Bob James Bj4 [96 24 Stereo LP Rip]

An entry within Metro Doubles series, One, Two, Three & BJ4: The Legendary Albums is a two-CD set containing Bob James' first four albums, presented in chronological order. The set is a good way to pick up these four James' discs – not only is it a convenient, concise way to get the records, but they're presented well with good liner notes, including track-by-track commentary by Chris Ingham.

Grievous Angel was the second solo album by Gram Parsons, compiled from 1973 sessions and released four months after his death. Like all of Parsons' records, it failed to rate high on the charts, never reaching the top hundred on the Billboard charts. Nonetheless, it is viewed as a successful example of the hybrid between country and rock and roll Parsons called "Cosmic American Music."

For those interested in the acoustic Bob Dylan, this concert is like the grail; his voice is in impeccable shape, and his delivery is revelatory. For those interested in the transition from acoustic to electric, this show is the seam, and for those who are die-hard fans, this is another welcome item in the official catalog.

Recorded in two spurts in Los Angeles in August 1966 and London that November, Between the Buttons caught The Rolling Stones at a period where they were moving more into arty territory and away from their R&B roots. With the release of The Beatles' Revolver, The Beach Boys' Pet Sounds and Bob Dylan's Blonde on Blonde as well as their own Aftermath and the accompanying singles during 1966, the parameters of rock music had been expanded considerably.

Recorded during their American tour in late 1969, and centered around live versions of material from the Beggars Banquet-Let It Bleed era. Often acclaimed as one of the top live rock albums of all time, its appeal has dimmed a little today. The live versions are reasonably different from the studio ones, but ultimately not as good, a notable exception being the long workout of "Midnight Rambler," with extended harmonica solos and the unforgettable section where the pace slows to a bump-and-grind crawl. Some Stones aficionados, in fact, prefer a bootleg from the same tour (Liver Than You'll Ever Be, to which this album was unleashed in response), or their amazing the-show-must-go-on performance in the jaws of hell at Altamont (preserved in the Gimme Shelter film). Fans that are unconcerned with picky comparisons such as these will still find Ya-Ya's an outstanding album, and it's certainly the Stones' best official live recording. Allmusic.

Recorded during their American tour in late 1969, and centered around live versions of material from the Beggars Banquet-Let It Bleed era. Often acclaimed as one of the top live rock albums of all time, its appeal has dimmed a little today. The live versions are reasonably different from the studio ones, but ultimately not as good, a notable exception being the long workout of "Midnight Rambler," with extended harmonica solos and the unforgettable section where the pace slows to a bump-and-grind crawl. Some Stones aficionados, in fact, prefer a bootleg from the same tour (Liver Than You'll Ever Be, to which this album was unleashed in response), or their amazing the-show-must-go-on performance in the jaws of hell at Altamont (preserved in the Gimme Shelter film). Fans that are unconcerned with picky comparisons such as these will still find Ya-Ya's an outstanding album, and it's certainly the Stones' best official live recording. Allmusic.

This CD holds a very special place in the heart of every true Bob James fan. This may be due in no small part to its sentimental value in relation to nostalgia. HEADS has an overtly sexual quality to it, as may be seen through it's titles (and the number five itself). Musically, it has much to offer. The title song features the interesting sound of the Oberheim polyphonic synth's "tinkle bells". The tour-de-force of the CD is his uptempo version of "We're All Alone", featuring pianist Richard Tee. Bob rides the disco wave in on his version of Peter Frampton's "I'm In You". Both this and the original version of "Nightcrawler" feature saxophonist David Sanborn. Grover Washington, Jr. adds his special touch on "You Are So Beautiful". HEADS closes with an adaptation of Baroque composer Henry Purcell's "One Loving Night", something which can only be skillfully done by arrangers such as Bob James and Don Sebesky. With HEADS, you win!

Grant Green recorded so much high-quality music for Blue Note during the first half of the '60s that a number of excellent sessions went unissued at the time. Even so, it's still hard to figure out why 1964's Matador was only released in Japan in 1979, prior to its U.S. CD reissue in 1990 – it's a classic and easily one of Green's finest albums. In contrast to the soul-jazz and jazz-funk for which Green is chiefly remembered, Matador is a cool-toned, straight-ahead modal workout that features some of Green's most advanced improvisation, and remains one of his greatest achievements. Allmusic*****

May 1967 was the beginning of an amazing burst of studio creativity for Miles Davis; the first recordings in that burst are on this album. Sorcerer is even darker and moodier than its predecessor, Miles Smiles. (And even for a Miles Davis album, this is very moody and very dark.) It features less memorable tunes but the improvisations go even further away from the jazz mainstream.