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Reviews Written By: A20OJ2H5LMSA9C

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	Don Henley - Actual Miles: Henley's Greatest Hits
	"AOR Henley"	2008-08-13
Although it is drawn from only three albums (with only one track, "Dirty Laundry," from I Can't Stand Still), Actual Miles was a well-chosen best-of from an artist who had enjoyed just enough hits to justify one. Five tracks each came from Building the Perfect Beast and The End of the Innocence, and they included all of Don Henley's Top 40 hits. The album was filled out with a cover of Leonard Cohen's "Everybody Knows" and two new tracks, among them the ambitious "The Garden of Allah," which seemed to be an attempt to create a new allegorical masterpiece along the lines of "Hotel California," but managed to be only pretentious. Still, the bulk of this album was the sound of AOR radio in the mid-'80s. That, of course, was the catch -- this album should have come out about four years before it did, and probably would have if Henley hadn't been suing Geffen Records. Though destined to be a successful catalog item, in 1995 it was more a historical artifact than a major release.
	The Cars - Candy-O
	"Stellar"	2008-07-16
Since the Cars had created a perfect album with their 1978 self-titled debut, it would be nearly impossible to top it. Instead of laboring long and hard over a follow-up like many '70s bands did after a huge commercial success, the band cranked out their sophomore effort, Candy-O, almost exactly one year later from the first LP. And while the album was not as stellar as its predecessor was, it did contain several classics, resulting in another smash album that solidified the band's standing as one of the most promising new bands of the late '70s. The first single, the Top 20 anthem "Let's Go," proves to be the best track, but plenty of other standouts can be found as well. The title track remains one of the band's best rockers, while the gentle "It's All I Can Do" also deserved to be a hit. The band pays tribute to T. Rex on "Dangerous Type" (the main guitar riff resembles "Bang a Gong"), rocks out on "Got a Lot on My Head" and "Night Spots," shows their softer side on "Since I Held You," and embraces modern pop on "Double Life" and "Lust for Kicks." Their second strong release in a row, Candy-O proved that the Cars were not one-hit wonders, like so many other bands from the same era.
	The Jam - Direction Reaction Creation
	"Jam Packed"	2008-06-26
Direction Reaction Creation is the ultimate Jam package, offering 117 tracks over five discs -- essentially the band's complete studio recordings. With a strict adherence to chronological order, the box presents each single followed by its B-side(s) (six of which appear on CD for the first time, including the brilliant "See Saw"), followed by the proper album tracks -- oddly, though, the album versions of the singles are chosen in most places. Unfortunately, this approach sometimes disrupts the flow of the albums, especially in the case of All Mod Cons, which loses three tracks to the treatment, and Setting Sons, which loses "Eton Rifles" to a separate disc. This is a small point for purists to debate -- the difference is really unnoticeable in light of the truly great music found on the discs. In addition to the regular studio tracks, disc five offers over an hour of studio demos -- 22 previously unreleased tracks of considerably different takes of better-known material, a few never-before-heard Weller and Foxton originals, and some interesting covers like "Rain," "Dead End Street," and "Every Little Bit Hurts." A lavish 88-page booklet accompanies the set with great liner notes, an extensive band chronology and discography, and the band's complete gig list, along with plenty of rare photos and memorabilia. The Jam, simply put, were one the finest bands in rock & roll history, and Direction Reaction Creation offers the proof, showing both their remarkably rapid growth and their incredible consistency.
	Blind Faith - Blind Faith
	"A bit overrated"	2008-06-12
Blind Faith's first and last album, more than 30 years old and counting, remains one of the jewels of the Eric Clapton, Steve Winwood, and Ginger Baker catalogs, despite the crash-and-burn history of the band itself, which scarcely lasted six months. As much a follow-up to Traffic's self-titled second album as it is to Cream's final output, it merges the soulful blues of the former with the heavy riffing and outsized song lengths of the latter for a very compelling sound unique to this band. Not all of it works -- between the virtuoso electric blues of "Had to Cry Today," the acoustic-textured "Can't Find My Way Home," the soaring "Presence of the Lord" (Eric Clapton's one contribution here as a songwriter, and the first great song he ever authored) and "Sea of Joy," the band doesn't do much with the Buddy Holly song "Well All Right"; and Ginger Baker's "Do What You Like" was a little weak to take up 15 minutes of space on an LP that might have been better used for a shorter drum solo and more songs. Unfortunately, the group was never that together as a band and evidently had just the 42 minutes of new music here ready to tour behind.
	Sweat & Tears Blood - Blood Sweat & Tears - Greatest Hits
	"For the causual fan"	2008-06-09
This disc is no substitute for the Mastersounds version of the Child Is Father to the Man album, or the Mobile Fidelity version of Blood, Sweat and Tears, but it is a really smart idea. Columbia-Legacy went back and recompiled this multi-million selling album (previously available as a fairly lackluster 40-minute, 11-song CD), adding two songs ("So Long Dixie" and "More and More,") that were previously available only on singles from 1972 and 1968, respectively, and upgrading the sound. What distinguishes Blood, Sweat & Tears' Greatest Hits from the double-CD Sony-Legacy compilation What Goes Up: The Best of Blood, Sweat & Tears, however, is that this disc uses the single edits of the hits. To serious fans, it's sort of Blood, Sweat & Tears-lite, but to millions of listeners, it's these shorter versions, shorn of their extended album-version breaks, by which they know the band best. And those numbers now sport state-of-the-art sound -- hard, up-front bass and drums, horns that pour out of the speakers, and close and intimate singing from David Clayton-Thomas (or, on the two BS&T Mark 1 tracks here, Al Kooper and Steve Katz). The new release also re-creates the packaging of the original LP, with reviewers' quotes across the band's prime years (1968-72) and a time line history, as well as release and production information on each song. The two additional numbers bring the running time up to 48 minutes, and it's mid-priced, too, which makes it even easier to junk the old version and get hold of this one.
	Liz Phair - Liz Phair
	"Pop star?"	2008-06-05
Who knew that all Liz Phair ever wanted was to be a pop star? Surely, her debut, Exile in Guyville, with its cinematic lo-fi production and frankness, never suggested as much, nor did its cleaner sequel, Whip-Smart, even if her appearance in negligee on the cover of Rolling Stone did imply she wanted a wider audience. In retrospect, perhaps the streamlined surfaces of Whitechocolatespaceegg were a bid for the big time, but it was undercut by songs of motherhood, marriage, and remnants of her time as an indie queen. All of that is a distant memory on her long-delayed eponymous fourth album, where she makes a long-delayed stab at superstardom, glamming herself up like a Maxim MILF of the Month and pitching herself somewhere between Sheryl Crow and Avril Lavigne, on one side working with Michael Penn and adult alternative singer/songwriter Pete Yorn and on the other hooking up with 2003's hitmakers du jour the Matrix (not wanting to lose her aging core audience, she began her support tour for the album opening for the thirty-something darlings of the early 2000s, the Flaming Lips, even if her new music was a far cry from indie). As "Extraordinary" starts the album with a heavy guitar downstroke, it's clear that Phair has piled nearly all her chips on making it as a pop act, delivering music that not just fits comfortably with Lavigne's, but follows her sounds and stance. Yet Exile in Guyville had such a lasting impact, it's impossible to shake its memory when hearing newer work such as this. Liz Phair is running away from that shadow on Liz Phair, creating a record that is pretty much the polar opposite of that album, a shiny bright affair that wants nothing more than to be taken as a confection, even when it tries to dig deeper. [Liz Phair was also released in a "clean" version, removing the profanities.]
	The Beatles - Rubber Soul [UK]
	"Coming of age"	2008-06-04
A lot has been written and spoken about "Rubber soul" It is basically The Beatles coming of age release. Their work takes on a more reflected and personal identity. They sound more mature in their singing, playing and songwriting. At no time though does this CD sound heavy handed or preachy. Some of the pop sheen is still present, but their melodies and subject matter have a very passionate feel to them. They were still writing in a "singles" (45's) mode and so most everything on the CD sounds like it could have been a hit single in 1965. For that matter probably could be a hit record these days too. Really the only true throwaway song on here is Ringo's "What goes on?" Everything else brims with worthy craftsmanship. Imagine how good this album would have been had they included "Day tripper" & "We can work it out" instead of issuing them as a double A side single.
	Wild At Heart
	"Interesting at heart"	2008-06-03
A very underrated movie. Not David Lynch's best, but certainly one of his most interesting. Very cool performances from the entire cast and lots of great images. The story goes from bizarre to dark to humorous. Never boring, but somewhat confusing at times, but that's part of it's appeal.
	From Dusk Till Dawn: Music From The Motion Picture
	"Groovy Stuff"	2008-06-03
Enjoyed the movie quite a bit, especially the sound track. Lot's of not well known jems that really groove. Cool dialog spread through out.
	Imagine: John Lennon - The Definitive Film Portrait
	"Dream is over"	2008-05-30
When this film was first released, it was quite interesting, introspective and entertaining. Now on DVD it almost seems like an afterthought with the release of The Beatles Anthology DVD set. It still holds up well, but sometimes the anti-war Lennon gets boring. Makes you wonder how great his solo career may have been had he concentrated on his music more than his politics & causes. A nice addition to any Beatles or Lennon fans collection.
	Jimi Hendrix - Band of Gypsys (Live at the Fillmore East)
	"Band of opinions"	2008-05-30
This DVD is filled with a bunch of hanger-on, acquaintances and people who actually there being interview, giving their opinions, observations and stories about Jimi Hendrix. Gets real boring after a few minutes. The live portion is a step above a bootleg in visual quality. The sound is not bad, but the live CD is better. Would only recommend this to hard core Hendrix fans.
	Dave Alvin & the Guilty Men - Out in California
	"Honest"	2008-05-27
Recorded live in August of 2001 in Santa Barbara and in January of 2002 in Pasadena, Dave Alvin's album comes by its title honestly. As live albums tend to be, it's a curious mix of the familiar and the obscure; concerts always have to offer the hits and standbys, but they also offer the performers a chance to play old and unfamiliar songs that hold a personal significance. Thus, listeners get rawboned performances of the inevitable "Fourth of July" (an Alvin composition recorded more famously by X, of which he was a member for a while) and "American Music" (recorded more famously by the Blasters, the band with which he made his breakthrough albums in the 1980s), along with a lascivious old Bo Carter blues, the Bo Diddley classic "Who Do You Love" (here performed in a medley with another old Blasters tune, "Little Honey") and the hoariest of old blues-rock chestnuts, "Don't Let Your Deal Go Down." The album's finest moment is a stunningly beautiful rendition of Alvin's "Abilene," which is beautiful in large part because the other bandmembers pitch in on vocals -- Alvin is a fine guitarist and an even better songwriter, but he's no kind of singer. At the very end, there is a hidden track; an audience member calls for "Freebird" in an ironic tone of voice, and Alvin responds, "What, you think we can't play that?" With that, the band rips into "Freebird" with a (mercifully brief) vengeance. It's the perfect ending to a very impressive album.
	Cream - Those Were the Days
	"For Hardcore fans"	2008-05-19
Those Were the Days is an ambitious four-disc, 63-track box set that divides Cream's career into two halves. The first two discs feature every studio track the group ever released, plus a handful of unreleased cuts, alternate takes, and rarities. The other two discs are devoted to live material, which is segued together in an attempt to recreate the "ideal" Cream concert. It's a remarkably comprehensive collection, complete with an extensive booklet and remastered sound, yet it doesn't reveal any new insights about Cream, nor does it offer any invaluable rarities. Therefore, it's only for die-hard collectors or listeners wanting to acquire the entire Cream catalog at once; casual fans will be satisfied with individual albums or greatest-hits collections.
	Jimi Hendrix - Are You Experienced
	"Stunning Debuts"	2008-05-05
One of the most stunning debuts in rock history, and one of the definitive albums of the psychedelic era. On Are You Experienced?, Jimi Hendrix synthesized various elements of the cutting edge of 1967 rock into music that sounded both futuristic and rooted in the best traditions of rock, blues, pop, and soul. It was his mind-boggling guitar work, of course, that got most of the ink, building upon the experiments of British innovators like Jeff Beck and Pete Townshend to chart new sonic territories in feedback, distortion, and sheer volume. It wouldn't have meant much, however, without his excellent material, whether psychedelic frenzy ("Foxey Lady," "Manic Depression," "Purple Haze"), instrumental freak-out jams ("Third Stone From the Sun"), blues ("Red House," "Hey Joe"), or tender, poetic compositions ("The Wind Cries Mary") that demonstrated the breadth of his songwriting talents. Not to be underestimated were the contributions of drummer Mitch Mitchell and bassist Noel Redding, who gave the music a rhythmic pulse that fused parts of rock and improvised jazz. Many of these songs are among Hendrix's very finest; it may be true that he would continue to develop at a rapid pace throughout the rest of his brief career, but he would never surpass his first LP in terms of consistently high quality. The British and American versions of the album differed substantially when they were initially released in 1967; MCA's 17-song CD reissue does everyone a favor by gathering all of the material from the two records in one place, adding a few B-sides from early singles, as well.
	Jimi Hendrix - Axis: Bold As Love
	"Further"	2008-05-05
Jimi Hendrix's second album followed up his groundbreaking debut effort with a solid collection of great tunes and great interactive playing between himself, Noel Redding, Mitch Mitchell, and the recording studio itself. Wisely choosing manager Chas Chandler to record the album, since he was in the midst of a creative hot streak, Hendrix stretched further musically than the first album, but even more so as a songwriter. He was still quite capable of coming up with spacy rockers like "You Got Me Floating," "Up from the Skies," and "Little Miss Lover," radio-ready to follow on the commercial heels of "Foxey Lady" and "Purple Haze." But the beautiful, wistful ballads "Little Wing," "Castles Made of Sand," "One Rainy Wish," and the title track set closer show remarkable growth and depth as a tunesmith, harnessing Curtis Mayfield soul guitar to Dylanesque lyrical imagery and Fuzz Face hyperactivity to produce yet another side to his grand psychedelic musical vision. These are tempered with Jimi's most avant-garde tracks yet, "EXP" and the proto-fusion jazz blowout of "If 6 Was 9."
	Jimi Hendrix - Electric Ladyland
	"New Horizons"	2008-05-02
Jimi Hendrix's third and final album with the original Experience found him taking his funk and psychedelic sounds to the absolute limit. The result was not only one of the best rock albums of the era, but also Hendrix's original musical vision at its absolute apex. When revisionist rock critics refer to him as the maker of a generation's mightiest dope music, this is the album they're referring to. But Electric Ladyland is so much more than just background music for chemical intake. Kudos to engineer Eddie Kramer (who supervised the remastering of the original two-track stereo masters for this 1997 reissue on MCA) for taking Hendrix's visions of a soundscape behind his music and giving it all context, experimenting with odd mic techniques, echo, backward tape, flanging, and chorusing, all new techniques at the time, at least the way they're used here. What Hendrix sonically achieved on this record expanded the concept of what could be gotten out of a modern recording studio in much the same manner as Phil Spector had done a decade before with his Wall of Sound. As an album this influential (and as far as influencing a generation of players and beyond, this was his ultimate statement for many), the highlights speak for themselves: "Crosstown Traffic," his reinterpretation of Bob Dylan's "All Along the Watchtower," "Burning of the Midnight Lamp," the spacy "1983...(A Merman I Should Turn to Be)," and "Voodoo Chile (Slight Return)," a landmark in Hendrix's playing. With this double set (now on one compact disc), Hendrix once again pushed the concept album to new horizons.
	Black Sabbath - Black Box: The Complete Original Black Sabbath (1970-1978)
	"Legacy"	2008-04-28
Everybody knows that Black Sabbath's legacy rests on their first four albums -- after that, they lost their luster, or more precisely their mythic power. At their peak, which is how they are remembered, Sabbath were all about myth and power. Their very name had an ominous resonance, capturing their murky, foreboding sound perfectly. Taken at face value, the lyrics sung by Ozzy Osbourne were ridiculous, but delivered in his banshee wail and supported by the oozing, primeval sludge of the band, they could sound positively frightening, the last testament of man slowly being pulled into the dark corners of hell (there's something about their music that lends itself to florid writing, as well). That sound was intact on their 1970 debut, and it seemingly came out of nowhere. Sure, some psychedelic and acid rock bands were heavy, but nobody approached the gloom of Black Sabbath, nobody had the same sense of dread. Decades later, after years of airplay, after years of imitators, after their innovations have been assimilated, their music still sounds out of time, still sounds crushingly heavy and dark. Of course, that sentiment doesn't apply to all of the music Black Sabbath made -- Osbourne left the band in 1978 and the band was never quite the same, but truth be told, Sabbath lost their mythic power long before Ozzy went solo. Starting with 1973's Sabbath Bloody Sabbath, the group began to stretch out a bit on their albums, giving guitarist Tony Iommi acoustic spotlights, weaving synthesizers into their tapestry of doom, gradually opening up the sound of their records so much that they no longer had their mystique. They still could sound like Sabbath, but they didn't much feel like Sabbath anymore, particularly on their last two LPs with Ozzy, 1976's Technical Ecstasy and 1978's Never Say Die! This is the part of Sabbath history fans conveniently forget when they celebrate the original lineup, but it's rightly on display on Rhino's lavish eight-CD box set Black Box: The Complete Original Black Sabbath 1970-1978. Since the original lineup does still retain a mythic aura, some listeners unfamiliar with the trajectory of the group's career might assume that the latter four albums are all as heavy as Paranoid, and the fact that they're not may be a surprise and it might not be an altogether unpleasant one, too. While conventional wisdom among fans and the band is that the last two records are travesties, they're not nearly as bad as their reputation would suggest. They're certainly not what anybody looking for prime Sabbath would want to hear, but the varied production makes for interesting, albeit dated, listens, while both Sabbath Bloody Sabbath and 1974's Sabotage strike an effective blend of heavy sludge and layered production. Yet no matter how good those two albums are -- and despite fan affection for them, they're underrated simply because they exist in the shadow of Paranoid and Master of Reality -- it's the first four that define Sabbath, and they all have aged very well. Yes, certain recording techniques and studio conventions now sound a little dated, but they retain their primal power. Since the music is familiar, the real question with Black Box is whether the package itself is worth buying. The answer is a qualified yes. At first, it seems like there's not much need for the box, since these recordings have been reissued and packaged so many times it seems that the group has a provision in its contract demanding three new reissues in the U.K. every year. Plus, Rhino had released the excellent double-disc Symptom of the Universe in 2002, so not only were remasters easily available, but there was also a good compilation in the U.S. While all this is true, there's something to be said for getting all the material in one place, and there's little doubt that the package itself is worthwhile for fans willing to spend one hundred dollars for music they know by heart. The remastering is good, the digipacks are nicely done, the black velvet cover has good liner notes and testimonials from musicians, and the art direction cleverly is only in black and white, with not a color shot to be found in the whole 78-page book. Best of all, there's also a bonus DVD containing footage from the widely circulated "Live at the Beat Club" performance; it's only four tracks, but it's a great example of Sabbath at their prime, and it enriches this box. Ultimately, most listeners are going to be content with any of the classic four, but Black Box isn't meant for most listeners -- it's meant for the devoted, and this box lives up to their high expectations.
	Eydie Gorme Y Trio Los Panchos - Cuatro Vidas
	"A must for any Latin Fan"	2008-04-04
Edie silky voice and Los Panchos great guitars. Add some timeless classics you got a recipe for a great CD. Even if you don't understand Spanish you will enjoy this CD. I highly recommend getting the first one as well.
	Grand Theft Auto PSP
	"Awsome"	2008-04-04
Very hard to stop playing. Almost addicted to it. Can spend hours at a time playing Loving it. This according to my 14 year old son.
	Turok: Evolution - Playstation 2 (PS2)
	"Exciting"	2008-04-04
Lot's of thrills and kills. This according to my 14 year old son. A must have for any collection
	Queen - Queen On Fire: Live at the Bowl
	"Embers at the bowl"	2008-04-03
For most die-hard Queen fans this CD & DVD is a must have. Unfortunately for the rest, it's a take it or leave it proposition. First the sound quality is excellent. Same for the DVD visual. The band sounds great and enthusiastic. The set list is less than to be desired though. They were promoting one of their weakest albums "Hot Space" I must give credit though. The songs from that album sound much better live than their studio counterparts. There are some great performances "Save me", Fat bottom girls", "Play the game" & "Under pressure" Don't know why they keep insisting on adding yet another extended Brian May guitar solo? That part really gets boring fast. Over all it's a good live CD & DVD, but for the causal Queen fan, I recommend either "Live killers" or "Rocks Montreal" Better song lists.
	Queen - Live at Wembley '86 [2003]
	"Was this necessary ?"	2008-04-02
Queen has officially released five live CD's (Live killers, Fire at the bowl, Rocks Montreal, Live magic & Wembley) This one was released originally only in Europe and took some time before it ever saw an official release in the USA. The members of Queen have given varied and conflicting reasons why they never returned to the USA for a concert tour, but that's beside the point. This CD sounds good and some of their performances border on spectacular, but the songs presented here are for the most part weak. They were promoting their "A kind of magic" CD which curiously they only performed four songs from that offering. No big deal. I consider that album their absolute worse and incredibly boring CD of their catalog. You can tell the audiences at Wembley were certainly enthusiastic and very much appreciated their performance. The problem I have with this CD is the song selection. The tunes from "A kind of magic" are sub-par at best, but they sound edgier here. The oldies melody is a complete waste of time. With their wealth of past material to choose from why do something ridiculous like that? and did we really need yet another extended guitar solo from Brian May included again? This is not their best concert performance. Of all five live CD's; their best performance can be found on "Fire at the bowl" but you'll have to put up with the lame songs from "Hot Space" I'm sure their fans in Europe really clamored for this concert were Queen could do no wrong, but here in the USA this was unnecessary.
	Queen - Made in Heaven
	"Leftovers"	2008-04-01
Really this CD was unnecessary. The few tracks Freddie recorded before his death are sub-par at best and could have been released as b-sides or as bonus tracks on some kind of Queen anthology CD. The other songs the remaining members reworked again were totally unnecessary and moot. The songs they picked to rework are not even good ones. The entire thing sounds disjointed and uneven. It's basically is what it is "Warmed up leftovers" The only good song is "Let me live" and they should have finished that while Freddie was still alive and added that to "Innuendo" and left off "Delilah"
	Queen - Innuendo
	"Best of thier later works"	2008-04-01
I know a lot of Queen fans consider this CD to be a classic. I disagree. Although it's not a bad or average CD, it certainly is solid. I am sure most of you are well aware of the circumstances surrounding the making of this CD (Freddie Mercury's last). With that in mind it tends to push this offering into the special category, but it doesn't necessarily make this a "classic" or put in line with their best work. There are some great moments here (Don't try so hard, Headlong, Show must go on & I'm going slightly mad) but there is low points too (Bijou, Ride the wild wind & Delilah) absolute rubbish. What really stands out about this CD is the production. They managed to recreate the element that was sorely missing through out their 80's releases. The CD sounds grand, open & sonically lush. Also it's not covered in cold, soulless sounding synthesizers either. You get the feeling Freddie and the others wanted to go out on top and to some degree they achieved it. Most of the songs have much more meaning and depth, especially "Show must go on" that song alone is worth owning this CD. I was deeply sadden when Freddie past away. I had always hoped he and his cohorts would some day revert to their roots and rock n' roll us like they used to and only could. They just missed the mark, but what is presented here is lovely nonetheless.
	Dio - Holy Diver
	"Solid"	2008-03-31
I have heard that this CD is considered a "Classic" I wouldn't go that far, but I would say that it's a solid heavy rock effort. There is not a bad song on the entire CD. Stand out tracks for me would include "Gypsy", Rainbow in the dark" & Straight through the heart". Ronnie James Dio vocals are strong. Vivian Campbell guitar play is good, although sometimes he tends to sound a bit cliché. I prefer Ronnie James Dio's work with Black Sabbath or Rainbow. I am not knocking his solo efforts. I am just not that familiar with his solo catalog. I am working on it. Over all, it's good CD. Certainly a lot better than some of the tripe that's out there they are calling heavy rock or metal.
	The Beatles - The Beatles (The White Album)
	"Eclectic"	2008-03-28
Very few artist have ever produced such a diverse and eclectic album such as this. For all its oddness "The Beatles" (The white album) seems to work as a coherent form. I am sure they were not trying to accomplish this feat when they first set off on this endeavor; it just ended up that way. Musically it's all over the map. Caution was thrown to the wind. It's more a collection of solo recordings and a group effort, but you still get the feeling it's The Beatles. There are some great moments (Back in the USSR, While my guitar gently weeps, Birthday & Dear Prudence) and few low points too (Revolution #9, Goodnight) many have tried to recreate it, but none have come close to capturing the essence of this work. Because it is so eclectic and varied on one level and kind of focused on another that it works. It's not their best album by any stretch of the imagination, but certainly their most interesting. George Martin their long time producer has always maintained he would have preferred they had made a single "good" album instead of a double album, but other than a handful songs, which ones do you cut out?
	The Beatles - Abbey Road
	"Stunning"	2008-03-26
What can I say that hasn't already been said about this album? Sonically stunning and beautifully crafted. Not every song is great, but there is not a bad song to be found. It's not a concept album, but it almost plays like one. Even the album cover is brilliant in it's simplicity. Some of the high lights "Come together", "Something", "Here comes the sun" and "Because" A must for any CD collection
	Creepshow
	"Fun"	2008-03-26
This is a fun movie. No real blood or gore, but plenty of thrills and chills. It proves you don't need a bunch of split blood and guts to make a good horror flick.
	Beatles - Let It Be
	"Half baked"	2008-03-26
The idea behind "Let it be" was to make an album & movie of The Beatles creating and recording an album with little or no overdubs and then performing it live somewhere. Not a bad idea, but somewhere along the line it never really came to fruition. Instead we are left with a disjointed and somewhat drab collection of songs. Some of tunes are good. While others should have been either reworked, discarded or b-sides. Phil Spector producing is down right terrible too. I know he didn't have much to work with.
	Creepshow
	"Fun"	2008-03-26
This is a fun movie. No real blood or gore, but plenty of thrills and chills. It proves you don't need a bunch of split blood and guts to make a good horror flick.