i've got the best of interventions

Sunday, October 09, 2005

#374 - Miles Of Aisles, Joni Mitchell

"Like most live albums, this two-record set was a profit-taking release on which the artist re-presented many of her old songs for a new acceptance now that she had a larger pop audience. Backed by the pop-jazz ensemble the L.A. Express Mitchell reprised the best from her first five albums, pointedly ignoring Court and Spark, and including two new cuts, "Love or Money" and "Jericho."" (allmusic guide)

#373 - #1 Record/Radio City, Big Star

"This two-for-one collection of the first two Big Star records (from '72 & '74) is probably one of the finer musical documents of the '70s, as well as pop music in general. There is such a fine array of great pop songs, cock-of-the-walk rock, and blessed ballads on here that to list them all would be redundant. If you even think you like music, you should hear this." (real music guide)

#372 - Come On Come On, Mary Chapin Carpenter

"With an astounding seven hit singles, Come on Come On climbed all the way to number six on the country charts, fully revealing Carpenter's astuteness and magnitude as one of the decade's most illustrious country artists. With friends such as Rosanne Cash, Joe Diffie, Shawn Colvin, and the Indigo Girls lending a hand, there's a full range of country, folk, and pop-styled songs strewn across the album, helping it and Carpenter herself gain enormous recognition from other audiences outside of country music." (allmusic guide)

#371 - Under The Pink, Tori Amos

"She's quaint at first, but rages into a scalding vocal queen. It makes her even more a pioneer for female originality and independence. Singles such as "God" and "Cornflake Girl" are sultry and provocative, depicting that she's everything but shy. Under the Pink is typically melodic, but it contains a heavy desire. Amos is still breaking into something more definitive as both a woman and a singer/songwriter." (allmusic guide)

#370 - Blow By Blow, Jeff Beck

"Blow by Blow is balanced by open-ended jamming and crisp ensemble interaction as it sidesteps the bombast that sank much of the jazz-rock fusion of the period. One of the album's unique qualities is the sense of fun that permeates the performances. On the opening "You Know What I Mean," Beck's stinging, blues-based soloing is full of imaginative shapes and daring leaps. On "Air Blower," elaborate layers of rhythm, duel lead, and solo guitars find their place in the mix." (allmusic guide)


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