No comments about Live in Yugoslavia.

1 comments about Paris Burning Live.

1. 1. Personality Crisis
   2. Bad Girl
   3. Looking for a Kiss
   4. Great Big Kiss
   5. Stranded in the Jungle
   6. Pills
   7. Vietnamese Baby
   8. Trash
   9. Chatterbox
   10. Puss 'n' Boots
   11. (I'm Your) Hoochie Coochie Man
   12. Jet Boy

1 comments about Live in West Hollywood.

1. I am a big fan of this band. Their Ramones meets the Beach Boys via Johnny Thunders sound makes them one of the best punk rock bands on the planet. This album, however sounds like a Green Day bootleg. When you parents would say "all their songs sound the same", but as a real fan you could tell the difference and simply laughed your parents opinions off. Well I am a fan and all the songs do sound the same! Very lite on Joe's killer lead guitar too which is one of the bands strong points. If it wasn't for the vocals this could easily be a Green Day cd.
   For die-hard fans only.

No comments about Live at the Moonlight Club.

No comments about Yizgarnnoff: Live at Cbgb's.

No comments about D.T.K. Live at the Speakeasy.

1 comments about Live in Japan.

1. this is the best of all the chaos uk cds ever! chaos uk is definitely the best hardcore anarchy punk rock bands ever. theyve been around for forever and are more talented than most punk bands and it shows. if you like them you would definitetly want to check some of anti-flag stuff. chaos uk is one of the best bands ever because theyre hardcore and they sing about things that matter, also their live energy is amazing you if you havent ever seen them live please get this cd to hear their live energy. get this cd i love it!

No comments about Femme Fest 2.

5 comments about Greatest Hits Live.

1. Been a Ramones fan for decades saw them numerous times in the 70's, 80's and their last tour. This is simply a great album for what it is. I loved "spiderman", Joey was born to sing it. This cd is worth it's weight in gold just for that song alone. Some Ramones' collections are just too long, unlike the original albums, so it's nice to throw in the cd player this disc, hear some great songs in a digestable fashion. The Ramones weren't about overkill, that just wanted to knock you down right away! This album also really shows how tight these guys were live. Definitely get it.



2. I was also at this amazing show at the Academy. Wish the entire set was on the CD. There was crew filming the show that night. Has anyone seen this on video anywhere?



3. The Ramones Greatest Hits Live is a cd everyone should own. The Ramones can play their songs slow/fast or not at all and still rock. Although I liked many more of their songs played slower (earlier albums) I still enjoyed every minute of this album.



4. This show was great, I was there and it was the best Ramones show I ever saw. Its just to bad so many tunes did not make it on.



5. I was lucky that I got this disc as a gift, so I didn't waste any money on it. It rates one star only because zero isn't an option. Buy ANY other Ramones disc; get this one only if you're trying to complete your collection. Trust me, the Ramones never sounded worse than they do on "Greatest Hits Live".

5 comments about Document and Eyewitness.

1. Aside from Wire's John Peel sessions, this is Wire's only release that includes a large amount of unique content. The latest live albums (On The Box, etc.) are really more what you would expect from such a release: more aggressive performance to accommodate the missing use of live electronic instrumentation, poorer sound quality, and so on. Well, the live performances on D&E are no exception to poor sound quality, but this time Wire keep a fair amount of electronic influence in their work; not just guitars and percussion here, which makes this all the more valuable in my opinion. This release, to me, is more suited to be considered the 4th Wire album over Newman's A-Z (for one Newman wrote nearly all the tracks on that album on his own, so why would they be referred to as Wire songs?)
   
   I also don't understand what some people consider to be issues with this release. You do hear a lot of experimental work, which I love, and if you're a Wire fan so should you, but there are also a great deal of more conventional songs, like 'Go Ahead' and 'Relationship'. Basically, you get to hear at least a dozen tracks that haven't been recorded in the studio (some of these tracks were re-recorded by Newman for solo work, and I know that 'Underwater Experiences' was an earlier demo). One thing I don't get is why 'Heartbeat' is just thrown in with the mix, as it was from a different performance altogether; just doesn't fit well, despite its being a good track.
   
   I don't want to spoil the atmosphere of the album by explaining much of the music, but I will comment that it crosses between more aggressive Chairs Missing-era and something not quite Wire (mainly because without having come from the studio it's hard to picture what the final production qualities would be like).
   
   And yes the final two tracks are from their Our Swimmer EP (can't really call it a single because it wasn't promoting anything, it just was). These two tracks are quite different from what you hear on E&D, and for that matter, Wire's other albums. I would've really enjoyed getting to hear more than just these two songs from this new style that they developed.
   
   But this album is still valuable even for people who aren't fans of live recordings (a lot of time the audience is just too noisy and compromises the music, but in this case the audience was so baffled by what they heard you really don't hear much of them.) I did take one star off because it isn't perfect, but still great.



2. Live albums are usually nothing more than cheap giveaways that you already have heard in their studio life and are usually much better. Everybody knows that you'll get the same tracks with the crowds cheering the performer on for more more MORE. So why should you buy this? Well the fact of the matter is that it's everything a usual live album is NOT. Yes that's right - this is NOT your usual live album. First of all many of the tracks here are new. Secondly the band are practically hated mainly because there isn't 12XU which eventually comes up in fractured form ( not a bad thing ). Their MC is the one that helps the fans get what they want because it's his " request spot " despite being called a fat.....well you know - can't say it here for obvious reasons. And in the mix there's a few snippets of conversations from an interview. And at the end there's two studio tracks which are OK but dilute the whole experience of the concert(s) completely

   I guess it's one for the diehards but everyone should try this live album for the chaos within because if not you'll be missing out. Oh and you can't resist the bottle being thrown in the middle of a song with the reply " Who's a clever boy then! "




3. The single best line ever written about Wire's DOCUMENT AND EYEWITNESS comes from an article A.D. Amorosi wrote for MAGNET magazine (August/September 2000 issue): "...a violent live album that makes the Stooges' METALLIC KO seem like a Phish jam." And while one can hear the bottles being thrown on this album as well (literally: on "Instrumental (Thrown Bottle)"), unfortunately Flipper tactics had not yet come into their own so Wire chose to throw dada instead at their dense and impatient audience. Amid screams for PINK FLAG material, the audience never once allow Wire to demonstrate their amazing chameleon-like capability to never do exactly the same thing twice (like Coil and Madonna after them). Read: they never got it. This CD is split into four parts: part one is a relatively calm excerpt recorded live in London in July 1979 performing tracks from what ultimately would have been the follow-up to 154 but which never happened. The opening sonic slaughter of "Go Ahead" (which absolutely destroys the studio version) has to be heard to be believed, drumming mistakes and all. Part two is an excellent version of "Heartbeat" performed in Montreux when Wire opened for Roxy Music (sort of like when Prince opened for The Rolling Stones), much to the chagrin of Roxy's audience. Listen for the whistling. Part three is an excerpt of Wire's last concert for five years: The Electric Ballroom in London on 29/2/80, opened by D.A.F. (and documented by them on DIE KLEINEN UND DIE BOSEN, also on Mute) who were at a starvation-amphetamine meltdown peak. Wire perform an avante-garde/dada performance perfectique, goading the audience with their music and sarcasm, not really indicating if they mean any of it or not. An examination of this document by headphones reveals the absolute apall of the audience, who came to hear "12XU" (which Wire gratefully disembowel) and not the outre art-attack of such pieces as "ZEGK HOQP". By the end, the concert boils down to merely being one big pissing contest. Brilliant and exceptional. Part four is the band's last, posthumous single ("Our Swimmer" b/w the exceptional "Midnight Bahnhof Cafe") added as a bonus and near pre-cursor to what was to come in 1986 with SNAKEDRILL (see "A Serious of Snakes" for the link, "Drill" for the mood). A worthwhile purchase for the casual fan and an absolute must for the die-hard.



4. Though I appreciate all of Wire's studio-albums from the late 70's to the early 90's, I never liked their live-performances. This is because they often turned their great pop-songs into a dissonant, chaotic goulash of sound. This CD-compilation, recorded at three various locations, Notre Dome Hall, Montreux and Electric Ballroom, is completely unlistenable for "normal" people. If any unknown band had served this, nobody would have noticed, but here the critics said:"Oh Wire, this is fabulous art-school-punk!" You may call the performances on this album "experimental", but I really don't know why this gig made such waves. I only give two points, because there are two good studio-recordings thrown in at the end, they're called "Our swimmer" and "Midnight Bahnhof Cafe". But they're not worth buying this album.



5. I'd read so much about the "Electric Ballroom" gig before I ever heard it that I was very excited when I finally got this CD and popped it in my stereo. I wanted to hear what was it that made this gig really famous. I couldn't really hear anything at all, as it turns out. Seriously, I've heard 4th generation bootlegs that sound better than this, and I can't help asking myself "Why did they bother?". Not to rip on Wire or the individual members, mind you, as they are, quite simply, one the best bands that ever existed. This particular album, however, is for completists and/or masochists only.