Digitally remastered digipak edition of this classic 1969 album from The Beatles featuring 'Something', 'Come Together', 'Here Comes The Sun', 'Oh Darling', 'Because' and many more. The album has been remastered at Abbey Road Studios in London utilizing state of the art recording technology alongside vintage studio equipment, carefully maintaining the authenticity and integrity of the original analogue recordings. Within the CD's new packaging, the booklet includes detailed historical notes along with informative recording notes. A newly produced mini-documentary on the making of the album is included as a QuickTime file on each album. The documentary contains archival footage, rare photographs and never-before-heard studio chat from The Beatles, offering a unique and very personal insight into the studio atmosphere. Capitol. NOTE: Abbey Road was never released in mono and is not available in The Beatles In Mono boxset.

Recorded 1968-1970 and includes 'Susie Q', 'I Put a Spell on You', 'Proud Mary', 'Bad Moon Rising', 'Lodi', 'Green River', 'Commotion', 'Down on the Corner', 'Fortunate Son', 'Travelin' Band', 'Who'll Stop the Rain', 'Up Around the Bend', 'Run Through the Jungle', 'Lookin' Out My Back Door', 'Long as I Can See the Light', 'I Heard It Through the Grapevine', 'Have You Ever Seen the Rain?', 'Hey Tonight', 'Sweet Hitch-Hiker' & 'Someday Never Comes'. Fantasy label. 1991.

It's the rare greatest-hits album that takes on a life of its own. Generally, best-of collections are superceded by updated retrospectives. <i>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 <i>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," <i>Hot Rocks never lets up. The likes of <i>Sucking in the '70s and Jump Back come and go, but this Stones overview will not be moved. --Steven Stolder

From the <i>White Album to the end, the last days of the Beatles weren't smooth, which made the fact that they still produced some astonishing music all the more remarkable. In abbreviated form, "What's the New Mary Jane" is finally issued here, and proves underwhelming. For the rest of the set, it's largely down to outtakes and demos, but this time there isn't the same insight of the previous two volumes. <i>Anthology 3 comes dangerously close to the sound of barrels being scraped. That said, it's the Beatles, and in whatever form, the music still shines brilliantly. --Chris Nickson

1969 New Year's Eve concert at the Fillmore East showcases Hendrix's latest lineup, featuring Buddy Miles on drums & Billy Cox on bass; packaged in gatefold sleeve & remastered from original tapes.

About as complete a selection of fan and artist favorites as any single-disc Bruce collection could be, this is a surprisingly coherent listen given the many stylistic and attitudinal shifts it charts. The inclusion of only four of Born in the U.S.A.'s seven Top 10 entries leaves space for less obvious choices like "Atlantic City" and four new cuts, among them songs recorded by a briefly reunited E Street Band. The pace lags a bit near the end--"Secret Garden" is turgid enough to take its place on a Sting album--but Greatest Hits earns its place in the car CD player with stuff like "Born to Run," "The River" and "Dancing in the Dark." <I>--Rickey Wright

The only ones more ardent and fanatical than Phish lovers are Phish haters, and of course, both parties support their opinions based on the exact same criteria. However, as the band matures and their sound ripens, the naysayers' stance becomes increasingly difficult to defend. <I>Ghost, their seventh studio effort, is the quartet's most balanced and well-rounded studio collection, one that finds the middle ground between their wild stage forays and their more recent toned-down records while intensifying their ever-growing "cow funk" elements. Along the way there is room for concise song craft and angular complex journeys; thick funk, high-tempo romps, and quiet reflective passages; nuggets of lyrical wisdom floating in the usual sea of nonsense; cerebral prog-rock majesty tempered by visceral one- chord grooves; simplicity and psychedelia; instrumental precision and loose rambling. The twists and turns of "Guyute" will be familiar to the congregation as will the deep funk of "Meat" and bookends "Ghost" and "The Moma Dance." "Water in the Sky" takes a classic country progression and infuses it with a propulsive, almost Latin rhythm. Early-period albums may have better (and lengthier) jams, later albums may have better songs, but no other Phish album blends both aesthetics as well. --Marc Greilsamer

Substituting eager Pearl Jam for wizened Crazy Horse, Young returns to the Ragged Glory formula--big guitars, droning rhythm, mystical poetry--for this one-off 1995 CD after a joint concert tour. Pearl Jam, especially new drummer Jack Irons, focuses Young's ideas and challenges him in ways the more forgiving Horse never does. "Downtown" became an immediate rock-radio hit, and the song's three-chord force keeps even the lines about dancing hippies and Jimi Hendrix from getting stale. Singer Eddie Vedder shows up sporadically but makes the most of a shadowy bridge on "Peace and Love." --Steve Knopper