5 comments about At KROQ.

1. Take Morrissey music and remove the overporduced polished studio glitz. That's what this EP is all about. It's AWESOME. It sounds like real Rockabilly Rock in it's raw and uncut natural habitat. This is my 2nd favorite Morrissey recording. Get this CD. Do it for yourself.



2. Enjoyable live Morrissey show from KROQ in the 90s. Includes a wonderful version of "My Love Life"- a personal fave.A lot of annoying Moz fans who called the Richard blade show and left Moz messages. I recommend you skip that part unless you have a half hour to kill. Of course if you were on of those callers I imagine this would be most delightful.



3. a quick run of three great tracks in the studio back in 1991. KROQ has always been a supporter of Moz and it's great to hear these live versions. "There's A Place In Hell For Me And My Friends" ditches the lonley piano for a decidedly more upbeat version and both "My Love Life" and "Sing Your Life" are performed well and are quite lovely. a nice little treat for fans.



4. If you haven't purchased this one yet, it's probably about time. You've heard these songs on the radio,the internet, possibly even on Johnny Carson. This is a classic performance on a decade old CD single, it's impossible to tell how much longer it will be available; and the CD sounds better than anything that you've taped or streamed from the Richard Blade interview.



5. For years Morrissey had done most of his albums with studio musicians sort of giving every album a bit of freshness. I remember when word came out about Morrissey doing a few tracks at KROQ I stayed home from school so I could be one of the first to catch it. It was so much better then I had anticipated. Not only were the songs incredible they were done with some flavor. The sound of the stand up bass with the rockabilly twang of guitar backed Morrissey as he always should have been. Thus beggining his musical conquest with the boys in the band that went on to tour along with the somewhat bizzare femanist voice of Phrank. This is one album that should be held as a classic because you will never hear Morrissey like this.

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 possibly created by 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 the horrific disease.In this performance she also takes a stab at all those right wing politicans and fundamentalists who misinterpret the bible,and use religion as a political weapon,and a means of control and repression,which inevitably causes many millions of people to suffer,and greatly reduces their quality of life.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 Live: 05-03-03 - State College, Pennsylvania.

1. i remember when pearl jam played state college in 93[?]with the red hot chili peppers. grunge exploded, and pearl jam was leading the way. eddy and the band rocked; it was raw and mad and wonderful.
   
   listening to the three-disc set i realize how times change; there was no war then, and there were few reasons to be raw and mad but pearl jam was just because. and some things do not change. pearl jam is still raw and mad and wonderful.
   
   the tale of the time is captured, along with the big sound pearl jam is known for. the porch, fortunate son, keep on rocking, yellow ledbetter sequence is worth the cost alone.
   
   i recommend 05.03.03 highly.



2. I've listened to many many many Pearl Jam concerts and this one is great. Though I'm not a big fan of Eddie's voice that night (though I am a big fan almost any other night), there are many memorable rarities such as "Release" and "Leaving Here".
   With so many tracks, you're at least getting your money's worth.



3. Ok, so I'm not the world's greatest Pearl Jam fan, but their records do spend a decent amount of time in my CD player. I got this CD because I had never heard them live, and kept hearing that any live recording was more than worth it. This one got strong reviews, had an enormous set list, so seemed like a good deal.
   
   It is a great deal, but man this concert never ends. It starts off great, the sound quality is superb, but how many endless guitar solos do I have to listen to? There's something like 30 songs on this CD, and you REALLY feel it by the end. Every time I listen to it, I just start drifting out in the middle of the second disc. The short acoustic break is kind of not much at all, and the concert fizzles a bit after that, and gets quite repetitive.
   
   I think this is very good overall, but only hardcore PJ fans will have the stamina to give this record their full attention. For the rest of us mortals, it is a good buy, but you'll probably end up listening to it in bits and pieces over a few months. Still a good CD to rock out to, and for the record, PJ do sound amazing live.



4. Magical Nite! I was there! .. I was alive, spell bound, and over my head with the joy!
   I know they are among the very best! But for those 4 hours .. they were number one!
   One evening of my life I cannot top it, ever! Buy this!



5. Starting with their landmark Soldier Field show in 1995, I've been collecting live recordings from Pearl Jam. From that perspective, I've heard most of their songs performed a number of times, and State College does not provide a whole lot of 'definitive' live performances.
   
   That said, this is a study in stamina and dedication, as well as professionalism. The best live band of this generation, playing the last show of the first leg of their tour, and they just don't want to leave. Maybe it's that they've learned to 'pace themselves' properly, maybe it's a renewed love for the music- whatever it is, you get 36 songs over 3 discs, and they plow through each of them with the passion and energy that they deserve. You get some things you don't get on other bootlegs on this one, such as a memorable, supposedly improvised, intro to Rearviewmirror. If you're a casual fan, you get practically all the hits on this one too. The performance of "Black" is particularly mindblowing, with the best Mike McCready solo I've ever heard. "Betterman" is also extended, with the "Save it for Later" tag.
   
   Out of a collection of roughly 20 Pearl Jam bootlegs, this one's easily top 5. A great value for the money.

5 comments about Keepers.

1. If he releases the song, it's a keeper, for sure. He's written some of the best Texas music out there, including "LA Freeway" and "Desperadoes Waiting for a Train" which appear on this CD.
   
   This live CD is well engineered. Kudos to whoever was at the boards. The sound's really good. But, the best part of Guy Clark live is hearing him tell the stories that come with the songs and there's just not enough of that here.
   
   I love Guy Clark, but his voice sounds like a mile or so of bad Texas road in parts of this collection. Even with above average sound quality and me knowing the lyrics, I had a couple of moments where I was wondering what the heck was sung.
   
   If you really love Guy Clark, like I do, this CD is one you'll want. If you're looking for an intro to his work, one of his studio CD's like "Workbench Songs" might be a better bet.



2. This CD is an ablolute "must have" for fans of Texas music and/or Guy Clark. If you are not a fan of either now, you will be a fan of both after listening to "Keepers." You will understand why native as well as naturalized Texans describe their state more as a state-of-mind rather than a geographical location. Its sort of a Zen thing. Enjoy!



3. One of life's greatest joys is a Guy Clark performance. Though I left Nashville shortly before the one recorded here, I listened to Mr. Clark play every dive in town for 20 years, sometimes sick, sometimes overly fortified with alcohol, and he was always the consummate showman. As such, the idea of a live recording was very appealing to me. The result, however, is a little disappointing.

   The songs are indeed mostly keepers, and the track listing is typical of a Guy Clark set list. It relies heavily on his first album, with half the tracks coming from Old No. 1, and then a song or two from subsequent albums of the late 1970s and early 1980s. Some, like "Heartbroke", are pleasant surprises I've never heard him perform live. I tend to be a little more sanguine about Mr. Clark's post-1975 oeuvre than he seems to be based on his shows and on this CD though - I think he's written a lot of other "keepers" that are conspicuously absent here, some from the "Old Friends", "Boats to Build", and "Dublin Blues" recordings that were released before the concert presented here, and that usually find their way into his sets.

   It is the performances that disappoint in the end, though, not the choice of songs. The songs are mostly tried and true classics. Guy Clark may or may not tire of singing his first album for 30 years, but he has remarkable stage presence and can play "Desperadoes Waiting for a Train" a thousand times and make me misty every time. In general, though, the vocal performances are better on the original recordings. There is something to be said for re-recording many of these songs using the acoustic sound found on Clark's CDs from "Old Friends" onward, or perhaps in the simple guitar and bass form often used in his performances. The electric instrumentation used on some of his older albums has left some of his best material sounding dated. But here, with Mr. Clark not hitting some of the notes, sometimes off-key, most of the time I felt I'd be better off just pulling out Old No. 1. Or that he'd have been better off re-recording the "keepers" in the studio. There are some fine moments here. Texas Cookin', though recorded perfectly well in the studio, is a fine performance, and I can't help but smile at Mr. Clark, Jr. on bass doing the riff from Hendrix's "Third Stone From the Sun" near the song's end.

   In short, the songs are keepers but the performances aren't. I have every Guy Clark CD ever made, and I listen to several of them fairly regularly. He is a personal hero in the world of music, and in his corner of this genre, I'll say something he'd disagree with - I think his work far eclipses that of Townes Van Zandt. But this CD has been in my CD player only twice over the years, once when I first bought it and was disappointed, and once today when I was disappointed again. The only good reasons to have this CD are to have a complete Guy Clark collection or to remember this particular concert if you were there.




4. Guy Clark is the unofficial music ambassador for the great state of Texas. His songs are simple and straightforward tackling the always tough relationship department and lightweight subjects like eggs, tomatoes, chili, trains and his home state. ( "Texas 1947", "Texas Cookin" & "South Coast Of Texas" ) He's also intelligent when it comes to a live recording, putting together a great band which includes brilliant sideman - Verlon Thompson. Guy is definitely ON this night balencing songs, stories and laughter. The album literally brings Texas to my home until I can make the next visit. The purists seem to like his first two LP's found on "Essential", the critics pick is "Boats To Build", but the real Guy Clark is "Live" and this one is for the "Keepers".



5. The best thing about this record has to be the way it's recorded. Anyone with a half decent hi-fi system will love it just for that.

   The small band Guy has gathered for this recording are as tight as can be and even Guy himself stays in control of his fingers...

   Great versions of Heartbreak, Texas Cookin' and Home Grown Tomatoes. He's at his best when you can hear the smile on his face. She Ain't Goin' Nowhere is a classic Guy Clark song too. I'm less enthusiastic about some of the slower "moody" songs like Desperadoes (I can never understand the popularity of this one) and he misses out songs from Boats to Build - my favourite album. All in all though, a fine effort.

5 comments about I Heard They Suck Live.

1. no body take the mik out of nofx they r the best band 2 eva enter the earth they rule live i have seen them live 4 times i like em that much everythin is in tune they sing it all rite the talking 2 the crowd and brings it all together they even have mistakes in it nuffin has bin cut out i love the cd its probally there best album apart from war on erroism i love these guys keep goin :P



2. NOFX really do suck live. On CD, at least. Like most "live" albums, this one does not bring out the band's good side. They sound terrible and the cheering and screaming takes away from the music. If you're interested in hearing them live - go see a live show instead!



3. All the goods are on it! waw! what a show it probably was!



4. This is totally the best LIVE record in all the geners in history after LP's LIVE IN TEXAS. I also think it's NOFX's best CD.



5. The quality of this recording incredible, the between song banter is hilarious and the songs they perform are great. I can't think of any other live album by any band that even compares to this. Not only is it a great punk rock disc but it is also going to make you laugh your a** off. BUY THIS CD TODAY!

5 comments about Live From the Middle East.

1. ... "if dimension, fidelity, and artistry are more your bag, Live pretty much bites. --Sue VanHecke"
   
   Sorry Sue, I can't agree with that. Saying the Bosstones lack artistry is almost laughable. The Tones showcase some of the most talented musicians I've come across in my time. Masterful bass playing, a tight brass section, excellent guitar work and frankly, Dicky Barrett's vocal's are individual, endearing and soulful.
   
   All up a great CD!



2. Wow...wow is all I can say about this display of live concert music. The Mighty Mighty Bosstones are my favorite band, and I completed my collection of their cd's by laying down $18 for this cd- and I don't regret it oooone bit.
   Between the awesome blend of songs from all their albums and the raw energy being witnessed, this cd can please anyone who's in the room. Cd's such as Devil's Night Out and More Noises and Other Disturbances weren't all that great to me...but this cd has made me come to love both of those "okay" cd's just because hearing some older songs by MMB played live seemed to bring a new light over them!
   It's plain and simple...BUY THIS ALBUM! It's a must-have for annny MMB fan.



3. Like the Grateful Dead, the Bosstones are better live than recorded. This is essentially a live greatest hits album. It has all the songs of theirs that I could name, good sound, and an amazing 22 tracks. It's the only Bosstones disc I need, especially with "Where'd you go", "Someday I suppose", and half of the "Let's face it" album. Who needs that anymore. If you enjoy that "live" energy, and listen to bands like Fishbone and The Reverend Horton Heat, you'll love this.



4. Recorded during the Bosstones annual hometown throwdown shows right after their breakthrough album Let's Face It, Live from the Middle East actually does a good job capturing the essence of the Bosstones live. It features classic songs as well as a ton of songs off of Let's Face It, all in all it's a massive 22 song collection and every song sounds great. The set opens with 1-2-8 off of Let's Face It, it then goes into the classics Do Somethin Crazy, He's Back and one of my favorite Bosstones songs Devil's Night Out. With this live album they also breathe new life into songs such as Dr.D, Howwhywuz Howwhyam, Cowboy Coffee, and Where'd You Go. All of which are highlights of the album. Songs such as Kinder Words, Hope I Never Lose My Wallet, and Hell of a Hat also sound just as good live maybe even better than their studio recordings. Other songs from Let's Face It include the title track, Rascal King, Noise Brigade, Royal Oil, and their hit single, The Impression that I Get. The band sounds very tight on the live album, as any band would after touring for months at a time. Honestly the one low point of the album is the song Royal Oil, I'm just not a fan of that song, I actually think it's one of the worst song's they've ever recorded. The album ends on a great note also with The Impression that I Get, the classic Someday I Suppose (also featured in the movie Clueless), and the short Lights Out, which features the band members going back and forth singing to each other, definately a highlight of the live album. Live from the Middle East is definately worth the money, of course nothing will ever capture the essence of the Bosstones live but this cd comes extremely close, you should definately check them out if you get the chance to.



5. This live CD by the Bosstones is also a nice pre-Pay Attention "greatest hits" collection. Songs are taken from everything from Devil's Night Out to More Noise... to Don't Know How To Party. Many selections also come from Let's Face It. The recording quality is not as bad as some may say. All the songs do credit to the studio versions, with that touch that can only be felt live. The only song that just plain stinks is "The Impression That I Get" because it does nothing to capture the essence of the original masterpiece. Dicky's voice is in top-form, and he switches from growling to his deep tone very nicely. So there you have it. A live 22-track compilation of some of the Mighty Mighty Bosstones greatest. My only gripes are the bad quality of song 20 and all the unneeded language.

5 comments about 04/6/00 - Manchester Evening News Arena, Manchester, England.

1. This entry from the European Bootleg Series is a real polarizer. People either seem to love it or hate it, which is easy to understand. The show has a caustic, rough edge to it that can be interpreted as sloppiness, etc. There are miscues by the baker's half dozen, but the band sounds like a gunslinger with a bad attitude. The crowd picks up on it,and they love it. The tension and excitement carries into the music; you get the feeling that at any moment Stone Gossard's guitar is going to explode into shrapnel. I think it's great, and I wish I could have been there. 5 stars.



2. Disclaimer: Owner of all 72 official PJ bootlegs. Of all the bootlegs in this series, at least 60 out of the 72 are well worth the money and preserve great Pearl Jam performances on disc. But some shows just had to be below average, and this show in Manchester is one of the worst bootlegs in the series. The problems tonight are a generally careless and sloppy performance, plus many musical errors, and it appears that the band just didn't care what kind of impression they were making. For example, "Evacuation" and "Even Flow" are woefully uncoordinated, with lazy playing by Stone Gossard and Mike McCready that really throws off Matt Cameron's concentration. "Daughter" and "Wishlist" both start poorly and end inconclusively, when the band members simply give up one by one instead of putting together a strong ending. The villain tonight is Stone, who commits many obvious and painful errors that he shouldn't be making on songs he's been playing for ten years. Stone absolutely demolishes the final chorus of "Once," throwing the whole band into a state of confusion. Mike could have saved this show if he felt like it, but he didn't. Mike is barely present for much of the show, and probably spent many songs sitting on a road case and smoking, just standing up once in a while when he got to do a showcase solo. The lowest point is an insultingly lazy take on "Garden" in which everybody sounds like they don't even feel like doing the song. This track barely makes it through to completion. Pearl Jam has really served the fans well by releasing all these bootlegs. Most are great, and a few are below average but forgivable for such a long tour. But this one is definitely near the low end in quality.



3. At best, a great setlist bogged down by a seriously sloppy effort. You might want to skip this one. There are several superb European performances, including Verona, Milan, Katowice II, and Cardiff. However, I guess it all boils down to personal preference. What the heck, a mediocre Pearl Jam show still smashes most of the music out there (raise me a star)!!



4. I bought this CD simply because I was there in the concert hall and it was my first Pearl Jam concert. PJ seldom comes to Malaysia or Singapore, if not never. But I was lucky to be there in Manchester and managed to get a ticket before it sold out.

   About this CD, all the songs are truly magnificent and it has the second best (my opinion) rendition of Black. I find the best to be in a bootleg CD of their concert in Atlanta, GA back in 1995. But most memorable of all, I cried during the concert when Eddie was singing Yellow Ledbetter. It was simply.....beautiful.

   For new fan of PJ, get this album and you'll end up as a fanatic like me! I'm sure you'll love it.




5. There is alot of buzz about the Verona, and Katowice II bootlegs, but Manchester is just as good, if not better. I bought the Verona one, this one, and the Stockholm show. The song selection on all three is great, but this one surpasses all of those that I have heard. Eddie sounds great, and his mood is less moody here than he is reputed. He even is playful. The banter with Stone is great!

   Manchester even has a few tour rarities to listen to. Nothingman, Garden, and Leatherman are all tracks that don't show up often on the tour.

   Eddie's voice seems to peak at this show. Not that he sings badly on any of the others, but he sounds extra good here. The tunes are plays flawlessly by Stone, Jeff, Matt and Mike. This is just a great show. And it appears that others are beginning to think so too, when I bought this the availability was 2-3 days, now it's 1-2 weeks. Get this before it's gone.

5 comments about Live Stages.

1. This is it, Vertical Horizon's Live Stages. The almighty straight shot in glorifying their earlier hits with a live performance you won't forget. This has got to be my all time favorite Vertical Horizon record (alongside Running On Ice). Matt and Keith sing the songs exactly the way you want them to sing it, without becoming too predicable. Everything is executed very well, plenty of beats to get stuck in your head and repeat, and lovably strong lyrics. I can't go on to say which songs are the best, because they are all equally powerful songs. The acoustic and electric guitar sounds put together sound both beautiful and awesome. This live effort goes to show you that Vertical Horizon is much more than their "Everything You Want" hit record. Do yourself a favor; if you even like music at all, get yourself this wonderful CD.



2. I was previously only familiar with VH's couple of radio/mtv hits which were certainly catchy at first but I didn't think were all that great. Then my brother convinced me to give this live album a listen, and I was amazed. Who would have thought that this band had such great depth? If you were as unimpressed as I was with that "everything you want" song and their other commercial successes, you should give VH a second chance and get this live CD. I find it completely different (in a good way) and solid from start to finish.



3. not only of all that i've bought this year, but a shining example of what a Live album should be like and how much you'll enjoy Live Stages. I rarely if ever buy live albums myself. I don't know why, but i've been a VH fan for more than awhile now. I have 5 of their albums including Go both issues of it. But back to this cd it's rockin from song 1 to the last second of the last song. I can help but feel like i'm in the crowd at one of their concerts which i would love to do sometime. Feeling the music, singing and clapping along with others having an excellent time.
   
   I love Wash Away so much it's like 12 minutes long but i tell you will be wanting more even when that's over. It just grabs and brings you right into the music. I also like how a certain song they have people at the concert singing along with them from the jump. It gives crowd participation a totally new meaning. It is but one of the many songs that i love on Live Stages with another being Japan. I can't help but rave about this cd and will continue to enjoy it even after VH releases their next cd. It will get all the play i can give it. Guitars rocking, drums blazing, singing by a couple members in VH just wonderful.
   
   I'm all about this one you should be too so check out Live Stages.



4. I first heard of VH in '97 when I heard the rocking We Are on the radio. After that, I went out and got Everything You Want and their first two albums, along with this one. Let me first say that those 3 albums are incredible. Go is a pretty good album as well but not as good as the first 3. I personally love Keith's raspy, rattlesnakey voice and for some reason, probably record company politics, they decided to make Matt's voice the main one, whereas in the past the songs were equally divided between Matt's higher range and Keith's rolling low range. So, on Go, Keith basically only sings harmonies.
   Anyways, this Live album is incredible. It honestly is one of the best live albums I know. And I have a wide array of incredible live albums by bands such as Rush, U2, Bon Jovi, Aerosmith etc. This album features incredible songs from their first two albums, including a couple new songs never released on studio albums. They are all awesome! One thing you will not know about VH by listening to their studio albums or their hit singles is that they are somewhat of a jam band. Matt can play a sick lead guitar and a gorgeous acoustic, and they reserve much of their jamming to live shows and dont put much jamming into their studio albums. With this live album, you will see just how much they can fully rock.
   The song Wash Away is a killer song, and this album has an incomparible 12 minute rock-out version of it, featuring some of the most amazing, enjoyable guitar and bass solos I have ever heard.
   The song Falling Down starts out with one of the most gorgeous acoustic guitar riffs I have ever heard.
   I can't go on about individual songs because every single one is so incredible. Get this CD whether you are familiar with VH or not cuz no matter what, if you like any music at all, I garauntee you will love this album.



5. all the songs rock. i think there are a better live band than studio. one of the best live cds i have heard. if you like there music i would say go get it you will love it

5 comments about Live at Convocation Hall.

1. I went to see Hayden the night he recorded this concert. He is not only a great artist, musician and songwriter but he thoroughly enjoys being with his audience. He engages with the audience, he tells goofy stories and jokes around (my personal favourite: the story of his cat, Woody and his wild carousing). There were hundreds of people there that night and he talked to the audience as if he were their good friend.
   
   This album is not only a great live recording (two discs) but the best way to experience the best of Hayden. As far as I know, there is no "Greatest Hits of Hayden" (he doesn't strike me as the kind of guy to do that...) and Live At Convocation Hall highlights the best of his career in 2002. If you're new to Hayden start here and explore the rest. He is the great, unknown musican of our era (probably something he doesn't mind - and he'll probably never sell-out like some Canadian musicians have done in the past).
   
   I love this album. It's one of the ways I can travel back in time to a great night and a great show.



2. I will admit, before I write this reveiw that I am a Hayden fan. Something about his music stirs my soul. It could be the simple, yet complex songs. It could be the beautiful, but sad songs he often writes. Hayden is an artist full of contridictions, his voice is scratchy and raw, and really not even that good, yet it fits his music perfectly.
   
   As usual this album is warm. It reminds me of a flanel shirt you put on on a cold, crisp day as you warm up next to the hearth. The recording is good, and this is a live album, so it is not studio tight, but I think that is the point. It is a raw sound, that is often apparent in his studio releases, but here it shines through in all its striped-down glory. It is intimate and you can almost feel his breath in the microphone.
   
   If you are a Hayden fan, I recomend this album. It has a collection of songs from all his previous albums and some tracks that are not easy to get in the states. It is a two disc album, and it would add alot to any music fans library. I hope this helped, and you find great pleasure in this artist's latest release.



3. Hayden's 2-cd live album is, for the most part, simply breathtaking. As well as showcasing some of his best songs (Middle of July, Between Us to Hold, Stem, etc) it captures some cute and funny moments of singer-audience banter. I was at this concert and loved it, and now I have this album to keep forever. I highly recommend it!



4. this is a great, great album. I'm so happy he put out a live album. I seen him live last year in Detroit and met him, cool guy. I was a fan before that concert so I was excited to see him. If you don't feel like getting his older stuff, which i HIGHLY recommend, get this. bob dylan, leanord cohen, hayden. another musician that has talent,no, a gift. just him, his guitar, piano and harmonica.



5. When I first listened to this album I realized just how many great songs Hayden has written. It plays out like a greatest hits CD of his 7 years+ musical career. He is such a strong performer and the recording is intimate. And his in-between song bantor is hilarious. It's beautifully packaged in a foldout digipack and includes a booklet of lyrics with photos. Recommended for all fans of this remarkable songwriter/performer.

5 comments about Live: 03-03-03 - Tokyo, Japan.

1. As with most Pearl Jam bootlegs you get a lot of great songs, a lot of live nuances that change from show to show, and all in all Pearl Jam always give an awesome performance...This show is no different.



2. I was at this concert and it was sold out, or nearly so. Certainly I saw no open seats. Audiences in Japan are known for letting the performers perform, they are a listening people overall and it is a sign of their attention to what is being said. Pearl Jam looked to be having a ball and Eddy even tried his hand at speaking Japanese, the only part I missed was the stories told between songs. None here really, unlike the Cardiff CDs I have. The concert started at about 6:30, as is the norm here. I felt it was a terrific show, all was being filmed as well....where are the videos?



3. So what if there's no crowd noise, I didn't notice until I read some other reviews, must have been listening to the music which is really all that matters. The show is a bit flat, the quiet songs are done with little emotion--Small Town, Betterman, although they do get up for some of the heavier songs--Blood, Evolution. I have a bunch of these live shows, which is how PJ should be enjoyed-LIVE-and I got this one for the cover of Cat Stevens' "Don't Be Shy" which is Eddie acoustic and alone.



4. Because of the mix of the record, you do not hear the audience much on this album. But, the audience went crazy and the band gave a great peformance. The band continued to play even after Budokan turned the lights back on. This could be as good as MADE IN JAPAN by DEEP PURPLE if it is mixed correctly.



5. Part of what makes Pearl Jam such a great live band is the lively, loud crowd at all their shows. I don't know for sure, but I think the Budokan was empty at this one. All the songs that have come to count on crowd participation, from Evenflow to Betterman, sound just like the studio versions- this is a compliment when you apply it to some bands, but not to Pearl Jam. The way Vedder and McCready feed off the crowd's reaction is essential to a good performance, and without the noisy support they sound almost lost. It's a shame, too- on paper, this is one of the best lists the band's ever played, in my opinion. Then again, I actually like 'Last Kiss'.
   
   The highlights, needless to say, are the quiet songs. Don't be Shy and Soon Forget are both keepers. That doesn't make up for the rest of the set, where you have to imagine Ed glancing around to his bandmates, wondering just what is up with the crowd. Maybe it's like this every time they play Japan, but as someone who respects the power of Rock, I hope it isn't.