5 comments about Dwight Live.

1. If you've ever seen Dwight live he puts on a fantastic show. I rarely like live albums, but I do this one. Well worth the money and adding to your collection. Some great cuts on a wide variety of songs, that showcase Dwight's talent.
   
   The Mean Eyed Cat
   Rock-A-Billy Review
   KNON Radio 89.3
   Dallas, Texas



2. Dwight's version of "Suspicious Minds" would even make the Big E proud.



3. Even if you have his greatest hits, the Reprise box set, or albums containing the studio versions of these songs, this live album is STILL a MUST. The energy and musicianship, not mention Dwight's own incomparable vocals, are fantatsic. And there are great live versions of songs you can't find anywhere else, like Rocky Road Blues, Fast As You, Long White Cadillac, Two Doors Down and more. Whether you're just now catching on to the genius and talent of DY's music, or are already a fan with lots of his albums, this is one you won't regret owning. It'd certainly one of my top 3 favorites.



4. This live album is a disappointment. Dwight Yoakam's
   best studio work has crystal clear sound (vocals and
   instruments) and lively energetic arrangements.
   Unfortunately, Dwight never seems to get in the
   groove during the concert[s] and his performance
   is lackluster. Another disappointment is that the
   sound quality is poor, even for a live album. The
   redeeming qualities are the choice of some of his
   best songs and his band is in good shape. Standouts
   are "Lonesome Roads" and "A Thousand Miles From
   Nowhere."



5. Dwight Yoakam may be the most underappreciated of contemporary artists. He has, from day one, been catergorized as a country artist, but whether he's doing country, western, bluegrass, blues, soul, or just good ole rock and roll, it's just pure Dwight. He has an ability to merge musical styles and make things his own, like that of a Ray Charles or an Otis Redding. And music aside, he may be the best lyric writer in any genre'. Unlike most country artists, whose live outings seem to be packaged, over produced, virtual replicas of their recordings, Yoakam does as great soul artists do. He takes his songs and his great band to inspiring new heights. His version of "Lonesome Roads" oozes soul, far outdoing the original, and has brilliant work by the extremely underrated guitarist, Pete Anderson and fiddle wonder, Scott Joss. The band's tight work on "Long White Cadillac" becomes an orgasmic jam with all the excitement of a Booker T. & the MGs workout. At first listen, a casual Yoakam fan may not appreciate its greatness. But this may be, aside from perhaps either of his two greatest hits collections, the quintessential Dwight Yoakam album.

5 comments about BBC Sessions.

1. This is an album you should enjoy and enjoy a lot. Incidentally when a BBC sessions album is released by a band it doesn't really mean it's a live album. It's just the band recording the songs at BBC's studios so that it can be broadcasted on radio at a particular time. So for those who were wondering why there were Liz's voice in the background as well as at the forefront should rest at ease - there was a little bit of studio trickery there. I just I should point that out lest someone gets confused



2. I am not a huge Cocteau Twins fan but find their music works well as a background for when I am working. I did not find this CD as interesting as Treasure but it is pleasant enough. (Will probably get some plays while I am ironing my shirts!) Don't listen to both CDs straight through, as it gets pretty samey.



3. I'm as big a fan as they come, but live Cocteau has a problem -- there's just one Elizabeth. On studio albums, as you know, there are numerous vocal tracks, creating a rich, layered sound. I never knew how important this element was until it was gone. Live recordings (including the BBC Sessions) just feel sort of anemic, because only one melody is being sung. Yes, her voice is still beautiful, but it changes the nature of the songs.

   I'm not going to tell anyone not to listen for themselves, but I was disappointed.




4. WOW. If you're like me, you NEED this. CD1 highlights- tracks 1, 2, and especially "Hazel" are essential whether you were into CT's first rough albums or not. CD2 highlights- "Volaine" has gone from blah to stun-material! Check out the cut-throat majesty of "Seekers Who Are Lovers", one of the best Cocteau songs of all time. I can't tell which is better (bbc or original). We're talking some serious six stars here, with only five possible. (If I let it rule me, I'd give this whole thing a fiver based on that emotion alone.) "Half-Gifts" here is also necessary. While obviously not all tracks are probably going to be stellar on a BBC collection, this compilation is required for CT lovers such as myself. Drawbacks: uneven representation of work over the years (wish some other songs appeared); Liz sings in a range too high on some of the later ballads featured on these outtakes. COCTEAU TWINS FOREVER .... WAAAAaaaaaa i never DID see them live :'(



5. Like anyone who is bound to review this compiliation, I am a big fan of the Cocteau Twins' wonderous music. Prior to this, I had heard two live Twins recordings. First was when they used to broadcast the syndicated radio show Modern Rock Live here in Houston. The Twins were the featured guests one time, and they performed songs from Milk and Kisses as well as For Phoebe Still a Baby (from the Blue Bell Knoll album). I still have the recording of that event. The other live recording was a British concert from the mid-80's that I found on Bootleg CD. The recording was very amateur and horrid, but it was another chance to hear them live, since I NEVER GOT TO! (They didn't come to Houston for the Milk and Kisses tour)

   In case you haven't figured it out, some of the Twins' better albums are underrepresened in these BBC live sessions. Nothing at all from Victorialand. From the impeccable and divine Heaven or Las Vegas, only Fifty-Fifty Clown. And nothing from Blue Bell Knoll OR Four-Calendar Cafe. They must have performed these songs live on BBC, at some point!!!

   I still chose to give this album 4 stars, in spite of this, because this compilation is probably the last "new" stuff that we fans will ever get to hear. The only thing left to do now is to make compilations from their studio albums and EP's. (By the way, I refuse to buy Stars and Topsoil, for the reason that I could always make my own compilations with a CD burner).

   Of the two discs, I enjoy far more the second one. The Milk and Kisses live recordings are excellent!! And I enjoy this CD's recording of From the Flagstones. On the first CD, there is a live recording of the same song, but on that recording Elizabeth tries too hard to clone the studio recording, and it winds up being a flop. In the second CD's recording, she stays in the lower register more, and it sounds 1000 times better.

   Although you might not be 100% satisfied with what you hear in this compilation, you should still buy it.

5 comments about Live.

1. THIS IS A FANTACTIC LIVE ALBUM !!!! A MUST HAVE FOR ALL ROXY FANS AND A
   GREAT INTRODUCTION FOR NEW FANS. I'VE BEEN A ROXY FAN SINCE 1973 AND HAVE
   MANY OF THE ORIGINAL VINYL ALBUMS. THIS ALBUM JUST "BLOWS ME AWAY" !!!!
   BEST CUT...EXTENDED VERSION OF "SONG FOR EUROPE". TRUST ME YOU'LL LOVE
   THIS LIVE SET !!!!



2. The best thing about this cd is that I am on three of the songs!!!
   A Song For Europe, Love Is The Drug and Editions Of You.
   You can hear me. I am the one clapping and cheering.



3. Roxy's comeback was a triumph - even given the lack of new material, given the great musicianship, the energy to put on a fantastical show, and the cool vibes all around. This disc is from the same tour of the DVD, but the songs are not taken from the same performances and there are songs not on the DVD. A must have for Roxy fans and amongst the very best live albums ever made.



4. Roxy Music confirm that they are an excellent live band. For long-time fans who know that a new studio album is not likely, this is the next best thing.

   The sound quality is not as flawless as it could have been, hence one star removed.

   Could they have made this a three-CD set? Given their calatogue of great material, yes. I'm not sure, though, if they performed more than these songs on the tour.




5. The music of Roxy Music can be separated to 2 eras: the first 5 studio albums (1972-75) that brought us something fresh, new and interesting, and the music from the 80's that is more Brian Ferry solo - shmaltz, elevator music, just choose for yourselves. Lets call it "The Avalon era". In between there was a bad album from 1979 by the name of "Manifesto".
   Last live album of the band, that was also the band's last one, "Heart still beating", from the 80's, took many fans to cardiologists, cause it was so B-A-D (kids, don't try it at home!). So I had many reasons not to expect much. But After reading that most of the material is taken from the 70's, I decided to give it a chance.
   So... "Live" is not "Heart still beating", and also better than a few live albums from the Manifesto tour ("Concerto", "Live concerts"). But it's inferior to the old live album of the band, "Viva!", and to "Valentine" and "Vintage", 2 live albums of the early band, (that were released only lately) that include video clips (with Eno, Eddy Jobson, John Wetton and so). "Live" sounds too syntetic for more than once, by trying to bring us the original studio sound like in Re Make/Re Model, Out of the blue and others (ah, they brought us the motorcycle from "Virginia", but forgot the car from "Love is the drug"!). It's hard to understand it, because during the 70's, the band changed, improvised and improved the studio versions of many songs."Chance meeting" that was mixed together with "Both ends burning" in "Viva!" is a good example. Last part and the most dramatic one, in "If there is something" was done in "Viva!" much better than in the original first album. "Street life" (listen to Jobson's great violin solo!) and "Virginia" were done great in "Vintage" and "Valentine"; "Do the Strand" best version is in "Concerto". Jobson, in his time did not try to copy Eno, and brought us a new sound that for more than once was better than Eno's.
   So why did they try to copy the old solos now?
   Also I'm not satisfied with the sound. Roxy is a band of great individuals, but, sometimes they're lost here among the good technicians (on stage and in studio), that joined the band for the tour. After listening to the BBC 2 broadcasting of the show from Glasgow, I suspect that many mixes, too many, were done in the studio. But don't get me wrong. the album is a good one and if you are Roxy's fan, you'll love it,despite of its weaknesses.

5 comments about Filth/Body to Body, Job to Job.

1. Most people, I think, would find unfathomable the very notion of releasing a collection of music as impossibly dour, humorless and grating as Filth. Hopefully New York's Swans have little interest in achieving popularity on the Top 50 charts, because nothing from this album could ever be accepted as 'good music' by your average Joe-FM Jockey. And who can blame him? The entire album seems like some kind of mean spirited drunken mess.
   
   The first (and most accessible) track of Filth lumbers along with a bass-line like an inebriated dance beat, swaying off kilter in slow motion; while a singer who obviously is some kind of bull-horned hairy man-beast brutishly barks things like, "Be Strong! Be Hard!" over and over again until one gets the impression that the insecure creature fears it is neither. After the first track falls awkwardly on the coffee table and blacks out, things start to get really out of control. The band seems to abhor rhythm only slightly less than it does melody, because both are rather scarce in this misanthropic recording. Songs either stomp around angrily, like some kind of red-faced troglodyte, ranting or lamenting one thing or another, or, as with "Freak," devolve completely into primordial soupiness, a cacophony which envisions musicians not playing instruments so much as simply punching them. It's a pretty unusual style: Gothic metal which is neither Gothic (no fay romanticism to leaven the depressive qualities, and too unmelodious) nor metal (too repetitive and arrhythmical). Filth ends with a hazy sounding set of concert recordings, which pummel the ears even harder without the clarity of the studio recording humanizing the proceeding.
   
   "Filth: the cd" also offers a sequel disc. Body to Body, Job to Job is a compilation, not a proper album, of tracks recorded before and after Filth was officially released. The sound is a continuation of Filth's fury however and offers no relief from the blunt-force trauma headphone users doubtlessly suffered while listening to the first disc. Some are rough, live cuts of dubious engineering quality, and others are clear studio recordings of dubious moral motivation. Songs like "I'll Cry for You" and "Mother, My Body Disgusts Me" are every bit as demented as on the main album, and good for scaring little old ladies.
   
   It's all rather Lo-fi, and while certainly aggressive (an album that would probably rough you up in a back alley just for the hell of it) the production seems to tone down the ferocious bellowing of the singer, burying in deep rumbling noise. The effect is rather like Martin Hannett's production for the band Joy Division. In fact, technically and thematically the music here is strongly reminiscent of Joy Division. Just a hell of a lot meaner.
   
   I honestly can't imagine anyone calling this their absolute all-time favorite album, but frankly, for all of it's rejection of musical standards, there is something strongly compelling about Filth by Swans. Most people will be put off and annoyed by it, but as Amazon.com shows, a number of people also think it's pretty great. So maybe these Swans characters are on to something. Despite the fact that he still has his pretty little pop-icons, catchy songs, his teeth and his sanity, maybe Joe-FM Jockey is the one who is missing out. I for one am am going to dab my bleeding ears while looking forward to what the band releases next!



2. Swans could only have come from New York, no other city other than Berlin could have produced such a glorious cacophony of unrelenting brutality. For me Swans rests somewhere between real industrial (not 90s industrial metal) and noise-rock. Their only peers would have been Glenn Branca, The Butthole Surfers, early Sonic Youth (who were more song based) and Einsturzende Neubauten. On `Filth' they use repetition to exhilarating effect slowing everything down to a virtual crawl. It's difficult to describe this album but know one thing: nothing produced before or after it can match it in the brutality stakes. Like a wrecking ball it demolishes your weak mind while never overstaying it's welcome. This release also includes plenty live material as a bonus, which is where one can really feel the power and beauty in their destruction. `Filth' is as the title would suggest an ugly beast of an album that will beat you and leave you paralysed on floor simply because it can. This release in particular is one of my favourite albums of all time and life without it would be incomplete. Strong medicine indeed and highly recommended. Swans were in my opinion one of the greatest bands ever.



3. No, seriously, what's there not to love about Swans? Personally, I cannot get enough of them whether it's the early days or the later days. This is the album that started it all and it left behind a reputation that will make Swans infamous for decades yet to come. This music is simply HEAVY, and I mean it "that" way. Forget these slow doom metal and drone bands; Swans will engulf you, beat you, drag your bloody pulp of a body against the floor, and rape your rotting carcass. If that is your kind of thing, then obviously this album is a winner. There are no conventional rock structures here, but don't let that fool you... this is rock in its most pure and shocking form. It's a real pity that Michael Gira never hit the charts with any of these songs because, really, these songs are just totally danceable. If I was throwing a party I would definitely throw some Swans on... Not necessarily to freak everyone out, but to get everyone moshing. Of course, you should know that Michael Gira hates that kind of behavior. In actuality, he would rather have you brooding around your crummy apartment drunk while listening to this record. But, who can blame him? This music is true art. There are no compromises; it's punk rock in essence. It has the old school do-it-yourself mentality that you simply cannot find in the shallow and vapid bands that come out nowadays.
   
   Swans are simply for people who want challenging, yet rewarding music.



4. Angry, dark, brooding, sludgy, this is the equivalent of a heavy duty sledge hammer crushing it's mass on the head of the mainstream.



5. SWANS sound like they've just climbed out of the sewer and haven't washed up yet. This analogy works especially well when discussing their very early work, namely "Filth." The first words that will come to mind will probably include "heavy," "sludgy," "ugly," and quite possibly "filth." If you're an adventurous listener, and tolerant of an oppressive, miserable, hellish atmosphere, and believe that noise and screaming can be musical, your words might also include "very cool."
   
   "Filth" is really not that unlistenable. The grating noise and dissonance will be off-putting to many, but when it's placed in the framework of steady, pounding, almost catchy industrial rhythms, as it is here, it seems at least partially tamed and ultimately tolerable if the listener is patient with it - and Swans is a band that demands much more attention than it's gotten. They are true innovators of heavy music, from grindcore to death metal to noise rock, and carved a truly singular niche for themselves in the post-punk/alternative world. Combining the depression of Joy Division with the anger of Throbbing Gristle, and the repetative power of both bands, then adding the messy, slow noise, growled vocals, themes of power and degradation, and wrenching two and three note riffs that were to become their trademark, Swans make a noise that effectively depicts a very dark and murky worldview. All underground music fans owe it to themselves to investigate immediately. Listening to Tool, NIN, Slayer and other popular outfits is fine, but to be truly hip I think you need to know the whole story.
   
   The album begins VERY strongly, with a blast of feedback, a grumbling bass riff, and a powerful, menacing industrial rhythm. They are the backdrop for a roaring guitar drone and Michael Gira's repeated commands of "Flex your muscles" and "Be Hard" in an increasingly loud and angry growl. The song, "Stay Here," is a perfect kickoff for the set, combining everything about the album that is great: the ever increasing intensity, the dark lyrical themes, the massively heavy sound, and the uncompromising brutality. Among other highlights: "Big Strong Boss" approaches Danceability but before reaching it is very suddenly cut off, in an uncommon moment of Swans' gallows humor; "Blackout" showcases Gira's vocal chords getting a workout with loud, raspy growls; "Freak" is a rare break from the slow tempo and sludgy riffs, experimenting with tape loops and Gira's yelled ramblings about murder; "Weakling" gets into Einsturzende Neubauten-ish territory with metal percussion and groaning guitar drones. All of this music is actually a lot of fun, and with a little imagination from the listener - catchy. Of course, these aren't singalongs, they're "roaralongs."
   
   Check this band out. You know you're interested. NOTE: The edition of 'Filth' that Amazon has released also contains a CD of collected Swans tracks from the 82-84 period called "Body to Body, Job to Job." Very good, but I don't have time to review it right now.

5 comments about Gotham.

1. This album does a great job of capturing the feel of the concert. I was able to attend both shows in San Francisco, once from the floor, and once from the balcony. What a fantastic spectacle! If you have not seen the DVD, you must also get it. Right from the start, everything about this album is stark, gripping, and pure Bauhaus. Time did nothing to damage the power of the greatest goth band to walk the planet - they played brilliantly, and it really comes out in this CD. Sure, there were some minor screw ups, as with all live albums, but all in all it is fantastic. My only comment is that I wish they had included 'Burning From the Inside' on this recording. They played it at one of the SF shows, and I'm not sure if they tried it again after that. It appeared to be a fluke...Daniel started playing it while Peter was over talking to David. At first it sounded as if they were just messing around, not really intending to play it, but then the crowd went wild, and so they played out the entire song. Masterful. Anyway, maybe a bootleg will turn up one of these days...



2. This was my first forray into the world of bauhaus, and I must say that I've come out extremely impressed. I like to think that I know a fair bit about the goth scene, and bauhaus has become one of my favorite bands..



3. This serves both as a great "Best of.." Collection and a great Live performance from one of the most influential bands of the days of yore. I wouldn't recommend picking this up as an introduction to Bauhaus, but if you're like me, unfortunately too young to have seen them in their hay-day or most likely ever see them again, then this is a great way for you to get the idea of a live Bauhaus show without being able to be there in person. My only complaint is that this Two Disc set, which cost me the same as a FULL two disc set, only has about 19 tracks all together and is basically just a live version of collection 1 and 2. I was hoping for two discs with 15 songs a piece that would serve as a career spanning live document, featuring four or five select songs from each of their albums (See: Death To The Pixies). All I'm asking for is a live version of "Exquisite Corpse", is that really too much to ask? Oh well, such is life. Anyway, this album is definitely worth checking out if you're interested in hearing Bauhaus live...And you have the 23+ bucks to throw away on 19 songs....God that burns me.



4. Goes through all the favourites and gives a few bonuses as well but I have to say that the version of Bela Lugosi Is Dead is not half as good as the one on Press The Eject And Give Me The Tape. That one has a more claustrophobic nature to it. As for the cover version of the Dead Can Dance song - it's good but I would prefer to hear the original



5. Not many bands can pull off the solid-black thing without eliciting giggles, but this one does. I thought the Bauhaus were great 10-15 years ago, and was leery of getting this disc for fear it would be one of those sad reunion albums that always seem to come out a decade after the "final" tour. But not so! These guys still wallow in existential angst with the best of 'em. If anything, Peter Murphy's delivery is more substantial after a decade of great albums and vocal growth. And the band proves that they can still play rough, even after the pop and polish of Love and Rockets.

5 comments about Shut Up and Die Like an Aviator.

1. This is a live CD that has been overdubbed in parts due to "technical difficulties". It gives the CD a strange sound, like someone playing along to their favorite songs.
   
   This is Steve Earle just before he fell completely over the deep end. Normally, that might not be a bad thing. People like Eric Clapton and Stevie Ray Vaughan have actually lost thier spark once they cleaned up. Sad to say, but some of the greatest music of all time comes from the drug addicted, including Jerry Garcia, Carlos Santana, Janis Joplin and Jimi Hendrix.
   
   But, the problem with Earle is that he may have been too far gone. The other guys kept it under control and let it out in their music. Earle is paranoid and edgy.
   
   Because of the sound problems and the performance, this not a great live CD. I think the studio versions of these songs are much better.
   
   Earle does have a lot to say. But, I'm not sure that I always agree with Earle's good ol' boy, loser, paranoic view that the world is out to get you and that there is nothing you can do. I am also not so sure about his anti-death penalty stance. I don't favor making sympathetic characters out of murderers.



2. There is a generous amount of music--over 74 minutes which is a lot for the typical Steve Earle CD but you can find better renditions of these songs on his other CDs. Get Guitar Town and Copperhead Road if you want to hear most of these songs done in a studio. Also, I had eagerly anticipated hearing Earle's version of Dead Flowers but it isn't nearly as good as the original by The Stones.



3. This is a loose collection of live Earle music circa 1991. The band is just going through the motions and Earle's voice is at its most ragged, but it still remains an interesting time capsule of where Earle's career was at the time and some of the songs really thrive in the live setting. A good summation of Earle's earlier work and glimpse of an artist close to the edge of self destruction. Probably not the best example of his ability but an intriguing look at an artist whose life has had more than a few ups and downs.



4. Recorded during a Canadian tour of the early 90's, this appears to be a fan's dream: a greatest hits package recorded live with Earle and the experienced Dukes performing at their peak-Earle, however, was in the depths of his drug addiction during this tour, so the performances are restless at best. A live reference to an incident in Ottawa points to Earle's growing spirit of social conscienceness. His stellar writing rescues this project, with new tour staples such as the anti-death penalty anthem "Billy Austin," the auto-biographical "I'm The Other Kind," and "West Nashville Boogie," (all from "The Hard Way") providing shining moments. A teasing "Guitar Town" is tell-tale: there are only shreds remaining of the exhuberant 27-year-old laureate who took the country and rock communities by storm only 4 years earlier. Most frightening is a transcending, gut-level version of Jimmy Rogers' "Blue Yodel #9," showing that Earle remembers from whenst he came, but leaving the listener wondering where Earle is going. Or if he'll survive the journey.



5. This is THE essential Steve Earle recording. The set is stellar and the Dukes just flat-out rock live. Steve may have been a strung-out addict at the time but he sure does deliver. In fact, there isn't a trace of half-assing here. He does it all with heart and the gruffness in his voice gives tunes like "Billy Austin" an even bigger impact. I really loved the live version of "the Rain Came Down" and "Fearless Heart" has never sounded better.

   This is one of the first cds I ever bought (I was eleven) and after a decade, it has yet to lose it's charm. The only difference, is now, I'm quite a bit older and the songs have much more meaning.

5 comments about Live In New York.

1. Laurie Anderson concert in NYC recorded just days after the 9/11 tragedy. Great quality audio and a beautiful and diverse mix of Laurie songs from over the decades. The highlight, as other users have mentioned, is O Superman. A prophetic song first recorded in the early 80s, it becomes even more important and moving in the context of the 9/11 tragedy. This recording of O Superman is worth the entire price of the CD. Listen to it and recall that it was laid down mere days after the attacks. It is the most chilling performance I have ever heard. "And I've got a message...to give to you...here come the planes." I can think of nothing else that so convincingly faces the fear and sadness, but also the inevitability, of the tragic 9/11 attacks. If you can listen to it without crying and asking what America has come to, then please hold out your right index and middle fingers and place them on the underside of the left wrist to see if you are still alive.



2. I've seen Laurie Anderson live on a half-dozen occasions, and the shows are always somehow new.
   
   This show is no different. Unlike most of her shows in recent years, this one heavily features her earlier, most-quirky material. But, that material is re-conceived for the live band. Although updated and punched up a bit, it's still true to its original spirit.
   
   The results are wonderful. If you enjoy the earlier albums like Big Science, you'll love hearing their formerly-sparse arrangements augmented with a really great live band. Some of these songs haven't been performed live for many years, and hearing them now is a treat.
   
   I have to agree with the Amazon reviewer and a couple of others: "O Superman" is clearly the climax of the show. The audience's reaction -- surprised and then delighted -- to the opening of O Superman fading in as if sent from long ago is exhilarating.
   
   Knowing the conext of this show and hearing Laurie sing, voice barely controlled, about the "American planes", gives me chills every time I listen. To think that this song was written nearly 20 years before the events of 9/11 is eerie. Extremely powerful stuff.



3. A maximum of 1,000 words is not enough to do justice to one of the most glorious artists of our time.



4. Playing this CD makes the listener feel they are attending the event itself. The music itself is amazing right through, as are the spken word pieces. There is an intimacy, some intensity, some discomfort but some delight too, for example when the anecdote ('Beginning French') about French 'traffic testers' gives way discreetly to the intro of 'O Superman.' But the intensity is felt most when Laurie refers to 9/11 and her reactions, playing that evening, the sense of an entirley changed world. Her songs fit. My favourites here are O Superman, which I knew from the 8os and Strange Angels, which I didn't know before.
   The discomfort comes in when you've listened all the way through and get to O Superman on Disc 2, when the references to 'Amercian planes, made in America' are heard.
   This is a good place to go for a live compilation of Laurie Anderson songs.



5. Firstly, I have yet to hear this album, but I did see her show In Toronto on September 13th, 2001, and I have to say that it was aesthetically and artistically the most incredible concert that I've ever attended. The quality of her performance (and band!) was superb, and the themes that she's been weaving for all of these years really came together. For me, peak of the show was the transition from O Superman to Pieces and Parts: very emotional, new layers of resonance to say the least. She was visibly shaken at the "American Planes" line, almost as though she had just realized what she was singing. The show ran from the quiet and delicate (White Lily) to surprisingly (and successfully) noisy, loud and aggressive (My Compensation), to arty and humourous (distributing pencils and papers for the audience to draw with and pass back after the show). She's consistently been the most interesting American artist for the past 20 years. Content-wise, she has all the bases covered: musicality, intelligence, technique, experimentation, insight, wit, and grace.
   Inspired.

5 comments about Samhain.

1. If you can find this, buy it. Do not hesitate. If you are a fan of Danzig this is a real treasure. A bit heavier than Misfits, a bit lighter than Danzig, Samhain is the crossover band between Misfits and Danzig. There is even a few misfits songs on here, but they are different versions than you are used to. Also you get to hear some of the songs from the later Danzig albums, in the early form. Very nice packaging, comes with a cool comic book and lyric/photo book. The video isnt the best quality, but you get to see danzig in his prime. considering this box set is no longer being made, it is worth the expense.



2. While I am on the subject of all things Danzig lately (ever since hearing Lost Tracks and being reminded of the man's brilliance), I figured I'd do a review for this box set as well.
   
   I had lusted after copies of the Samhain albums ever since losing them in an unfortunate incident, so when this came out, I figured it was worth the price. It was, because it gave me their killer goth/punk/metal all in one place, but its not perfect.
   
   For one, I think that Glenn probably did the best he could with the company's budget (who issued this). The packaging comes in a huge cardboard box with a plastic container reminding me of the interior of old video cassette boxes.
   
   The outside packaging (before you open it), is indeeed handsome, but when opening it, it seems a bit cheaply done.
   
   For one, the cds are all in "promo style" cd cardboard sleeves, and when picked up, the risk is that a disc will fall out and get scratched.
   
   The comic book is pretty much just tasteless fun, but the booklet is lacking in lyrics for the entire Unholy Passion and Final Descent albums.
   
   Considering Glenn's sometimes incomprehensibility at times, I thought this was a disservice to fans. It contains some cool pictures and art, but seems haphazardly put together.
   
   Now I don't remember if in 2000 dvds were as in vogue, but the video leaves a lot to be desired. I am sure there are many more shows in the archives, and also it would be cool to see some tv interviews, footage of the road, etc.
   It just is too short, not that the footage is that great but I am sure in the eighties Samhain did more than two shows (and not even full shows are included at that). I believe it was only around 40 minutes of live footage, if even that.
   
   Now on to the music itself: Great, especially since remastered. Unholy Passion is the one included on the Final Descent album however, and it would be cooler to have both the original and Glenn's rerecorded (in 1987 I believe) version in this set.
   Also, Glenn spoke of a lot of unreleased material that did not see the light of day on this set like spoken of.
   
   Overall, I believe that Glenn did the best job he could given the budget though, and hopefully he'll buy the rights back and release an even better box set with a dvd and more bonus material.
   
   The box set is only worth owning if one wants all the albums without having to pay full cd price.
   
   When Glenn or someone else does the grand job with box sets and compilations (such as Lost Tracks or the Misfits one), the results are spectacular. Despite the completely brilliant music in this box set, the set is dissapointing and less than spectacular.



3. Samhain was much less poppy then the Misfits were, which is bad. The songs (such as I am Misery) have amazing beginings, but turn into crap. The comic is amazing but short, the booklets ok and the video isnt the best. The cds are kinda good (November Coming-Fire and Live are good) but the rest of the stuff is rubbish. Danzigs still the man and so is Damien. Misfits boxset is much better



4. All together this is a great box set the video is great and so is the booklet also it comes with a cool comic. the only complaint i have is the lack of unreleased tracks such as the archangle with chimes an alternate versions of novembers fire, halloween 2 and some other later tracks. also the liner notes are great but i would like to see some notes from eerie von since he was there from start to finish.



5. I bought this when it came out, and I still don't regret buying it. I'm glad that not many people know about this fantastic band.
   The Misfits box set doesn't have a video (which is great by the way) so don't feel bad spending 70 bucks for it. What are you waiting for? BUY IT NOW!!!!

5 comments about Live: Take No Prisoners.

1. I'm appalled at the number of people who think Lou Reed -- or ANYbody -- could cultivate and maintain this high-energy, high-speed stream-of-consciousness comedic rant'n'ramble merely under the effects of alcohol.
   
   . . . alcohol?!?
   
   SPEED, people, speed! Methedrine. Injected, not snorted. It's a matter of record, no pun intended. (Reed may deny certain elements of his past, but not his years as a speed addict.) While there may have been a drink or six in his system, the main fuel was methedrine (as with the original Lenny Bruce himself). If you want to criticize the album for being drug-influenced, at least GET IT RIGHT.
   
   As long as I'm correcting the record, I'll also mention that -- comedy aside -- this album contains a musically magnificent version of "Berlin". I was never wild about the full-length song in the first place, but this version just smokes! And if you hated "Leave Me Alone" on Street Hassle (it's okay, I hate that whole album), you might still like the version here, tightened up and given a memorable melodic riff.
   
   But it's "Satellite of Love" which single-handedly justifies this album's existence. No comedy, no storytelling. Just an inspired reworking of an already-beautiful tune, jazzy ornaments on a new melody that is both boisterous and wistful. And then there's THAT GUITAR . . . .



2. I have been a Lou Reed fan since the early seventies, and in my opinion his best solo albums are Transformer, Berlin, Street Hassle and Take No Prisoners. That's right, I rate TOP among Lou's best recordings. I think the performances are excellent, examples being the jazzy version of I Wanna Be Black, a moving, powerful version of Coney Island Baby and the masterful delivery of Street Hassle. The way Sweet Jane kicks in at the beginning of the album is priceless. The singing is among the best of all his recordings. While the album doesn't necessarily grab a hold of you immediately, repeated listens reveal Lou at his sleazy, street-wise best.



3. Lou Reed is a genius and deserves the right to artistic experiments like this one. Remembering my vinyl copy I believe it was recorded with two microphones encased in something resembling a human head (I am not kidding) which may be what is holding back a pristine remastering. I don't have the inclination to buy this yet but the best cut is 'I wanna be black' which is totally different that what appeared on the studio release earlier. I went to the Bottom Line several times during his reign there (he seemed to play there every 6 months, one year my girlfriend's b-day, our anniversary, my b-day....)This cd does capture the madness of those days. We eventually took enough friends to capture a back table and almost got thrown out for pounding our beer bottles on the table if I am not mistaken. This release was one of those nights where it sounds like he pounded back about 5 coffees and a pack of cigarettes before jumping on stage....I am just sorry I haven't been able to follow his art like I used to, lost faith around the 'drinking in public' period. Ever hear his Rock and Roll heart release?



4. It's a weird live concert, in which lou is very much under drug effects and keeps talking and insulting, laughing, screeming, pull anothers leg. well in fact, If you like weird things about lou reed as the metal machine, this is defenetly a Master Opera. you must have it



5. 'If you all expected that Metal Machine Music would have been the last surprise, just swallow it', Reed must have thought back then. He just strikes again by releasing a double album of live versions where, instead of performing (singing) his songs along with the very nice instrumental treatment they received from the band, he decided to simply speak most of the time. He criticises everything and everybody here, with no character/persona construction and no poses: it's simple Lou Read-himself, the man, and the many opinions he wants to share with you, like it or not. It's a really enjoyable experience for fans. The record gives the impression that you're there, in front of the man, sometimes laughing from his harsh words, sometimes wishing he would REALLY do your favourite song, sometimes imagining you're going back home to hear the definitive versions of the studio albums. But meanwhile you're travelling through the cover pictures and if it's your thing you'll like to spend this time inside of Lou's world. For casual listeners it can be a disappointment though. Begin elsewhere and then come check it later.

1 comments about Live 1977-1978.

1. Now this is a quite unique document. Suicide were a very unique group, situating themselves at the borders of punk and electronica. when it comes to electronic music, they may be only second to Kraftwerk in global influence. This is an astonishing box of live recordings from around the time of thier first album. While their first album is the most intense and most influential it is not in my opinion thier masterpiece: this is their second, Ric Ocasek produced second opus. However the importance of the recordings from the first album can not be disputed. What one gets here is of course a series of live recordings fo Ghost rider, frankie teardop and rocket usa (take or give one or two more). Real fans already have in one form or another the live Brussels recording which is one of the greatest live electronic (or simply live) recordings if all time This may be somewhat tiring since the recordings are of very varied quality, some OK and some not so OK. However the intensty of the songs really comes over in an incredible way and really demonstrates whs Suicide was such a different band. It was able to mix the repetitious nature of electronica with a real violent attitude brought on by Alan Vega. Some of this would be translated into his later solo work. The only other down-side is the rather hefty price for such a lo-fi collection that tends to repeat itself. It does contain a very nice booklet about the group with some historical writings. If you like them, you have to have this, also ebcause it seems to be somewhat of a limited edition item.