John. Aided immeasurably by Harrison's stinging sitar, which literally under underscores Lennon's disciplined singing and aggresive guitar playing very well. "You Won't See Me" is just a fabulous tune with great vocals by the boys. This is the kind of song that you can't get out of your head for days after you've heard it, its really good. Lennon scores big again with more introspective lyrics on "Nowhere Man." Again, more ideas The Beatles were using helped their songs here and there---listen to the high amount of treble on this guitar solo. It certainly takes the song out of the ordinary. More great vocal work insues on this number as well. The Harrison-written "Think For Yourself" is up next. The fuzz bass simply dominates the track (Harrison, certainly no stranger to new ideas, his last composition "I Need You" featured the tone pedal). The lyrics, possibly the best Harrison's written to this point, are matched perfectly by low tone in which he sings them. "The Word" features some good harmonies and a good beat. "Michelle" is a beautiful song that has Paul doing a some social climbing by putting a little French into the lyrics. "What Goes On" has Ringo doing the countrish number from this set. Obviously the weakest song on the set, but really only notable for the first song with a Starkey byline attached to it. "Girl" has John excelling again lyrically. This time the backing vocals carry the song to its deserved heights. "I'm Looking Through You" is Paul's baby. Good lyrics and an even better tune. "In My Life" could very well be the best song The Beatles have done (so far). The opening riff is almost celestial, then carried on by melancholy lyrics that are expertly sung by Lennon. Everything is done right. The icing on the cake is George Martin's piano solo in the middle "Wait" is probably the disc's only filler cut. "If I Needed Someone" is George's second number on the disc. This is a much lighter, and much more poppy piece than "Think for Yourself." "Run For Your Life" is saved from obscurity only by Lennon's peerless vocal. Starting with this disc, The Beatles were to start a run of creativity and brillance that would not end until they did.
	The Divinyls - The Divinyls
	"Focused Divinyls."	2004-02-28
It's better than three stars but not quite good enough to be four. But it will definitely make constant rotation on your CD player for the 4 or 5 superb cuts on here. By the time this former Australian band hit L.A. to do this disc, they were down to a duo, just Christine Amphlett and Mark McEntee. Not only that, but their pumped up sound was stripped down once they hit California. That would both help and hinder them on this project. One of those superb cuts starts off the disc, "Make Out Alright." Christine Amphlett's singing is subtley relentless. It's a driving, pulsing song and a good begining to the album. "I Touch Myself" is the risque hit single from the set. And while a very good song, it hurt the band's image as they became known as the band who did the 'risque' song as opposed to being known as a good power pop band that should be taken seriously. "Lay Your Body Down" has some interesting words wrapped around a nice tune. This is another cut not to be missed. "Love School" just doesn't get it done despite promising vocals by Amphlett who outdoes herself on this disc. "Bless My Soul" is another raver in the "Make Out Alright" mode, though not as good as the former. It's notable only for the stellar guitar work of co-Divinyl Mark McEntee. Kudos should go to McEntee as he abley perform all the guitar chores on this album. "If Love Was A Gun" starts out promising with gentle acoustic guitar pickings and some mellow singling but eventually the song goes on too long to be taken seriously. "I Need A Lover" is really, insignificant. "Follow Through" could be the underrated gem on this disc with the super funky bass line underling the good drum work. Also, the prophetic words give the song that much more juice. "Cafe Interlude" is just a brief distraction to lead us very nicely into "Bullet." This is a very good, solid uptempo song that doesn't let up. This could have been the follow up to "I Touch Myself." "I'm On Your side" succeeds where "If Love Was A Gun" fails as it is more of a tune and sung with more passion by Amphlett. This is about as romantic as The Divinyls can get and it's good. It's a good album that deserves a listen. Commercially, they would do no better. The stripped down production approach on here really focused the Divinyls compared to previous works, however some of the songs on this disc were hurt by the lack of variety this style offers.
	Badfinger - No Dice
	"Roll the dice with Badfinger!"	2003-12-28
Less than 6 months after Badfinger's debut "Magic Christian Music" was released, the public is treated to the first real(with the new lineup) Badfinger album--"No Dice." The change is instantly noticeable. Gone is the silly dated Brit-pop that was the Iveys, replaced by the harder edged power pop that is Badfinger. "I Can't Take It" is the nonsensical raver that starts the disc off in fine fashion with Pete Ham shouting it out. The boys would use this song in their live act for years. "I Don't Mind" comes floating into the speakers next. Tom and newcomer Joey Molland do a good job vocally. It's a good song, handled with great feeling by the singers. "Love Me Do" is another song in the rocking mode. Also used in their stage show for the next few years, one can see why--lots of energy, good guitars. "Midnight Caller" is a nice mournful ballad with the drums mixed surprisingly high. The backing vocals shine while Pete Ham delivers a sterling lead vocal. Ham shows why many people referred to him as the best songwriter in the band as he shifts gears next and brings us the classic "No Matter What." All you have to do is hear the opening chord to know that it's Badfinger. Joey Molland plays a very fitting lead guitar. "Without You" is next and it's the one that got away. Badfingers version really sounds like a demo compared to the version that Harry Nilsson made and created into the monster that now stands as the definitive one. "Bloodwyn" is up next and it shows the boys can handle different types of music. Here the boys work the country angle with Pete again doing a tremendous vocal job. His slightly nasal readings give his songs an edge to them. Also, his lead guitar in this song is nothing short of perfection. Joey's "Better Days" is up next. While more of a shuffle than an out and out rocker, its nice to have. I like the way the acoustic guitars keep time, almost buried in the chorus. "It Had to Be" is the song drummer Mike Gibbins wrote although Pete Ham sings it. This is probably the song with the least to commend it. His writing would grow alot stronger in the future. "Watford John" is a song written by all four but sung by Pete. Nice guitar work here although the song as a whole fails to impress. "Believe Me" marks the first solo written number by Tom Evans who wrote much of the material on their debut disc. Highly impassioned vocals, while kept in check for the first couple of verses, erupt, then lead us to dueling guitars leads, then back into the song again. Tremendously impressive. "We're For the Dark" finishes the disc proper with Pete Ham and his mates on their trusty acoustic guitars. Of course, it helps that the lush orchestra cradles this beautiful tune. Regarding the bonus cuts: "Get Down" sounds like an idea they're working on but its not coming together for them. "Friends Are Hard to Find"(Originally titled Photograph), is one of the first songs to be recorded with new memeber Joey Molland. Its interesting, but the same time its easy to see why it wasn't used. "Mean, Mean Jemima" however is a really, really good song. the interplay between guitarists(which wasn't a factor on the previous album)really stands out on this song and this disc. "Loving You" is a slow song sung by Mike Gibbins. Interesting and nice to have but also, easy to understand why it wasn't originally released. "I'll Be the One" is a puzzle. It sounds like a radio hit. Amazingly catchy and very singable. Yet this is the first time it's appearing anywere. Another point I'd like to make is that newcomer Joey Molland's presence, writing-wise, on the bulk of the disc. Not many bands would allow a new person to be involved so heavily so early. Improved vocals(both harmony and backing, a harder edge(due to Joey Molland) and improved songwriting(mainly Pete Ham) gave Badfinger one the best discs of 1970.
	George Harrison, George Harrison - All Things Must Pass [DIGI-PAK EDITION]
	"Good album, but..."	2003-12-28
Not a great one. The inclusion of "The Original Jam" (originally titled 'Apple Jam') simply does not warrant this. Any musician can get his friends together in the studio and jam, record and release it. But George does this and it inflates the cost of his 2 disc set. For what? As it is, the orignal 2-disc set (with some exceptions) more than stands on its own. "I'd Have You Anytime" has George starting out his first solo disc with a slow, almost dreamy, country sounding (The Band comes to mind) song. Super tune with a beautiful guitar solo near the end. "My Sweet Lord", despite the lawsuits with this song, when I hear those big acoustic guitars and that chanting, I remember that this was THE song of late 1970. "Wah-Wah" is one the few songs hurt by the big Phil Spector production employed on this disc. Being that it is such a good song, it simply doesn't need it. However, Ringo excels on drums. "Isn't It A Pity" is a superb song. Nice arrangment by John Barham with the strings and good counter melody played by George on guitar but the song goes on too long. "What Is Life" is George's pop song--and a darn good one too. Catchy, with stinging guitar and good horns. More country leanings with Dylan's "If Not For You." This song benefits from an uncluttered arrangement. Kudos here to steel pedal guitarist Pete Drake who performs magnificently on this song as well as others on this disc. "Behind That Locked Door" is another fairly sparse countryish production, although not as good as the previous song. "Let It Down" has Harrison going back to the big production and succeeding. Cannon drum shots cut through the reverb to highlight one of Harrison's more thoughtful songs. "Run of the Mill" boasts George singing (very well) a gorgeous tune. A definite highlight of this disc. "Beware of Darkness," lyrically could be the high point for Harrison on this set. A very interesting and moody piece. "Apple Scuffs" is just an ode to the fans who hung around the Apple offices. Simple and to the point, and it works. "Sir Frankie Crisp" a piano driven piece of no real consequence. "Awaiting On You All" is another bloated production that is today, almost unlistenable. Besides, its too preachy. "All Things Must Pass" was debuted during the "Let It Be" sessions. This song could be the jewel of the set. Passionately mournful, expertly sung with beautiful words. Harrison outdoes himself. "I Dig Love" is a dud. Filler. Did he forget all of a sudden how to write words? "Art Of Dying." Can there be a religious, up tempo pop song about dying? Sure, but does anyone want to hear about it, that is the real question. "Isn't It A Pity (version 2)". There is no need for this. Version one sufficed well enough, thank you. And finally we have "Hear Me Lord" which closes out the set. It's not a bad song but by now the overall preachiness of the set has worn in and another song about religion is overkill. This is unfortunate as the backing for the song is tremendous. The only redeemable features for me regarding the bonus materials were "I Live For You" featuring more superb playing by Pete Drake and the alternate backing track of "What Is Life," which has the different arrangement which I enjoyed. The 2 demos ("Beware of Darkness" and "Let It Down") didn't peak my curiosity much. The re-do of the hit "My Sweet Lord" was just awful. It's interesting that Harrison would never again use the big Spector production approach again for his material (for the most part). By cheapening the album with a 'jam' that had no relevance to the rest of the set, Harrison hurt the overall feel of the disc. However, the disc was a success because of the good songwriting, superb musicianship and crafting of each song.
	Badfinger - Magic Christian Music
	"If You Want It, Here It Is, Badfinger's Begining."	2003-11-16
Actually it's only a Badfinger disc in name only. Most of the tunes on the album were done earlier when the band was called the Iveys and the rest were done after the name change but before second guitarist Joey Molland joined the band. The result is a mis-mash of different styles of songs. The Paul McCartney penned "Come and Get It" starts out the disc in fine form. Simple and irresistibly catchy, with Mike Gibbins drums driving the song home. It's no surpise the song went deep into the top ten. "Crimson Ship" is up next and its a slow-paced song that just hints at the creativity of the Pete Ham-Tom Evans partnership. "Dear Angie" sung by departed Ron Griffths is the kind of older British pop that seems dated compared with some of the other songs on this disc but has some interesting jazz noodling on guitar by Ham. "Fisherman" is another of those dated Ivey songs. Indeed its almost a novelty song. "Midnight Sun" puts the boys back on the right track with a stunning vocal by Ham. The rhythm guitar is mixed real high giving the song extra punch. "Beautiful and Blue" while poppy, showcases developing songwriting talent. "Rock of All Ages" is another impressive track by the band. This has Tom Evans giving it his all in his best rock 'n roll voice. It's one of those songs that doesn't stop moving. "Carry On Till Tomorrow" showcases the bands vocal abilites, which not fully mined on this disc would be explored later on. The strings on this song help immeasurably, however the electric guitar is a little bit off putting to such a gentle song. "I'm in Love" is still another Iveys old song, just remixed to be used on this disc. However, its better than some of their other attempts but still it sounds of its time. "Walk Out in the Rain" is a nice gentle Pete Ham vehicle. "Angelique" a total throw away. "Knocking Down Our Home" is a song about the effects of progess elegantly and effectively performed in the dance-hall style. Its one of the underrated songs on the disc. "Give It a Try" is more old dated Brit-Pop. "Maybe Tomorrow" was the Iveys first single--its simply overdone with Tom Evan's vocal histronics and orchestration and timpanis. The bonus tracks, "Storm in a Teamcup" and "Arthur" add nothing to the original disc. It's obvious here, on several songs at least, that early in 1970 Badfinger was a group to watch.
	Beatles - Help! [UK]
	"The Beatles Puberty"	2003-11-07
That's what this sounds like. Still somewhat beholden to their past sound while experimenting with ideas that would lead them into future, "Help" is the crossroads between the two. And sometimes the two fit together awkwardly. "Help", the song, is a classic. Lennon, by now has mastered the art of the pop song. Super catchy melody with strong lyrics surrounded by impressive Harrison playing. "The Night Before" has McCartney taking his tunesmith abilities to a new level by combining it with The Beatles peerless vocals and creating a mini-masterpiece. While never of a fan of "You've Got to Hide Your Love Away" it does boast the first outside musician(flutist)to grace a Beatle disc other than George Martin. "I Need You" is George's first songwriting effort since "Don't Bother Me" and it shows his maturity. This nice underrated tune has him experimenting with a tone pedal. "Another Girl" sounds like a knock off, filler. "You're Going to Lose That Girl" features a searing Lennon vocal and some nice guitar along with super harmonies but the bongoes are mixed way to high. "Ticket to Ride" has some stellar work by Ringo heavily accenting the irregular beat. Super song. "Act Naturally" is Ringo's vocal vehicle for this disc and it fits his persona well, being The Beatle with the best acting ability. He redeems himself from the mess he made of "Honey Don't" on their previous disc. "It's Only Love" features a super melody by Lennon, who in general is not known for them, featuring some very wierd sounding guitars. "You Like Me Too Much" is Harrison's second offering and unfortunately it sounds dated. It could have come from a year ago and doesn't sound like most of the rest of the songs on this disc which was a point I alluded to earlier about the awkwardness of this set. This problem continues with "Tell Me What You See." This also could have been recorded before and is devoid of the creativity of most of the earlier songs. Fortunately, "I've Just Seen a Face" stops the trend before it goes further. An interesting, catchy acoustic number that Paul brings to the table. "Yesterday" is next and it features Paul alone with his acoustic guitar and a string quartet. Great song. These are the kinds of ideas that The Beatles would use to further make their mark in musical history. Then comes "Dizzy Miss Lizzy" which is a puzzler since the feel of the song sounds like it could have been from 18 months before this disc was recorded. Indeed, its nothing at all, like say, "The Night Before". It sounds like it was recorded for their old fans. However, that doesn't stop one from enjoying the song for the raver that it is. Also, a point to note, that like The Beatles first stab at movie music, this disc is not an authentic soundtrack as only 7 of the 14 songs were in the film.
	Ringo Starr - Sentimental Journey
	"He said he did it for his Mum but..."	2003-11-07
who in ... did he think was going to buy this? When doing these customers reviews the utmost thing on the reviews mind should be this: "Can I recommed this to somebody?" I couldn't do that with this disc. For his first solo outing, Ringo abandoned pop and went back to the old classics which he remembered hearing as a kid. Ringo got a different arranger for each standard to give each song a different flavor. Some songs were recorded with Ringo there, some without. Nothing works. For many reasons. Also, his unique drumming is nowhere present. So now, you're not listening to pop songs. You're not even listening to a pop drummer play pop songs. You're not even listening to a pop singer singing old standards. You're listening to a pop drummer sing old standards! While Ringo does have a certain charm that he does give to a few of these songs, its not nearly enough. His voice is more homey than gifted. "You Always Hurt the One You Love" and "Have I Told You Lately That I love You" are the best of the lot with Ringo having some moments in "Love is Many Spendoured Thing" and "I'm a Fool to Care." Ringo's voice is more comfortable and fits better in country music than the demands and stylings of the old standards. And that is why this record fails and why his next one "Beaucoups of Blues", would succeed. But overall I don't anticipate this ever being in any Ringo Starr's list of top ten best solo CD's.
	Various Artists - Soundtrack - O Brother, Where Art Thou
	"O Brother, What Good Music!"	2003-10-26
I have to admit that I don't have much knowledge in the area of bluegrass/folk/country music, however after hearing the great music from the film I knew I had to have these tunes playing on my CD player. Great moments abound on this disc like the Dan Tyminski sung "I Am A Man Of Constant Sorrow" which evokes the feel and time of the movie so well. The solemn "Down To The River To Pray" has Alison Krauss backed by The First Bapist Church Choir and nothing else. "Hard Time Killing Floor Blues" only has Chris Thomas King picking some sad blues on an acoustic guitar. The instrumental of "Constant Sorrow" played on acoustic guitars is brillant. "Didn't Leave Nobody But The Baby" sung by the trio of Emmylou Harris, Gillian Welch and Alison Krauss is another great example of the really good harmonies on this disc. "Keep on the Sunny Side" while not as outstanding as other songs mentioned here still has that quality singing. "In The Jailhouse Now" is sort of surpise since its the only song that features an actual member from the movie on the soundtrack--Tim Blake Nelson, he sings the lead and does a good job. The stellar track as I see it would be "I'll Fly Away" with Gillian Welch and Alison Krauss. Their voices blend so well together that its almost a shame when the song ends. The are other good songs on the disc to be sure, but these are really the high points of what amounts to an excellent soundtrack.
	The Beatles - Beatles for Sale
	"Tired Beatles..."	2003-10-12
And it shows. From the cover(where George and Paul especially) look the worse for wear, to the large number of cover songs. At the time the Beatles were constantly touring, giving television and radio interviews, making a film and other public apperances and yet they had to honor their EMI contract and produce yet another disc. With all that was going on the boys were obviously short of original material. Contrast this disc with their previous effort--"A Hard Day's Night" in which all the songs were written by The Beatles. Here, only 8 of 14 are credited to the boys. The disc starts off with the acoustic "No Reply" and although the song has an interesting bridge its pretty uneventful. "I'm A Loser" shows John's writing growing and becoming more introspective. Once again, an acoustic number with some nice country picking by George. "Baby's in Black" comes next and this song really highlights the boys vocal skills well. Although the song itself, like others on this disc, doesn't prove to be too memorable. "Rock and Roll Music" is the boys first cover and if you have to cover somebody it might as well be Chuck Berry. The boys do a yeoman effort and Lennon comes up with a strong vocal, but the song fails to be a classic in the way that their version of "Roll over Beethoven" was. "I'll Follow the Sun" is a gorgeous song by Paul. A nice uncluttered acoustic arrangement augmented by Ringo's bongoes with great harmonizing. Great job. "Mr. Moonlight" is just not good. It has no redeemable qualities so lets move on. "Kansas City(Hey, Hey, Hey, Hey!)" is a piece of joyous music making that harkens back to their early head shaking days. Lennon's chunky rhythm guitar drives the song irresistibly forward. "Eight Days a Week" is the highlight from this set. The obvious single from this disc, it features a fade-in and some nice singing from Lennon. "Words of Love" the Buddy Holly song is handled skillfully by the Beatles. Excellent interplay between George and John on electric guitars and great harmonizing by the three singers make this an underrated Beatles classic. "Honey Don't" is Ringo singing this rockabilly song by Carl Perkins. After listening to Ringo sing it, one has to believe he had a better version of the song in him than what he sings here. "Every Little Thing" is another one of those song on here that are okay but just fall short of being good. "I Don't Want to Spoil the Party" has more introspective Lennon lyrics and countrish guitar playing by George. It also boasts a nice tune with some good backing vocals. "What You're Doing" is another tune that you won't remember for long after you've played this disc. "Everybody's Trying to be My Baby" is, like "Mr Moonlight," simply a mistake. I don't know what the idea was, to see how much reverb could be put on George's voice or give him the song with the worst set of lyrics ever. A note here: A surprising thing about this set is the countrish guitar pickings displayed by George, especially after the previous disc. Also, another item to point out is that the bulk of this album is acoustic. To be sure The Beatles stumbled here, but that would only make their coming discs that more amazing.
	Paul Mccartney - Mccartney
	"Demos, with a few songs thrown in."	2003-07-14
Basically that's what this disc is. The actual complete songs are "Every Night,""Junk,""Teddy Boy," Man We Was Lonely," and "Maybe I'm Amazed." And "Teddy Boy" and "Junk" aren't really very good. I don't know if McCartney was trying to be hip by showing the world his half-finished ideas or his self-confidence was so shot he couldn't finish them and this was the best he could do. Either way, the result is erratic. The demo "The Lovely Linda" starts off this set and this is defintiely an idea he should've followed up on. A great melody although it last maybe 30 seconds. Interestingly, you can hear a door during the song indicating it was done at McCartney's home. "That Would Be Something" is more of nothing. Paul does get a funky lick going on guitar but he plays around with it and doesn't take it anywhere. It's just another demo'd idea to show his audience. "Valentine Day" is an instrumental of no redeemable quality. "Every Night" is first real glimpse of the Paul McCartney we know. Shining acoustic guitars playing a gorgoeus melody buffeted by good singing--good stuff. The instrumental "Hot As Sun/Glasses" is good. A good riff that shows his musicianship well. "Junk" is just that. Started during the Beatles waning days, its no wonder it didn't make it on any Beatle disc. "Man We Was Lonely" is the first time, unfortunately, that we hear Linda. Her rather tentative singing here doesn't offend and the song is rather bland so no real damage. "Oo You" is another idea that with more work, could've been a killer song. As it stands, its a riff with some words (and not good ones at that) and that's not a song. It sounds like he's demoing a song. Its one more half-baked idea. "Momma Miss America" another instrumental is up next. Its not bad, indeed it has its moments but did I buy a Paul McCartney disc for the instrumentals? "Teddy Boy" is another almost-Beatles song. Again there is reason for the 'almost' part. Its a silly song sung in a rather somber voice but with a catchy chorus. "Singalong Junk" is just a instrumental version of not so good song. Why bother? "Maybe I'm Amazed" is the highlight of this disc without a doubt. Actually maybe having this cut on the disc hurt the album because it dwarfs every song on the disc so much. Its that good. People heard this song and they thought the whole album should've been like that. His anguished vocals augmented by some inspired piano playing, along with superb twin leads make this a all-time rock and roll classic. "Kreen-Akrore" closes the set. Unfortunately, its an instrumental/chant song, which wouldn't be so bad if A) He hadn't of put so many instumentals on here in the first place and B) We had just heard "Maybe I'm Amazed" as nothing was going to top that anyway. If McCartney had used some of his famous production skills and fully completed some these songs that beg for it then "McCartney" would truly have been an outstanding album.
	Midnight Dreary: The Mysterious Death of Edgar Allan Poe
	"Now I can stop guessing..."Forevermore""	2003-07-07
John Walsh's book is certainly a good read and the only people who seem to have trouble with it are people who don't understand that all the pieces of the puzzle aren't available and never will be. In situations like that, good investigative work has to be used--along with a good understanding of your subject and the times to make up situations not known. John Walsh certainly has both. I was thoroughly enthralled by his storytelling and even more impressed by his deductions and his careful telling of where he got his information. Of course, there are some things he doesn't know so he deduced them based on the knowledge at hand. If done intelligently (as done here), it will convince the reader. I think Edgar Allen Poe would rest easy knowing someone finally straightened out his last days.
	The Beatles - A Hard Day's Night (1964 Film)
	"Beatle Movie Music? It's Fab!!!!"	2003-07-07
After two number 1 albums one might think the boys would rest on there laurels a bit, indeed in 1964 it might have been expected from pop artists. The Beatles third album (not really a soundtrack as only seven cuts are in the movie), not only finds the Beatles unwilling to stand still but instead make great leaps in the process. The credit should probably go to John Lennon who wrote and sung the bulk of the songs, thus giving the project a tougher feel than their previous works. The title track "A Hard Day's Night" opens the album in fine fashion. Who doesn't know the song when that initial chord is played? The song just thunders along relentlessly matching the theme of the lyrics perfectly. "I Should Have Known Better" comes next and although it has a nice melody it is not one of the stand out songs on this disc. "If I Fell" is a brilliant song. Great harmonies, great feeling in the song. "I'm Happy Just to Dance With You" is an underrated Harrison sung gem. Its tough chord-driven backing belies the semi-soppy lyrics. "And I Love Her" is the first time we hear McCartney. It's a very good song but its really Harrison who shines with his Spanish guitar type solo. "Tell Me Why" Is really one of the weaker songs on the disc with the boys singing some really, really high harmonies on it. "Can't Buy Me Love" is Paul's rocker on the disc. Like John's "Hard Day's Night" the sheer energy propels the song forward. George's solo in this song also shows him advancing as a guitarist, taking it up a notch from what he's done before. "Any Time At All" is John making it happen. His singing (unmatched in rock), can take a ordinary song like this and make it a cut above. "I'll Cry Instead" is kind of countryish but with such a good tune and good singing the Beatles pull it off. "Things We Said Today" has Paul starting off with an acoustic song but he starts rocking in the middle. "When I Get Home" is probably a little harder than the Beatles fans were used to but its great. It just doesn't let up especially where the rhythm guitars mimick the snare drum fill late in the song. Lennon outdoes himself. "You Can't Do That" is up next, with Lennon himself taking the bulk of the guitar work in this song. Despite the usual girl-letting-me down lyrics, the backing is phenomenal. "I'll Be Back" closes this fine disc. Although there are better songs to close the set, this'll do. Besides the harmonies, its pretty unmemorable. The Beatles sound continued to improve with this record. The clarity of the guitars were sharper on this record than their previous two making the sound that much fuller as they are mixed so up front. This would be the only album in the Beatles storied history that would just have Lennon and McCartney compositions on it.
	Shutter Island: A Novel
	"A Great Page Turner!"	2003-06-13
This is the first book I've read by Dennis Lehane but I'm sure it won't be the last. On "Shutter Island" Lehane has his two investigators, Teddy Daniels and Chuck Aule investigating the disapperance of a patient at a mental hospital on Shutter Island. However, prudence forbids me to go any further with the plot because I wouldn't want to give any of it away. Suffice it to say, it kept me spellbound as few books have done recently. I was always wanting to pick it up to see what's going to happen to the investigators or their situations. The amazing ending threw me for a loop as I never saw it coming. As for those people who say its too dark or depressing--hey, not everything is moonlight and canoes. That's life. If you can't handle it, don't critize the writer for writing it. Go buy a comic book instead. But if you want a good story, with a really good ending, buy "Shutter Island."
	John Lennon - Rock 'n' Roll
	"What Could've Been..."	2003-03-03
A project like this, John Lennon doing oldies, should make for music that every music fan would want, no DEMAND in their collection. Sadly, that's not the case with "Rock 'n' Roll." Even more oddly, many people seem to blame Phil Spector, who co-produced only 4 of the 13 tracks. Its seems they convienently forget that Lennon didn't have to use his(Spectors)versions or that Lennon himself produced the bulk of this erratic effort. "Be-Bop-A-Lula" starts this disc in good spirits. Although the song is certainly no rocker, its apparent that John is having lots of fun with the song. The single from the disc, "Stand By Me" is next and its a winner. Its dueling lead guitars and Lennon searing vocal make one wonder why it wasn't a hit on the singles chart. The medley "Rip It Up/Ready Teddy" comes next and this is the first sign something is amiss: The big, overblown horns. They don't damage this song, but in others, that would not be the case. "You Can't Catch Me' is the first time we hear Spector and it's noticeable. Also the tempo of the song is too slow and once again, the horns drag down what energy Lennon is putting into the song with his voice. "Ain't That A Shame" is what this disc should be about: Its uptempo and lively and in this case, the horns augment the song, not bury it. "Do You Want To Dance" causes the disc to screech to a halt. Overblown production(courtesy John Lennon), makes this song unlistenable. "Sweet Little Sixteen" is next. I don't understand--this is material Lennon could do in his sleep, so what does he do here? He slows it down and then buries it with horns(again). Maybe he should've dusted off a copy of "The Beatles at the Star-Club" to see how it should be done. John redeems himself with "Slippin' and Slippin' because nobody, absolutely nobody, can sing like him. The song is nonstop and he keeps up with it. "Peggy Sue" is not much different than the original. The second medley is next: "Bring It On Home To Me/Send Me Some Lovin' showcases more Lennon impassioned vocals but only mediocre material. "Bony Maronie" is simply overproduced. It has some nice breaks in it, though. "Ya-Ya" is a waste of time. The disc's closer, "Just Because" could be the stellar track of this mis-fire. Lennon's spoken intro and outro only add to his melancholy voicing of this song. Why Lennon felt compelled to bury his beloved oldies with so much unnecessary production makes one wonder. However, there are some cuts to show everybody what could've been.
	George Harrison - Dark Horse
	"The Dark Horse on the Wrong Course"	2003-02-17
In rehearsing for his tour, producing another artist(Splinter), and recording this album, Harrison lost his voice and unfortunately for us, it was put down on down on tape, forever to be heard this way. Adding to the problem is the fact that there are no standout songs on the disc, not to mention the lack of polish given to these songs. There seems to be a rushed quality about some of these songs--not typical of Harrison productions which are so carefully crafted. All these things result in the first dissappointment from George in his solo career. The disc opens with an instrumental, "Hari's on Tour" and it's a ripping number with a jazzy bridge. Harrison is backed well by Tom Scott's L.A. Express. Harrison trades licks with Robben Ford and it works well, a good open to the album. "Simply Shady" is George's first vocal vehicle and it's sometimes painful to hear his voice crack during the song. However the lyrics are certainly not typical Harrison, which is interesting. "So Sad" is George's view of his marriage troubles and while helped measurably with his peerless guitar playing(both acoustic and electric)the song is fairly lackluster. "Bye, Bye Love" is next and the words were written by Harrison about his wife and Eric Clapton's affair. Who cares? The song is terrible. It could be the worst solo Beatle song ever. "Maya Love" is next and it partially redeems the stink that went before with Billy Preston and Andy Newark shining on this simple-riffed song. The lyrics are desperately lacking however. "Ding Dong, Ding Dong" is a nice seasonal type song with good words. And although the backing competently thunders along, Harrison's voice once again lets him down. The stellar track on this flawed disc is the title track, "Dark Horse." The shifty lyrics, jangling guitars and even his rough voice make it a winner. "Far East Man" is George doing his cocktail lounge act courtesy of Tom Scott's horns albeit with his usual preachy lyrics. The set closes with George's "It is He," featuring a wobble board. More preachiness ensues. As usual for George, the musicianship is stellar for his songs. Had he given these songs(and his throat)more time, the results could have much better than this.
	The Beatles - With the Beatles
	"Beatlemania begins HERE!"	2003-02-09
Although impressive in spots, their debut disc did have its share of weaknessness. Now with this, their second effort, the Beatles make a quantium leap in every phase of the game. Right off the bat with the first song "It Won't Be Long," the Beatles show their exhuberance is still there. It's certainly not the best track on the disc but its just a fun song that you can imagine the boys shaking their heads to. "All I've Got To Do" is a bluesier song which shows the increasing maturity of the Lennon/McCartney songwriting partnership. McCartney's classic "All My Loving" is next with Harrison really showing vast improvment on guitar from the previous disc during this song. Speaking of Harrison, his debut songwriting effort is next with "Don't Bother Me," unforunately the Bealtes and/or George Martin didn't have enough faith in this solid tune and buried it with almost enough unneccesary percussion to sink it. It's pessimistic tone on such an upbeat disc is certainly different. "Llttle Child" is just a rocker for Lennon to sing, however the harmonica, at this point is getting a little dated. "Till There Was You" is the first cover on this disc and handled well by McCartney who would later lean toward this type of soppy music later on in his career. It has a nice tune and is well suited to Paul's voice. On the subject of voice, next we have John successfully ripping through "Please Mister Postman" The covers on this disc were more wisely chosen than their first to be sure. Next up is Harrison who annihilates Chuck Berry's version of "Roll Over Beethoven." The Beatles make this the definitive version of the song by propelling the song forward with handclaps! "Hold Me Tight" is another Beatle orignial and like "It Won't Be Long" is more of filler song than outstanding Beatle track. However the sheer joy coming from the harmonies prevent it from it being even less. "You Really Got A Hold On Me" shows the boys fondness for blues material as they handle Smokey Robinson's song with surprising deftness and with some amazing harmonies. Ringo tackles "I Wanna Be Your Man" just as he did his number on the previous disc: With lots of energy and lots of fun. And like on the first disc it works here as well. George gets his third song next with "Devil in Her Heart" He makes a workman's effort but at times it sounds as if he's straining to hit all the right notes in the song. "Not a Second Time" is a fairly pedestian Beatles track lifted by Lennon's peerless vocal which commands attention from the listener. "Money" finishes the disc in fine form, although not a raver like "Twist and Shout" it does the job. The guitars(both Lennon and Harrison), harmonies and improved songwriting are no doubt the cornerstones of this disc's success. This is as essential as "Sgt Pepper's" was to the Beatles mid career and "Abbey Road" was to their later career. Its what the Beatles were in the begining: A cover band who could write good songs.
	The Beatles - Please Please Me
	"This is the begining..."	2002-12-29
And like all beginings, there are missteps and mistakes. Unlike other beginings, this would eventually remake and define musical history. At this point, showing more exhuberance and desire than talent, the boys recorded most of this disc in one day. That said, the disc starts off with a good cut in "I Saw Her Standing There." You just can't get tired of this song. Truly a Beatles classic. "Misery" is next and supposedly it was written for Helen Shapiro on tour but the Beatles decided to use it. They should have have checked it at the door. Its a nothing song with absolutely nothing to recommend it. "Anna" shows Lennon in good voice, making this song better than it should be. "Chains," is George's vehicle. It's a simple pop ditty in the vein of of "Misery," although better than the former. "Boys" gives Ringo a chance to flex his pipes. His enthusastic drumming and singing make this song a success. "Ask Me Why" shows the writing of Lennon-McCartney to be more than just pop songwriters. The great vocalizing that would be a hallmark of their career is evident here. "Please, Please, Me" is another Bealtes classic--the rough, jangling guitars, the drums propelling the song, John's insistent vocal. It's fantastic. "Love Me Do," however is not. Its almost a dirge. It's really not up to their standards. "P.S. I Love You" is better, especially the bridge which, once again,, hints at more amazing things to come. "Baby, It's You" is Lennon giving a lot to a song that doesn't deserve to be on here. It's ill-suited to the Beatles. The "sha-laa-laa" background vocals are more suited to 50's girl groups. "Do You Want To Know A Secret?" is another vehicle for George, but like his previous song, its really not much. "A Taste Of Honey" seems to be filler material which is sad since history would also show they had many other songs that could have been used on this debut disc instead of what was picked. "There's A Place" is a up tempo number of no real significance. Everything comes together for the boys on the last song, especially John's racous, rock'n roll vocal. "Twist And Shout" is the best track on the disc. Having 3 classic songs on your debut is certainly impressive, however the disc is marred by subpar song choices which fail to highlight the band's strengths.
	John Lennon - Mind Games
	""Imagine," without the fizz"	2002-11-10
Coming after the, shall we say, dissappoinment that was called "Sometime in New York City," if Lennon had farted on his next album it would have been a welcome relief. He made "Mind Games" and herein lies the problem. The album is a true return to melody and lyrics worthy of Lennon, with several outstanding songs as good or better than anything on "Imagine." The problem is the album is plagued with mediocre production and a few substandard songs that once you've finished the album, leave you with a feeling of....dissapointment. "Mind Games"--the song, shows just how brillant John can be lyrically. The backing is perfect for his wordplay. "Tight As" is a song where the production lets Lennon down. The backing thunders along but you really can't distinguish anything. There's a solo in here somewhere but its barely audible in this mix. This kind of aborts any power this track could have had. "Aisumasen" is one of those love it or hate it kind of songs. It's long and slow and most people might not have the patience to really listen to it but I think its phenomenal. The clear sound, good singing, great feeling and maybe the best guitar solo on an individual Beatles record, make this a killer track. It's followed by "One Day at a Time." This is a nothing song. This is the kind of song they play in hospitals to keep patients sedated. It's that bad and totally out of character for Lennon. Maybe he stole it from McCartney. "Bring on the Freda" is supposed to be a rocker but it doesn't go anywhere. Also, the steel pedal guitar is prominent in the mix--did someone forget to tell Lennon the steel pedal guitar is not a rock 'n roll instrument? It's too prevelant on this album to its detriment. "Intution" has some really good words although they are wasted with music that is way to poppy. "Out of the Blue" is a just a good song, period. "Only People" is one of those let's-all-sing-this-together type of song and like "Lucie" it doesn't have the force it should. "I Know, I Know" while having some interesting work by bassist Gordon Edwards is another underrated Lennon classic. Its just a superb song. "You Are Here" is a nice acoustic, insignificant filler track with very little going for it. "Meat City," the closing song, would probably be my choice for highlight of the album. John just cuts loose. The songs is a balls-out rocker the way "Lucie" and "Only People" tried(and failed) to be. I would give it 4 stars but I have to deduct one star for poor judgement and mediocre production. If you want to buy this album, buy "Imagine," first.
	George Harrison - Living in the Material World
	"Living in George's World"	2002-09-09
After the huge success of both "All Things Must Pass" and "Bangla Desh," George's release of "Material World" might seem to be a disappoinment to many, but those that see it that way are not appreciating the difference between this and his previous recordings. Although the recordings started at EMI, they were eventually moved to Apple where the overall tone of the production would be a far cry from the Phil Spector bombast that made up "All Things Must Pass." Using a small core of musicians, George goes to work on nine new songs and 2 old ones.("Sue Me, Sue You Blues" have already being written the previous year and "Try Some, Buy Some" was an "All Things Must Pass" out-take). "Give Me Love" opens the disc and its really not an impressive cut at first. However, it does grow on you, especially Harrison's tastful guitar work. It was released as a single and made it to number 1. "Sue Me, Sue You Blues" is next with Harrison bemoaning the Beatles legal entanglements on a superfunky beat. A hot dobro lead by Harrison just adds to to the vitrol in his lyrics. "The Light That Has Lighted the World" I could do without. A slow song whose lyrics, while good, are preachy--something that will dog this whole project. Capitol wanted this next song-"Don't Let Me Wait Too Long" to be the single from the album. Its easy to see why: Nice beat, easy listening lyrics, a sure top 40 smash. "Who Can See It," I've felt is an underrated Harrison song. Not really known for his voice, George really steps it up here and carries the song(especially in the chorus) with amazing feeling. The orchestration by John Barham, is subtle, giving the song more drama. The title track "Living in a Material World" is almost a Spector production. Again, more preachy than it has to be, the up tempo beat carries the song along while listening to tablas, 2 drummers, horn players and guitar solos building up to an impressive climax. "The Lord Loves the One" has nice fluid guitar playing by George with predictably preachy words. "Be Here Now" has more impressive guitar work by George(this album is full of George excelling on the six string)but the song is more of a drone and really doesn't go anywhere. If "Try Some, Buy Some" sounds like a Spector production that's because it is. The story goes that the song was not up to snuff for "All Things Must Pass." Then it was given to Spector's wife Ronnie to use. It didn't work for her so George took it back and wiped her vocals off and put his on and bingo, another album track. The song tries, but doesn't do anything as its not much of a tune. "The Day the World Gets Round" is again, preachy but George is so earnest about it, plus the tune and musicianship excell, so he carries it off. "That is All" closes the album with George doing what he does best: A love song. And just like the brillant love songs in his back cataloge, this one can join them with no shame.