5 comments about Earth Inferno.

1. the fields' studio albums are examples of constantly higher artistic standards and demanding performance (musically and visually). with that in mind i couldnt know what to expect from a live album, knowing that excellent compositions can easily be ruined on stage no matter how good the band is. well you can put your doubts to rest. a fields live album is closer to a spiritism seance than to anything else; the reverb that's typical of stage releases enhances tenfold the power of each song.
   if you're playing this loud, i can guarantee the chills! keys, guitars and bass entwine into a malevolent, crawling sonic smog, slowly spreading out. and from the depths, like the giant octopus emerges the crooning voice of the fields' frontman, its tentacles sensing the souls of those present.
   occult lyrics carried by mcCoy's rumbling vocals infiltrate the mind and awaken memories of past lives, overworking the imagination to its very limits to portray visions of long lost times in the days of Sumer. guitars are strong yet give an impression of distance like a continuous pulse, entrancing audience and listener
   with its almost meditative atmosphere, only to be shaken back in by the preaching voice of mccoy, strong and full of authority, than fading away into the pulsating music. a music that radiates an aura of mystery, toying with its listener like an attractive woman who, with her answers (or lack of them), drives her admirer crazy.



2. My introduction to Tim Finn was his entry into Crowded House, his brother Neil's band of the time, on the album Woodface. Most people, however, were already familiar with the brothers Finn from Tim's previous band, Split Enz. Both bands exact their influence on this album, Tim's second solo one, but I personally find this album stronger overall than anything else I've heard either man in. The key word there is overall, for both Split Enz and Crowded House had some great singles--it was just that there seemed to be a lot of filler between those great songs, whereas on Before and After every song is as strong as any other.
   
   The Finn's songwriting style is similar to that of Glenn Tilbrook and Chris Difford of Squeeze: pure pop with strong hooks and clever lyrics, which always strays just slightly from the standard three-and-a-half minute pop formula with some surprising element or two. For instance, here in "Always Never Now," the spoken lyrical line is incongrous with the smooth chorus, as intimate as being right next to the singer at a concert. Or how about the fake "scratching" (accomplished by a sample through a synth?) on the song, "I Found It." Many of the songs utilize multi-tracking, such as "Strangeness and Charm," and even when the other voice isn't Tim's but his brother Neil's, their voices are so complementary that it sounds like a doubled track.
   
   I do have a couple of favorite songs here, although I like them all. "Protected" has a wonderfully engaging base-line and is an excellent use of a minor key for a song that somehow still manages to sound positive. My absolute favorte Finn song, however, has to be "Persuasion," and it's a song where he didn't even write the music. The song was originally written as an instrumental by Richard Thompson for the soundtrack to the film, The Sweet Keeper. Finn liked the music so much that he asked Thompson if Thompson wouldn't mind Finn adding lyrics and recording the song. The combination shows off both men's talents--Finn's lyrics do not sound at all like an afterthought. Thompson must think so, too, as he now performs the song live with Finn's lyrics.
   
   There is a similarity of sound to this set that derives from the early-90s style of drum programming, likely a remnant of Finn's creative process which seems to con centrate less on time-signature changes or unusual percussion in favor of vocal or melodic instrument variations. This album has faded in my preference over the years, but I listened to it quite heavy in the 90s and it's just the thing I want to listen to every few months.



3. Almost nobody ever finds Fields of the Nephilim. On some of this live album, one wonders whether the scene was a small club, not the arena these sounds deserved. The Neph were a staggeringly good band that hit their stride only briefly, and this was right in the middle of it. The music is loud, melodic, moody but usually brisk. The instrumentalists are crisp and tight, virtuoso within the bounds of what they're trying to do. My only complaint is with the overly democratic mix, which buries my favorite soaring guitar parts from "Moonchild" and "Love Under Will." But the inimitable vocals of Carl McCoy aren't mixed up too far either. It's a great live sound. This band deserved more than to be pigeonholed as goth and ignored by radio. The day I hear this disc on XM will be a milestone.



4. It's been said before but it cannot be repeated enough - this is simply an awesome live album. If you are new to Fields of The Nephilim then this is the perfect place to start as it combines tracks from their 3 prior studio albums, i.e. Dawnrazor, The Nephilim and the most excellent Elizium. I have owned Earth Inferno since it's original release and still find it fresh. Too bad they didn't include the extended version of Chord of Souls from the Visionary Heads video that complements this release. Overall, Sumerland and Last Exit for the Lost are standouts for me but there isn't really a bad track to be found. Do yourself a big favor and pick up a copy.



5. Purely on its merit, this is an amazing live album. The output is far more loud and ferocious than their studio performances generally were. As a big FotN fan though, I'm not sure that's always a good thing. Rather the live album is a perfect compliment to the studio albums, it is not meant to be a replacement unless you are a metal fan in which case you may like this better. What is impossible to replicate live is the dreamy, ethereal nature of the studio recordings. The best moment is the perfect version of "Dawnrazor" - this is how this song was meant to sound and is far superior to the album version. In most other cases, I think the versions are merely different and I appreciate them for that.

   A must-have for fans, and a great starting point for new fans who will likely find this more accessible (at least at first) than the studio albums. I know that's an odd thing to say, but for FotN it may be true since EI is more straightforward kickin' rock and far less complex than an album like Elizium.

5 comments about Live 1983-1989.

1. The harmonica player who did the famous work in Missionary Man, Jimmy Z is one of the greatest performers on the face of the Earth. I saw them at the Miller Music Fest in Montreal in the mid 1980's and he blew Gerry Parc apart. The rest of the band was good. But he was beyond great and this cd is worth buying just because of his presence on it.



2. In 1993, Eurythmics had given us a real treat: another album. It is not a studio recorded album, but it is, indeed, another album overall. This album is entitled, LIVE 1983-1989. This album features all of Eurythmics' greatest hits performed live from different concerts, live performances, & such. This was a brilliant idea all the way. I have always been impressed with the way the sound on their studio recorded hits, but I had no idea how amazing they sound live. This album is definitely a must-have album. You want to know why? Well, I'll tell you why.
   
   Disc One: 1983-1986
   
   NEVER GONNA CRY AGAIN (Live in Manchester: March of 1983)
   Original version from the album In The Garden (1981). The original studio recorded version was impressive to begin with, but when I heard this live version, I was blown away. They sound incredible in doing this song live.
   
   LOVE IS A STRANGER (Live in Los Angeles: July of 1983)
   Original version from the album Sweet Dreams (Are Made Of This) (1982). I can't decide on which version I like better: the original studio recorded version or this live version right here. Both are incredible. Do not tell me otherwise.
   
   SWEET DREAMS (ARE MADE OF THIS) (Live in Berlin: March of 1983)
   Original version from the album Sweet Dreams (Are Made Of This) (1982). The original studio recorded version and the extended studio recorded version are just a bit better than this one, but all are incredible.
   
   THIS CITY NEVER SLEEPS (Live in Manchester: October of 1983)
   Original version from the album Sweet Dreams (Are Made Of This) (1982). This live version is a lot better than the original studio recorded version.
   
   SOMEBODY TOLD ME (Live in New York: July of 1983)
   Original version from the album Sweet Dreams (Are Made Of This) (1982). Just as good as the original studio recorded version.
   
   WHO'S THAT GIRL? (Live in Chicago: April of 1984)
   Original version from the album Touch (1983). If I listen to the original studio recorded version, I don't care. If I listen to this live version, I don't care. Both versions are amazing.
   
   RIGHT BY YOUR SIDE (Live in Austin: April of 1984)
   Original version from the album Touch (1983). Not bad.
   
   HERE COMES THE RAIN AGAIN (Live in Stockholm: October of 1986)
   Original version from the album Touch (1983). Still a classic song, whether listening to the original studio recorded version or this live version. I prefer listening to either version.
   
   SEX CRIME 1984 (Live in Nuremberg: October of 1986)
   Original version from the original motion picture & soundtrack 1984 FOR THE LOVE OF BIG BROTHER (1984). I never heard the original studio recorded version of this song, but this live version is quite enjoyable. Just to clarafy that 1984 FOR THE LOVE OF BIG BROTHER has been mistaken as a Eurythmics album. It is not. 85% of the album is composed of Eurythmics songs, but the rest of it is all instrumental pieces. That soundtrack is not, I repeat, NOT a Eurythmics album.
   
   I LOVE YOU LIKE A BALL AND CHAIN (Live in Rome-November of 1986)
   Original version from the album Be Yourself Tonight (1985). Still sounds amazing, just like it's original studio recorded version. But I like this live version better because it was performed live in Rome.
   
   WOULD I LIE TO YOU? (Live in Houston: August of 1986)
   Original version from the album Be Yourself Tonight (1985). Better than the original studio recorded version.
   
   Disc Two: 1986-1989
   
   THERE MUST BE AN ANGEL (PLAYING WITH MY HEART) (Live in London: November of 1986)
   Original version from the album Be Yourself Tonight (1985). Still sounds amazing, just as the original studio recorded version sounds. But I like this live version a lot better because it was done in London.
   
   THORN IN MY SIDE (Live in Brighton: November of 1986)
   Original version from the album Revenge (1986). Still sounds absolutely amazing. I love both versions.
   
   LET'S GO (Live in Christchurch: January of 1987)
   Original version from the album Revenge (1986). Not bad.
   
   MISSIONARY MAN (Live in Sydney: November of 1987)
   Original version from the album Revenge (1986). Even better than the original studio recorded version.
   
   THE LAST TIME (Live in Melbourne: February of 1987)
   Original version from the album Revenge (1986). Not bad.
   
   MIRACLE OF LOVE (Live in Paris: September of 1989)
   Original version from the album Revenge (1986). Not bad.
   
   I NEED A MAN (Live in Rome: October of 1989)
   Original version from the album Savage (1987). Both versions are incredible. But I like this live version better because it was performed live in Rome. I just wish I could hear Eurythmics perform more of their hits live from the "Savage" album.
   
   WE TOO ARE ONE (Live in Dublin: September of 1989)
   Original version from the album We Too Are One (1989). Not bad.
   
   (MY MY) BABY'S GONNA CRY (Live in Edinburgh: October of 1989)
   Original version from the album We Too Are One (1989). Not bad.
   
   DON'T ASK ME WHY (Live in Rome: October of 1989)
   Original version from the album We Too Are One (1989). I enjoy hearing this live version a lot more, especially since it was performed live in Rome.
   
   ANGEL (Live in London: September of 1989)
   Original version from the album We Too Are One (1989). I also enjoy hearing this song. But I enjoy hearing this live version more, since it was recorded live in London.
   
   If you would like to own a Eurythmics album, where every song is performed live, this is the album that you should be buying. Definitely a classic album that should be owned by all fans.



3. If you are lucky you will get the 3 cd limited version of the cd set which includes the 6 track acoustic CD! 5 stars out of 5. Excellent! A must for any Eurythmics fan.



4. Hi Eurythmics fans!

   I bought this collection back between 1993-94. I also have a 3rd disc as a limited edition live accoustic medley. This collection of live Eurythmics concert performances is satisfactory, but lacks in sound quality and color in some places. Most of the songs lack a good strong bass sound. Everything is kind of dull "thudding" instead of hard, heavy drum beats and bass guitar. The keyboarders were great though.

   I believe this compilation of live concert material has been taken from various concerts. If you read the credits, you will indeed find that out. I don't really like the thick, double case the the cds come in. My copy has been moved to a standard jewel case for the time being. The artwork is great, as well as the layout itself. Cool design on the discs themselves. I like that kind of silkscreening work.

   In total, there are 28 songs between the 3 discs.
   For the two regular concert discs, there are 22 songs. The other 6 are found on the medley.

   This is the track listing for each cd, plus the location of each show from where each was recorded:

   CD ONE:
   01 Never gonna cry again ( Manchester-March '83 ) 5:14
   02 Love is a stranger ( Los Angeles-July '83 ) 4:00
   03 Sweet Dreams are made of this ( Berlin-March '83 ) 3:45
   04 This city never sleeps ( Manchester-October '83 ) 5:37
   05 Somebody told me ( New York-July '83 ) 3:43
   06 Who's that girl ( Chicago-April '84 ) 4:07
   07 Right by Your side ( Austin-April '84 ) 4:27
   08 Here comes the rain again ( Stockholm-October '86 ) 5:50
   09 Sex crime 1984 ( Nuremberg-October '86 ) 3:46
   10 I love you like a ball and chain ( Rome-November '86 ) 5:05
   11 Would I lie to you ( Houston-August '86 ) 3:34

   CD Two
   01 There must be an angel ( London-November '86 ) 6:57
   02 Thorn in my side ( Brighton-November '86 ) 4:34
   03 Let's go ( Christchurch-January '87 ) 4:55
   04 Missionary Man ( Sydney-November '87 ) 5:03
   05 The last time ( Melbourne-February '87 ) 4:49
   06 Miracle of love ( Paris-September '89 ) 6:22
   07 I need a man ( Rome-October '89 ) 3:59
   08 We too are one ( Dublin-September '89 ) 4:19
   09 My my baby's gonna cry ( Edinburgh-October '89 ) 5:10
   10 Don't ask me why ( Rome-October '89 ) 5:04
   11 Angel ( London-September '89 ) 6:07

   CD Three (Live accoustic Medley)
   01 You have placed a chill in my heart
   02 Here comes the rain again
   03 Would I lie to you
   04 It's alright, baby's comin' back
   05 Right by your side
   06 When tomorrow comes

   It's a nice collection of live music, which scales the duo's entire career as "Eurythmics" up to 1990. Some songs were never hits, but should have been, had they been redone on another totally new Eurythmics cd. If you really like the songs in their original sound, then I don't recommend you buy this set. Otherwise, it makes up for not going to a Eurythmics concert.
   Also a nice addition to your collection of their music.

   Hope this review has helped you.




5. This superior live compilation set proves that Dave and Annie are truly extraordinary musicians and artists. Their studio albums are great- but this set captures some of the electricity and spontenaity of the talented duo that studio albums sometimes lack. For those who have never seen them in person- this is the next best thing. Enjoy!

5 comments about Warped Tour 2003.

1. This is the only Warped Tour Compilation I actually bought because my friend bought the 2007 Compilation and he said there are only 14 good songs that are true punk and ska.(Dumbass) I was looking at most of the 2000's compilations and I decided to buy the 2003 one and I also took sample listens for each song on iTunes. So many amazing bands for $6 and on two cds and 50 amazing bands I know and some I don't know STUN and Stairwell. (I liked there songs by the way) The bands I knew before were Less Than Jake, Suicide Machines, Early November, Swingin Udders, Simple Plan, Lagwagon, Authority Zero, Mest, Maxeen, The Used, Dropkick Murphys, NOFX, Face to Face, Glassjaw, and Slick Shoes. This is a great way to find good new bands and don't waste your money on any upcoming warped tour crappy 2 cd deal. I also recommend the 2002 compilation as well.
   Without the warped tour cds what would we do for music. Probably be another MTV I am pop but I think were rock. (Fall Out Boy, Panic at the Disco) (I WANT TO BE A CHOLO) (GO MANIC HISPANIC!)



2. this was just an impulse buy, i saw it on sale for $6 and recognized a few of the bands, so i bought it. it is great. i'll definatly try to go to the warped tour this year. but shouldnt this carry a 'parental adivsory' sticker? the f-word is spaced out over both discs, but especially in the casualties' "made in nyc", they say the f-word at least 20 times. its an awesome song though, its a tribute to the ramones.



3. I got this at a yard sale because I was interested in the genre of music. The genre of this album is really more than I expected, though. I was expecting a lot of punk songs that sounded the same. But what it really is is a lot of different genres mixed into one thing called alternative. There are all kinds of music on this. There are 52 songs by 52 different artists. There were a couple songs that weren't great and I don't think I would have enjoyed live, but there were a lot of songs that really catchy. There are a lot of small name bands on this various artists mix, but there are also some big names like Yellowcard and Story of the Year. Altogether, I thought this was a good CD and definitely worth my time. I also think that any punk, metal or just plain rock fan should posess it.



4. This is probablly the best Warped tour album yet. Most of the bands are true punk and are incredible. My favorites are Lagwagon,Authority zero, and Avenged sevenfold. This compilation host some of the best punk groups and their best songs. For $7 by it.



5. this cd is really really good. warped tour never fails to please. the best songs are by these people...the used, YELLOWCARD, story of the year, matchbook romance, the early november, avoid one thing, taking back sunday, audio karate, simple plan, maxeen, coheed and cambria, and mest. BUY THIS CD

1 comments about Michigan Palace, 10/6/73.

1. Probably not the best Stooges archive live recording around,but 'Michigan Palace' is still worth snatching up a copy for ALL Iggy/Stooges fans.This 42-minute set was recorded live on October 6,1973 reportedly on guitarist James Williamson's home reel-to-reel.Like several of the OTHER Stooges vintage releases,the sound is far from perfect,but it's still very listenable.I notice that just six songs were played and Iggy spent a total of eight minutes chatting it up with the crowd.Makes me think they most likely opened for another band.If you have the time,a decent live disc to check out.For most Iggy/Stooges fans,another title to add to your already extensive Stooges collection.Haven't seen this disc in any used store,as of yet.

5 comments about King Biscuit Flower Hour Presents...The Alarm.

1. I owned one of their live EP CD called Electric Folklore Live and this album is not worth-owning as it's an old unreleased tracks during their performance at King Biscuit Flower Hour show. It's a disappointing album to own as it does not carry the group's best songs as compared to Electric Folklore Live CD.



2. Great Live CD.

   Those Alarm fans who haven't got bootleg tapes of concerts will really enjoy this.

   Listening to the CD takes me back to the numerous times I saw the boys at the Barrowlands in Glasgow.

   They are just the best live band ever.




3. I am an Alarm fan from way back. I love this CD! It captures the early Alarm and is full of spirit and energy. It sounds professional but fresh and exciting. I know all their material and this is one of the best releases for them. The versions of Up for Murder and Reason 41 are great, as well as Across the Border. The Deceiver and Unsafe Building are very fine.All Alarm fans should get this. If you don't know their music, but like great passionate rock and roll, buy this CD anyway.All the songs are great. It is a very hot live set!



4. Well before I discovered The Alarm, they toured with U2(the WAR Tour), recorded an EP, transformed themselves from a folk/punk (ala The Clash) band to a Rock/Pop Band who had a unique talent for shouting the simple truths that tore down the walls of convention. In their raw energy I found compatriots in my disaffection with the status quo, and in the lyrics I found kindered spirits in the hope of something better in the distance.

   Although I still grieve the demise of The Alarm, I revel in the legacy that they have left behind and thus I will finally get to specifics about this recording.

   Before they recorded their first album on I.R.S., they played a gig at the Paradise in Boston which resulted in this CD. In some ways this is as close as you can get to the roots of The Alarm. This is The Alarm at their rawest (though not ragged) and captures the energy of the band playing live. One criticism that dogged the band throughout their career was that their albums never captured the power of their live performance. Not only were their studio albums more restrained, but there seemed to be a concerted effort to move to a more orchestrated sound. Regardless of the dynamics, each album represented a progression of musical/lyrical development.

   This CD definitely presents a picture of a band on the verge of something big. As an Alarm fan, I am grateful that this gem has finally been released. As a reviewer, it is hard for me to be impartial. If you can only buy one Alarm CD, I recommend 1985's Strength, but if you are bold enough to take a chance, get this CD to feel the energy of a band that has the guts to "open up its heart and soul". At the point in time that this was recorded, The Alarm looked forward to an open horizon. Transport yourself to 1983 and imagine your reaction to this performance. I think you'll be surprised at your reaction.

   Once a connection is made, you will be a fan forever. It's rare to find a band that you relate to that says the things that you feel in a way that will comfort and disturb you throughout your life, but that's what the Alarm has done for me. Hopefully, you will enjoy this recording and it will spark you to seek out other Alarm recordings/albums that will further inspire you to "throw back the covers and make all of your dreams come true. "




5. King Biscuit: The Alarm 1999 King Biscuit Records

   There has always been a huge gap in album catalog from the Welsh band The Alarm: a scorching live album. Sure, the band recorded two of the best rock albums of the 80's (1984's "Declaration", and 1985's "Strength"), but hearing The Alarm "in-the-studio" was only half the story. In it's time The Alarm's live performances were nothing short of legendary. They didn't merely "take-the-stage" but more accurately "held it hostage", blasting their unique mix of acoustic guitars, stomping rhythms, and fiery vocals to a frantic and amazed audience left gasping for breathe and screaming for more. The band released an the E.P. in 1988 called "Electric Folklore: Live", but that 6 song disappointment did more to show how The Alarm's troubles as unit in the late 80's than display their sheer magnificence as a live band.

   Now, in 1999, 8 years after then band broke up, King Biscuit Flower Hour has released a live album that should fill the live-album gap, and at the same time, finally secure The Alarm as one of the 80's most underrated bands. Recorded in late 1983 at The Paradise Theatre, Boston MA, "King Biscuit: The Alarm" is a marvelous testament to The Alarm as a band who were song-writers and performers at heart, as well talented musicians. The album begins with an outstanding version of "For Freedom" from The Alarm E.P. and doesn't let up until the bands strums the final chords of the beautiful "We Are The Light" from the "Declaration" album. King Biscuit included the full-set, nothing has been edited or deleted. Only a couple of the band's well-known hits were written in 1983 ("Sixty Eight Guns", "The Stand"), so the set is filled with sparkling performances of songs that were buried on albums, or very early singles. This is a great advantage, because it proves that The Alarm were not only a very unique band with many varied influences, but also were more than the anthem-spouting rabble-rousers the music press dismissed them as in the 80's. Diversity is really the key to the success of this album. Not only are the songs multi-faceted, but so are the musicians. Mike Peters sings lead vocals on nine of the fourteen tracks, but guitarist Dave Sharp takes the lead with four stunning performances (including brilliant versions of "Tell Me" and "Across The Border"), and even bassist Eddie MacDonald belts out his "unknown soldier" epic, "Third Light". The two best tracks are the emotional sizzler "Blaze Of Glory", and the storming rocker "Unsafe Building", the first song The Alarm ever recorded.

   The only fault I can find with the album is that the well-known songs sound rather tepid compared their recorded counterparts. Even this is understandable however, as these are merely early versions of songs that would one-day become classics. Also, because the album includes the full set from the show in contains two versions of "Marching On". It seems odd, but since the song is amazing, it takes nothing away from the the performance.

   After the show concludes, the listener in treated to very good, recent interview with Alarm front-man Mike Peters. The 10 minute segment includes some hilarious and interesting insight from Mike Peters photographic memory of Alarm history.

   As live show, this CD is highly entertaining. As a historic document, it provides amazing insight into one of the 80's best bands. As an album it is thoroughly enjoyable and gets my highest recommendation.

   -Steve Fulton

2 comments about BBC Live.

1. With Victor Delorenzo back in the fold, the proliferation of archival Violent Femmes material seems to be coming out quite fast lately. Witness their third (if you count Debacle) best of, the DVD of their performance off the same tour this CD is drawn from, and this.
   
   Two albums into their reformation comes this BBC recording which hits the ground running with "Look Like That," off the Why Do Birds Sing? album (aka first album part II in that it sounded like the next progression from their first album). The concert relies heavily on that album as it was the one they were touring in support of, but just about every album up to that point (except The Blind Leading the Naked) gets its day in the sun on this sonically superior to Viva Wisconsin recording.
   
   Look, this release is going to appeal to two different age groups. Those who spent their teen years in the 1990s and are now in their late 20s/early 30s for whom WDBS? has a nostalgiac air to it, and the latest generation of geeks and misfits whose anxieties over why they can't get just one f**k have been voiced by a tiny Baptist guitarist/singer from Wisconsin for a quarter of a century now. If you don't fit into either one, you probably just know them because of the drunken singalong to "Blister in the Sun" that happened at the kegger you went to last weekend. If you fit either of the aforementioned categories, buy this album. If you fit into the last category, do us all a favor and kill or sterilize yourself so you don't breed.
   
   A top gear release. Thanks boys. I love it when you're mean. Don't you know it's BORING when it's quiet and serene?
   
   Signed,
   epsteinsmutha



2. Dont get me wrong, I LOVE the violent femmes , but waiting for this album to come out for about three months. When I listened to it and wasted my money on it I was very dissapointed. First of all most of it is recorded around the time of Why Do Birds Sing which is the femmes' worst album. Songs like Flamango Boy and Life Is A Scream are very sad.
   
   The only reason I gave this album a three is because of the very impressive version of Blister In The Sun. It is a great version and is the highlight of the cd. If you want a good live experiance from this terrific folk-rock band...go and see them live. Because even Viva Wisconsin, which has Guy Hoffman on drums sucks. The only reson is because Guy lacks energy and enthusiasm when playing drums. Hes boring and I still wander why Violent Femmes used him as a replacement for Victor. So actually dont buy anything with Guy drumming in it.
   Once again this album sucks dont buy it.

5 comments about Santa Monica '72.

1. This is one of my all time favorite recordings. I have this CD version, and a vinyl 2 disc set I got in the 70s. The variable audio quality and audience chatter are part of its charm. I love the ebullient intimacy and irreverance of "Space Oddity", the exhausted Bowie flubbing the lines to "Suffragette City" while the band roars on. Mike Garson's piano sounds unfortunately awful, but Trevor Bolder's bass parts are nimble and the magnificent Mick Ronson's wrecking ball guitar may damage your speakers. Consider yourself warned.



2. The greatest strength of this recording is the fact that it is LIVE. One night. One continuous take. It's a testament to just how good this artist was (and is)and how his talent takes over the stage without resorting to recording tricks or artifice. It's easy to think of Bowie as an image maker, and easy to forget that he's a music maker. The Spiders prove themselves to be a white-hot, smokin' band too. This recording gives me pleasure every time I listen, and I always find something new.



3. I have this on vinyl bootleg I acquired in the 1980's. If youngsters question why their elders claim Bowie is so influential they only have to listen to this. Apart from the duff take-off special effects noise bowie tries to conjure up in Space Oddity and the flat chorus on Five Years, this album blows away any other Bowie concert CD. The sound is incredible on the vinyl - I can't say for the CD edition as I have never heard it. I had the privelege of seeing Bowie on his STAGE tour in Sydney and was very disappointed by the concert album they released of that tour. I'm happy this 1972 performance has finally officially been released - but inexplicably it seems to have failed to make much of an impact- even with Bowie fans. Being there in 1972 must have been an incredible experience . As far as I'm concerned its the only Bowie album anyone needs to own!



4. An absolute must-have for every true Bowie fan.I finally got to see David play live nearly a year ago and one thing I'll say about a David Bowie concert,the man simply takes you into his own world for over two hours.A must-be there event!The shindig on this disc took place on October 20,1972.Total of eighteen cuts and a duration of 76:39.Thank goodness for the invention of compact discs,no doubt.I remember years ago when the only source of an early '70's Bowie concert was some pricey lousy sounding bootleg put on 2-lp vinyl.Now,the fan gets the entire show one shiny disc.Great matching art work to go with it.Tunes I couldn't get enough of were "Ziggy Stardust","The Superman","Space Oddity","John,I'm Only Dancing","Jene Genie","Suffragette City" and "Rock&Roll Suicide".One of the better archive concerts EVER to be released,period!



5. OK folks-- remember this is 1972-- this is a live radio broadcast-- they are mixing on the fly
   A stunning representation of the Bowie experience
   Sure the levels are off from time to time i.e. Jean Genie, but look at it as a whole entity, warts and all. He flubs lyrics in Suffragette City (which he did again just recently in Cleveland 2004), the mix can be questionable from time to time BUT IT'S 1972!! A stunning collection of songs and better than the original version of the Ziggy Sardust movie S/T. Mick Ronson proved he was the next guitar god. Crank it up!

5 comments about Sons Find Devils.

1. WITH the VIRGIN prunes YOU GET WHAT YOU GET1 ireland answer to HAWKWING NOMADIC and tribal ALWAYS non forgetable this is a compilation of sorts ripped off from elsewhere,LIVE RECORDINGS SOUNDING polished off from very casual MATTER OF fact, stabs at AUTHENTICITY,THIS NEEDS TO BE PLAYED LOUD AND howled to, VERY possibly you might want to watch AN AMERICAN WEREWOLF IN LONDON, with the lights off,ITS BEGS FOR HUGE TOWERS SPEAKERS, so you get the TRUE PULSE, SINCE A NUMBER OF COMPLAINERS HAVE BITCHED ABOUT THE SOUND QUALITY, true this has all the QUAINT genuine, CHEAP AUTHENTICITY of the cheap cymNICALLY, STOLLEN RIPPED OFF, LAWSUIT SPAWNING, cleopatra, is NOTED for doing,BUT YOU CANT HIDE GREATNESS,light years ahead, just listen too their VOCALS, some vodoo, some death METAL LIKE, THEY CAN HARMONISE BETTER than THE OAK RIDGE BOYS COULD EVER,



2. The Virgin Prunes only availibal disc is horrible quality from a VHS tape? So very sad, and so very true! The Virgin Prunes should have a much better live album availbal. The album does have some intresting sound clips (that would be better suited some other place, not on a CD), and the songs are preformed good. The quality is not that awsome, but it does (in a way) make the disc more, well, distorted. If you are intrested in the Virgin Prunes, I would get thgis disc, for it is a great introduction to the band, for it was mine. ...

   fritz




3. good to have only when having also the other stuffs. or it's better not to have it at all so not to feel somethings' missing



4. good to have only if you also have the other stuffs. or it's better not to have it at all so not to feel somethings' missing



5. There's some real flaws here, to be honest. While the material on this compilation is largely good, especially the live versions of tracks from their "If I Die, I Die" album (which should be reissued on CD, dammit!!!), this really doesn't capture the whole scope of what the Prunes were up to with a lot of their live work. Many of their shows, especially from the early part of this period, were complex performance art/noise works that had a very specific underlying concept to them, and should be taken as a whole. Chopping things up like this, even with the CD reissue, even with the accompanying video, really doesn't do their work total justice. If you can find a copy of their full 'A New Form of Beauty' live/studio set on the rare/used market, or if you can find the quite rare 'Heresie' live box 10"/booklet set, you'll feel far more rewarded than you might by picking up this Cleopatra 'scrape the barrel-bottoms' release. It's sad, really, that the only Virgin Prunes we have is on a label that doesn't generally give a flying damn about what it puts out.

5 comments about Live Noise.

1. Yes, another Fru-head here. We can't see them live together anymore, and while I also agree that the CD pales in comparison to a live show, it at least gives a good idea what the shows were like. I have this, and all of their CD's signed, and I do listen to this more than the others, for the vibe and energy that emanated from the live performances.
   
   I recommend this CD whole-heartedly, to most anyone, especially to those with a wide and eclectic musical interest.
   
   (oh - 36 concerts within 2 years at one point. I'm one of the Delaware Posse, and the Wrenn involved with the 'Phila House Concert' of June of 2001.)
   
   Perhaps one day, they'll do a reunion concert. I, for one, would travel anywhere for it. Heh. I, for one, would consider financing it. :)



2. It's great listening to a live album showcasing musicians who can sing and play and sound even better than the studio recordings. Add in the obvious intelligence and humor they all have and you're listening to a rockin' good time!



3. Sit back, put on the headphones and just laugh (as well as good music) These guys have to be heard live or better yet go see them. They are funny and seem to have no rules. I'm American but I'd like to say "Canada Rocks".



4. This CD grew on me after a while. It is good-at least at times. The second half gets a bit bogged down for my taste, but tunes like "Johnny Saucep'n" and "Gotta Get A Message To You" are great performances. "Fly" and "Horseshoes" are also standouts. Some of the songs are good, some are dumb and most are dumb and then grew on me. The performances are very good overall but the "banter" between songs can get stupid sometimes. Not in a good way either. Some is amusing, but they do try hard to be funny and don't always make it.
   It is great CD when I'm in a certain mood and I do think that a real Fruhead would love it.



5. I have only had the pleasure of seeing Moxy Früvous live once, and it seems unlikely that I will see them anytime soon, since they're no longer together. It was a great experience, though, and this album captures a lot of that experience. The band is really on top of things when performing live, and most of these tracks actually sound as good as or better than their studio counterparts. In addition to being excellent musicians, the four members of Früvous are also great showmen, and Live Noise manages to showcase some of their amusing between-song banter, as well as an improvisational song about the state with the lowest highest point (although they unwittingly give the wrong answer). I would highly recommend this album to anyone interested in Moxy Früvous. It shows them at their best.

5 comments about 8/20/00 - Cincinnati, Ohio.

1. Disclaimer: Owner of all 72 official PJ bootlegs. This is a good example of a Pearl Jam show where everybody tried their best, but they just couldn't get it together. There are minor mistakes by each member of the band, which are mostly forgivable in each guy's case, but the mistakes add up badly enough to make this a below average performance. Early in the show there are timing errors and miscues galore in "Go" and "Gods' Dice," while the band awkwardly stumbles through the rarely-performed tracks "Faithful," "Rival," and "Sleight of Hand." At some points you're wondering if they'll even make it through some of those songs. Similar problems plague "Jeremy" and "Soldier of Love" in the encore. Eddie Vedder's solo attempt at The Who's "The Kids Are Alright" is not entirely successful either - but the reference is a good one, because The Who suffered a similar tragedy here in Cincinnati as Pearl Jam suffered a couple of months before this in Denmark. The band at least seems enthusiastic through most of the show, perking up occasionally for strong takes on the extended jams "Porch," "Black," and "Rearviewmirror." But those occasional winners, plus a pretty good atmosphere, can't quite save this show from being a below-average entry in the bootleg series.



2. So maybe this disc doesn't have the man/ape symbol on the back (signifying the band's favorite shows); that doesn't matter. This was one of the two Pearl Jam shows I was lucky enough to go to this summer (the other being Columbus, which DOES carry the aforementioned symbol) and one of the most memorable concerts I have ever experienced. I had fan club tickets, so I was insanely close to the stage... and what a show for that.

   For those not in the know, "The Who" held a tragic concert in Cincinnati over twenty years ago: a concert which resulted in the most deaths ever in an American concert. Over the summer, frighteningly similar events occurred at a Pearl Jam show, an event which almost led to the ending of the band's career. P.J. perservered, though, and proceeded to put on the tour of a life time. When fans handed a vinyl bootleg of the fateful "Who" concert to Eddie, I knew the significance of the show was grasped by all.

   The show itself was extremely intense. Pearl Jam plowed through the early portion of their set list (including the most amazing rendering of "Of the Girl" I have ever heard) without saying as much as a word to the crowd. The band was as energetic as ever: Mike played guitar behind his head and Ed was up to his usual antics and it was clear that Pearl Jam was here to rock. After the first stage break, though, Ed came out and ruminated about the significance of this show and proceeded to wow the crowd with The Who's "The Kids are Alright" an entirely fitting song, considering the circumstances. Ed ended this solo with a great Pete Townshend "windmill" imitation, and the rest of the show followed in a similar fashion. Ed shared wine with fans, performed what was perhaps the best "Soon Forget" live (after introducing Cincinnati to his good friend, the ukele), and Mike ended Yellow Ledbetter with, not one, but, two cover tags.

   I've seen Pearl Jam live a number of times, but their first show in Cincinnati since their tour with Soundgarden definately ranks in as the best. Emotions were high and, as a result, the music was unforgettable. Can't wait for the "Touring Band" DVD and the upcoming rarities collection. It is most definately a good time to be a Pearl Jam fan.




3. For those lucky enough to be at Riverbend that warm August night, it would prove to be an unforgettable evening. Pearl Jam showed us why, despite sagging album sales, it remains one of THE premier rock bands.

   Without resorting to any special effect or pyotechnics, the band strolled on stage, quasi non-chalantly, and strummed into the beginning notes of "Of A Girl", one of 9 songs they ended up playing from the underrated "Binaural" album. What a daring move! Rather than starting with a stomp-along crowd pleaser, PJ starts with a mid-tempo, introverted song, unfamiliar to many in the crowd. Beautiful! PJ works its way through many choice cuts, primarily form "Binaural" (including a haunting "Nothing As It Seems") and "Yield". Regretfully, only one selection (albeit a torrid one! "Habit") from "No Code", in my opinion the best overall PJ album.

   What makes this concert and CD "Cincinnati only", comes when Eddie Vedder returns to the stage after the Encore break, and starts talking to the crowd, making jokes, but then turning serious, explaining that "the name of the city Cincinnati has come up lately, you know, for some difficult reasons [referring to the parallels between the Who tragedy in 1979 at the Riverfront Coliseum and the tragedy at PJ's concert in Denmark earlier that summer], and I'm gonna play this next song because of our new bond", soloing into The Who's "The Kids Are Alright". An unforgettable moment!! [I am not sure whether the "new bond" Vedder talks about, is his bond to Cincinnati, or his bond to Pete Townsend.]

   Meanwhile, guitarists Stone Gossard and Mike McCready are in top form all night. The CD must be heard through headphones in order to appreciate all the "noodling" that makes PJ sound as full "live" as in the studio. Good examples are "Of A Girl" and "Black".

   At the second encore, Vedder again comes out alone, this time, to play another "Binaural" track, the short and almost-sounding-like-a-throwaway-on-the-album "Soon Forget", even hushing the crowd to be quiet. What other band would dare do this, when the crowd was ready to tear doen the building after a rebel-rousing "rearviewmirror" just minutes ago? Superb!

   Looking at the bigger picture, the depth of PJ's catalogue, as demonstrated in the different set lists on the CD's of the tour, is nothing short of mind-boggling. Also, I really believe that in 10 or 20 years from now, PJ's decision to release all its summer concerts (both Europe and North America) on CD at fan-friendly prices will not only be viewed as a "significant moment in rock", but also will cement once and for all the band's place in history for its musical accomplishments, to the extent that any still doubted PJ's place.




4. I'm not going to sit here and tell you what pearl jam was thinking or what they had for dinner the night of this concert. What I am going to say is that the band just went out and played. And play they did.



5. This was my second favorite show of all the gigs I attended on the first leg. I'd give it 4.5 stars if I could but I can't.

   The band was on in Cincinatti, very tight and introspective keeping any banter with the crowd to a minimum until after the first encore break. 'Of the Girl' is a great opener and really sets the tone for this show.

   Highlights on the first disc are 'go' with McCready playing the solo behind his head, 'God's Dice,''Faithful,' and the surprising version of 'Rival' where Eddie flexes his bicepts and laughs.

   The second disc begins with Eddie telling a story about the first time they played the venue (Riverbend) during their Lollapalooza stint with Soundgarden and how Eddie climbed up into the scaffolding. He remarks about how it was one of the last times he'd done it. Then Eddie plays a stunning solo version of 'The Kids are Alright.'

   The band joins him for the remainder of the first encore tearing through 'Evolution' and 'jeremy' and slowing down with the rarely played 'Black' and a great version of 'Soldier of Love' the b-side to 'Last Kiss.'

   Eddie comes out alone once again and introduces 'Soon Forget' by telling the crowd "Ukulele, this is Cincinnati. Cincinnati, this is ukulele," and saying that clapping really messes him up and asks them to refrain.

   McCready is the star of 'Yellow Ledbetter' throwing in riffs from Van Halen's 'Ain't Talkin' Bout Love' and Ted Nugget's 'Stranglehold.'

   This show is evidence that Pearl Jam is on.