No comments about Live at Twist and Shout.

5 comments about So Much Shouting, So Much Laughter.

1. is the funk. Ani 70's. Doin it with Horns. Talkin to the audience in a way that would enrAgE some. Dig important right on crusAder songs lliKe "Letter tO a John" aNd the first song..



2. I bought dialte and really liked it. I took a chance and bought this.
   Wow! I normally listen metal and rock. This has become one of my favorite albums of all time. I read some of these reviews and saying stuff like sloppy recording and other negative comments. Give me a break it's pure
   artistry. Ani un edited. The lady has an opinion and has something to say.
   The lyrics are great the musicianship of her and her band are as good as any. Every time I listen to it I hear something new. I'm guy and am touched to near tears on several songs and am not afraid to admit it. Gratatute and welcome to in perticular.
   This girl can get an emotion accross in a song like few can. So many styles combined. I needed some thing differnet and was bored with the same 50 classic rock songs and stations playing the same 20 new songs for 4 months. Just what I needed. Refreshing.



3. You MUST be a fan to enjoy this. One of the worst guitar sounds I've ever heard in a professional recording. I knew Ani was a love her/hate her performer, but a couple of her full acoustic songs I had heard weren't too bad. I got this record from Swaprocks.com (thankfully I didn't pay for it). Very disappointing. The songwriting is quirky, and the lyrics intricate, but didn't work for me. If you're sure you like her music you may have a better chance at finding this release enjoyable.



4. This album is amazing! I am a huge Ani fan and this double disc is one of my favorite Ani releases. It is a collection of a lot of her great songs[32 Flavors, Dilate, and my favorite, Jukebox] but with a funky spin. Every note is harder and has more emotion then the versions you will find on her CDs. She performs with her 6 piece band which is made up of some horns, keyboards, and a booming bass. A lot of the songs sound completely new because of the passion in the performance. It also has 3 previously unreleased songs on it. I strongly recomend this CD to anyone, from obsessive fans to first timers!



5. This album will do much to increase the "Ani is the female Dylan" hype. Like his Bobness, Ani often tries to reinvent herself, tours relentlessly, inspires loyal dedication in her fans and now (as this release proves) can't choose a good live set of tracks to save herself.
   
   I loved Ani's last live release (Living in Clip) which I picked up before I had the chance to see her live. I gave LIC four stars but then I had no point of comparison. When this release was announced I was looking forward to hearing some of the inspired versions of great songs that I had seen at live shows. Sadly the songs here do nothing to inspire the way "Clip" did and leave me fondly remembering concert highlights that for some reason were overlooked in favour of the dud tracks presented here. This is definitely Ani's version of "Dylan and the Dead" and is best overlooked in favour of the far superior concert releases avaliable on her official site.

5 comments about Live at the House of Blues New Orleans.

1. Man, anybody who has seen BTE live in concert at either HOB or Tipitina's knows they put on a GREAT show. Wow, everybody knew every word to every song. Lots of hot LSU girls too!



2. Better Than Ezra is good on record and unbelievable as a live act.
   
   I think they were unfairly tagged as an alternative group when they first came out with the hit single "Good". This is a band that cannot be categorized in any manner.
   
   There are 3 things that make this band a great live act;
   
   1) The songwriting is very earnest and personable;
   
   2) The band plays with a lot of energy. It seems as though they are more excited to be playing then for you to be listening and
   
   3) Singer Kevin's Griffin's interaction with the audience.
   
   Because you cannot pigeonhole them into any type of music, their live show offers a wide, a mine a real wide variety of music. They rock out, they do a little rap, they do tender ballads, they do extended jams, they noodle on their instruments.
   
   This cd is a decent representative of their live act but it is no substitute. They in betweeen song banter, as well as when they (out of nowhere) go into cover songs are integral parts of a live Better Than Ezra show.
   
   "Good", "King of New Orleans", "Extraordinary", and "Desperately Wanting" are songs that really come alive on the live CD.
   
   If you ever get a chance, do see this band live especially in a small venue. They are the most likeable band around
   
   As another reviewed said, they are ridiculously underrated!



3. This CD is an awesome, concert-like experience. If you can't see them in person, this is the next best thing.



4. Live At The House Of Blues New Orleans is a great set from a great band!



5. I have been waiting for Ezra to release a live album, and I'm thrilled. I purchased the DVD and the CD and both are worth every penny. While no recording can entirely capture the "live show" experience this is a noble effort. I would recommend it to anyone Ezralites and newbies alike.

5 comments about Live at Earls Court.

1. This is a great live CD with 18 full-size songs. A nice blend of Smiths, "You are the quarry", and various other songs.
   
   I am not familiar with the Patti Smith version of the song, but I found Morrissey's re-imagined version to be one of the best tracks on the CD.
   
   This is also a CD that sounds real well when you play it on "RANDOM" on your cd/mp3 player :-)
   
   It may not be perfect, but it's hard to really complain about this live CD! A must for Morrissey/Smiths fans!



2. I really appreciate that morrissey decided to release the live album and live DVD (of two different shows!) from the 2004 tour that supported his fantastic "You Are The Quarry" album. The songs from "Quarry" sound even better live, and it is nice that he is starting to play more of his songs from the Smiths era. If you decide not to buy this full album, you must pick up the single from this concert "There Is A Light That Never Goes Out"/"Redondo Beach". "Redondo Beach" is a Patti Smith cover, and to disagree with one of the previous reviews, I enjoy it very much (perhaps because I love to hear Morrissey sing anything, especially if it is outside of his normal routine. Another highlight is the first verse of "Subway Train" by the New York Dolls. The New York Dolls are a Morrissey favorite, and he even wrote a book about them years before he started singing in bands. Here "Subway Train" leads into "Munich Air Disaster 1958, a fantastic b-side from the "Irish Blood, English Heart" single. On the "Who Put The 'M' in Manchester" live DVD he uses it to introduce "Everyday Is Like Sunday," which he did frequently on the 2004 tour. It works well in both cases. Sorry if I focused on the details instead of the whole, but this live disc is great. If you are used to listening to inferior fan-recorded concerts, do yourself a favor, support the best band in the world, and buy this album and the "Manchester" DVD.



3. I actually bought this CD and forgot about it for a bit because I was listening to his studio music. I only caught a few glimpses here and there. Then after a dry spell I looked and saw this CD in my collection and put her in.
   I was pretty amazed at just how well Morrissey's voice sounds on this album. First off if Moz is going to finally add "Smiths" tracks to his tour then a "Smiths" reunion is not necessary.
   
   A great selection of tracks on this album. I do love "Don't Make Fun Of Daddy's Voice" for some reason. Great vocal on "Shoplifters of the world" but a stellar performance on "You Know I Couldn't Last" which I think is the best track on the album. He does throw in the much over played "How Soon Is Now" and "Bigmouth" but he should have at least added "A Rush And a Push" which was electrifying on his "Manchester" DVD. Overall the CD is great and produced well. Morrissey's voice to me sounds better live now (on this cd) than ever before when he just tried to play around with the songs live instead of performing them. If you watch the VHS "Live In Dallas" you'll see what I mean. He has matured and so has the band. I like to hear a good live show that doesn't veer off too much with the original and that isn't sloppy. Defiantly not sloppy here. This disc is a must for any fan.
   
   I wonder how many times he slurs his "R's" on this disc?



4. Morrissey has always been known to be a great showman and he put on a wonderful live show that, at times, has overshadowed his recorded output. Live At Earl's Court is a much more slicker and polished affair than the ragged performance on the last live album, Beethoven Was Deaf. that raw atmosphere is missed here, but this 2005 Moz still reigns supreme with his brand of melodramatic modern rock. choice tracks from You Are The Quarry are spilling over with enthusiasm and The Smiths cuts sound absolutely jaw-dropping. especially "There Is A Light" which beams and shines with a newfound purpose and meaning that still sounds just as potent and passionate as it did when it was first released. Moz sounds much wiser and more mature and his voice has never sounded better. the only bad points for this performance is that Morrissey's witty stage banter has been edited out. which is too bad, because that's always part of the fun of his performances that i've always enjoyed. but the music is on point and strong...so i can't complain too much. oh yes, one more point to mention....this cd is wonderful, but for the full experience, everyone needs to get their hands on the "Who Put The 'M' In Manchester" dvd. that is the real Morrissey live show!



5. A kick in the eye to the sticker division at Morrissey's record company, responsible for the genius label on the cover of this latest Morrissey release explaining Live At Earls Court contains `Rarely Performed Smith's tracks'. Empty fools. Nonetheless, when a live album begins with The Greatest B-Side Of All Time, How Soon Is Now?, as performed by the towering intellect behind its charming lyrics, you know you've hit a rich seam of musical gold. As Stephen Patrick Morrissey's voice warms to the occasion during this live London show recorded at the tail end of 2004, further Smiths hits make up a generous third of this 18 track collection, alongside a similar portion of old solo tunes and songs from his most recent outing, You Are The Quarry. Ol' Mozz might have his audience patter well rehearsed, but the clarity and quality of his vocals during this show is consistently impressive. The chugging guitar riff of newest addition Don't Make Fun Of Daddy's Voice, the lyrical switch of walkman to iPod on Bigmouth Strikes Again and the hint of reggae on the Patti Smith cover Redondo Beach are all of note for Morrissey trainspotters, while less obvious tunes such as Let Me Kiss You, I Like You and You Know I Couldn't Last are similarly solid. Morrissey is at his best on There Is A Light That Never Goes Out, although You Are The Quarry highlight, I Have Forgiven Jesus, comes to a hard hitting end with the lyric `Why did you stick in self-deprecating bones and skin - do you hate me?'. Morrissey really shouldn't sound this great after years in the commercial wilderness, but thank Salford he does. This storming live album ends with an immense take on Last Night I Dreamt That Somebody Loved Me and Morrissey's departing plea, "Don't forget me". No chance of that Stephen - the world is listening once more.

5 comments about Bootleg Series, Vol. 1: The Quine Tapes.

1. I can't even imagine would it be like at these concerts or any of the VU shows from the 60's. All we have in terms of visual is the warhol films and 1993 which doesnt even come close. I can't imagine what cool Lou must of looked flippin out with his voice and guitar of that period. As a matter of fact it's hard for me to imagine this music was even created.



2. The ONLY problem with the Quine Tapes is that it says, "Vol. 1" and many years later there still is no Vol. 2. I know it probably didn't make any money and so Vol. 2 was scrapped, but it still breaks my heart. It is such a lovely collection, and the other reviewers are right that after a few listens, one hardly notices the poor sound quality. One of the magical things about the Velvet Underground is that they don't need thousands of dollars of stereo equipment to sound good. They sound great on a car tape-deck with the windows open, or even through the terrible ear-buds that come with portable music players.



3. Overall, worse than "Live, 1969"--the best live rock band record alive. Much better though than "Max's Kansas City", which is ruined with Billy Yule's monster drums (where one can hear how soon Lou's solo career would sound). Certainly, the quality of this is worse than Max's, it's however, the VU at the top of their game, similar to "Live, 1969." This collection includes estimable versions of "Sister Ray" which is preferable to early bootleg versions with John Cale (the 38:00 minute version is otherworldly)--and, it positively must be true they were a much better live band during this period. All said and done, the linchpin is the 17:00 minute version of "Follow the Leader," an extended rhythm guitar marathon w/ a mighty band pumpin' in unison. The 10:00 version of "White Light/White Heat" comes a close second...And if you want to really know how good this is, dig up how it influenced Robert Quine's guitar playing. "You know his life was changed by rock-n-roll."



4. More raw and experimental than "69 Live." Better (and warmer) sound, to my ears, than Max's. Never mind the tape hiss and lo-fi--the music gets through. As others here have said, this is not the best place to begin listening to the Velvets, but if you already are a fan, you will love it. The sprawling stretches of "Sister Ray" and other extended versions of VU songs are a revelation. There is nothing like the shock of hearing a band you revere live for the first time. This set can bring you quite close to that experience.



5. IS THE Velvets, who went Underground "a thousand Years ago",resurfaced and are proof positive that being underground and the "Consequence" for returning is as enigmatic,pure,solid, like Stonehenge. Do not worry if this is your first Velvet Cd. You are now solidified into the master's of the Dark. Now my people, go buy this CD and find out why such a progressive group in the mid 60's are just as exhilirating, provocative and even so they remain such. Buy this Cd, like 3 cd's for $30.00 and forget about seeking out "The Man".There's alwys "Tomorrrow's parties!!!!!!!!!!!!!!!

5 comments about Beethoven Was Deaf (Live).

1. If you love Morrissey, you simply must buy this CD. Thjis is a live concert recording, and songs like "Suedehead" performed live are even better than the studio versions.



2. a storm of a show! Morrissey and band sound tight and firing on all cylinders this night in Paris. the songs are energetic and the setlist absolutely is amazing! riding the wave of success from the awesome Your Arsenal, it seemed (at the time) that Moz could do no wrong. a real live document worthy of purchase from even a casual Morrissey fan...but please, if yoiu haven't got them already, purchase Your Arsenal, Vauxhall And I, Kill Uncle, Ringleader...oh hell, get them all!



3. Most people who are good in the studio, do not measure up when it comes to live performances. This is not true of Morrissey - who is good in both settings. He has a talent for supplying infinite charms in the moment - and on demand - making him a figure of grand preportions - almost a jazz singer's approach. Indeed, he is as spontaneous and in control of his voice as was Frank Sinatra. He has something Frank never had, however, a profound ability in producing intelligent imagineative lyrics - no one writes lyrics like Morrissey - he is a poet - like his idol Oscar Wilde.
   
   This disc offers 16 live tracks! And this is Morrissey in his prime - when he was a figure of almost religous preportions. You will enjoy this if you are a Morrissey fan!



4. Morrisey used to have one of the best bands on the planet. He assembled a crack two-guitar-bass-drums group around the turn of the nineties just after his rather mediocre "Kill Uncle" CD. The band that toured in support of that CD blazed some versions of his songs that were far superior than anything he had previously recorded--check out the "Live at KROQ" CD single and compare the studio vs. live "Sing Your Life" for proof. These guys had diverse backgrounds but a few had experience in the English Rockabillly scene, and their ability to greatly enhance and add a real groove to Morrisey's material was astounding.

   The first studio album this band tackled was "Your Arsenal"---but "Beethoven Was Deaf", The live disc from a Paris, France date on the tour for "Arsenal" in late '92, is so good that it essentially renders that disc unnecessary. Nine of the ten "Your Arsenal" songs are performed in this Paris concert, and almost unanimously these performances improve upon, enhance, or downright stomp the album versions. Many extraneous production techniques used on the "Arsenal" album on songs like "Seasick Yet Still Docked" or especially "I Know It's Going To Happen Someday" are gone in this setting and replaced by a more straitforward band performance. The one exception to the live-version-is-better feeling is "The National Front Disco". About thee and a half minutes into an impressive version, the proceedings degenerate into a total slash-and-burn, feedback-and-distortion, random bashings-on-the-bass-and-drums, shredded-guitar noisefest. This would be fine for a quick ending, but this goes on for a nearly interminable three minutes or so! Be ready to hit the skip button as this endless caterwauling ensues. As the last screech is emitted, Morrisey says, "We're thinking of making that our next single..do you think it'd be a hit?" To which those in the crowd who know English and can still hear over the ringing in their ears scream, "Non!"

   This small annoyance notwithstanding, the sound of this live disc is among the best ever for such a recording--the instruments, vocals, drums, etc are all very clear and very close to studio quality. Of course, there is a loud French crowd singing along on hits like "We Hate It When Our Friends Become Successful" to let you know that this is indeed a live recording.

   There are some interesting song choices for the 7 non-"Arsenal" tunes. Most of the songs were from his many late eighties and early nineties singles and not from his prior albums--although a couple were on the US-singles-compliation disc called "Bona Drag". "Suedehead", his first single and a track on the "Viva Hate" disc, makes an appearance, and "Such a Little Thing..." is drastically truncated from its studio form and used as a lead in to the anthemic "I Know It's Going To Happen Someday". "The Loop" is probably the closest thing to Rockabilly on the disc, and the menacing sound of "Jack The Ripper" (not to be confused with the Link Wray instrumental of the same name) is effectively duplicated.

   In all, there has scarcely been a better live album than this, and its quality stands as a sort of double-edged sword for Morrisey, because he hasn't really been able to produce anything quite this good, either before or since. Going into subsequent years/discs/tours, his band has not been solely made up of the musicians from this disc, and that probably contributes to a gradual sense of slipping quality in his releases of late(not that there has been anything new in a few years.) Live albums are hardly ever among the strongest statements an artist makes (The Who's "Live At Leeds" being a notable exception, ), but I would recommend anyone looking for the real 'best of Morrisey' to begin with this disc, because there really isn't anything in his whole catalog with quite the visceral power and amazing overall quality as this disc.




5. I bought this CD four years ago and it's still one of most prized possessions. The recording captures Morrissey's charisma, energy, and ability to relate to his audience. All of the songs are great and most are better than the studio versions. Those who heard these performances live are very fortunate. Luckily they were recorded for the rest of us.

5 comments about Plague Mass (1984 End of the Epidemic).

1. Diamanda Galas makes some of the most uncompromising music in the world. Just look at the reactions in the reviews. It's nearly impossible to just "sorta" like Galas - she's either terrifying and wonderful, or a source of unlistenable garbage. Obviously, I fit in the former category. It goes beyond her incredible vocal range or her bizarre extended techniques - it's her artistic vision, as if her entire oeuvre combines to create this massive wave of anger, bitterness, and defiance. It's definitely not for those with delicate sensibilities.
   
   Having said that, lets talk about "Plague Mass." I consider this one of her most well-conceived and perfectly realized works to date. It's one of the more powerful musical experiences I've yet had, even if the text doesn't necessarily speak to me as directly as it might to some. I've not known anyone with AIDS, but the raw anger of the work transcends the message.
   
   There are instrumental parts, but they're really just there to support her voice and add some dramatic tension until midway through when percussionists enters. Galas employs equal parts music performance and theater. Over the course of the work, she channels a range of personalities, many times over the course of a single section. You can't always understand the words, but the tone, texture, and delivery gives the listener a pretty good idea what's going on.
   
   I could describe the libretto, but that's probably the easiest aspect of the work to understand. Actually *listening* to the music in the correct frame of mind is much more difficult. Again, many will not enjoy the suffocating darkness or the aural assault of Galas's voice and that's fine - it's not easily accessible in any way. That said, I think we're best off listening without expectations. We normally listen to music with a more-or-less similar frame of mind. Most music follows a set of rules and conventions, which allow it to communicate easily with a wide audience. Experimental music such as this ignores those conventions, and therefore, we must set aside our preconceived notions about music when approaching something as radical as the "Plague Mass." To be fair, even after listening with an open mind, some listeners may still find it unsettling to the point of unlistenability. That's a perfectly reasonable reaction, but I would hope that before coming to that conclusion, everyone who decides to check this album out gives it a serious chance judging it on its own terms.
   
   I recommend this to adventurous listeners and fans of the avant garde. If you're undecided, I'd highly recommend listening to the online samples before purchasing. It should give a fairly accurate idea of what to expect.
   
   "Plague Mass" is definitely one of Galas's most personal works and it really comes through in a powerful way. If you can get past the oppressive darkness, you'll find a very moving experience.



2. This is a requiem mass,for all people throughout the world who have died of aids.A disease created by new world order fascists to kill off the gays,blacks,and all the undesirables.This cd is a beautiful and sometimes frightening performance by Galas for all who have suffered needlessly.Gala's brother had died of aids,and she knows many other who have died,from that horrific disease.In this performance she also takes a stab at all those right wing republicans/fascist christians who misinterpret the bible,and use religion as a political weapon,and a means of control and repression,which inevitably causes many people to suffer,and reduces many to little more than wage slaves.Galas is very outspoken advocate and provocator.This is one unnerving,passionate,and powerful album.This album is recorded live and she performs meaningful poetic texts,from different sources,including the bible,and from her own pen,among others.Some of it spoken,but most of it sung with her incredible otherwordly operatic voice.The plague mass actually sounds similiar to an opera or classical requiem,with a heavy avantguard influnece.The acoustics are amazing,and her operatic voice is massive and cuts like steel through a cathedral!



3. I have tried to keep an open mind towards Diamanda Galas. I have an appreciation of all things "musical" ranging from Lou Reed's "Metal Machine Music" to Throbbing Gristle's "Heathen Earth" to the works of Laurie Anderson, early Swans, Lydia Lunch, even Neil Young's "Arc". But this and most of her other works are crapola posing (not too well I might add) as "music" or "art" and they are neither. Even dear, sweet Yoko(an obvious influence), sounds like Beverly Sills compared to this caterwauling, shrieking spawn of Satan. I guess I just don't get it. Give me "Cambridge 1969" any old time :)
   
   How could anyone sit through an entire disc of this? I think Diamanda needs an exorcism or something.
   
   Good God, man.



4. 
   Two words describe this cd- DISTURBING and CREEPY. I can only listen to certain sections of this cd because there are times when Diamanda's voice gets to that chilling, blood curdling point that I'm about to experience an anxiety attack. But the irony of it all is that there is something about her performance that wants you to remain and continue to listen to her. There's just that fascination factor that keeps me enthralled. I just skip to the parts I can't handle. Also I can only listen to this cd in the daytime-too frightening to listen to at night! This was a live recorded concert at Saint John of the Divine Cross(I've forgotten-maybe in error?)in NYC. Her message of how the Regan administration ignored the relevance of AIDS in it's early days(lack of funding for research)and it being considered a gay disease and the igorance it accompanied; to how it is akin to the black plague to contemporary times. She takes you through sections set up as a mass; with each section having a purpose and meaning. Diamanda shreiks at the ignorance of the plague and how it eats away at it's host.



5. In 1991, on the month of October, Diamanda Galas ascended the stage of New York City's Cathedral of St. John the Divine. There, she performed and recorded what may be the most memorable sound ritual ever to be heard by audiences. Both harrowing and angelic, "The Plague Mass" is a vocal exorcism birthed by a modern banshee. In most of the tracks, her operatic screams echo off the walls of the church, piercing the brain like flying shards of stained glass. Other moments allow her to disturb listeners with her hoarse, beastly hisses. However, Galas's intention was not merely to shock the religious. Instead, she turned the Holy Bible inside out in order to address the rampant suffering caused by AIDS. At a time when this disease was ruled as a divine punishment for gays and lesbians, Galas chose to spit gospel curses to every Christian responsible for persecuting and ostracizing HIV-infected patients. With candles flickering in the darkness, she speaks in manic tongues, vomiting forth a gospel hurricane that showed compassion to AIDS victims and unforgiveness to the viciously pious.
   In "Were you a Witness?," Galas first expresses her anger towards America's mass media. It's apparent that the many deaths caused by the disease (including those of famous musicians like Freddy Mercury and Liberace) were treated like exhibits in a sensationalistic tabloid circus. She faces the money-hungry reporters and warns, "To all cowards and voyeurs, there are no more tickets to the funeral." "This is the Law of the Plague" incorporates several Psalms and Chapter 15 of the Old Testament. Here, in front of the rolling roar of dragon drums, Galas cackles in the role of a corrupt judge; a sanctimonious fascist who vehemently labels AIDS patients as "unclean." With a blood red light looming over her, Galas takes an appalling look at society itself. It's one where doctors, priests, and politicians deliberately leave HIV patients for dead just to avoid scandal and hatred. In addition, the singer labels the Devil as an impotent homophobe who can only be aroused by human suffering. "I Wake Up and See the Face of the Devil" allows Galas to portray the average victim. With a mind ravaged by dementia, she lies helplessly in a sterilized hospital room as a stern cleric forces her to confess her sins. The members of the clergy are warped into dirty angels that hover over the morgue like buzzards. Later, as the heartbeat percussion rises in its volume, Galas rips out some Revelations text. Predicting the arrival of the Antichrist, she leads 3,000 of his armies to massacre all devoted Christians who slaughtered and oppressed people with HIV. In an alarming fury, Galas spews a bitter poem concerning how anyone carrying the virus is shamelessly denied access to medical care, insurance, and surgery. She validly declared Acquired Immune Deficiency Syndrome as a form of homicide, making her audience aware of how infected men and women are robbed of their dignity. From there, in the track "Sono L'Anticristo," she proudly labels herself the son of Satan, since the Antichrist was as much of an outcast on Earth as Jesus. Then, "Cris D'Aveugle: Blind Man's Cry," a text originally written in 1873 by Tristan Corbiere, becomes a sad and spiritual communion played by a demonic symphony. In the Frency language, Galas leads her choir into a pit of despair, an afterlife that gives no love or comfort after HIV. As the bell tolls, Galas decrys the scourge of injustice. It's one in which family members killed by AIDS aren't properly buried because even the morticians are too afraid to embalm the corpses. During this song (as well as others on this album), her whispers get increasingly suffocated through a pair of hemorrhaged lungs, fading into a grim silence. Finally, the raw emotion of the blues tune, "Let My People Go" spills over the grim notes of a grand piano. Nothing is more terrifying than a virus that destroys the body's ability to defend itself. Galas believed that once AIDS strikes another host, that individual is doomed to suffer a lifetime of sorrow and cruelty. While comparing the illness to a sentence of life in prison, she expresses that person's depression in one sentence: "The Devil has designed my death, and he's waiting to be sure that plenty of his black sheep die before he finds a cure."
   I recommend this album to anyone craving the works of a powerful, controversial artist. Diamanda Galas is a sonic martyr that liberates the soul from mainstream bondage.

5 comments about The Crew.

1. The good:
   7 Seconds' brand of melodic hardcore still packs a punch after all these years. The lyrics show an infectious positivity that put them above some of their nihilistic peers. Songs like "Bully" and "Trust" show a surprisingly developed sense of melody that would inspire later bands like Bad Religion and Gorilla Biscuits. At 18 tracks (plus several bonus live cuts), there's more than enough great hardcore here to justify the cost.
   
   The bad:
   It's 80s hardcore punk, so naturally the songs tend to blend together on repeated listens. The lyrics can occaisonally meander into punk cliches and perhaps a bit too much immaturity for their own good. If you're just getting started in the world of hardcore punk, other releases by bands like Minor Threat and Bad Brains are far more essential than this.
   
   Overall:
   The Crew holds up surprisingly well more than two decades after its' initial recording. While it's not quite a hardcore classic, it's still a fast and fun album that's a perfect introduction to the band.



2. 7 Seconds were, along with Bad Religion, one of the originators of the "fast and melodic" format that harcore punk bands adopted in the early 90's (NOFX, Lag Wagon, Pennywise are some of the bands that adopted this style). "The Crew" must be the epitome of 7 Seconds "hardcore " era; the band plays at a furious thrash-like speed, but the vocal delivery always remains melodic without sounding sugary or happy go lucky (sorry, Simple Plan fans!). After this album, 7 Seconds started to "experiment" with their sound, drifting farther and farther away from their faster-than-thou sound and into a more "U2 on steroids" sound. Anyway, "The Crew" is an album that should stand side by side with other hardcore classics like MINOR THREAT, BAD BRAINS, AGNOSTIC FRONT, DRI and BLACK FLAG. The sound varies slightly from song to song (as if the band were trying to improve on the mix each time)but the overall sound is clear yet powerful. Troy's drumming, though simplistic, cuts through the songs like a hot knife and the rest of the instruments sound intense enough. The lyrics were a bit of a departure from what was going on with the hardcore scene in the mid 80's; the band sang about unity, tolerance and respect, instead of fearing nuclear warfare, which was the common thing to sing about."Here's your warning", "Definite choice", "Bully" and the heartfelt but tough-as-nails "Trust" are just some of the stand out tracks. This album, without a doubt in my mind, 7 SECONDS' finest moment, although newer releases such as "Good To Go" almost match this gem with its raw intensity!



3. I can't believe that I am the only one who gave this five stars. Whatever!

   Talk about a good album. With most of the songs flying by so fast that they annoy the s**t out of people, the album is 24 for songs in exactly 30 minutes.

   Besides hardcore punk music, the lyrics may hit with a larger range of fans. A lot more of a developed lyrical style, even mixing in rap freestyles to the mix, the album's words could make your mother even like this album.

   So, if you love fast played punk with excellent lyrics, buy THE CREW!! Also, there are five great live tracks on this album, too!




4. I can't believe that I am the only one who gave this five stars. Whatever!

   Talk about a good album. With most of the songs flying by so fast that they annoy the s**t out of people, the album is 24 for songs in exactly 30 minutes.

   Besides hardcore punk music, the lyrics may hit with a larger range of fans. A lot more of a developed lyrical style, even mixing in rap freestyles to the mix, the album's words could make your mother even like this album.

   So, if you love fast played punk with excellent lyrics, buy THE CREW!! Also, there are five great live tracks on this album, too!




5. ok, since the age of 9, I've grown up listening to 7 seconds. I still have, and listen to, the original tapes that I acquired over the years (old school, walk together rock together, new wind, and (most recently) alt.music.hardcore)...in my opinion, all of those albums are better than "the crew"...maybe at 22 I'm just so used to them sounding like they were recorded in someone's garage that this album seems to lack something in its sound. And as far as I'm concerned, the songs that appear on this album that were also on the others I named above, sound much better on those other albums than on this one. Overall, this isn't a terrible album and does have some great songs that don't appear on those other albums such as "Not just boys fun", "Bully", and "Trust"...the live tracks, however, were very unimpressive. Anyways, thats my opinion.

5 comments about Live from New Jersey.

1. Words cannot describe....if you love Mr. Yorn the way I do, you will love this recording. There is some great dialouge along with amazing renditions of all your and my favorite songs.
   Pete...looking for a really good woman? Look no further.
   I'm such a rebel...I kill myself.
   That's sarcasm for the confused among you who might actually read this pathetic review. What am I doing writing reviews? A....Get a life Girl! Do guys actually say stuff like, "I want to run thru Moorland Fields with you"? Dude, I got my Nikes on...



2. I had never listened to Pete Yorn until this past Spring when a neighbor of mine played it at a get together. This is an outstanding live performance by any measure. A must-have for any audiophile, which I guess I consider myself to be. I purchased "Music for the Morning After" after I listened to this CD and, in my opinion, Pete Yorn is much, much better live. Similar to The Grateful Dead in that respect. Buy it, you won't be disappointed.



3. Anybody out there roll their eyes when you hear a music fan say a musical performer is better live than on CD? I did and still do when I hear people say that, as very few artists are truly that good in concert in my experience, then I heard Pete Yorn's Live In New Jersey; and my eyes stopped rolling.
   
   Coming on the heals of Yorn's forgettable second record Day I Forgot, Live In New Jersey is an entertaining showcase of this singer-songwriters folk rock appeal. The first highlight of the album, Pass Me By from Day I Forgot, indicates the level of live performer Yorn is as instead of starting out with songs from his more lauded debut effort Musicforthemorningafter, Pass Me By is unleashed into a dazzling rollicking rocker that Yorn didn't quite get right in his original studio recording of the song. Hearing Pass Me By immediately throws the rest of the concert up in the air as all of a sudden a previous PY dud seems to have a few shots of sparkle thrown into it.
   
   From that unexpected starting point, the set on Live In New Jersey reveals an awareness by Yorn of what songs truly excite his audience. Come Back Home, the first single off Day I Forgot, seems to have been in fact forgotten by Yorn, as it's not on Live In New Jersey (It was also not played at the two Pete Yorn concerts I have since attended) showing an artist comfortable enough to listen to his audience. Meanwhile the set-list makes room for album cuts such as Long Way Down, Closet and All At Once with more songs coming from Yorn's first record. Also a few spirited covers are added to keep the proceedings moving.
   
   A reason for the CD's quality comes in Yorn's introduction to the previously unreleased Bandstand In The Sky, a song written in response to the passing of Jeff Buckley. Instead of being a downer, a good time version of the song is rolled out that Yorn refreshingly acknowledges to his audience is slightly changed so to be better live. Such audience awareness differentiates Yorn as instead of being an overly serious singer-songwriter, his embrace of being a live performer lifts his live experience into that rare meeting of great craft with great showmanship.
   
   Even the slower song June has an audience clap along heard revealing Yorn to be continually committed to engaging the crowd. This showmanship turns Live In New Jersey into perhaps Pete Yorn's best current CD showcasing a consistent set-list from an emerging talent with songs that often do sound better live than their original studio versions. Excuse me while I stop my eyes from rolling, it's a knee-jerk reaction.



4. This is an incredibly solid live album. All of the songs sound amazing with Pete & co. playing them live, but some of them sound even better than the album versions. Highlights include Burrito, Bandstand in the Sky, Suspicious Minds, June, Crystal Village and Lose You.
   
   The two disc, 20 track live set from Pete's home state is incredibly amazing. It packs so many great songs, and it's incredibly cheap. A great introduction to an amazing singer songwriter, or an awesome addition to a fan's collection.



5. It's a live album, no big suprises here. However, this is a very good live album. They kept Pete Yorn's pre/post song dialog which makes for some interesting stories or backgrounds of the songs. Sound quality is good. Definitely recommend.

5 comments about Our Lady Peace - Live.

1. This is my first real introduction to Our Lady Peace and I was pleasantly surprised. I don't get into many new bands (yeah, I know, I sound old. I'm 34), but these guys rock. Not totally sure how I missed these guys when they first came out. Any rate, this is a good live album. Some bands absolutely suck live, but these guys sound good. Some live albums suck, but this one is pretty well done. I guess if you aren't too familiar with the band, this may be a good place to start. The main reason I bought this is for the song "Whatever" and got an album that I can get into.



2. My order came in time and in good condition. It was for birthday present.



3. Buy this album it is a great one from OLP! One of my favs is Wipe that smile....



4. this live cd was alright but didn't meet my expectations, production value was decent, could've been better with a broader selection of tracks. OLP has enough good material to merit a double disk live collection, something that would demand a lot of replay. Many of the performances on this record didn't really reflect the true value of their live act. There is enough singles for casual fans, most people remeber the recent and older hits from the nineties, but for the long time listeners the album just lacks something important.



5. If you're a fan of the band, and even if you're not, this CD belongs in your collection. Raine's vocals, amazing in studio, are even more incredible live. I like how they let the audience sing along... it's pretty amazing to hear all those voices singing together. It's one of my top ten life goals to see OLP live. A couple of songs are missing, but the only true downside to the CD is the inclusion of 'Not Enough'. Can someone tell me what that's doing on their live CD? In my opinion, it's the weakest song in their entire collection. I'd take a star off, but the rest is so great it really doesn't matter.