Compilations music reviews

When Roadrunner Records first started out, there were a handfull of bands that kept the label rolling, and while this compilation has a few good moments, it misses the mark for the most part. Sure, Slipknot helped catapault Roadrunner to superstar record label status, but they don't belong on here, and neither does lead singer Corey Taylor's Stone Sour band either. Of all the Sepultura songs that could be included on here, they picked "Roots Bloody Roots", which was the band's only real hit. Anything from "Beneath the Remains", "Arise", or "Chaos A.D." would have been a better selection. Coal Chamber and Killswitch Engage helped find the label success as well, but they don't belong on here either, and neither does Max Cavalera's Soulfly. Not to mention that material from Fear Factory and Type O Negative should have been from their debut albums, instead of the more recent hits. Thankfully, someone remembered the band's that made Roadrunner a force to be reckoned with at one time: Deicide, King Diamond, Life of Agony, Obituary, and Nailbomb; but where is Mercyful Fate, Death, and Biohazard? Who knows, but for everything this compilation does wrong, it does a lot right. Thankfully they decided not to include any tracks from Nickelback.

This is a great cd Ididn't expect much from.I bought it for 4.99
at my fav record store.here are the best tunes and why i chose
them.
1. Fear Factory-Replica.Fear Factory kick ass and this is one of
their best songs.Never slow and always crunchy and heavy
2.Killswitch Engage-In the Unblind.KSE kick the sh@t out of every
one,I like Howard Jones,But Jesse was the man.
3.Sepultura-Roots Bloody Roots.A classic tribal/metal tune from
the Calvera brothers and co.
4.Chimaira-Fascination St.Melodic and relentless at times.GREAT.
5.Decide-.Got to have some all out death once in a while.
Well those are stand outs the rest are good though.

this incredible album is a compilation of artist from roadrunner records back in 2003! i highly recomend this cd to anyone who is or has become interested in metal. the heart of roadrunner records compilation has a very very VERY good selection of talented artist new and old.
and about a half of the songs are exclusive, like the remix of "spit it out" by slipknot and "unreal" by ill nino. it also includes the cover of the cures dark "fascination street" by chimara, which is actually pretty good even though its about 5 minutes long. the classic song "roots bloody roots" by sepultura is very catchy song and was a great way to kick of this cd. what i enjoyed the most on this compilation though was the song "brujeria" by brujerizmo! which is a very unique mexican heavy metal band. during the song "dead by dawn" by deicide they scream like frogs croaking, which is interesting i guess... i like all of the other songs to although i am sort of disapointed by the soulfly song because its kind of retarded and anoying, it sounds more punk rockish and is only a minute and 30 seconds long. but the song i really hate is the song "abigail" by king diamond. the guy screams like a little girl, its sounds really anoying. but other than that this is a great compilation and the inserts include long list of roadrunner artist during 2003 and small portrates of all the bands on the inside cover except Nailbomb and Brujerizmo. o'yeah song number 3, "In the unblind" is by Killswitch Engage!

There's some amazing stuff on this album. Nothing can match the glory of the first time I heard "Mr. Tambourine Man" but "Notorious Byrd Brothers" gives us a glimpse of what might have been, if they'd been able to stay together. Except for a few near-misses, this was probably the last consistently good Byrds studio album.
"Artificial Energy" captures the drug-fueled craziness of the times in a way that few other songs did -- fun and scary at the same time -- and then "Goin' Back" offsers a sort of way to cool down again.
The smooth surface of "Draft Morning," broken by distant dreamlike gunfire, still gives me chills, long past the time when I needed to worry about the draft.
"Change Is Now," which I expected would sound terribly dated, has held up fairly well, especially if you're willing to forgive such lyrics as "that which is not real does not exist." The break from the hypnotic drone of Hillman's bass to the steel guitar, and then back again, is sublime even in an un-altered state of consciousness.
The only clinker in the whole set (speaking now of the original album) was "Space Odyssey." A friend at the time described the blub-blub rhythm as an "electric water cooler" and I've yet to get someone to contradict him.
The whole album was too short, but then that was true of a lot of albums at the time.
I wouldn't recommend buying the CD just for the bonus tracks. Unlike on some of the other Byrds re-issues, there's not much there. They're of historical interest, but sometimes outtakes are outtakes for a reason.

It is worth it, just for the sound. Some re-issues don't sound better than the original LPs. More than a few sound worse. All of the Byrds re-issues that I've acquired so far have been more clear than the originals. A fine job. Speaking as the last person on my block to trade his turntable for a CD player, I can't praise the people involved enough. If you loved the Byrds 40 years ago (ouch!) or have just recently heard of them, this CD, and the others, represent money well spent.

One more thing to mention; why are so many reviewers saying that David Crosby's picture was replaced by a horse's rear end? I'm not unsympathetic to the notion -- in spite of his huge contributions he could undoubtedly be one at times -- but if you look at the cover carefully it is beyond doubt a horse's head in the window, not the other end! Look carefully, people!

The Byrds, as a working unit, were beginning to disintegrate at the time this album was released; with their main songwriter Gene Clark quitting the band because of the fact that he was terrified of plane-travel, and David Crosby feeling increasingly neglected. And yet they managed to piece together some of their finest pop music to date, but this time with a little more edge than on their previous albums.

Their main inspiration, it seems, was a healthy competitive streak with their old Liverpudlian sparring partners, and Roger Mcguinn's occasional acid-buddies, The Beatles. Sgt Peppers fever was everywhere at the time- with everyone from psychedelic jazz artists (David Axelrod) to folkies like The Incredible String Band trying to ride the wave. And the Byrds were no exeption; they hardly even tried to hide the influence. I can think of three Sgt Pepperisms off-hand: the Lovely Rita-style heavy breathing in Get to You, the horns that come in near the end of Draft Morning, and then there's the fact that each song segues into the next. However, the Byrds were always more than mere Beatles wannabes, they were wonderful melody makers too.

The opening track, Artificial Energy, sounds like Beck thirty years before the fact- the driving horns and Mguinn's laid-back vocals make for what is probably the best opener on a Byrds' album. The rest of the album doesn't disappoint; from Carole King's Goin' Back (try and check out Nils Lofgren's brilliant piano-driven version if you can too) to Space Oddyssey, which continued the Byrds' obsession with alien contact. It could be said that the latter is some, dipsy, love-child era claptrap, but, writing this review in the year when Neil Young has released a State of the Union address/album called Living With War, I could do with a little more of this kind of music. What is arguably the best song on the album didn't even make the cut on the original release, which is a very Byrdsian trend (see axed songs like Psychodrama City and She Don't Care About Time). Triad's basically Crosby asking two lovers to go take part in a menage a trois, and I wouldn't be surprised if they went with it considering he delivered the idea so beautifully. However, I also think the song is about adopting a free-living, hippie aesthetic, and in that way I think of it as a sort of sister-song to his simliar sounding Almost Cut My Hair, which he released with Crosby, Stills and Nash.

Whether or not this is their best album depends on your tastes. Personally I'd give that award to Sweetheart of the Rodeo or maybe even Fifth Dimension, but I do know it's a wonderful album of catchy, sometimes inspiring, songs.

For me, this album will always represent the last of the great, classic 'Byrds' albums, even if 'Sweetheart Of The Rodeo' might have some claim for thuis title. But I am just in love with psychedelia, and even though the album cover here indicates a country album, that style first entered the Byrd repetoire on their next outing. This is just simply one of the most brilliant recordings of the psychedelic era.

'Goin' Back' and 'Natural Harmony' are pleasant, soft, psychedelic songs, well-crafted, well-played and well-sung. But with 'Draft Morning' and 'Wasn't Born To Follow' the real classics kick in, before the surprisingly powerful 'Get To You' ends side 1.

'Change Is Now' is a true gem, even if the beginning sounds somewhat dull. The chorus revives all this and brings a wonderful Byrd song, easily a contender for the same status as earlier songs like 'Turn, Turn, Turn'. 'Old John Robertson' is arguably even better, though quality then drops a little bit for 'Tribal Gathering', though it is, nonetheless, a good song.

But then comes 'Dolphin's Smile' and 'Space Odyssey', two of their most marvellous psychedelic gems, as just the titles indicate.

All these songs are, however, nothing, compared to the first track. 'Artificial Energy' is simply one of the best psychedelic songs ever. It may be outshined by Steppenwolf's 'Magic Carpet Ride', but put it up against 'Magical Mystery Tour' or 'Pinball Wizard', and it, and I hope I don't offend anyone here, for all these titles have been chosen, because they are great monuments of psychedelia, but I think 'Artificial Energy' would beat them both!

This album is not better than 'Younger Than Yesterday', but it is neither worse, and both are very very valuable creations, and it is unbelievable, how underrated they have become...

This is the RATPACK on the home turf Las Vegas with a nice orchestra INCLUDING strings which add especially on the ballads.

The set is tightly paced throughout and though a few jokes are dated a bit perhaps, I think they hold up well.

Sammy doesn't get to sing a whole lot and he gets picked on the most - some people may be offended and consider that racist. Just the opposite - the whole objective of those jokes was to POKE FUN and RIDICULE racism which back then was still more prevalent. How many doors were opened to black entertainers by the RAT PACK is obvious.......

But back to the show......this is probably the best set that they did together and the sound quality is AMAZING albeit a bit dry (lacking reverb) for my tastes. What was nice is that Sinatra sang a lot of songs which he had (at the time) recently recorded e.g. CALL ME IRRESPONSIBLE, PLEASE BE KIND etc. Keep in mind this was yrs before MY WAY and NEW YORK.

So put this CD on, close your eyes and let yourself be transported back into cool land!

LIVE AT THE SANDS is The Rat Pack on their home turf---The Sands Hotel, Las Vegas Nevada, 1963. Frank, Dean and Sammy go to town with a collection of old standards and new numbers with a twist.

Always humorous, The Rat Pack's soooooo un-PC banter about women, drink, race, sexual orientation and religion doesn't suit the keepers of the morals nowadays (it even gets edited by Amazon.com when written into a review {...}!), but that is precisely what makes it priceless. Topical and yet still timely, The Rat Pack will shock and delight you with their "Ring-a-ding-ding," an unselfconscious world of bourbon, cocktail waitresses, cigarettes, tuxedos and smooth arrangements, all punctuated by man talk. No Clydes allowed.

Although some of this material is reprised from LIVE & SWINGIN' and other collections, the performance in LIVE AT THE SANDS has a vigor and sparkle that can only be gotten from the home-field advantage.

For anyone wishing to experience The Rat Pack at their best, LIVE AT THE SANDS is it, baby!

This CD is a great addition for any fan of the Rat Pack. It has wonderful songs and hilarious dialogue between all three of the Rat Pack guys. In fact, you would probably enjoy it and laugh along even if you aren't into the Rat Pack! I recommend this CD.

Contrary to what you might have read, "Dusty in Memphis" is not a soul record, it is pure, string-laden pop. Some of it is pretty good, you probably already know the semi-classic single "Son of a Preacherman", but why this is album is so highly regarded is quite frankly beyond me. I'm sorry, sports fans, but most of these songs just sort of glide by, with no hooks or lyrics or anything to really make them stand out, and apparently "Son of a Preacherman" is by far the roughest and grittiest thing Dusty Springfield ever did.
Do yourself a favour and listen to it before buying, okay?

Dusty in Memphis may very well be one of the two or three best pop albums I've ever heard. The girl has got an amzing voice, a rich, sexy, smoky croon that can flit effortlessly from a seductive whisper to a sky-scraping wail. She throws herself full-on into every note she sings, bringing every lyric to its figurative knees. In short, Dusty's voice is intoxicating and beautiful. Behind her are some of the finest backing musicians ever, and they weave quite the musical tapestry: It's a mix of soulful horns, understated strings, etheral piano, and subtle, tantalizing percussion. When applied to the selected songs- a brilliant mixture of R&B and pop- the music mixes with Dusty's incantation to create a set of dreamy, hypnotic, and addictive songs. An absolute pop masterpiece.

In and near the ancient city of Memphis, capital of the ancient kingdom of Egypt, the great pyramids of Egypt may be found. These pyramids were built as monuments to the various pharaohs who ruled over Egypt. If I had to pick one album that would serve as a fitting monument to Dusty Springfield's it would have to be her classic "Dusty in Memphis". It was a tremendous, if sadly overlooked, album when it was first released in 1969 (it managed to hit only #99 on the pop charts). It is even better now that a deluxe edition has been issued that contains 14 `bonus tracks' that had not previously been released.

Produced by Atlantic Records' Jerry Wexler and Arif Mardin (who produced a number of Aretha Franklin's early albums), Dusty in Memphis cemented Dusty's reputation as having one of the most powerful, soulful voices of the 60s. Just about every song on this deluxe edition helps cement that reputation.

"Son of a Preacher Man" is probably the best known song on the original album. It is a tremendous performance that highlights Dusty's wonderfully smoky, bluesy voice and her ability to interpret a song. The song starts low and wistful and build to a very powerful conclusion. Dusty covers a number of songs written by the team of Gerry Coffin and Carole King. Carole King has said (according to the liner notes) that Dusty was the definitive performer of her songs. After listening to Dusty's covers of King's songs, included spectacular version of "You've Got a Friend" it is hard to find fault with that assessment. The bonus tracks are as compelling as the original album tracks. "Willie & Laura Mae Jones" makes for a perfect follow up to "Son of a Preacher Man" both as to style and substance. Dusty even turns in an excellent performance of "Make it With You", originally performed by Bread. Springfield extracts all the extra sugar from the original and replaces it with a version in which you can hear the yearning in Dusty's voice.

Dusty in Memphis is a wonderful monument to a wonderful performer.

gone fishin is the only good cut on the entire cd, there are some others that are "un-skip-able" but otherwise its a mindless background compilation of off brand bama no names. consistant fake neo-soul electric beat throughout the cd can be annoying if you have been there before. i would have been mad if i paid more than $10 for it. it serves its purpose as a stuck in traffic soundtrack, however, i find myself listening to "gone fishin" over and over again.

Hidden Beach has done it again!!! This is one of best undiscovered neo-soul albums out there. It's the kind of album you put and everyone says: "Who is that?" Several undiscovered artists are ont his album.Every song and artist like Mike Phillips will keep you in that neo-soul music. If you're a lover of neo-soul, this album is a must have.

This cd his packed with raw uncut talent. You can rock this one from beginning to end. Track #19 is my favorite, but you can hear all of them on www.iM4radio.com all day every day...you can even call and request songs. Enjoy!

Great sound and all the songs are great.

Roy Orbison was one of the greatest singers of his era. His baritone love songs have stood the test of time.
Memorable and soulful-some of his songs such as the bluesy Crying and the dramatic Love Hurts , have been redone by other artists. Oh Pretty Woman was the inspiration for the 1990 movie of that name with Julia Roberts and Richard Gere.
This album gives us the full range of Orbison's talent taking us to distant beaches with Blue Bayou and Leah, and to a more upbeat rock n roll with Mean Woman Blues and Working For The Man , and snow laden Christmas scenes with Pretty Paper.

Dreaming and romantic musings are a strong theme throughout , Orbison specializes in ballads of lost love.
Other favourites include"
In Dreams
Candy Man
Running Scared

Roy Orbison was a master , and this album gives the full range of his talent.

The item I ordered arrived in an expediant manner and it met my expectations.

Great sound and all the songs are great.

Roy Orbison was one of the greatest singers of his era. His baritone love songs have stood the test of time.
Memorable and soulful-some of his songs such as the bluesy Crying and the dramatic Love Hurts , have been redone by other artists. Oh Pretty Woman was the inspiration for the 1990 movie of that name with Julia Roberts and Richard Gere.
This album gives us the full range of Orbison's talent taking us to distant beaches with Blue Bayou and Leah, and to a more upbeat rock n roll with Mean Woman Blues and Working For The Man , and snow laden Christmas scenes with Pretty Paper.

Dreaming and romantic musings are a strong theme throughout , Orbison specializes in ballads of lost love.
Other favourites include"
In Dreams
Candy Man
Running Scared

Roy Orbison was a master , and this album gives the full range of his talent.

The item I ordered arrived in an expediant manner and it met my expectations.

The UltraLounge series definately covers the genre throughly, and this one is about the best in the series. Not every song is well-known, but most are very very enjoyable. This is a good place to start if you are introducing yourself to the genre. I thought Bobby Darin's More was the most lush and enjoyable of the tunes. You'll get a chuckle out of Prima's Closer to the Bone, a song not found on the usual Prima samplers. You certainly get a "you are in old Vegas" feel off of these tunes! Check out their UltraLounge website for a good look at the full series. Definately recommended.

This is one of my favorite Ultra Lounge discs, as it combines many of the great live acts of the 50s/60s. If you close your eyes while listening to it, you may think you're sitting in the Copa room of the Sands in Las Vegas. A little Louis Prima, some Dean and some Bobby Darin make the night just right.

We love this type of music in our house, and this is a wonderful collection of fun, snappy music to entertain your guests in style.
I highly recommend it!

The thing that's most impressive about the Byrds' best album - namely "Younger than Yesterday" - is that both Hillman and Crosby are finally afforded a greater opportunity to strut their stuff as up-and-coming singer/songwriters rather than continuing to play reluctant sessionman roles to group leader McGuinn. In other words, a more "democratic" approach is employed on this stellar 1967 document ...

The best cases in point include the irresistable harmonies of Hillman's "Have You Seen Her Face" and his melodic country-rocker "Time Between" as well as Crosby's wistful "Everybody's Been Burned" (this reviewer's favorite Crosby composition, by the way) and HIS dreamy yet up-tempo "Renaissance Fair." Incidentally, two more excellent Crosby tunes are added to the reissue - the ethereal "It Happens Each Day" and the melodically rollicking "Lady Friend." It does seems rather strange that the latter song features a Boyce-and-Hart-style horn section that nonetheless works brillantly - even for a Crosby composition!

As for McGuinn, his satiric opener "So You Want To Be A Rock And Roll Star" (which features Good Ol' "Grazin' In The Grass" Himself, Mr. Hugh Masakela on brass) and the hard-rocking "Why?" are first-rate, as is the inclusion of another Dylan classic ("My Back Pages"), also sung by McGuinn. Unfortunately, though, the continuing efforts of each band member to have their own writings included on subsequent albums would eventually trigger the band's legendarily acrimonious break-up (especially on "The Notorious Byrd Brothers"). If all this is too painful to even think about, then stick with Good Ol' YTY - one of The Byrds' (and 1967's) finest pop releases. CIAO ...

There are few bands that could put together an album as tuneful and diverse as 'Younger Than Yesterday', but other bands aren't what The Byrds should be measured up against. The Byrds must be compared to themselves, and 'YTY' stands as the one of the twin peaks of the bands first incarnation, along with their previous disc, 'Fifth Dimension'. While comparisons are often made between those two releases, I find the distinctions represent a splitting of hairs. Both discs are revolutionary in their own right, and both possess a wealth of quality composing and musicianship. Both also possess tracks that are obviously of lesser quality than those they are surrounded by.

Probably the biggest distinction between 'Fifth Dimension' and 'YTY' would involve the people penning the tracks chosen for inclusion. David Crosby, who began his ascent within the band on 'Fifth Dimension', comes out in full force on his last dedicated recording with The Byrds, penning seven of the seventeen tracks on this edition of the album. A much bigger surprise was the unpredictable emergence of Chris Hillman as a composer, contributing to seven of the seventeen. Since Crosby and Hillman generally take the lead vocals on these tracks as well, and two of the tracks are versions of Bob Dylan's 'My Back Pages', there wasn't much room for Roger McGuinn to place his stamp on this, The Byrds fourth full-length release. So the album has a different texture to it than all previous Byrd excursions.

'YTY' presents several stunning compositions and performances which must be seated at the top of any Byrd's compendium. Start off with the lead track, 'So You Want To Be a Rock and Roll Star', a rock classic featuring a wicked Hugh Masekela contribution on trumpet. Two of the songs, Hillman's 'Have You Seen Her Face' and 'Thoughts and Words', possess an uncanny resemblance to John-Lennnon and Paul McCartney compositions (when the two were actually composing together), creating sheer delight with their mix of distinct yet complementary melodies and choruses. Crosby's 'Renaissance Fair' and his co-write with McGuinn, 'Why' (featuring a guitar doing a fine impression of a sitar on the bridge) are stand-out numbers as well. Add to this the two versions of Bob Dylan's 'My Back Pages', the alternate version worthy due to its use of organ rather than McGuinn's twelve-string to provide the basic melody, and it's apparent that the disc possesses an array of elite tunes.

Most of the remaining tracks possess worthwhile attributes as well. The 'Mr. Spaceman' redeux, 'C.T.A.-102' features a jaunty rhythm and comical sound FX, especially McGuinn's imitation of an alien over the fade-out. Hillman's 'Time Between' (perhaps the first country-rock outing) features gorgeous melodies, Crosby's 'Everybody's Been Burned' possesses a haunting, melodramatic melody and incisive lyrics, 'Lady Friend' has a great chorus line, and 'The Girl With No Name' and 'It Happens Each Day' are both worthy ballads. The use of guitar recordings played backwards on 'Thoughts and Words' and 'Mind Gardens' adds a revolutionary note to the disc. Unfortunately, 'Mind Gardens' is way over-the-top in it's psychedelic, atonal underpinnings (although the alternate version is done in acoustic-folk mode, making it much more paletable), 'Don't Make Waves' is a fairly undistinguished pop offering, as is 'Old John Robertson', despite a unique sounding bridge, an undistinguished folk ballad. There is also a hidden instrumental track that follows 'Old John...', an unexpected but also undistinguished entry.

As with all The Byrds remastered products, this disc comes complete with a collection of band photo's and displays of rare memorabilia, as well as detailed liner notes from David Fricke. Details on each track are also offered. The only extra a dedicated fan might find missing would be a lyrics sheet, commonly and regretably omitted from most CD's. All in all, 'YTY' would have to be regarded as a milestone in rock history, and a must-listen for anyone interested in enjoying the best in 1960's rock, psychedelia, and popular music.

YOUNGER THAN YESTERDAY is a classic mid-period Byrds release. The songs are all great, especially "So You Want To Be A Rock & Roll Star" and a cover of Bob Dylan's "My Back Pages." The former pokes fun at the rock-star-making process, while the latter expresses why I place my dream of looking good for pretty actresses as a higher priority than food-related functions at my old school; in other words, the song makes a point that living in the past is not necessarily such a good thing. The fact that the surviving members of the Byrds believe that the young Australian tourist jailed in Indonesia on drug-smuggling charges was unjustly convicted makes this CD an essential purchase for both your ears AND your conscience.

It's impossible to overstate the influence Buddy Holly had on rock n' roll. It has been said that Buddy Holly was the beginning of the 1960's musically.He was a MASSIVE influence on the British Invasion. Were it not for Buddy Holly, it's doubtful that the Beatles would've happened. What Buddy Holly and the Crickets laid down on tape for producer Norman Petty at his Clovis, NM studio was nothing short of revolutionary. This cd goes from the straight up hillbilly and rockabilly of Holly Hop and his early Decca sessions at the Bradly Barn, all the way to the absolutely STUNNING orchestral pop of True Love Ways and Raining in My Heart from his very last session a month before the plane crash that took the lives of Holly, Ritchie Valens and the Big Bopper. Keep in mind that this was nearly all done within the space of 2 1/2 years. Many singers and songwriters don't cover the amount of stylistic ground that Buddy and the Crickets covered in 20 years, much less 2 1/2. And Buddy put his soul into all of it. Many artists music don't have anywhere near the joyfulness and HEART that Buddy's music had. This music IS STILL influencing musicians and gaining younger fans because of it. There was simply nothing else like Buddy. There are 50 tracks here, and ALL are essential Buddy. This music has not dated at all, and still sounds as fresh as it did nearly 50 years ago.To my ears, it sounds fresher than some things released 5 months ago. My only complaint is that the version of Peggy Sue Got Married included here is the Fireballs version, with it's completely inappropriate surf guitar lead that nearly drowns out Buddy's vocals. There was another version of this done(overdubbed by the Jack Hansen Combo, I believe) that to my mind is far superior and sounds closer to how Buddy probably intended it to. And as another reviewer said these cd's do not use all of their 80 minute running time. I can think of a few tracks that I think should've been included, like That's What They Say from the famous demos that he made shortly before his death in his apartment in Greenwich Village. But all in all, if you're new to Buddy, GET THIS. You'll be thankful you did. But it's hard to listen to this and not think about what else he could've achieved if he hadn't died at such a young age.

Great recording, a few I haven't heard before are better than the more common hits I hear on the radio

For some reason a lot of the reviewers here cream their panties (justifiably so) when discussing Buddy Holly and this awesome, awesome 50 song collection, but feel the need to slag off Elvis.

First of all, the idea that Elvis was a puppet for the record producing industry has no bearing on Elvis' talent. Second of all, Elvis wrote some of his biggest hits and third of all, no one gets a bug up their ass about Marlon Brando not writing his own lines or Yo Yo Ma not playing his own songs instead of Bach's - so...shut it.

Now onto the matters at hand - The Buddy Holly Collection.
This is not exhaustive ("Don't Come Back Knockin'", "Last Night", "It's Not My Fault", "Love Is Strange", "You're The One" and "Dearest" are missing) and for whatever reason, the producers decided to cut the engineer's voice telling the band to keep "quiet boys!" right before "True Love Ways". That part was a always a nice bit of inclusion for me as it made the listener feel as if he was actually in the studio with Mr. Holly and his Crickets.

Overall, this is one of the finest introductions to one of the most beloved Rock 'N Roll artists of all time.