Fans of the Moody Blues hungry for the band's intoxicatingly rich arrangements and soaring melodies need look no further than this terrific compilation. What it lacks in depth this collection makes up for in breadth, spanning the band's 30-year history of hits from "Tuesday Afternoon (Forever Afternoon)" to "Your Wildest Dreams. " Featuring some of Justin Hayward and John Lodge's best songwriting and packed with performances truly worthy of the superlative adjective greatest, this collection of hits delivers the goods. -L. A. Smith.

Arguably the finest and most expansive Kinks collection on the market! The first disc of this double-disc begins with their third single and first No. 1, the insistent 'You Really Got Me', then races through the glory years with the absurdly infectious likes of 'Sunny Afternoon', 'Waterloo Sunset', 'Lola' and 'Apeman'. Dave's two hits are included, too, and the disc ends with 'Come Dancing' and other selections from The Kinks' early-80s comeback. Disc Two includes songs that were hits for others ('David Watts' and 'Stop Your Sobbing'), various B-sides and other rarities, including 'God's Children', from the soundtrack of Percy, a movie about a fellow seeking the original owner of his recently transplanted penis. The Ultimate Collection is an excellent addition to the Kinks's cannon. 44 tracks in all spread over two discs. Sanctuary. 2007 24bit Digtally Remastered Double Disc Comprehensive Set of their Best from the 60's to the 80's. This Collection Offers the Most Varied Set Ever Offered by the Acknowledged True Originators of What Has Evolved Today as Heavy Metal Rock and Roll. Tracks Are Culled from the Early Pye/Warner Bros. [+]

Even as the Beatles began heading toward an inevitable breakup, their prolific ways continued; this two-disc look back only skims the surface of their later achievements. Excerpts from Sgt. Pepper, Magical Mystery Tour, the white album, Abbey Road, and Let It Be compete for space with classic singles that do as much or more to prove their eclecticism: the epic ballad "Hey Jude," the plaintive "Strawberry Fields Forever," straight rock & roll of all stripes from the plainspoken "Revolution" and "Get Back" to the surreal "Come Together. " Decades after the split, this (and its companion set of 1962-1966 cuts) remains a favored introduction for young listeners and a key sampler for veteran fans. -Rickey Wright.

It begins with a twittering of birdsong lifted from "Across the Universe. " And once the triple-tracked a capella harmonies of "Because" enter, followed by snatches from "A Hard Day's Night" and "The End," leading into a fired-up "Get Back," it becomes obvious that this is far more than just another Beatles compilation. This is Love, conceived by the Fabs' former producer George Martin and son Giles as a stageshow soundtrack to Cirque de Soleil's Las Vegas spectacular of the same name, but appears to have taken on a life of its own. Whereas the Beatles' last release, 1, delivered the (over?) familiar hits in a nice, simple package, Love is a mélange of the familiar and obscure, all literally mixed together in one 78-minute audio collage which succeeds in reminding the listener just why the Beatles truly are, as Lennon put it, "toppermost of the poppermost. " There's no new Beatles material per se, but the songs are all approached differently-some are cut together in a flawlessly mixed medley (check out "Being for the Benefit of Mr. Kite!/I Want You/Helter Skelter"), some reassemble different backing tracks and vocal performances to create new spins on old classics; but all the songs are revitalized considerably. Even in its weakest moments (which probably work better in the context of the show itself), Love is still a formidable prospect, and one has to admire Martin's willingness to go out on a limb with such a project. While purists may complain that the cut 'n' paste nature of the project is simply tampering with perfection, at the very least it'll make them reach for the originals and enjoy them all over again. For newcomers and everyone else, it makes a fine listen, both in its sonic clarity (the actual tracks are the best they've sounded on CD) and audacious nature. -Thom Allott More from the Fab Four The Capitol Albums, Vol. [+]

The closest the Beatles came to a greatest hits package, this document of the early part of their career features hit singles (in chronological order) and selected album tracks, running from "Love Me Do" through the groundbreaking Rubber Soul and Revolver albums. While this may be an excellent intro for beginners, real fans will never be content with only selections, especially when you're dealing with those aforementioned albums. Capitol packages the collection on two discs, copying the original vinyl version-but, of course, CDs hold more music than records did. Still, you do get 26 bona fide classics, so there's no real need to complain. -Bill Holdship.

\N The Who's mighty catalog of beautiful, poignant, and often silly pop songs bashed out with Cassius Clay finesse has suffered in the past at the hands of multiple, butcher-shop best-ofs and horrible packaging. But this thrilling band-undeniably one of ye classicke rocke's greatest-gets the career-spanning entry-point compilation it deserves with the double-disc Ultimate Collection. The songs included here are no-brainers, for the most part-if they aren't huge hits like "My Generation," "I Can See for Miles," or "Baba O'Riley," they're long-standing fan favorites such as "Boris the Spider," "Pure and Easy," and "Squeeze Box. " And while this reviewer wishes different songs were chosen from Tommy, and more than one tune was gathered from their arguably finest (and definitely silliest) album, The Who Sell Out, this record really isn't for fans (aside from the total trainspotter types) but for newcomers. -Mike McGonigal.

It's the rare greatest-hits album that takes on a life of its own. Generally, best-of collections are superceded by updated retrospectives. Hot Rocks is one of the rare exceptions to the rule. Originally released in 1972, it instantly became the Stones intro of choice, elbowing aside Big Hits, High Tide and Green Grass and Through the Past Darkly. Why? It happened to hit the racks when Mick and company were at their creative peak. The 21 tracks found here represent seven years of dizzying growth. From "Time is on My Side" through "Satisfaction" and "Let's Spend the Night Together," on to Sticky Fingers's "Brown Sugar" and "Wild Horses," Hot Rocks never lets up. The likes of Sucking in the '70s and Jump Back come and go, but this Stones overview will not be moved. -Steven Stolder Remastered reissue of 1972 compilation, suitable for standard & 'Super Audio' CD players. Gatefold digipak. [+]

Their first-ever album, raw and rough and still very rock & roll. Lennon and McCartney begin to flex their writing muscles and had already scored two UK hits when this appeared, but they still relied heavily on the cover material to see them through. Their insecurity about their own abilities seems curious in hindsight since they'd pulled the title song and "I Saw Her Standing There" (with thanks to Little Richard) out of their hats. But they were an unknown quantity, still to launch a million bands and take pop music to places it had never dreamed off. A small step for four men, a giant leap for music. -Chris Nickson Japanese exclusive reissue of 1963 album. This Toshiba/EMI pressing features an OBI strip (different from the last Japanese pressings issued in 1990) & an insert with Japanese text & lyrics in Japanese & English. Manufactured & pressed in Japan. This album has been direct metal mastered from a digitally remastered original tape to give the best possible sound quality. 2003.

No Description AvailableNo Track Information AvailableMedia Type: CDArtist: BEATLESTitle: BEATLES 1Street Release Date: 11/14/2000DomesticGenre: ROCK/POP Proving yet again their willingness to dice 'n' slice their burgeoning legacy into new-if not exactly fresh-product, the Fab Four Minus One have released this single-disc compendium of their No. 1 hits. Though obviously superfluous to the faithful (who may also find themselves quibbling over the precise definition of "No. 1 hit" and the exclusion of seeming contenders like "Please Please Me" and "Strawberry Fields"), newly arrived visitors from the Pleiades star cluster and other neophytes will find it a concise and generous (nearly 80 minutes) single-disc introduction to the band's career-spanning, unparalleled dominance of pop music in the 1960s. But beyond being a mere trophy case of commercial success (and it won't be hard to find critics who'll argue that these singles aren't even the band's best work), it's also a Cliff's Notes take on a remarkable seven-year run of musical evolution, one that stretches from the neo-skiffle of "Love Me Do" through a remarkable synthesis of R&B, rockabilly, Tin Pan Alley, gospel, country, and classical that still defies efforts to effectively deconstruct it. This is the pop monument equivalent of the '27 Yankees and '90s Bulls; it's every bit as obvious and dominating-and just as essential. -Jerry McCulley.

No Description AvailableNo Track Information AvailableMedia Type: CDArtist: BEATLESTitle: RUBBER SOUL (BRITISH)Street Release Date: 08/09/1988DomesticGenre: ROCK/POP Rank 'em how you like, Rubber Soul is an undeniable pivot point in the Fab Four's varied discography no matter where, or how, you first heard it. The album was softened up in its original 12-song American edition to jibe with the Dylan/Byrds folk-rock sound, as well as squeeze money from the Parlophone catalog. The 14-song U. K. edition-the version now available on compact disc-is a different, more dynamic, and ultimately more accomplished achievement. So many classics: "Drive My Car" and "Nowhere Man" (both omitted from the U. S. edition) merge the early combustible Beatifics to a burgeoning studio consciousness; "The Word" can be read as a pre-psych warning shot; the sitar-laden "Norwegian Wood" and the evocative "Girl" (the latter written on the last night of the sessions) stand as turning points in John Lennon's oeuvre. George finally emerges too, with the McGuinn-ish "If I Needed Someone. " -Don Harrison.

The Beatles followed up their debut film A HARD DAY'S NIGHT with this fanciful spy spoof. When Ringo adds a new ring to his collection he's unaware of how important and dangerous this piece of jewelry is. On one hand a religious cult considers it a sacred object and the wearer must become a sacrifice to their gods. On the other hand the ring has magical abilities that hold the key to supreme power. Soon the boys from Liverpool are engaged in a slapstick and madcap chase round the world as a crazed scientist a pack of crooks and several religious fanatics set out to capture the band. Watch for the English Channel swimmer who seems to be perpetually lost and appears in nearly every location. Includes Beatles' hits including "Help!" "Ticket To Ride" "You've Got To Hide Your Love Away" and many more. System Requirements:Running Time: 153 minutesFormat: DVD MOVIE Genre: COMEDY/SHOWBIZ Rating: G UPC: 5099951034795 Manufacturer No: C9DW-10347 After the worldwide success of A Hard Day's Night, the Beatles and director Richard Lester reunited for a follow-up film, Eight Arms to Hold You. Well, that wasn't the final title; a pleading Lennon-McCartney tune provided the catchier handle: Help! A loose semispoof of the globe-trotting James Bond pictures, Help! has always been considered a somewhat disorganized comedown from its predecessor; but it presents "the famous Beatles" even more clearly as the English cousins of the Marx Brothers. The plot has an Eastern religious cult declaring that the new ring on Ringo's finger is the key element in a human sacrifice; they will stop at nothing to obtain it. [+]

No Description AvailableNo Track Information AvailableMedia Type: CDArtist: BEATLESTitle: WITH THE BEATLESStreet Release Date: 08/09/1988DomesticGenre: ROCK/POP They still had plenty of covers to fill out the running time, but the Lennon-McCartney writing team was gathering steam and beginning to knock out pop classics as if they were pulling them out of thin air. "All My Loving" and "I Wanna Be your Man" come from this record, issued hurriedly to capitalize on English Beatlemania. But even when they were laying into some classic Chuck Berry, by this time the Beatles had acquired a unique sound in the blend of John's and Paul's voices, while George was coming on by leaps and bounds as a guitar player. While not absolutely essential, as a snapshot of a band in a place and time, With the Beatles is good for a smile. -Chris Nickson.

\N Before Sgt. Pepper, no one seriously thought of rock music as actual art. That all changed in 1967, though, when John, Paul, George and Ringo (with "A Little Help" from their friend, producer George Martin) created an undeniable work of art which remains, after 30-plus years, one of the most influential albums of all time. From Lennon's evocative word/sound pictures (the trippy "Lucy in the Sky With Diamonds," the carnival-like "Being for the Benefit of Mr. Kite") and McCartney's music hall-styled "When I'm 64," to Harrison's Eastern-leaning "Within You Without You," and the avant-garde mini-suite, "A Day in the Life," Sgt. Pepper was a milestone for both '60s music and popular culture. -Billy Altman.

Sloppy in conception, and even sometimes in the playing, Let It Be often gets a bad rap. Unfairly, as it's often as charming, well written, and (oh yeah) rocking as the Beatles' "better" albums; it's also more outright fun than Abbey Road, the masterpiece it followed into the stores. With Lennon and McCartney working together on the perfect "I've Got a Feeling," "Two of Us," and "Dig a Pony," it's hard to believe these guys were about to implode. -Rickey Wright.

Strummmmm! That dramatic guitar chord that kicks of A Hard Day's Night (album, song, movie) still jumps right out at you, slaps you in the face, and jump-starts your heart. And you know what? Both the music and the film are still as crisp and lively as they were in 1964. Of course, only the first seven songs are actually in the movie (and they are the strongest of the bunch, from the rousing rock & roll of the title track and the hit single "Can't Buy Me Love," to the beautiful ballads "If I Fell" and "And I Love Her"). But nobody's going to complain about having songs like "I'll Cry Instead" and "Things We Said Today" in the second half of the record; they sure don't feel like leftovers. Yet another high-point for John, Paul, George, and Ringo-four fab fellows who hit the highest heights imaginable. -Jim Emerson A Hard Day's Night was the first Beatles album of all-original material, and the first to feature George Harrison playing his Rickenbacker electric 12-string guitar (on the opening chord of "A Hard Day's Night," for instance). The distinctive sound of the 12-string inspired countless guitarists including Roger McGuinn and David Crosby of the Byrds. The film from which these songs hail remains a classic combination of happy 1960s naivete and nascent hipster wit. Many of the most important rock bands to emerge in the latter half of the '60s came into being because of A Hard Day's Night's irresistible vibrancy. The tunes flow like the finest red wine, as the title track leads to the glorious harmonica of "I Should Have Known Better" and the powerfully poignant "If I Fell. [+]

Initially broadcast as a TV miniseries to go with the series of three Anthology double-CD albums, this set of eight documentary tapes has the heft and scope of one of Ken Burns's expansive projects. Still, unless you are either a historian or a truly committed fan, you'll find yourself with way more material-particularly about the Beatles' early lives as lads in Liverpool-than you'll want to watch. The documentary material is copious, including early performance films and tapes, at the point before they found their true voices. The actual Beatlemania years-beginning in 1963 and concluding in 1970-feature extensive performance films, as well as home movies and archival material. The best parts, of course, are the interviews with the Beatles themselves, who produced the entire thing. Along with reworking two previously unreleased John Lennon tracks as "new Beatles songs," the Anthology includes some unseen Lennon interview tapes so that his acerbic voice can be heard as well. This stands as a comprehensive document of that heady period, the second coming of rock & roll, as the Beatles took what Elvis had started and expanded upon it exponentially. The tapes give a solid sense of the historical context and the way these four musicians changed the world around them in the 1960s. -Marshall Fine.

No Description Available. Genre: Music Video - Pop/RockRating: NRRelease Date: 21-OCT-2003Media Type: DVD Conceived by the French director Adrian Maben as "an anti-Woodstock film," Pink Floyd: Live at Pompeii was shot in October 1971 in a vacant, 2,000-year-old amphitheater-a venue chosen to accentuate the grandeur and spaciousness of the band's Meddle-era music. This disc contains a new, 90-minute director's cut as well as the original 60-minute concert film, whose production and effects feel inescapably dated. Maben's cut goes to great lengths to lend the film a more contemporary feel, but it's the earlier version that makes this disc such a gem, being more focused on the music and more wholistic in vision. The anamorphic, 16:9 director's cut interweaves the Pompeii performances with fascinating but distracting interviews and music snippets filmed later (mostly during the recording of Dark Side of the Moon). The movie was originally prepared in a 4:3 aspect ratio, however, and the widescreen version crops perfectly framed images like the nine-square mosaic of drummer Nick Mason in "One of These Days. " The original offers plenty of closeups of fingers on frets and keys, with shots that are often luxuriously long in duration. And the picture quality from Pompeii is revelatory: outstandingly sharp and clear, rich in subtle grades of light and color. Generous extras include everything from original posters, reviews, bootleg album covers, and song lyrics to a 24-minute interview with Maben. But for all the director's talk of the glorious acoustics in Pompeii's amphitheater, there's little natural ambience to be heard. [+]

The album feels even more like a collection of singles (instead of an actual movie soundtrack) than Help! or A Hard Day's Night, but maybe that's because every song sounds like it could have been a hit single-with the natural exception of the goofy/weird instrumental "Flying. " Even George's "Blue Jay Way" paints a vivid sound-portrait in fascinating detail. (I consider Joni Mitchell's "Car on the Hill" from Court and Spark to be a companion piece about sitting in the Hollywood Hills, waiting for somebody to show up. ) And although the goofy TV movie may have been mostly Paul's baby, this album features the two 45 rpm masterpieces that sum up the quintessential best of Lennon and McCartney at this stage of their development: Paul's "Penny Lane" and John's "I Am the Walrus. " -Jim Emerson Japanese exclusive reissue of 1967 album. This Toshiba/EMI pressing features an OBI strip (different from the last Japanese pressings issued in 1990) & an insert with Japanese text & lyrics in Japanese & English. Manufactured & pressed in Japan. This album has been direct metal mastered from a digitally remastered original tape to give the best possible sound quality. Gatefold sleeve. 2003.

How John Lennon's confessional song became the title for a silly James Bond spoof I really don't know. The funny thing is, it works both ways-as a young man's personal statement about learning to open up to others, and as the frantic theme for an exotic espionage chase comedy starring those lovable mop-tops (this time in color). Like A Hard Day's Night, only the first "side" of this album actually contains songs from the movie-the biggest hits being the eponymous cry for assistance and "Ticket to Ride. " But part 2 has a few nice tunes as well, like "It's Only Love," "I've Just Seen a Face," and a little ditty called "Yesterday. " And I always love it when they do an all-out screamer like "Dizzy Miss Lizzy," which sounds like John's raucous answer to Paul's "Kansas City/Hey, Hey, Hey, Hey" vocal on Beatles for Sale. Of course, it's essential-as are all the Beatles' soundtracks (all the Beatles' albums), with the possible exception of Yellow Submarine. -Jim Emerson Japanese exclusive reissue of 1965 album. This Toshiba/EMI pressing features an OBI strip (different from the last Japanese pressings issued in 1990) & an insert with Japanese text & lyrics in Japanese & English. Manufactured & pressed in Japan. This album has been direct metal mastered from a digitally remastered original tape to give the best possible sound quality. [+]

Revolver wouldn't remain the Beatles' most ambitious LP for long, but many fans-including this one-remember it as their best. An object lesson in fitting great songwriting into experimental production and genre play, this is also a record whose influence extends far beyond mere they-was-the-greatest cheerleading. Putting McCartney's more traditionally melodic "Here, There and Everywhere" and "For No One" alongside Lennon's direct-hit sneering ("Dr. Robert") and dreamscapes ("I'm Only Sleeping," "Tomorrow Never Knows") and Harrison's peaking wit ("Taxman") was as conceptually brilliant as anything Sgt. Pepper attempted, and more subtly fulfilling. A must. -Rickey Wright Japanese exclusive reissue of 1966 album. This Toshiba/EMI pressing features an OBI strip (different from the last Japanese pressings issued in 1990) & an insert with Japanese text & lyrics in Japanese & English. Manufactured & pressed in Japan. This album has been direct metal mastered from a digitally remastered original tape to give the best possible sound quality. [+]