2 comments about King Biscuit Flower Hour Presents Graham Parker.

1. The King Biscuit Flower Hour has historically featured some heavy hitting bands, such as The Rolling Stones, Canned Heat, and Deep Purple, but most often the syndicated radio program attracts new talent looking for a publicity kick (Bruce Sprinsteen was featured as a warm-up band for the Mahavishnu Orchestra on the premier broadcast in 1973), or established artists on the comeback trail (David Crosby recorded for the Biscuit in 1991 after a stint in jail and drug rehab). Graham Parker, like Crosby, was looking to gain traction in a career that had peaked four years earlier and was dissolving in a din of synthesizers and electronic drum kits as the 1980's began pulling away, putting New Wave rock in its rear view mirror. This 1983 Poughkeepsie, New York show was recorded in the intimate confines of The Chance Theatre, with a seating capacity somewhere around 1,000 people, a venue constructed early in the 20th century, and transformed into a concert venue only three years previous to Parker's arrival. Parker was not new to the Biscuit, however. This was Graham's third outing with KBFH, and I was fortunate at one time to possess a taped broadcast of an earlier performance with The Rumour that featured a 'Chain Of Fools' encore. This performance in Poughkeepsie finds Parker with a less talented, and unnamed, backing band, and an audience that is, of all things, too enthusiastic.
   
   I've never heard a fan out-shout the mega-watt amplification of a power punk rock band before, but there's a guy in this show who possesses either an uncommon set of lungs, or a seat five feet away from Parker's own mic. It's a remarkable, thoroughly annoying performance. The seats surrounding this idiot were easily the worst seats in the house that evening, and I truly feel for anyone within earshot of him, which may have included the entire venue. Unfortunately for us, his hooting adds a distracting dimension to a powerful performance by Parker and his band.
   
   In 1983 Parker was touring in support of his 'The Real Macaw' album, and predictably six of the first ten tracks are drawn from that release. Most are in Parker's traditional pulsing, hard-driving punk style, especially the opener, 'Just Like a Man', and the best track from that grouping, 'Life Gets Better', which sets the stage for a five song closing set from Parker's standard bearer, 1979's 'Squeezing Out Sparks'. 'Love Gets You Twisted' is also featured from that disc earlier in the performance, and at track six is the first slow-tempo number of the night. Other tracks of interest from 'The Real Macaw' include 'Sounds Like Chains', featuring an unusual beat, and 'Passive Resistance', where Parker takes a swipe at the shortcomings of commercial radio in the early 1980's, territory visited by performers such as Joni Mitchell and Pink Floyd in previous era's. The most melodic number in the set is also from 'The Real Macaw', the centerpiece and longest track on the disc at 5:08, the engaging 'You Can't Take Love For Granted'.
   
   While Parker may be justly criticized for a lack of instrumental prowess in his recordings, he will never be criticized for lacking lyrical incision. Consider his exploration of abortion in 'You Can't Be Too Strong', which delivers the jaw-dropping lyric, "Did they tear it out, with talons of steel? And give you a shot, so that you wouldn't feel. And wash it away, as if it wasn't real. It's just a mistake, I won't have to face ...". In 'Discovering Japan' we get talk about "nuclear shadows", and in 'Love Gets You Twisted', we are the receipients of one of Parker's finest lines, "Love gets you twisted, screw yourself up, screw yourself up, screw yourself, screw yourself, screw yourself up".
   
   Although Parker and his band make a mighty effort to invest this Poughkeepsie concert with as much passion as they can muster, overall the band cannot replicate well enough the sound of The Rumour, and the material from 'The Real Macaw' doesn't rise to the level of much of Parker's better work. A much more enjoyable live disc was recorded by Graham in 1995, touring in support of his '12 Haunted Episodes' release with The Episodes. While it's more laid back than Parker ever dreamed of being back in 1983, Parker lets his compositions stand on their own rather than bowl you over. The packaging for this King Biscuit release is decent, offering several pages of commentary from Parker himself and Steve Shinder, and cover artwork by Parker, but also not rising to the exceptional quality of packaging I've come to expect from KBFH productions. This one is worth a listen, but I'm afraid other Graham Parker recordings are more deserving of encores.



2. Although just released, this is actually a live performance from 1983 in which Parker is working with one of his post-Rumour bands. Those of you familiar with his early-mid 80's work know that his studio albums suffered from the trendy techno sound of the times, but this performance is much more reminiscent of the Squeezing Out Sparks sound that most of his fans long for. The songs on this album are played fairly true to their original arrangements, but in the case of the 6 songs from The Real Macaw, the super smooth studio tech effects are missing, and the result is that these songs kick nicely, especially Passive Resistance and Sounds Like Chains. Overall, there's an added intensity that makes this a real pleasure to listen to. Parker chimes in a few times between songs and twice refers to King Biscuit as King Chestnut, so if there's anyone dissatisfied with this performacne, it's probably the sponsor. If you enjoy the first 7 years of GP's career, get this album.

4 comments about Live at the Whitehouse.

1. Wonderful recording of a complete set of an actual gig,
   unlike most of the other Exploited live albums,which are
   compilations of live songs.What you get here is decent
   sound,faster,simpler and dirtier(yes,more)versions of 16
   of their best songs,LIVE.Need I say ANYTHING else?!



2. The 1st amendment guarantees their right to make this horrible sound.But nothing obligates you to listen to it.In the aftermath of the great,original punk bands like the Clash and the Sex Pistols,a lot of talentless kids who liked to get high on solvents jumped up and down and beat on their guitars.Some of those bands produced interesting music-the Germs,for example-but this band has no talent,nothing to say,and every "song" sounds exactly like the song before it.If you live next to a steel factory,or work with machinery like printing presses,you've heard everything on this album.Save your money and check out The Clash's first album or even the Dead Kennedys.This just [is bad].



3. this is my favorite release by the band, and it's all from a live gig.



4. i think it is great. i have that any punk rocker that is into classic music., is a must. Dont forget the Chaos, and **** the S.P.G.

5 comments about Live at Sin-é.

1. Everyone knows that "Grace" is one hell of an album, but just as deserving of attention is this less popular early EP from the Buckley collection. With 4 tracks, clocking in at around 27 minutes, this cannot be beat for the five dollars you can pick it up for. 'Mojo Pin' is just as good here as it is on Grace, but this solo rendition is much more haunting than on his proper debut LP. It's drenched in mountains of reverb and is amazingly ghost-like. 'Eternal Life' contains just as much intensity as it does on it's full-band counterpart recorded later. While the cover of 'Je N'en Connais Pas La Fin' is fine and reveals Buckley's penchant for choosing eclectic covers, the real high-note here is his 10 minute cover of Van Morrison's 'The Way Young Lovers Do'. It is a masterpiece of improvatory ferocity with Buckley strumming and scatting like a madman (and I dig that stunned silence of the crowd right after the song comes to a close).
   On this recording Buckley is in top-form throughout. His vocals fly and float and his guitar playing is top notch.
   I recommend this highly.



2. Sine-E is the essence of Jeff and his talent. I am thankful that Columbia released music capturing Jeff at the place and in the format that led to all of the buzz about him. Each track shows a unique side of his musical tastes and abilities. To make a statement that one track or another should be left off the cd is missing the point. The review indicating that there are other artists with a better range is accurate, but there is more to his voice than his range. If you are thinking of buying this cd, you may want to wait as this fall they are releasing 2 cds full of these recordings and others that were recorded at that same time. I was fortunate enough to preview this release and it will blow you away!



3. Add another star if you are truly a Jeff fan... that means beyond "Grace" i guess.

   Great live renditions of "Mojo Pin" (the highlight of this four-song recording) and "Eternal Life".

   "The way young lovers do" may have you bopping along as the song hits the crescendo. Buckley sounds raw yet still beautiful in this one. But isn't that what makes him so amazing; you know he was an artist of dream-like quality in the flesh and not just in the recording room.

   And I believe that to be quite rare.




4. To test the waters for singer/songwriter, Jeff Buckley, Sony released the concert EP, Live at Sin-e, nine months before Buckley's first full-length album, Grace. Live at Sin-e features four tracks recorded in the tranquil atmosphere of New York City's folk circuit. Although the studio setting best showcased Buckley's abilities, which is surprising given his rawness of his talents, Live at Sin-e makes for a somewhat charming debut. The acoustic versions of the Grace songs, "Mojo Pin" and "Eternal Life" display quite a spark. The cover of "Je N'en Connias Pas la Fin," from the repertoire of French vocalist, Edith Piaf, makes for a quaint moment without the emotionally heaviness of most of Buckley's material. The EP, however, would have been better off without the ten-minute rendition of Van Morrison's "The Way Young Lovers Do," which breaks apart into an onslaught of rapid guitar strumming and vocal scats that scream "show off." Although plagued with some flaky moments, Live at Sin-E is an adequate live sampler that sometimes shows hints at the talent that would explode a few months later on Grace.



5. I don't know what's up with some people saying that Jeff's cover of "The Way Young Lovers Do" is bad. I honestly think that's the best song on the EP, and one of Jeff's best performances (rivalling "Hallelujah" off Grace and "Satisfied Mind" on Sketches for my Sweetheart the Drunk). "The Way Young Lovers Do" is so incredibly intense that when it finally ends after 10 minutes, it's like there's a huge void. When he starts scatting midway through, I just lose it. It's like a jazz song, when the soloist really starts cooking, and the drummer starts hitting his cymbals to egg him on, only here, it's just Jeff. He's his one soloist, his own rhythm section. This EP is just further proof of Jeff's great genius.

1 comments about Without the Aid of a Safety Net.

1. Big Country were one of the most under-appreciated bands of the last 25 years, and if you want proof of this, just pick up this excellent live album and see them at the top of their game.
   Recorded in Glasgow, Scotland's Barrowlands Ballroom in front of a rabid hometown crowd, this concert shows a band that had been around long enough to give a very polished, professional rock & roll show, while still retaining the energy and passion that made their early concerts so memorable.
   
   The first 10 tracks are acoustic performances, giving an earthy, authentic folk-rock feel to classics like "Chance", "Harvest Home", "13 Valleys", and "The Storm". The electric portion of the set kicks off in fine fashion with "All Go Together", while "Look Away", "Wonderland", and "Long Way Home" have never sounded better. Thankfully, this edition of the complete concert includes the unlisted, "spontaneous" performance of "Wild Mountain Thyme", a Scottish folk classic that sounds right at home in the hands Mr. Adamson and company.
   
   If you think "In A Big Country" was the only good song this band ever recorded, this album will be a real eye-opener. And if you have the one-disc version of this album released in 1994, this full version is well worth having, if only for the jaw-dropping, six-minute-plus version of "Fields Of Fire".
   
   The only drawback to this CD is the annoying, unnecessary copy-protection, but apart from that, it's an incredibly satisfying, invigorating live album.

5 comments about Anniversary.

1. This CD, is good, infact it is very good. Recorded in 1992, the band are in fine form, both Tim and Neil Finn give very strong performances and the band are tight and the banter in between the songs is strong.

   However the audience loop is highly distracting, it is extremely loud and in more than one place runs over the top of vocals and/or banter making it inaudible.

   The audience loop is the difference between what could have been a five star album and the three stars I've given it.




2. This album is from the last show of Split Enz' 20th anniversary reunion tour of New Zealand in 1993. The band was fronted by brothers Tim and Neil Finn (who at the time was leading Crowded House) and led musically by the amazing keyboard playing of Eddie Rayner. Playing their last show before a crowd that knew every song, the band shows more energy than I could have imagined. Songs that I never thought that much of, like "Hermit McDermitt" and "Strait Old Line", are very strong. There are three songs from the great "True Colours" album, which was neglected on 1985's "The Living Enz." In fact, the band even throws in a snippet of the never-recorded song "True Colours". The band is having great fun, with an abortive attempt at "Wail" thrown in and a spoons solo by Noel Crombie on "Strait Old Line". The songs cover the band's entire career, from the first single, "Split Ends", to the late-model "Years Go By". The pacing sags a bit at the end with early songs "Time for a Change" and "Charley"--I've never shared the band's fondness for these two.

   The performance and production are better than on "The Living Enz". And you can see that for yourself--for no obvious reason, three tracks from that album are stuck into this one ("Six Months in a Leaky Boat", "Dirty Creature", and hidden track "Hard Act to Follow"). No one even bothered to match the volume levels or equalize the tracks with the new material, so the old cuts are VERY QUIET and treble-deficient. When one of these songs comes on, it sounds like someone turned down your stereo.




3. The 1993 Anniversary tour of New Zealand was recorded and this live album is the result. It is quite satisfying to hear that Split Enz still "had it" almost 10 years after the split-up. Some of these live versions show new aspects of some of the earlier stuff like "Charlie" and "Time for a Change". And, by the way, hasn't Tim's voice become raunchier since the 80s? The only bad thing about this release is the very evident later added applause. It must have been possible to do this better in the mix...



4. I saw Split Enz live twice, once in London in 1977 and once in New york in 1982 and I wish I had been at this concert too. What energy, and what a great sound! I do not care much for the couple of bonus tracks from the previous live album as they seem to break the continuity... Nonetheless, this album is fantastic and the Enz couldn't be in a better form!



5. Split Enz Anniversary is a recording of their 20th anniversary reunion tour in 1993 and listening to this album makes me wish that I had been there! This album is bursting with energy, fun, vibrancy, good humour and comradeship and of course excellent songs. Inbetween the songs you can hear the crowd go wild and the Enz onstage antics. This is a great album to put on if you are getting ready to go out as it puts you in a really good mood. Put it on loud and sing along with Tim Finn to Shark Attack, Poor Boy and Hermit McDermitt. Then calm down a bit and indulge in a beautiful version of Years Go By sung by Neil Finn. Hear their bouncy eponymous first single, the haunting Message to my Girl and the exuberant Best Friend followed by Whats the Matter with You and a joyous version of I See Red complete with ingenious glockenspeil riffs. Hear Tim turn deep and meaningful as he sings Time for a Change. Next we have Strait Old Line complete with virtuoso spoon playing and an excellently orchestrated Charley. Then the Enz throw everything they have into a frenetic version of History Never Repeats which provides the album's crescendo. This album is a perfect blend of Tim Finn's showmanship and exuberance and Neil Finn's subtle artistry. It has an amazing vibe running all the way through it. It is absolutely wonderful and I just love playing it.

No comments about Preston 28 February 1980.

2 comments about A Rollins in the Wry.

1. How can this guy even be serious? Of course I'm referring to the trogladite making mention of this not being a children's cd and how he was suprised... It's HENRY ROLLINS! Where has this guy been and why werent his parents chemically castrated at birth? Anyway, HEnry is the man and continues to rock even without a band. Pull your finger out aof your @ss and listen to him and you might learn something.



2. This is mis categorized as a children's CD. It is NOT a children's CD. The intro drops the F* bomb (I didn't listen past that).

5 comments about And All That Could Have Been.

1. Now I was at many of these shows on this tour, and really, as a live album, not the greatest. It is just sort of live versions, not much that really adds to the experience. I love it when live albums have a whole show, front to back, and with all of the banter by the bands. This does not have much of that, but is still a decent collection of live performances, but the real treasure here is the bonus disc...
   
   If you are a NIN fan, you MUST have this bonus disc. Luckily, they finally re released this bonus disc as the cd "Still" and that is awesome. It has a few great simple piano/vocal versions of songs on it as well as some tunes that you will not find anywhere else.



2. And All That Could Have Been is a live disc with performances from Nine Inch Nails' "Fragility v2.0" tour. During the performance on the CD, Trent Reznor has very little stage banter, which helps the songs segue together rather smoothly. Around the middle of the disc, there's a slower section featuring "The Great Below" and "The Mark Has Been Made"; this kind of bogs down this part of the CD (however, this was the way the performance was, so it's nice to see that the setlist was left intact when the disc was put together). One of my main complaints is that the disc ends rather abrutply, rather than letting the audience's cheering fade out.
   
   This version of the album comes with a bonus CD, still (which is probably the closest thing you'll ever see to an "acoustic" Nine Inch Nails disc). "Something I Can Never Have," which is almost a minute longer on this disc, features a more laid-back arrangement (you only hear a piano and Trent's vocals). Besides reworked versions of some older songs, there are also four new songs on it: "Adrift and at Peace," "Gone, Still," "And All That Could Have Been," and "The Persistence of Loss."
   
   Overall, they are both strong discs, and should be in a Nine Inch Nails collection. However, Still may be a little too "mellow" for some Nine Inch Nails fans.



3. This halo stacks right up against a full length album. As many of the reviews I read suggested, I agree, it is truly the 2nd disc (the studio takes), still. that will capture your attention. "Adrift and at Peace" is reminiscent of "La Mer" from the fragile, a nice extension. "gone, still" another instrumental that stands out. But the final three tracks will capture you. The title track is lyrically charged emotion with minimalist layering that fits perfectly, a real throw back to _The Downward Spiral_ era. "The Persistence of Loss" is a lonely segue into perhaps the most depressing sound-scape ever conceived... "leaving hope". Trent served his publishing title well with a piece that defines melancholy. Again, for me it's a fresh reminder of how incredible the man who composed _The Downward Spiral_ truly is.



4. I have been a fan for over a decade and this album is a must have. Fantastic from start to finish. Very similar to a concert playlist.



5. not a whole lot to say really, the pure contrast between both CDs included in this deal covers the whole spectrum of sound, whether hard and in your face like 'star**ckers inc.'(found on the first CD) all the way to the melodic and beautiful version of 'something i can never have'(found on the second CD) it has something for everybody. and as a fan for many years this CD set leaves you feeling complete and at peace once you hear it all, it truly is a masterpiece

3 comments about New York, New York.

1. the dictators rule!!! if you like live,raw,loud,rock n roll,this is for you. i saw the dictators with ac/dc and thin lizzy back in 9/24/1978 in omaha,ne. what a show! get this and enjoy. rock on/bush hog



2. Yes. Good. Finally this is available with bonus tracks and is on CD and is as good as it ever was. You should buy this. It is good rock and roll, it is live in NY, it is loud and abrasive and melodic and like a sing-a-long at the end of the world. Notable tracks such as "Loyola" and "Search and Destroy" and "Master Race Rock" and "Baby Let's Twist" are completely satisfying on every ostensible level....the stage patter from Handsome Dick Manitoba fulfills and exceeds expectations...for the price, you'd be hard pressed to find an album that better represents a band's energy and sound on stage and makes you just want to get up and dance on a car hood all night long....



3. A reissue of ROIR's cassette release "Fuck 'Em If They Can't Take a Joke," "The Dictators Live: New York New York," is a welcome addition to your collection if you could never stand the fragile tape-only format. ROIR did reissue it on CD a number of years ago but that edition went quickly out of print. The new version contains three extra tunes from a Dics show at the Ritz in NYC in the early Eighties. I was there and I can tell ya it was a bitchin' performance. The crowd was nuts, desparate for faster and louder guitars and that arrogant Dictators magic. Bags of White Castle burgers were thrown into the crowd. Civilians were booted from the stage. Blood was spilt. Feminists uttered menacing epithets under their breaths. In "Master Race Rock," guitarist Ross the Boss' plexi Marshall peels out right over the face of the listener for three and a half minutes of hard rock fury. In 1998, it whales the tar out of anything current in the heavy metal genre. Killer versions of Mott the Hoople's "The Moon Upstairs" and "The Minnesota Strip" from the "Bloodbrothers" album are also not to be missed. -- Dick Destiny

5 comments about Hardwired in Ljubljana.

1. This album is remarkable for really capturing a lot of what makes Dead Moon the best live show ever. Toodie's remarks about the WC, the band thanking the opening band - these are so indicative of Dead Moon. Song selection is excellent, the set list captures most everything from a standard Dead Moon Show. The mix works too, a bit scratchy at times, but its all there. The enhanced CD is fun, but I really want a full length concert-documentary on this band. Truly an inspiring group, and worthy of five stars. ...



2. I just saw this band last night, and their energy on stage is amazing. Hard Wired is a great collection of their older songs, and definetely captures what makes them so good live.



3. The Ramones meet AC/DC. A live record with the song covered by Pearl Jam. Not a great recording. The songs are good, would rather hear studio versions. If you are looking to buy cause of the Pearl Jam song.. don't waste your money. Otherwise they are a good band but the production is no good!



4. Fred Cole has been around since he was the lead singer for the Lollipop Shoppe when he was 16 years old in 1966. Him and his wife Trudy formed the Rats in the mid 70's, some great well written punk music. I have a couple of the records. Then they did some country punk before it became popular. I have seen Fred and Trudy live a few times and they are great. Dead Moon has put out a bunch of stuff since the 70's, try to find the out of print stuff. have fun,EVL.. PS. The Rats and Dead Moon had a great impact in the NW with Punk and Country Punks.



5. If it is called Hard Wired in Ljubljana, why was it recorded somewhere in the Netherlands? Ljubljana is in Slovenia--a country on the other side of Europe...