5 comments about Concertina.

1. The original version of the title track can be found on Amos's fifth solo release, "to venus and back." The version that appears here is a beautiful mix that heightens the effects on Amos's vocals and adds a line of lyrics and background vocals. The result is quite heavenly. The live tracks included are the same as those that previously appeared on the first part of the U.K. "glory of the 80's" singles. Just as the second disc of Amos's "to venus and back" album is a live collection of mostly band songs, this single offers a further look into Amos's live solo performances, played during "secretime" of her 1998 concert tour. The offerings here are the rarely played "Twinkle" and a gorgeous version of her stunning cover of Leonard Cohen's "Famous Blue Raincoat." What was unique about the "Concertina" single when it was first released was that it offered exclusive online access to the never-before-seen-in-the-U.S. video for her U.K. "glory of the 80's" single. Unfortunately, since Amos is no longer on Atlantic records, the company that put out her first six solo albums, the content has been removed.



2. The Concertina single from the album to Venus and Back is not disappointing in the least. The new Mix of "Concertina" takes out some instruments in a few different parts of the song. It doesn't detract from the original much and is pretty good. The live tracks are very nice indeed. Tori's cover of "Famous Blue Raincoat" is right up there with her "A Case of You" cover. Hearing this live makes it sound great and the piano is flawess. I am highly impressed with this live version. The other live song is "Twinkle" from Boys For Pele.Although it's kind of an odd song to put as a live B side it fits perfectly with "Blue Raincoat" and it pleasantly good. This single can be found cheaper on places like ebay and such, but it's a great single for Tori fans,new and old.



3. This single contains the same alternate tracks as "The Glory of the 80s" Pt. 1 UK Import. Obviously, this US release is easier to find and for those fans concerned only with the obtaining of B-sides this single is a a required purchase.

   The B-sides for this single are the live version of "Famous Blue Raincoat" and "Twinkle." "Famous Blue Raincoat" is a Leonard Cohen cover that cannot be found anywhere else, and is a low key yet poignant attempt at one of the greatest songwriters of the 20th century. The archaic lyrics make it sound as if it could be a Tori Amos original, yet because it isn't it lacks the emotional sincerity that make Tori's songs so meaningful. "Twinkle" was one of the most precious tracks off of "Boys For Pele" and the live performance captures its ephermeral beauty. Combined, these two tracks make this single a worthy purchase and necessity for even moderate Tori fans.




4. This CD contains the song Concertina from the Venus and Back album along with two previously unreleased tracks of significance. Concertina is one of Tori's more melodic songs, and it quietly works its way into your mind and remains there replaying itself over and over for hours. This mix offers no significant departure from the original, though. As is almost always the case, the important part of this CD single is the brand new Tori tracks it offers. Tori fans speak highly of Leonard Cohen's Famous Blue Raincoat, so I was quite eager to hear the live version on this track. It is the real gem of this CD single. A live version of Boys for Pele's song Twinkle completes this little collection. It is always interesting to hear Tori's live presentation and interpretation of a standard album song. I don't find Twinkle to be one of Tori's more moving songs, but it is beautiful nonetheless. I would like to be able to describe the bonus Glory of the 80s video this CD provides access to, but the video will simply not run on my computer under any browser. Despite this disappointment, this is yet another wonderful Tori Amos CD single that should have a place in the collections of all Toriphiles.



5. The single mix of "concertina" always leaves me aching for more of Tori's voice... that sweet, sweet sound. This remix isn't a techno dance mix; it just amplifies the song's sweetness. Then she does a cover of "famous blue raincoat" by Leonard Cohen, which is a song that I had never heard before. I'm glad Tori covered it, because it is a beautiful song. From there, the applause leads into a live version of "twinkle," from Boys For Pele. This is a special song to me, because it inspires me again and again to not give up. It reminds me to twinkle.

   Included on this single is the video for "glory of the 80's." This video features Tori in a black dress, suspended by wires attached to a square, metal frame. When finally cut free, she looks like a gothic faerie as she flies away with giant black wings. Intriguing.

5 comments about Live in Los Angeles.

1. Recorded at the Los Angeles House Of Blues on November 26-27, 2004. I saw X play a slightly over a year prior to this particular show. Every bit as fabulous as their 'Live At The Whiskey A Go-Go' disc (see my review). Was also impressed with the difference in the set list between the two CD's - you know how too many bands that haven't put out an all-new CD in awhile they usually perform (pretty much) the same songs on every tour? Some material on here I don't remember right off - like "Your Phone's Off The Hook, But You're Not", "In This House I Call Home", "We're Desperate" and "Nausea". Of course, there's the familiar X goods that no one can ever forget such as "White Girl", "The New World", "Johnny Hit And Run Paulene", the slamming "Devil Doll", "The Hungry Wolf" and their stunning Doors cover "Soul Kitchen". A must-have classic punk title + a true keeper. Great sound quality - essential listening.



2. I have been lucky enough to have seen X quite a few times and this is pretty close to the live experience. All that's missing is the sheer volume (which you can adjust to your neighbor's limits!), the swirling mosh pit and a sticky beer soaked floor.
   There are a couple of songs where Exene seems to be phoning in the lyrics, but that's just how she is sometimes. She has this kind bored and detached coolness that you just have to like.
   As usual, Billy Zoom, John Doe and D.J. Bonebrake hit it and hit it hard.
   Also, John's voice sounds great. He is really a fine singer (check out his solo stuff too!!).
   There is also some pretty funny banter between songs. I'm glad they left that in.
   I'll have to buy the DVD to see how many time John knocks over his mike stand as he becomes consumed by the sheer power of it all and thrashes about, and to see Billy's million dollar smile!
   Also, the packaging for this release it quite nice. Sometimes companies these days cheap out, but this is well done without seeming like a tribute. Good photos and liner notes by Flea. All in all, a job well done.
   Cheers!



3. Especially to Exene--find a pitch and try to stay on it.



4. ...and this cd blows me away. I only discovered them fully about a year ago and since then have tracked down everything X, Exene, John, Knitters, Aunti Christ, Original Sinners etc...and am obsessed with this band. Love that there is finally a live recording with Zoom. (although as someone else said, their 1988 live album with Tony Gilkyson is also awesome.) Get the dvd too. Both are incredible.



5. As the first reviewer stated, it is hard to believe this is a reunion show, rather than something from the mid-80's. Actually, I thought that John and Exene's vocals were fantastic- Exene seems to have gotten away from her attempts to "prettify" her voice, and back to her magnificent quirky self. It's so great to have a live recording with Billy Zoom (although the Live at the Whisky a Go Go with Tony Gilkyson is also entirely brilliant, and completely worth having). The version of Devil Doll on here is worth the price of admission alone. Play it at about "12" on the best sound system you can find. Bottom line- this is a fantastic album, whether you are a fan from way back or a new one.

5 comments about Bootleg Detroit.

1. If you're considering this album, you're probably already familiar with Morphine and have some of their stuff. "Bootleg Detroit" provides a glimpse into their live show, and yeah, the sound quality isn't the greatest, that's why "bootleg" is in the title. Apparently some people (see rorscach12's review below) are too slow to get that. and the fact that stage "banter" is included is part of what makes this release cool, some people don't get that either (see same simpleminded review below). for those who never got to see them live, it's interesting to hear that part of a live show. plus there's material (Come Along) you won't hear on any other releases. if you're a Morphine fan, should probably get it, if you're just getting into them, pick up another studio album first.



2. This is Morphine at their raw best! This recording is a snapshot of one of Morphine's best live performances ever! Mark stated the following year that "the last time we played here at St. Andrews was one of the best shows we've ever had". The band was touring in support of their hit album "Cure For Pain" when they rolled into Detroit on this Monday night to play to one thousand lucky fans at this packed, intimate Detroit club. I remember leaving the show that night with the master tape in my bag -- that is now memorialized on the this disc -- feeling completely energized and transformed. I was repeating the phrase "that was the best show I have ever seen" over and over to any one who would listen. I thank God I was rolling tape that night, recording the "Morphine experience". Unfortunately, when Mark edited it he left out 20 minutes of great music. However, the 40 minutes that is there is exceptional. I am grateful Mark had the opportunity to again enjoy this stellar performance and found it worthy to share with all of you. He is greatly missed. If you never had the chance to see Morphine live, or want to relive the experience, buy this cd, turn the lights down low, close your eyes, crank up the volume and experience the power and magic that was Morphine! Cheers, Alan



3. Morphine's Bootleg: Detroit is a textbook example of how not to assemble a live album: Take a fairly average performance; record it with second-rate equipment; do not eliminate any of the lead singer's banter, no matter how tiresome, mummbly and hackneyed ("Thank you very much, Detroit, Michigan. We're happy to be here") and leave almost half of the disc blank (Don't be fooled by the fact that Bootleg: Detroit contains eighteen tracks. Every instrumental prelude and piece of banter is considered a selection. The album is eleven songs and only forty minutes). Diehard Morphine fans who may already possess a stack of better, actual bootlegs of the band's shows, should be disappointed by Bootleg: Detroit and neophytes can certainly find better examples of the band's slinky night-rock than this murky recording of a sub par concert.



4. BUY IT!!! If you like Morphine, or kinda like Morphine, or have never even heard of Morphine, buy it. You won't be dissapointed. There are no bad songs on the album. It even has the onstage banter with the crowd. There are few bands that have been able to accomplish what Morphine has. With only 3 musicians in the band the have been able to create a huge sound and with great diversity. Mark (rest in peace) Sandman is a master with the great art of composition. With such talented musicians they have been able to create a sound like no other. And this "LIVE" album showcases their great ability and beautiful art. BUY IT!!!



5. Good smattering of Morphine -- gives you the flavor of a live Detroit performance. Not as polished as a studio track though, so if that bothers you you might want to think twice. Personally, I think it's pretty good.

5 comments about Blow'n Chunks.

1. Great sh#t. A good introduction to a great influential heavy punk band. I first heard of Flipper because Kurt Cobain wore their t-shirt when Nirvana played on a 1992 SNL episode. They really are a seminal grunge band, and more than that. Since 1982, Flipper was celebrated by rock critics for their classic, but tragically out-of-print Generic album. Blow 'N Chunks, a 1983 recording at CBGBs, is one of the few Flipper recordings that isn't out-of-print. Beggars can't be choosers, so all fans of heavy punk/post-punk(Jesus Lizard, Black Flag, Melvins, etc.) should check this out.



2. "Blow'n Chunks"(the original, nine-song cassette on ROIR) was my introduction to the disturbing, amusical rumble of Flipper. I wore that tape out and then came across a copy of their debut, "Generic"...only to be sorely disappointed. In the studio, Flipper were a little too manicured, a little too controlled. Live, they were downright murderous!
   The sound quality here is poor, yes, but that's irrelevant. If anything, the bad sound ENHANCES the vibe of Flipper's songs, giving them an extra-thick patina of rage, anxiety, and despair. The band sound as if they're performing from deep, deep underground, ranting furiously at the world above--a world in which they cannot take part. The versions of 'Way of the World', 'Shed No Tears', and 'Ha Ha Ha' contained herein are all vastly superior to the studio recordings, in my opinion; they grab you by the throat and refuse to let go.
   Single most memorable moment: the introduction to 'In Life My Friend'. I defy you to listen to that bass line, that single, damaged chord being struck over and over, and not feel like the world is coming to an end. Flipper were brilliant.



3. Outside of that, the others have pretty much nailed it about the quality of this release. So why give it 4 stars? It's Flipper. What's Flipper? Well, when I was much, much younger, I won tickets to go see Flipper off KSJS (San Jose State's radio station) for knowing that FESTUS is the deputy to Marshall Dillon on Gunsmoke. The fact that *THAT* kind of trivia question served as my ticket to go see Flipper live should tell you what you need to know. If it doesn't, you'll never get it and you should just stick to buying Olivia Newton John records.



4. FLIPPER Rules, OK? But this CD SUCKS. "Generic" Their masterpiece is out of print. Roir markets this album as an assortment of their greatest hits...it is not. This CD has been hands down my biggest disappointment in music EVER. These live versions completely ruin the songs. I've been a Flipper fan since I heard "Ha Ha Ha" on AT's "Let them eat Jelly Beans". This album is the worst. Tell you what...for your money you would be better off buying the Melvin's Singles...they do an awesome cover of Flippers "Way of the World"...They also do "Sacrifice" on the Melvin's record. Will someone please reissue "Generic" and PLEASE do not re-mix it. It was fine the way it was.



5. 
   I should point out that I love Flipper. I love that a punk band can create something so heavy and visceral without playing at the standard breakneck pace. I love the sarcastic poetry of the lyrics and the simple-but-clever rhythms. I love how they violated every rule of punk rock dogma and were still ten times as original as the other crap being made at the time. But this is just awful.
   
   I've bought enough live punk records to know what to expect: terrible sound quality, songs that are indecipherable from each other, amplifiers hissing feedback into the microphones, musicians that are too high to perform...Maybe that would be the point with a live Flipper record, because they took pride in driving away fans at their shows. But I buy records to listen to them, not to have as conceptual art conversation pieces. This is so painful that it's like the musical equivalent of a Warhol movie (and the joke's on you).

5 comments about Our Lady Peace - Live.

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



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



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



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



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

4 comments about Live at CBGB's.

1. ...this is a piece of history...a time that, sadly, i believe, we will never see again...
   
   bands like tuff darts, the shirts, the laughing dogs, mink deville...all great...
   
   and the atmosphere comes thru the vinyl...i mean, disc...
   
   and dale...sorry to hit you with a second shot, but to further disprove your theory of these acts not going anywhere after this, yes, robert gordon was singing for tuff darts, mink deville is actually playing b.b.king's club this month in manhattan (thirty years after the fact), and the shirts have not only released another great album this year, but their lead singer of the day, annie golden, went on to be seen on the big screen in movies like "hair", "12 monkeys" and "it runs in the family"...
   
   but, that's neither here nor there, because what was important was THERE, the place where every musician was a musican...not some joker trying to land a big recording contract...we played because we loved the music...and we loved being around each other...
   
   no, there will never be another cbgb's, despite their attempt to bring it to vegas...
   
   somehow, i just can't picture wayne newton as the newest 'ramone'...



2. Although none of the best-known NY bands are heard here (oh, the record contracts flying around CBGB's in 1976...) cult favorites Tuff Darts (Robert Gordon), Mink DeVille, and the Shirts sound like they're having a great time. This collection, recorded over three nights in July, 1976, shows the New York rock scene going in all different directions, while that same weekend the Heartbreakers and the Ramones were staging their own first British blitz of London. It's surprising how "radio-friendly" most of this music seems now. In the days of multi-platinum Peter Frampton and Fleetwood Mac, though, Manster's sped-up cover of the Yardbirds' "Over Under Sideways Down" was absolutely radical. Imagine that. And though it's true there's no real missed opportunities here, its a terrific snapshot of a time, a place, and an energy that's likely not to happen again.



3. Actually, Dale, some of the performers did go further than this album. Mink DeVille may never have become a household name, but the band and its leader, Willy DeVille, released a slew of terrific albums. DeVille still records a new album every couple of years with exceptional quality stuff on every outing. Tuff Darts had a pretty decent first release that got loads of airplay in NYC, but the band's lead singer on Live at CBGBs was none other than Robert Gordon who spawned the rebirth of 50s rock and roll revival bands like the Stray Cats, the second coming of Link Wray, and many others. Gordon released several very strong albums and was a real critical favorite at the time. The quality of recording here is fair at best, but the youthful energy pours out of every song. This is a document of late 70s NYC New Wave which, at its best, was every bit as good as the British counterparts of Elvis Costello, Graham Parker, et al. Would've been nice to get a couple of other CBGB bands who did make it bigger on this disk --Blondie, Ramones to name a couple. Work the money, though.



4. This CD is an attempt at the collection of the CBGB's scene of the late 70's emerging punk/new wave music. Unfortunately, none of the bands represented made it beyond this album. You get great hits like "We Deliver" and "Slash", but overall the musicianship leaves something to be desired, though the emotion is there.

5 comments about Lou Reed Live: Extended Versions.

1. Rock 'n Roll Animal remains a classic from Lou's early solo era; Extended Versions adds to the legend. Taken together the two form a satisfying whole. "Vicious", "I'm Waiting for the Man" and "Oh, Jim" equal anything on Rock 'n Roll Animal; indeed, it's hard to understand how the original release omitted some of the gems you'll find here. Steve Hunter and the backing band are superb throughout. The missing link has been restored. Long live the rock 'n roll animal.



2. Excellent album! Who says this "second set" from the R&RA sessions didn't achieve greatness??? "I'm Waiting For The Man" and "Oh Jim" are the amazing jammy standouts. If you loved R&RA as much as I do, you'll love this too. For fun you could iMix the whole thing into the full show: Intro/Sweet Jane, How Do You Think It Feels, Caroline Says I, I'm Waiting for the Man, Lady Day, Heroin, Vicious, Satellite of Love, Walk On the Wild Side, Oh Jim, Sad Song, White Light / White Heat E: Rock 'N' Roll



3. Hmmm... this one was, first of all, not nicely marketed. The real title of this album, as released in the 80's, is ''Lou Reed Live''. Its content is no more than rests from the ''Rock & Roll Animal'' sessions, which despite of being his best-selling album is not EVEN a register of one of his best live performances. The first time I saw this item announced here, with no cover picture and the 'live' thing excluded from the title, I instantly bought it hoping that it was a compilation of extended versions and that I would, for instance, get the complete sax session of ''Walk On The Wild Side'' and other nice stuff for freakie fans. But this has not been the case, and due to the misleading title I got a 3rd unnecessary copy of ''Lou Reed Live''. If you really know what you're getting here (so-so Reed live performances), then go ahead and complete your collection. Otherwise go check ''Take No Prisoners'' for the raw, real acid Lou or ''Perfect Night live in London'', ''Animal Serenade'' or ''Lou reed live Italy'' for more anthological live performances.



4. The searing guitar work alone is worth the price. This CD is the necessary companion to Reed's "Rock 'n' Roll Animal."



5. I was pleased to hear about this album because Rock & Roll Animal is one of my favorite "live" albums of all time. If not one of my favorite of all time period! The musicians on that album are great, especially the bass player. My only complaint was that it didn't seem long enough. Then a friend told me he thought there was another album that contained the rest of the show. This was before I had internet access, so it was hard to find what I was searching for, espesially without a name for the album. I finally found it and the name said it all "Lou Reed Live" If your a big of a fan as I am of Rock & Roll Animal then you'll love this. It has all the songs that you might have imagined or wished were on Rock & Roll Animal, it was like coming back to the concert after a beer & bathroom break. As I said it has the same great musicians on it & Lou's singing couldn't be more emotional. The sound quality isn't up to todays standards but that's what I think gives it that great 70's "live" sound. The only thing that would make this album better is if they would package it as a 2 disc set. That would be a great introduction for any listener to Lou's genius. If your not a fan of live albums I'd suggest "Transformer & Berlin" for a great start. Both of those albums have songs represented here, as well as some of his work with The Velvet Underground. If you've purchased this c.d. grab your beer, take a seat & enjoy the show!

5 comments about Toward the Within.

1. I must admit that I had this CD for a long time, and only casually listened to it (being much more absorbed with DCD's studio albums). Recently, I brought it out again and gave it a fresh, concentrated listen.
   
   Dead Can Dance has always seemed to me to be three bands -- the one that was Brendan Perry, the one that was Lisa Gerrard, and the one that was both of them together. That's not a criticism, but an appreciation of how they could capture such a cohesive trinity in their work.
   
   This recording is no different, and in fact adds the extra dimension of live intimacy.
   
   Many of these songs you may have heard on their other albums. But not this way.
   
   (Also equally entrancing, the concert DVD: Dead Can Dance - Toward The Within)



2. One thing to bear in mind when choosing Dead Can Dance albums is that the duo of Lisa Gerrard and Brendan Perry went through at least four distinct stylistic phases, so you may find that certain albums appeal much more than others. This live album is a wonderful starting point, because it straddles a broad range of their musical styles and abilities. Also, while most artists' live albums simply rehash their existing popular work, of the 15 tracks on this album, only four (Yulunga, The Wind That Shakes the Barley, Cantara, and Song of the Sybil), have appeared on previous DCD releases, making this an individual album in its own right. (Studio versions of two of Lisa's tracks, Persian Love Song and Sanvean, later appeared on her solo Mirror Pool release.) Both performers have never sounded better vocally, and are backed by a band of multi-instrumentalists with impeccable musicianship.
   
   The album opens with one of DCD's all time best tracks, Rakim, long a staple of their live shows but making its first official recorded appearance here. Brendan and Lisa work as an integrated team here, melding her shimmering yang ch'in (Chinese hammer dulcimer) and lilting vocals with his rich Sinatra-like baritone over a driving percussion beat. Percussion is also used to great effect on a later track, Oman, which has a somewhat African and middle eastern flavor. Lisa shines on her vocal showpieces of Persian Love Song, Yulunga, Cantara and Sanvean, demonstrating her amazing multi-octave vocal range. Haunting flutes feature prominently on Desert Song, Piece for Solo Flute, and I Am Stretched On Your Grave; the last is a masterpiece of gloomy goth stylings resonantly delivered by Brendan over an ominous drone. Tristan and Song of the Sybil feature the group in its traditional medieval mode.
   
   The most surprising tracks on the album, which have no stylistic counterparts in DCD's studio work, are three original songs by Brendan: I Can See Now, American Dreaming, and Don't Fade Away. These find Brendan in a singer/songwriter mode, primarily accompanying himself on acoustic guitar, conjuring up comparisons to Tim Buckley and some of Bruce Springsteen's more introspective work. The last two tracks mentioned are among the best songs on the album, but if there is any criticism of them it is that they really don't fit stylistically with the rest of the album or the group's overall oeuvre. In fact, these songs foreshadowed the musical directions Brendan would pursue in his later solo album, Eye of the Hunter.
   
   Listeners finding that they like the medieval styled tracks on the album should check out Aion. Those drawn to Cantara, I Am Stretched On Your Grave, Persian Love Song, and Sanvean should check out Within The Realm of a Dying Sun, Spleen and Ideal, and The Serpent's Egg, along with Lisa's solo album Mirror Pool. Those drawn to Yulunga and the more middle eastern tracks may want to check out Into The Labyrinth, which also features some more straightforward pop songs by Brendan, as of course does his solo album Eye of the Hunter.



3. I was without the internet/cable for several days and I don't own a radio, so I popped this cd in to listen to. I expected that I would tire of it after two or so repetitions, but I didn't. There's such a wonderful variety of styles of music on the cd that it never feels redundant. From start to finish you travel a wonderful journey that never gets old. Not even when you're playing it on constant repeat for 24 hours straight.



4. Sometimes they sound like cloistered monks, at other times like Druid nature worshipers, and at others like North African nomadic tribes. Their range is amazing as you hear the sounds of Palestine, Ireland, and Libya combined with a very contemporary existential presentation of dark brooding, mournful loss.
   
   Brendan Perry and Lisa Gerrard seem like contemporary priests of the earth goddess mourning the end of the harvest and the coming winter. At other times Brendan Perry's dark masculine smooth baritone seems to be romantic and passionate, as if we mourning the loss of a lover.
   
   The instrumentation is excellent with a broad range of world instruments. In this CD, which was made from a live performance in Santa Monica California, the power of a live presentation with its required spontanaeity heightens the work.
   
   There were many strong selections on this CD, but some of the best are: Rakim, Piece for solo flute, The wind that shakes the barley, American dreaming, Oman, and Don't fade away. Some of these works are on other CDs but the live performances have an immediacy that is very nice.



5. About the Band:
   Dead Can Dance is considered the seminal example of the ethereal (in the US) or heavenly voices (in Europe) genre. In fact, the name of the label, 4AD, which carried many of the 1990s DCD releases, is sometimes also used to describe this genre of music, which is a fusion of subtle electronics, vocals, drums, world music, and a near limitless count of instruments. Brendan Perry sometimes has been described as a gothic Frank Sinatra. Lisa Gerrard's enchanting vocals are often sung in a language only known to Lisa. I count myself among the many that hold these two musicians in the highest esteem.
   
   About the Album:
   Toward the Within is a live album from 1994, and though many music fans will often prefer the quality associated with a studio recorded album, I personally feel that heavenly voices music is designed to be emotional and moving ... and this album has a sincerity that will touch any listener. Toward the Within is one of my favorite albums. Fans of Brendan Perry's vocals will likely be more pleased by this album, as he provides the lead on the majority of the tracks.
   
   Recommended Tracks:
   - I Can See Now
   - Don't Fade Away
   - Rakim
   - American Dreaming
   - Desert Song
   - The Wind that Shakes the Barley (I like this live version better)
   - Cantara
   
   In contrast to two very popular DCD offerings that are also worth checking out, Aion (which is very medieval sounding) and Into the Labyrinth (which is a bit remorseful and dark), I found this entire album extremely uplifting and inspirational. I can't stress enough how much I wish I could sing like Perry, and the truth is that I find myself doing so with this album. Fans of folk and romantic music will absolutely love this album.
   
   Similar Artists:
   If you love DCD because of Lisa's and Brendan's vocals, then I am confident you'll enjoy the following heavenly voices artists:
   - Impressions of Winter (hard to find) - considered better than DCD, by many DCD fans lucky enough to hear them!!!
   - Das Zeichen
   - Love is Colder Than Death
   - Deine Lakaien
   - Qntal
   - Helium Vola
   - Corvus Corax
   - Soil & Eclipse

5 comments about Luna Live.

1. I've only been listening to Luna for about two years now and can't be considered an expert. I kick myself one every couple of months for having lived in NYC in the 90's and seeing their name in the paper and yet never going to see them. I did get to see Dean and Britta play a show and renting that dvd they have really gives me an idea of how fine they were and are! Anyhow, I've bought all the albums and for what it's worth I listen to this the most. Maybe cause I used to be into jambands and the quality of a live cd doesn't bother me as long as there's some rocking nuiances that aren't on the album originally. There's plenty here!



2. There's a couple of duds on this, but for the most part, it's got great jam versions of studio songs. If you're a Luna fan, it's well worth adding to your collection.
   
   I wouldn't recommend it as a starting point for new fans, since you'll want to be familiar with several of their albums before you can fully appreciate the nuances they do here.



3. Luna Live achieves the goal of any good live album. It introduces newcomers to this near-legendary alternative band, while showcasing enough new twists on their material to satisfy the most diehard of Luna fans.

   Recorded at New York's Knitting Factory and Washington, D.C.'s 9:30 Club, Luna Live is much more than a document of their The Days Of Our Nights tour. Although the dark moodiness of that album's sound is apparent here, it's tempered with remarkable subtlety -- a quality often lost in live recordings.

   How that subtlety is achieved is what makes this CD worthwhile. There are fourteen tracks on Luna Live, and each is performed with a nearly ascetic, bare-bones ethos. It's as if Luna had decided to strip each song to its essentials, thus putting their lyrics and melodies front-and-center.

   The CD does have its share of flaws, however.

   What leaps out from its tracklisting is that no less than seven songs are culled from 1999's Penthouse album, and two of the songs are covers. For a band with no less than five studio albums, the remaining five songs are taken from their other four albums. Secondly, despite the masterful guitars of Dean Wareham and Sean Eden carrying the melodies, Wareham's deadpan voice tends to flatten the live intensity of several of the songs. All in all though, Live is a solid concert album that should please neophytes and connoisseurs alike.




4. This was my first Luna record. What a way to begin!! I listened to the first couple of tracks on numerous occasions at the listening booths of numerous music stores and eventually broke down and bought it, mainly for the wonderfully enticing rendition of "Bewitched." Upon listening to the album in its entirety, and on a decent stereo, I was utterly amazed and completely smitten with this wonderous band. I have since bought a few of their other recordings and also had the opportunity to seem the band perform live down in Providence. This disk is perfect for both the Luna novice and the long-time fan.



5. So I am a relative newcomer to the bands music, but I have seen them live. Although I agree that this CD is not nearly as magical as the real show, I have yet to hear a live CD that is the same as the experience. And isn't this the whole concept of recorded sound in the first place, to try and imitate the live event. We all know an imitation is never as good as the real thing. Seeing them in concert makes this CD even more special because the memory of the show can live on in your head over and over.

   A great selection of songs from a great band to. This CD had all of my favorites, and I love this version of Puptent (the album version never quite did it for me). If you are a luna fan it is a must have, and this would be the second album after Bewitched I would recomend to a newcomer.

2 comments about 11/6/00 - Rock In Park, Nurnberg, Germany.

1. Disclaimer: Owner of all 72 official PJ bootlegs. Pearl Jam has done a huge and unique service to their fans by releasing recordings of all 72 shows from the 2000 world tour. With no editing or remixing, these bootlegs show just how human the band really is. Since they're human, you can't expect them to blow you away with every single one of these bootlegs. People who went to this show in Germany would have been completely pleased by this performance, but collectors of the bootlegs will find that this was a below-average show, as compared to the better entries in the series. There are a few surprises in tonight's set list, such as the unexpected use of "MFC" as the opener, plus good takes on the relative rarities "Gods' Dice," "Spin the Black Circle," and "Leaving Here." There are a few other strong moments, especially "Once," "Black," and Mike McCready's great outro to "Yellow Ledbetter." But despite those few winners, overall this show is fair-to-middling at best. While talking to the crowd, Eddie Vedder describes the band as "five fairly scruffy guys." That's also a pretty good description of this below-average show.



2. This show isn't as long as the Forum show or the second Katowice disc but it holds a few surprises of its own, especially the appearance of "MFC" as an opener. This is the first rocking opener played on the tour and quite rare for a band that tends to kick off sets with a mellow song. Other highlights are "Lukin," with Ed barking the lyrics, and an extended Improv before the main set closer "RVM." "STBC" and "Leaving Here," are stand-outs from the encore. Overall an interesting set list from a shorter than average show.