1 comments about CBGB OMFUG Masters: Live 2/3/03, The Bowery Collection.

1. Over their 20+ years in "the biz", the Queers have put out 4 full-length live albums: 1994's SUCK THIS, 2000's LIVE IN WEST HOLLYWOOD, 2007's WEEKEND AT BERNIE'S, and this show from 2003. SUCK THIS has the best sound, probably because it was recorded in a small room in front of a few people. The other 3 are somewhat comparable in sound quality. This show from New York City's CBGB's (a dive bar, but a famous one) is worth getting, if only for the songs rarely (or never) heard on other Queers's albums: "Blabbermouth", "Murder In The Brady House", "I Will Be With You", and "Yeah, Well, Whatever."

3 comments about Your Choice Live Series.

1. Recorded live January 23, 1991 at Oberhaus in Alzey, Germany. Here is the track listing:
   
   1. Heater Moves And Eyes
   2. At A Crawl
   3. Anaconda
   4. Eye Flys
   5. Koolegged
   6. Tanked
   7. Let God Be Your Gardener
   8. Revulsion



2. If you can find it at a reasonable price, this is a high-quality recording of the Melvins in Germany, 1/23/91: just months before their album Bullhead was released. You get one song from Bullhead ("Anaconda"), four from Ozma ("At a Crawl," "Kool Legged," "Let God Be Your Gardener," "Revulsion"), two from Gluey Porch Treatments ("Heater Moves and Eyes," "Eye Flys"), and a 44-second noodling from Buzzo and pals ("Tanked"). The LP/CD was part of the Your Choice Live series which donated part of the proceeds of each release to an organization fighting the fur trade.
   
   The line-up here was King Buzzo, Dale and Lori (Lorax) on bass. All the heavy rumbling power you would expect from early Melvins. Please expose people new to the Melvins to the sluggish, slow-as-molasses, is-it-ever-going-to-start intro to "Eye Flys" and watch them flee the room in abject terror. Meanwhile, those of us who enjoy the Melvins will sit blissfully with evil grins on our faces.



3. This excellent live album from Germany showcases very fine renditions of some of their bestm early material. This is my favorite collection of Melvins 80s output.

2 comments about Silver Side Up / Live at Home (CD & DVD).

1. I recently recieved this as an Easter gift. The format that Amazon descibes isn't exactly correct. They say this is live, when the CD is not, but the DVD is. I have owned 4 copies of this disc since it came out in '01, because I played them to death. This is absolutely worth the money. Plus, if you're an Alice In Chains fan there is a little bonus. On the live DVD, Nickelback+Jerry Cantrell perform "It Ain't Like That", a song off of Alice In Chain's "Facelift". I highly recommend this live DVD+CD set, it's one of the best.



2. As a fan of Nickel back this is the bomb, I wish more bands bunddled DVDs with CDs or put both video and thier tracks on DVD.

3 comments about Rockin n Reelin in Auckland New Zealand.

1. SMOKING!!I've been wanting to get a copy of 'Rockin'...' for a few months now.Was recorded at the Galaxy in Aukland,New Zealand on Aug.30,1986.Notice the recording has some fuzz and slight distortion intact,but maybe the producer of the disc meant for it to be that way.Really doesn't deter from the quality of the CD,at least I didn't think so.A lot of this live set draws from the band's 'Date With Elvis' album.Lux,Ivy&crew rip through a set of classic rambunctious psychobilly as ONLY they can.So many upbeat tracks to mention here,like "Hot Pearl Snatch","Sunglasses After Dark",an Elvis cover of "Heartbreak Hotel","Do The Clam" and "Can Your Pussy Do The Dog".The three bonus cuts tagged on are okay.Better than their 'Smell Of Female' CD(see my review of that disc).A must-have for any true Cramps fan.



2. OK, the sound quality on this isn't the best, but it ain't half bad either. Not quite as good as Smell of Female. The psychotic CRAMPS energy is definitely there, manifested by massive chunks of guitar spew and big drum beats and Lux's maniacally musical vocals. Having seen them live I can picture what was happening on stage when this was recorded, and it must have been a blast of a show. Definitely recommended for Cramps fans.



3. When I started buying the remastered recordings made by the Cramps, my collection had included this live album. I thought it was good at first because it introduced me to some of the songs from "A Date with Elvis" and "Songs the Lord Taught Us," but after a while I realized as a live album it lacked something. Maybe it was low on excitement or it was just plain cheesy.
   If you are a Cramps fan currently looking for a live album, buy "Smell of Female," because that recording is so much better than this one. "Smell of Female" not only has a lot of original songs, but it is fueled by the adrenaline "Rockin" lacks.

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 20/6/00 - Arena, Verona, Italy.

1. WOW. This CD is the best purchase I have ever made. It has, I believe, 32 songs, and the set list is incredible. I love this night's version of Yellow Ledbetter, Wishlist, Given to Fly, Do the Evolution, RVM and MFC. The sound quality is perfect and the crowd does get into some of the songs. I have heard the cds from Poland, Jones Beach and Las Vegas, and this was my favorite by far. Even when Eddie messes up, the songs sound great.



2. Disclaimer: Owner of all 72 official PJ bootlegs. This massive show has one of the longest set lists in the entire bootleg series, with a whopping 31 songs, and also has one of the longest running times. Apparently Pearl Jam was feeling sentimental about playing in Verona, as they hadn't been there for a while, so they pulled out all the stops for this show. Granted, the musicianship in this performance is not very noteworthy and can be considered rather average (as compared to the rest of the bootleg series), and there are many mistakes. Also, the extra-long set list starts to really drag during the huge encore, and the show really runs out of steam near the end. However, the band's enthusiasm and love for the fans are what set this show apart. There are many surprises in the set list, including a little bit of "O Sole Mio" at the end of "Even Flow," Mike McCready's insertion of some Black Sabbath riffs into "Porch," and intense jam sessions in "Daughter" and "Rearviewmirror." In the covers department, Tom Waits' "In the Coliseum" appears for the only time in the tour as Eddie Vedder's crowd pleasing chant-along, while Split Enz' "I Got You" makes one of only two tour appearances (although the band's rendition is pretty undeveloped). The highlight of the evening is a grandiose and transcending take on "Immortality" which is even greater because Eddie actually remembers all of the lyrics. They didn't perform this incredible song too many times during the tour, possibly because poor Eddie had such trouble with the words, but tonight everything works, and not just in this song.



3. This is an unbelievable set! The sound quality is excellent for a live recording. The show begins with one of my personal favorites, Long Road and kicks right into Grievance (personal favorite from Binaural). From there the stage is set for a great evening with Pearl Jam. The crowd is totally into the show, PJ's palying to the vibe which creates some great moments for us on this disc. I believe there's actually 32 tracks on these two CD's. They feel the need to play extra long this evening due to the fact that they haven't been to Verona since their No Code tour! Pay careful attention to "I Got You" it's a nice surprise. Great starter set for fans that have only begun the collection process.



4. When I bought this I was a casual Pearl Jam listener. I bought this because of the song selection and two cd's for the price of one, you cant get a better deal. When I popped it into my CD player I was blown away. Unlike many other bands out there these days Pearl Jam sounds just as good live as they do in the studio. This is an awesome band and I encourage anyone who enjoys Pearl Jam to immediatly Buy this.



5. The Verona, Italy album is an excellent addition to any cd collection (whether for the hardcore PJ fans or newcomers). I own 2 of these bootlegs (verona and spodek-night#2) and this is definitely the better of the two, even though both are phenomenal. Eddie Vedder is on top of his game. Long road, wishlist, state of love and trust keep disc one going strong from start to finish. Disc 2 is even better, with a very raw version of RVM and an amazing Split Enz cover of I Got You. The final 5 songs make the disc. Alive, Last Kiss, Porch-great version, Soon Forget, and the classic Yellowledbetter are excellent. Overall, this double disc bootleg is the best I've heard. It's raw, rare, and amazingly cool, Pearl Jam style.

5 comments about Space Cakes.

1. Wow. Album rocks. Great sound, raw, showcases her vocal and emotional range -- I highly recommend this if you're an Alanis fan!



2. This is in my humble opinion the best Alanis record I've heard and I feel so lucky that I bought it some years ago. A rare minialbum that's brilliant.
   If you ever read this Alanis, will you marry me? ;)



3. My question is,Wuold you be so kind to tell me when the Title "Space Cakes"by Alanis Morissette Is avialeble agian. If you would like to do that i wil apriciate it. Thank you. Ferry My E-mail adress is fvogel@kabelfoon.nl



4. This, like anything by alanis is amazing :) It's really unique, different from most versions of alanis songs, l recommend it, price isnt much of an issue when u consider what you are getting :)



5. If you see "Space Cakes" by Alanis Morissette in your local music store, I can understand if you have 99% doubts about buying it. It is probably not under $30 or more. Even if you are a true Alanis fan, think twice. Try your local used music stores. I got mine for only $8. Despite the price, if you are a true Alanis fan, this album is for you. It clears her rage and angst in songs like "Head Over Feet", "Right Through You", "Forgiven", "Perfect", "Not the Doctor", and "You Learn". All of these songs are beautifully done acoustically on "Space Cakes". This album is soothing and is great for you when you aren't in the mood for her yelping and whining. I would have to say that "You Learn" is done best on here. It is so different, but great. Basically, the only other info that you need is that this album is for Alanis fans only. I can't stress that enough. Normally I would give this album 5 stars, but man, one whole star down for its price range.

No comments about "No Snow, No Show" for the Eskimo (BBC Radio 1 Live in Concert).

4 comments about Live in Japan.

1. One of the most wonderfull disc i've ever listened!!, the delivery was ok; regards from underworld



2. Primal Scream (for me) have been a truly amazing band....a band, that when the muse takes them, can produce some of the most distinctive and energetically accomplished albums around. So the Truly high points of their work are largely considered to be the Sunny, carefree ecstasy optimism of "Screamadelica" that skilfully fuses House/electronica and Rock together for something transcending conventional rock. Through to the harsh abrasive XTRMNTR, an album that focused an aggressive melding of techno and agitated hard rock, into a thrilling confrontational rollercoaster ride. And having only ever sampled the band via their studio albums, I'd over the years heard that their `Live' performances can on occasion outstrip their studio work. Well, having finally managed to get hold of the `Live in Japan' album which was recommended as a perfect starting point, to hear the bands live work....I was initially slightly dubious, before I actually got a chance to hear it...seeing as it's not exactly readily available everywhere in the U.K. was I setting myself up for a crushing disappointment???
   
   ...I should have given the band the benefit of the doubt, because from the moment I stuck this album on, there are just two things that go through your mind when you're listening to it. (1) This band really flourish and come into their own, in a `Live' environment .....(2) This `Live' performance is Fierce...
   Bobby Gillespie, seems to literally revel in the `Live' surroundings, with a vocal swagger and confidence that imbues all the best live performers/performances of their time. What this basically boils down to, is a run through of the highlights of their previous albums, but the Live surrounding, give the band ample opportunity to show that they, not only cut it when they perform their songs Live, but also bolster their own fanbase, via word of mouth reviews of their exceptional ability to take fans favourites Such as "Accelerator, Shoot Speed/Kill Light, Swasitika Eyes", which all crackle with a brash and volatile energy, but totally boost the sound, with sheer self-confidence, that It almost feels like Gillespie is goading the audience into inciting a Riot, such is the sheer balls-on-the-wall approach to these songs. Which seems at complete odds with the change in tone for some of the more subtle / subdued songs which "Higher That the Sun & Movin' on Up" require...with soaring melodies and choruses, and such a gleeful celebratory hedonistic abandon, that your instantly transported back to the early rave/dance scene of the 90's in the U.K.
   
   There's no doubt that although Primal Scream, could never be considered a band that were `lacking confidence', these performances must have elevated their already large ego's to almost stratospheric proportions....and it's one that is arguably well deserved. This truly sounds like one of those seminal gigs, where people list it amongst their all time faves, or refer to the performance years later. Understandably the Japanese audience were ecstatic, at bring present at such a seminal performance, and one...that you have to wonder, if the band can reasonably surpass the groundwork that they've laid here. Such is the sheer brilliance of their performance that unless, they're holding something back for future shows, it's extremely hard to identify, just how they'll progress beyond these performances. The sound itself is pretty much spot-on, a balance between having the rugged feel of Live shows, but enough of the precision of the Studio albums, and with crowd noise mercifully kept to before and after songs.
   
   Complaints...mere nitpicking on my part, regarding tracks, that weren't part of the setlist....(why no, "Loaded, Star, Blood Money, Exterminator, Come together??....and my personal fave "Stuka"). But again this is merely nitpicking on my part. What Primal Scream has done is dropped a Live album that should be mentioned amongst the greatest Live albums ever: "James Brown - Live at the Apollo", "Neil Young - Live Rust", "Nirvana - Live at MTV", Miles Davis - Live/Evil", "Albert King - Live Wire/Blues Power", "MC5 - Kick out the Jams", "The Who - Live at Leeds", "The Roots - Live", "Bob Marley and The Wailers - Live", "led Zeppelin - How the West was won". And anybody that has the opportunity to pick this `Live' album up, so do so without any reservation whatsoever, before it becomes a scarce item (unless it gets a domestic release), for an album as essential as their greatest studio work.



3. drug power: the starry elevator unfurls, engages: achondroplasic maggot-peelers racked in vented cages over braziers broiling cyanide bones and stoked by black exterminators, killers of the sable hex whose burning wheel of swastikas surmounts electric portals housing hammers of the ultra-gash, enter six insecticidal psychopaths with pulsars of crustacean faeces firing, dousing, arcing into hyper-space as one by one they suppurate and splash with mutant ectoplasm baby guts transfixed by filth, abomination overdrive in neural clusters charred by white light kill-convectors, silver skullplate eye-reducers, teenage death-fist vivisectors, rage of sonic fur on fire at funerals under ocean entrails, beauty labyrinth of razors chained to phantom foetus trash in rock ophidian ante-chambers, sun-head of the suicides who wired to pandemonium proclaim a liquid swordfight sigil, underbelly brimstone blitz of jackboot glitter cum collapses, she-cat hentai hades hunt in war world storm the hangman's hovel, brains pulped on the kuroneko cretin anvil, rose revolver, palace pact of wasps eclipses neon moonchild tears negator, pinnacle of glimpses in the noise machine accelerator, queen of heat stabs lucifer, tectonic dust and lava boiling, scarring, howling in the void of violence left by octane angel spasm, heavy gasoline and powdered diamond metal insurrection, speed infection to the beast in pentagrams of poison blood that emanate from loops and ghosts whose viscous veil of torture tombs arachnid meat in mega-voltage, saturn spume in codices imprinted on the feral flex of neurons stitching snake receptors, pelvic reptile phosphorus in ancient atom interceptors, anus amber, fang inferno, switchblade bolt unleashes brides of havoc from the cobalt chasm, lightning coiled in talon membrane, mantis load annihilator, photocidal juggernaut of blurred oblivion, eyes unspooling, planet claw refracting on a vampire vision voodoo hook, cannibal decapitators seeded by a sodom ray that emanates from embryos impaled on spits of vulture horn, nemesis of spikes descending, fractal demonolators in messianic malformations, seismic mass accumulator shifting into fifth dimension, ice necropolis disgorges holy vulva, locust fathom, crypt of butchers blossoming, lung of cicatrix in flames, organism oscillating over molten malediction, crucifixion counter-crush in würm of motors, scorpionic, sobbing sores that synthesize oneiric plague, clitoral psychosis in the ruins of a mastercharge, panther muscle retroflux, satanic swamp of lizard lesions gibbering under hurricane: meteor: butterfly: sword: seven rapes that killed the king, feedback sluts in vex of venus, masque of sewers, ditch destroyers cramped in chaos, retinal relapse of spurs that spark in larval absolution, screwing keloid detonators into shadow-whip of dice, strobic shotgun sperm contusion, clash of sixes, flowers flayed, reverb of cryonic cohorts carving into screaming target, cockroach bible incubus with adamantine afterburners, genocidal groove transmission, telepathic vertigo of vixen fireball she-division, cosmic lips of cadillac, the hornet heart that suppurates a solar zone of dwarf devices, atavistic anti-protons suturing to sulphur craw, revulsing into vortex as the spectral helix incandesces, astral fugue assimilator rising into crystal crescent, tattoo tempest, total eyeball, temple of chthonic crime vainglorious in occult mirror, coruscating zodiac of vengeance torches evil city, sado-grid of synapses, litanies of wolf, excremental ossifiers radiating viral tongue from nucleus of shattered slit, enigmatic amputators revenant in snowblind plumes, decay of cinders, bullet-proof, love missiles of the limbless launched from hundred-storey oven-block, chromium cross-bones raised on ramparts, alien scintilla branding brotherhood with über-carnage, mesh of eagles, depredators shimmering in labyrinth of cryptic curses, lycanthropic lust strips bare the crowning of the cancer-crack, tattoo-twist of quasars into human flare, vesuvial propulsion of can into can concatenators, neo-nebula disgorges intravenous ventilator, barbed-wire offal dome erupts, inaugurating blasphemies, leviathan, prehistoric parasite incinerator pulverising, war across the tombstone wreckage, stüka syndrome epidemic, hunting prey in sickle-shaped continuum, complex of shards reversing into iconic absence of vermilion centipede cell, amino-skeletal cascade reflex, napalm night-krieg of diz-buster attack battalion, serpentine with synchro-slashers, holocaustal atavism haunting crematorium, permafrost of ashes gloating, gouging glyphs from monolith, cyclopean with psycho-fasces super-ciphered, surgical, spitting slaughter into nexus, venom ducts dissolving dais, idolators in ferric flash, terror trip triggered: poised in pincers: drug power.



4. One of the best live albums that I have ever heard. This is a TRUE rock and roll band (with a bit of pop, house, grunge, punk, techno, and the kitchen sink thrown in for good measure) hitting on all cylinders. And what an engine it is - a V-16, at least, although the roar and fury of a dive-bombing Messerschmitt comes to mind. The power of this band is unbelievable - you must purchase this CD to hear what a full-throttle sonic assault sounds like. This is not to say that it is just noise - on the contrary, the musicality of this band at this amped up volume is what amazes. Screamadelics, purchase early and often. You will not be disappointed. Those just learning about this amazing band would do well to begin here, just to get a sense of the awesome power that this group can unleash at will. Devastating!

3 comments about Live & Cuddly.

1. To the extent that a Nomeansno show was exactly like a spiritual revelation, this cd is the resurrection and the life.
   
   While everything about Wrong is right, some of these songs, especially What Slayde Says and Victory, are about the finest versions of these songs I am familiar with. They distort and mess with your expectations. The vocals are totally clear. I gets to shakin'.
   
   When I put this on tonite, I had just forgotten how good it was. It's like a perfect Nomeansno show, and I ain't apologizing for it.



2. What can I say? I've seen these guys live at least 6 or 7 times, and this CD is representative of their best shows. Their interplay with the audience is hilarious. Just check out Andy mocking an obnoxious individual during his "solo"...



3. This is NoMeansNo's album from their Wrong tour. The band is in great form, and the sound quality is excellent for a club gig. as live rock albums go, I would put this up with the Stones' Get Yer Ya-Yas Out. These guys are punk predecessors of many 'alternative' bands out there (Tool and Korn come to mind immediately).