These two albums, released in chronological order, are housed in one handy sleeve. However, the U.K.'s BGO, which has been systematically reissuing '70s singer/songwriter Dan Fogelberg's work, missed a chance to combine 1978's collaboration with flutist Tim Weisberg, Twin Sons of Different Mothers, with its 1995 follow-up, No Resemblance Whatsoever, although the latter was not on Fogelberg's longtime Epic imprint. Regardless, it's good to have these two excellent Fogelberg items back in print, especially for a reasonable price. The double package sports informative liner notes, full credits, clean remastering, and lyrics reprinted in the booklet. Both discs show the once laid-back Fogelberg taking some chances, first by moving to predominantly instrumental music with Weisberg and then by plugging in and rocking harder than he had in the past on 1979's Phoenix. Only three songs on the Weisberg collaboration have lyrics (others have wordless vocal humming), in particular "The Power of Gold," one of Fogelberg's most popular compositions. The music is decidedly jazzy, but far from straight jazz, with hints of Brazilian samba mixed in. The latter is particularly evident on "Tell Me to My Face," at over seven minutes the project's longest and most impressive track. It's a terrific meeting of the minds, with both artists in fine form and showing that Fogelberg wasn't afraid to break out of the introspective singer/songwriter fare that had previously been his calling card. Ditto with Phoenix, where he proved he could make a pretty decent Eagles album (Don Henley appears on backing vocals on Twin Sons) with the tough "Face the Fire" (Eagle Joe Walsh gets credit for "moosical" help) and the soaring seven-minute title track, one of Fogelberg's best and hardest rocking tunes. On the opposite side, the lovely, somewhat saccharine, acoustic "Longer," with shimmering classical strings, harp, and flügelhorn, became a wedding staple and one of his most requested songs. The remastered sound is crisp and remarkably vibrant, especially on the ever-present acoustic guitars, and the package is a long-awaited treat for the artist's fans who had to make do with inferior sound on the original American CD releases, or pay premium for the imported ones ~ Hal Horowitz, Rovi Much like Joni Mitchell, Dan Fogelberg, primarily a singer/songwriter, sought to continue his musical growth on this release by adding jazz to his sound. Rather than simply employing jazz musicians as his musical backing, Fogelberg here went for an all-out collaboration with jazz flutist Tim Weisberg, even to the point of having him co-produce the album. As experimental as the album appeared on the surface, it was the perfect mix of jazz-tinged instrumental music and folk- and country-inspired pop/rock. Proving that ambitious collaborations between artists who seek to mix genres needn't result in the commercial disappointment that many expect, the album yielded the hit Power of Gold, which further augmented Fogelberg's commercial clout. The album, like its predecessor, Nether Lands, is beautifully produced, is best listened to as a complete effort, and still sounds strong all these years later. ~ Steve Matteo, Rovi