No comments about Wipe the Windows, Check the Oil, Dollar Gas.

No comments about Live in Boston.

2 comments about Rarest Live.

1. When you listen to the tunes on "Rarest Live" by David Bowie, consider that this is a 1972 recording. From "Five Years" to a very simplified "Space Oddity," you'll hear why Bowie still is in the CD players.

   "Changes One" will have most (all?) of these tunes in studio versions, but in a somewhat less candid manner. Buy both.

   His poetics and dramatics come through here. "The Supermen" is haunting, and "Width of a Circle" is mesmerizing.

   Because it was recorded live, the sound quality sometimes lack, much like a poorly recorded bootleg. His voice sometimes fades, and the bass guitar doesn't always come tyhrough clean. However, collectors and those curious aboyt Bowie's artistic development will dig this.

   I fully recommend "Rarest Live" by David Bowie.

   Anthony Trendl




2. For fans of Bowie and particularly the Ziggy era, this is a classic moment. The Santa Monica gig is often discussed and more often bootlegged. It was a piece of the Bowie legend for over twenty years prior to European commercial release in 1995. Now it's being released in Japan by Mecca Records and this is the result. The song lineup itself appears to be the beginnings of a dream set for fans of the early albums. There are suberb live versions of The Supermen, Life on Mars and Width of a Circle, all given the abrasive screaming treatment of the late Mick Ronson's guitar. My favourite is Moonage Daydream, which Bowie says is "a song that Ziggy wrote." Another outstanding track is this version of Space Oddity. Unfortunately, and the reason I gave this CD only 3 stars, six of the tracks included on the European release are ommitted here. To get those you'd have to buy another CD as well - RarestOneBowie + 6. For those accustomed to hearing Ziggy concerts rounded off with Rock n Roll Suicide, it feels like a bit of a swindle. But if you can't get hold of the admittedly difficult-to-find-now original release, this CD goes a long way towards plugging the gap.

No comments about Extended Versions.

5 comments about Dead Set.

1. Who wouldn't love this great quality soundboard recording? The set-list has long been one my favorites. It was nice to be able to get it used and not at the expensive import price elsewhere.



2. There are many live Dead albums around, some I'm sure are better, but this is a nice lengthy single disc of great songs. I like it because it's a good mix of well-known, and lesser-known tracks. We get excellent versions of "Friend Of The Devil", "Franklin's Tower", and "Fire On The Mountain", as well as more obscure cuts like "Candyman", "Deal", and "Loser". I really have no complaints other than that it's missing "Space" after "Rhythm Devils", which is on the double LP. The mastering could be better, but just turn it up. Overall it's one great disc, and perfect for the person who might otherwise only own a "Best Of". Cool cover too.



3. This starts off just like the second half of the show I saw in Alpine Valley, Wisconsin. Lawn lights out, drums started pounding, and 30+ thousand people started bouncing up and down like pogo sticks.
   
   At the time, the sound was state-of-the-art, though this album does not sound as clean as shows recorded after they switched to in-ear monitoring.
   
   I really like the perfomances here, unlike the reviewer who felt they added nothing to the studio albums. Maybe the remembrance has something to do with it...but additionally this album covers a range from fast and uptempo to slow and doodling, showing different facets of the band.



4. Hello,me again I first had this on Tape{Cassette}it got eatten up in my friends car player :{{Saddness},got happy when it came out on C/D looked closer got{Bummed out}because it had one of the prettiest {"spaces"}since Europe 1972 missing, hear: Epilog-Prelude,which pretty much is the jam around "the other one" as I remember :},I now have the import and it has the "Space",so as a warning try for the c/d with "Space" included but if you a remote area like Hooterville,buy its still really good "Brokendown Palace" makes me miss the old days sadness:{ listen to the verse:Momma,momma many worlds I've come since I first left home <-- pretty&sad Peace&Freedom Larry Smith



5. The original CD version of this album is unavailable. And that is a good thing. A new, remastered version has been made, but currently is only available in the boxset The Golden Road. If you don't want to buy that boxset, but want this, wait until the remastered version comes out (don't by this original version used).
   
   Even in the LP version, this was not a great live album, when compared to the Dead's previous live albums (except maybe Steal Your Face). All of the gread Dead live albums brought out something new. They just weren't live retreads of the same material on previous studio albums. Also the sound quality was excellent and the audience noise was edited out, so it sounded as good as a studio recording.
   
   Steering from the path of previous live albums, this album does include much audience noise. There is cheering and screaming in the middles of songs. It isn't as bad as some other groups, but it is still distracting and unnecessary.
   
   About half of the tracks on this album are just retreads of studio material, without anything new or interesting added. They are rather pointless, when the studio versions are better. These include Sampson and Delilah, New Minglewood Blues, Candyman, Loser, Greatest Story Ever Told and Brokedown Palace.
   
   There are some great tracks, that are worth having, like the slowed down version of Friend of the Devil, and the very energetic Fire On the Mountain and Deal. At this time, the band was very tight and energetic. These are fantastic renditions of those songs (although, I have heard even better versions).
   
   A poor job was done putting this album on CD the first time. The track Space was dropped because of time considerations (at that time, the maximum lenghth of a CD was only 74 minutes). On some of the import versions, Space was kept, but Drums was dropped. Also, the reports are that the sound quality was weak on the original CD's.
   
   The remastered CD is much, much better. The sound quality is better, all the tracks are included and there is a bonus CD that is better than the original.
   
   WHY WAS A TRACK DROPPED OFF THE ORIGINAL CD? When the CD was developed, the original target time was 74 minutes. But variation in the bit size and sample speed was allowed, to allow for manufacturing variations. But, the manufacturing is so precise, those sloppy specs are not needed. To get 80 minutes on a CD, manufacturers started using the far side of the limit, with the smallest bitsize and fastest sample rate.

5 comments about Yule Ritual.

1. For a recent day live recording,this 2-CD release 'Yule Ritual' could NEARLY touch the timeless 'Space Ritual' for quality and performance.I,personally know a friend here in the states that attended this gig,that took place in December,2000.He mentioned that it simply was the BEST Hawkshow he'd ever seen,even better than 'Hawkestra'.The line-up is something to boast about,Brock,Richard Chadwick,guitarist Jerry Richards,violinist Simon House,on-and-off again member Ron Tree and synth-wiz Tim Blake.The setlist really couldn't be better.Opener is an excellent version of "Levitation" and then leads into a new(er) tune "Money Tree".Some truly memorable tunes make the grade,like the stunning "Space Is Deep","Flying Doctor","Angels Of Death","Lighthouse"(where Tim Blake gets to strut his stuff),"Sonic Attack","Hurry On Sundown" and "Spirit Of The Age".After thirty plus years now,Hawkwind STILL flies!!The sound mix is great!!No fan will be one bit let down.Includes an 8-page MOST colorful booklet.A real keeper.Don't bother to look for this in the used stores 'cause no one would wish to part with it.MOST highly recommended.



2. Nobody would of ever dared believe that when Dave Brock and his merry band of Hippies, Buskers, Street musicians, Poets, and Hangers on got together in 1969, that they could ever have gone on and made such an impact on the world of Rock `n' Roll. They influenced generations of musicians, creating their own genre of Rock inventing what was to become known as Space/Rock or Stoner/Rock, still practiced these days by mainstream bands such as "Monster Magnet" or "Foo Man Choo". They had a profound influence on Ambient Music, became one of the most sampled bands in Rock History, or most unbelievable of all, they are still strong going over thirty three years later. Albeit - only Dave Brock remains from the founder members, and even he left once, although only for one European Tour.

   Over the years countless musicians have come and gone (many returning to the ranks three or four times), some making little impact and some leaving a lasting impression. Not least their Dancer Stacia, who, although always having difficulty dancing to the pulsating rhythms from the music, had no such problem in getting her kit off, much to the delight of the audience. Hawkwind were very popular on the European College Gig Circuit, making Stacia the first totally naked girl that many young spotty male students ever saw. Although Stacia had no musical input, she still left a lasting impression on many a young minds.

   Their influence on today's Nu-Heavy Metal Scene should not be underestimated either. After their bass player was sacked mid tour of the United States of America in 1975, he came home to the United Kingdom to immediately form the Heaviest Metal Band of all time, a certain "Motorhead". That bass player was, of course, the one and only Lemmy. Others to have made big impressions have been poet and lead singer Bob Calvert, who sadly died in the Eighties. However, he had completely transformed the band when it imploded in the late Seventies. Nik Turner put Saxophone, Flute, and most importantly a sense of fun back into Rock music, just as everybody was actually starting to take themselves too seriously. The Drummer from Cream, and arguably the finest drummer of his time, Ginger Baker also found himself warming the drum stool for a while in the Eighties. In 1972 they even had a hit single "Silver Machine", which in that heady summer was only kept off the top spot by Alice Cooper's "Schools Out".

   So, not a bad history then. But what of today? Well, the Band is still going, in actual fact with so many ex-members, there are two Hawkwinds. One is led by Hawkwind's original leader Dave Brock with a group of hired hands (drummer Richard Chadwick has been with Dave Brock for nearly twenty years, but is still considered to be a new boy by some of the fans). The other turned into "Nik Turner's Space Odyssey, the Hawkwind Experience", which 'sometimes' has as many as four of the original classic line-up.

   Sadly there has been no new recordings out of any Hawkwind camp since the winter of 1997, Distant Horizons, and to be honest that wasn't much cop. As well as losing their minds over the years, Hawkwind also lost all control of their back catalogue. There are over 300 C.D's of various quality floating about on the shop floor, but, as is proved by the inside of this album's cover, with its list of twelve current Hawkwind Fan Clubs there is still tremendous interest in the music.

   So what do this bunch of late fifties, early sixties musicians do? Well, of course, you milk them for all it's worth by releasing a live album once a year from your Christmas Concert. Yes, all you old Hippies out there, horror of horrors, just like Cliff Richard or Status Quo, they rub the old machine down once a year for a Christmas jaunt round the country to fill up the coffers once again. But is it any good I hear you ask? Well, judging by this collection recorded on December 29th, 2000 at the London Astoria by the Dave Brock version of Hawkwind, I would say absolutely. What you get is over two hours of wonderfully varied Hawkwind music, a round up of most of their Greatest Hits including a song from their first album to a new one. Famous author and long time Hawkwind collaborator Michael Moorcock phoning in his parts from across the Atlantic. (Although surprisingly Silver Machine is not dragged out. Or was it played at the concert but left off the album? Or is Dave Brock still playing it cool?). Many surprise guests coming on to play from Hawkwind's past, and possible future, (a certain Jez Hugget take a bow for taking the wind instrument role on this recording) all played by consummate musicians that they certainly were not at the beginning of this journey, played with far more enthusiasm than by lesser mortals who drag themselves around the Rock 'n' Roll Circuit Twelve Months of the year. This was definitely not the way things were planned when it all started out in Notting Hill London 1969, but a positive way for the nice people from Hawkwind to spend their twilight years; and like Santa, they only have to work at Christmas.

   Happy Christmas Everybody, Mott the Dog.




3. This one has 2 CDs. The first is a solid stream of a great Hawkwind show worthy of the title reference to Ritual. Extended jam pieces with powerful base and drum lines opening with Levitation and Spacebrock, the latter coming out the stronger, heavier sound. The Moorecock narrations are a bit disruptive, one of these being Warrior on the Edge on the first disc, the second being Sonic Attack on the second disc, but they are done passionately well, if you have the patience for the interludes. I just hit skip. I love Ron Tree's vocals on High Rise and have come to rank him as my favorite, non-Brock vocalist in the band's history. (The Calvert -led rendition of High Rise on Weird Tapes No. 3 is the best, but as much because of the music and Calvert being unusually subtle with the vocals on that take.) Space is Deep was great to hear, a nice fresh sound to one of the old favorites, though a bit rushed on the resolve. The second CD falls apart a bit and is not subject to endless loop play, my criteria for 5 star, but the first disc more than makes up for it. Only major complaint is the removal of Hippy from the playbill; it would have come after Spacebrock if I recall correctly.



4. i can honestly say this is the best i have heard hawkwind live for a long time.from electron intro(synth at its best)to assassins of allah sheer brilliance.best track,hmmm.all best tracks.cant wait till the next yule ritual(fingers crossed)hawkwind seem to get beter every year.if you have never seen hawkwind live then make a point to do so,you wont be let down,if you cant go see them live then this is the cd for you.
   and if you like hawkwind live then buy the business trip live cd,you will love it/
   joe
   SPACEBOSS



5. The guys are back and momentarily reunited with old sonic assassins. It may just be me but I swear I'm hearing Alan Davey on this CD. The total wackiness of the performance is only matched by the great choice of material. On Hurry On Sundown you'd swear Brock dusted off an old vocal track from 69. His voice is spot-on. Ron Tree sounds like Bob is back from Valhalla especially on High Rise, Freefall and Spirit of the Age. Capping the whole thing off is Mike Moorcock literally phoning in his performance from Texas! Totally manic, totally spacey, and completely convincing Hawkwind. Buy it!

No comments about Live from OSA.

5 comments about Live.

1. I've had this on vinyl, then the first release on CD(in abyssmal AAD), and now have the Japanese mini-LP remaster. This is a splendid introduction to the Peter Gabriel-era Genesis. It's an entirely different beast. Kinda dark, and not at all like the pop music they churned out in the 80s-90s.
   This 1972 performance was released(at least in the US) out of sequence in order to capitalize on 1973's more successful "Selling England By the Pound". This show, taken from a radio broadcast, is amazingly pristine. My only gripe is that on the original program there is a stellar rendition of "Supper's Ready". Understandably, this 23-minute piece was way too long to fit on a vinyl LP, but CDs don't have that time constraint. A real shame.



2. English prog rockers Genesis released its fifth album Genesis Live in July of 1973 in the UK and early 1974 in the US.
   For many years this was the only live document in the Genesis catalog from the Peter Gabriel/Phil Collins/Tony Banks/Steve Hackett/Mike Rutherford era (until the release of 1998's Genesis Archive 1967-75 4-CD set).
   Genesis Live documents the group's late 1972/early 1973 tour in support of their excellent fourth album Foxtrot. Shows in England were recorded for a potential King Biscuit Flower Hour radio show broadcast but was released instead as a tie over for fans until the next Genesis album which turned out to be Selling England By the Pound.
   Although it's only a single disc live album leaving the listener hungry for more, there is enough to keep the listener gripped to their stereo systems/CD players and so forth for 45 plus minutes.
   The opening version of the Foxtrot track "Watcher Of The Skies" is possibly the best version of the track as it is more excellent than its studio counterpart (especially keyboard player Tony Banks' stellar keyboard intro). Next is a spirited version of "Get 'Em Out By Friday" which is better than the version taht appeared on Foxtrot. "The Return Of The Giant Hogweed" follows and is an excellent version which keeps one glues to its stereo for almost ten minutes.
   Next is a great version of the early Genesis masterwork from 1971's Nursery Cryme entitled "The Musical Box" which is a great version heard to be believed. The grand finale to this live album is the Trespass closer "The Knife" done with great relish and more gusto than the studio counterpart (probably thanks to addition of drummer Phil Collins and guitarist Steve Hackett in late 1970 to the band).
   Genesis Live reached #101 on the Billboard chart but aside that, Genesis Live is a great document to the early days of the band.
   One more note, Genesis Live was originally planned to be a double live album that also would've included the band's masterpiece "Supper's Ready" but the band and its label decided against it. Thank goodness for the Genesis Archives Vol. 1 box set which was released in 1998 which featured a great live version of "Supper's Ready".
   Genesis Live is still recommended anyhow!



3. Some people may not agree with me when I say that after Peter Gabriel and Steve Hackett left Genesis there was no more Genesis,just a band that tried to stay together as Genesis and succeded in giving the world mediocre renditions of a once great band.
   
   Let us not rush to the conclusion that I am saying that post-Gabriel era did not have its share of good songs.Yes, in fact the next two post-Gabriel studios albums were actually good.However,the Genesis of progressive art rock was lost forever.
   But after years of hashing over the fact that Genesis was redeemable for any effort that claimed them as good as they were is lost.Even when this Collins -Genesis era tried to do Supper's Ready,they do a mere fraction of the grandiose that Gabriel set it up to be: a tale,an acted out skit.The music fit the theme. Collins ,in his half-effort to redeem the classics ends up butchering them.
   
   No, there will never be another Genesis like this one,not even when the three ,Collins,Rutherford and Banks try,they cannot and HAVE NOT re-produced the magic that was once alive in a record of this caliber.
   
   Gabriel is also guilty of having lost the magic with his solo garbage,but so have the other guys,except Hackett,who continually pushes the boundaries of his talents.Gabriel,although not as soft as Collins had a great voice for that type of dramaesque music;it fit the atmosphere.
   
   The fact is that the chemistry has been lost after 1975,nothing sounded as good as this.



4. There has never been a shortage of live albums by Genesis. Genesis' "Genesis Live" is one of five live sets (the other four being "Seconds Out, "Three Sides Live", the two volume "The Way We Walk", and "Live Over Europe"). "Genesis Live" goes back to the very beginning days of Genesis and features the five person lineup of Peter Gabriel, Steve Hackett, Mike Rutherford, Tony Banks, and Phil Collins. "Genesis Live" also is the only Genesis live album to feature Gabriel on lead vocals. This particular live album only contains five tracks, but it showcases the progressive Rock sound the band demonstrated during this
   
   When I look at Genesis as band, I see four distinct phases the band has gone through. Phase 1 is the Peter Gabriel Era. This spans from 1969 ("From Genesis to Revelation") to 1974 ("The Lamb Lies Down on Broadway"). It was during Phase 1 that Peter Gabriel was the lead vocalist and Genesis could easily be categorized as a progressive Rock band. Phase 2 is the Early Phil Collins Era spanning from 1976 ("A Trick of the Tail") to 1982 ("Three Sides Live"). In this era, Phil Collins took over as lead singer. The band was still very much a progressive rock band, but as the progressive rock landscape would change - so would Genesis. This might indirectly have led to Phase 3 which is the Late Phil Collins Era from 1983 ("Genesis") to 1993 ("The Way We Walk Volume 2: The Longs"). This is the commercial/pop era that I referred to earlier. At this point, there would be a lot less progressive rock flavor to Genesis' music. The fourth phase, Phase 4 is the Ray Wilson Era. This was when Ray Wilson took over as lead vocalist for Phil Collins. There would only be one album in this era - 1997's "Calling All Stations" and it seemed like Genesis tried to recapture some of their progressive rock roots - but 90s style. "Genesis Live" was released in Phase 1 and draws tracks from three albums during this period "Trespass", "Nursery Cryme", and "Foxtrot". It is worth noting that while this album was released during Phase 1, there is no representation from Genesis' first album, "From Genesis to Revelation".
   
   When comparing "Genesis Live" to the other Genesis albums, you are not only getting the only Genesis live album with Peter Gabriel, but one that contains the earliest material.
   
   Normally when there is a live release, I prefer the album to be a live recording from a single concert performance. I prefer it to be delivered in the order in which the songs were actually delivered. By having things from a single night and in order - I feel there is continuity and the magic of the concert is captured perfectly. With this particular collection, the tracks were recorded at two venues. From some research, I've determined that four of the five tracks were performed on a single night in February 1973 (De Montfort Hall in Leicester) while one track ("Return of the Giant Hogweed") was performed the night before in Manchester. While all of these tracks are considered normal length by progressive Rock standards, they are still considered longer tracks from popular music standpoint. All of the tracks are over 8 minutes and the total length of the collection is 45+ minutes. It is clear from listening to this music that this performance doesn't represent a single concert. It also is clear that this is a subset of a full concert. It would have been nice to hear the whole concert, but one must remember that back in 1973, LPs held less music than CDs - and there was often pressure to release a single LP as opposed to multiple LPs.
   
   A few observations that I got from "Genesis Live":
   
   1) If you aren't as familiar with Phase 1 Genesis, this is a good place to start. You aren't going to hear this type of stuff with the radio-friendly Genesis music. The most amazing thing is Peter Gabriel's haunting voice that seems perfect suited to the progressive Rock sounds of Genesis.
   
   2) "The Musical Box" might be known to some of the more mainstream fans who purchased the "The Way We Walk Volume 2 - The Longs". On "The Longs", it contains a medley of old Genesis songs simply called "The Old Medley". One of the songs in "The Old Medley" is "The Musical Box" which contains a snippet of "The Musical Box". "Genesis Live" is going to contain a full version that will provide a full appreciation for the progressive Rock roots of the band.
   
   3) The intimate setting for this material will be in stark contrast to the stadium performances done on 2007's "Live Over Europe" set. The intimate setting works very well for this concert. The sound quality is good, but one must keep in mind this material is 35 years old.
   
   4) Tony Banks might be the real star of this performance. His use of the Mellotron on "Watcher of the Skies" is simply masterful - and truly shows progressive Rock at its best. The live version of this song will not disappoint.
   
   As with most live albums, there are no lyrics included. In the liner notes, there is a short story by Peter Gabriel. Overall, as mentioned this is going to be a sampling of the earliest days of Genesis. The only real disappointment is that you are probably are going to be wanting for more music by the band. Die-hard Genesis fans will love this album. Latter day Genesis fans still may want to check out this album and learn more fo the roots of the band.



5. Genesis were formed in early 1967 out of a couple of bands that met at Public School, Charterhouse. (In England, the posh expensive Schools are called Public Schools, which has always puzzled this dog. They certainly were not public as they all cost a fortune to attend). They recorded their first album "Genesis To Revelation" and released it in 1969. That was before the band had even played before a live audience. That by itself is an amazingly long incubation period. They also had already a change of drummers by that time, Chris Stewart left and John Silver (great name for a drummer) came in. This album hardly caused a ripple in record stores round the country, and is unrecognizable as anything Genesis were to do after this point.
   A re-think was in order. It was decided that drummer Silver was unsuitable. Out with him and in came John Mayhew. They all de-camped to a conveniently empty cottage just outside Dorking to work on their sound and a possible stage show. Eventually Tony Stratton Smith signed them to his new Charisma label, which on the strength of watching one dodgy rehearsal, and one badly recorded demo tape, must be one of the most inspired signings in the history of Rock 'n' Roll. The album "Trespass" was recorded and the band began to gig. However, before the album was released disaster stuck.
   Anthony Phillips, original lead guitarist with the band and instrumental in defining the guitar sound that stayed with the band all through their career, decided that the Rock 'n' Roll lifestyle within a band was not for him. At the same time the three remaining original members decided that John Mayhew was not the man to be sitting on the drum stool (scratch deep enough all bands have had their Spinal Tap moments). Replacing Anthony Phillips was not going to be easy, but finally Steve Hackett was found. He was a very earnest and intense young man, whose character was in keeping with his guitar playing.
   The drum stool was the next problem. After fourteen drummers had a go, a certain young chap by the name of Phil Collins answered a Melody Maker small ad and was drafted into the Genesis ranks straight away. As a child actor Phil Collins had been in several T.V. and stage shows including the part of the artful Dodger in the Londoner West End production of "Oliver". After "Oliver" he drummed in several bands, the last of which had been a group called "Flaming Youth". They were just rapping up in the aftermath of some ill advised and unsuccessful publicity, so Phil Collins was glad to get the gig with Genesis. But I am sure the other four did not realize what a useful little chap their new drummer was going to be in years to come.
   So by early 1971 the re-shaped Genesis was finally gathering some real momentum with growing approval from the press and a steadily increasing hard core fan base. Each album they released outstripped the last ("Nursery Cryme" in 1971 and British breakthrough album "Foxtrot", which followed in 1972). By now they were out on the road almost consistently wowing their fans with their unique blend of rock music, dexterous skills, and groundbreaking stage show. A quite remarkable sight on stage they were, too. Steve Hackett would play his blistering solos from a seat on the left hand of the stage, while multi-instrumentalist Mike Rutherfood would wander the stage with his twin necked guitar enabling him to play the bass and twelve string guitar at the same time.
   Tony Banks would be on the right hand side of the stage, almost invisible from the audience as he was completely surrounded by his multi collection of keyboards. But the wonderful wall of sound that became the trademark of Genesis left you in no mind that he was there.
   Then of course, out the front, was charismatic lead singer Peter Gabriel, who would often go through eight costume changes per concert in an effort to better put across the story of each song. Not for Genesis to play short sharp little songs; most clocked in at over eight minutes. The only single that Genesis had released at this point was "The Knife". To accommodate it into the single formula it had literally been cut in two with side `A' being "The Knife - part one" and Side `B' being ''The Knife - part two". That didn't exactly endear them to radio play. So Gabriel's role was crucial in "Genesis" to keep the audience's attention. His flute playing also gave the band an extra dimension.
   While the band was on the tour promoting "Foxtrot", several of the concerts were recorded to give the fans something while they came off the road to record their next album. ("Selling England By The Pound " 1973 became their worldwide breakthrough album for them.)
   Five songs were selected for "Genesis Live", which rocketed into the charts in Britain reaching # 9. What you got were five epics all clocking in at over eight minutes, in all forty five minutes. A lot for the days of vinyl. And although not a whole concert, the running order of the songs worked very well.
   First we have two songs off the "Foxtrot" album, but no problem there as the band had quickly adapted the songs for the road, beefing them up quite considerably. In the case of opener `Watcher of the Skies' Tony Banks had added an awe inspiring opening played on the Mellotrone and the Moog Syntersizer, By the time Phil Collins comes thundering in showing the chops on the drums that would soon have him rated as one of the best drummers in rock music (this was way before anybody had thought about putting him out front to sing), you are already caught up in the web Genesis set out to catch you. Tony Bank's keyboards rather dominate the opener, using the guitars to keep up a strong but slightly slower beat than on the studio album.
   Then Peter Gabriel takes over on `Get'em Out By Friday', a tirade against despicable landlords. Gabriel plays all the roles in different voices. With the amount of energy this must of taken up, it is no real surprise that two years later he stunned the rock world by leaving Genesis when they were on the crest of the wave. `The Return Of The Giant Hogweed' was always a favorite of Genesis fans and was probably as close to actual Rock 'n' Roll that Genesis would ever get to; something to actually bang your head to - heavy metal style. `The Return of the Giant Hogweed' was one of two from "Nursery Crymes", the other one being `The Musical Box'. This is the center piece of this album and shows all the light and dark that the band put into their music. The mid section features a guitar solo from Steve Hackett that would lay the template for all progressive rock guitarists to follow. The final climax to this epic as the band hammer their way home with Gabriel wailing over the top of them all, has often been imitated but never bettered.
   After `The Musical Box' has left you exhausted, the band carries on with a track from "Trespass", `The Knife'. You can tell by the audience reaction to Gabriel's announcement of what the band intended to play next that this was another crowd favorite. Expectations were running high. But the band gave an interpretation that exceeded the studio version in astonishing fashion. This must be partly due to the relative new inclusions of Phil Collins and Steve Hackett into the band. Phil Collin's drums gave the song a much crisper definition, while Hackett's guitar work reached new heights. A dramatic conclusion to a fine album.
   
   Pawed by Mott The Dog
   Remastered by Ella Crew

3 comments about Live at the Royal Albert Hall.

1. My step-dad saw Petula Clark in London while she was being recorded for this collection (he was in the Navy at the time.) He told me that he always wanted a copy of this because of her beautiful voice and he was there while it was happening. So, I searched out Amazon, and voila! He was so happy to get this. I liked it too. It's been a good while since I bought it, right before he passed away in August of 2005. I was really glad that I could get this for him, and he treasured it. Because he's gone, I now have it, and wouldn't take a million dollars for it.



2. I have heard all of Petula Clark's studio hits many times since childhood, but this is the first chance I have to hear any of her live performances. My personal verdict? Fabulous! Her live vocals are absolutely beautiful here.
   
   This live 1972 performance catches the essence of that era, and there is an absolutely surreal meeting of the subcultures when Ms. Clark sings the medley from "Hair." The counter-culture pieces are performed in pure pop-variety-show mode. The introduction she gives before the medley is actually very touching; she mentions the impact of being a mother of two has had on her life, and she dedicates the "Hair" medley to... Peace. It's almost hard to picture such a dedication sounding anything but satirical, but she comes off as sincerely heartfelt.
   
   All of her 1960s hits are here, and she does a flawless job on every one of them. For those of you under 40, this CD will send you that jubilant "Austin Powers" aura; for the rest of us, this serves as a top-rate quality nostalgic romp. Petula Clark, you are fabulous!



3. Usually I don't enjoy live recordings, but this album makes me forget that fact. There are some songs such as the "My Fair Lady" ensemble that are not available on any other Pet Clark albums, and yet is just wonderful.

3 comments about Classics in Motion.

1. I've been a fan of Todd, with and without Utopia, for as long as I can remember. I have never had the chance to see him live, so radio broadcasts, live albums, and bootlegs have had to suffice. This set is the best I've ever heard, in both performance and sound quality. I bow to Todd for having the wisdom to release this recording. I am particularly pleased that this is a complete concert, not a compilation of recordings from several shows. Todd's production is, as always, top notch, and it is a brilliant performance. These four musicians are each vituosos in their own right, and together they are nearly unsurpassed as a group. The audience is appreciative but not intrusive, and the arena's ambience only adds to the experience. This set is not cheap, but it is worth every penny. I agree with other reviewers that the graphics could be better, but the music inside overshadows all. If you wonder how good this band could be, look no further than this set. It ROCKS!!!



2. Twenty years too late to help the unaware appreciate the best in the business or to help sell records, nonetheless this is a Todd fans dream come true. All that's missing is Caravan, Set Me Free and you would have a truely "Greatest Hits" Live package from Todd, Rog, Kaz and Willie. From Todd's Something/Anything right up to the unreleased at the time Adventures In Utopia, this show runs the gamut of screaching guitars (Initiation, Hiroshima) wailing synth's (Hiroshima, Seven Rays) to pure pop (Can We Still Be Friends, Hello It's Me) and including two great Todd Ballads (It Wouldn't Have Made Any Difference, The Verb To love), not to mention Kaz's own Love Alone. The boys can crank out any style that their hearts desire and this set shows just how wide their range really is. The only disappointment is the drab cover, a mistake not made on the Todd Archives third edition Chicago '91. Something on the cover to draw in the non illuminated might have drawn some to this great show. This ranks in my top 3 list of all time favorite legitmate releases. Utopia makes their songs better live (most groups do the opposite and have to wow you with either fancy stages or light shows). Listen to Todd and Rog alternate ear shattering solos in many songs. This set makes you wonder why the boys weren't hailed as the Fab Four of the 70's and 80's? Now if Rhino will just get rolling and release some more of the greatest Techno-Rock-Pop band that ever existed, then Frankie and Tony could could spend more time enjoying these guys. I'm in line already for the next release. Where is it? How about some TR-iO ! Is that Halloween show 'bout ready yet? C'mon Rhino, there is never enough Todd-Utopia to enjoy. So let's go, eh ?



3. This CD features Utopia at about their best. While the band had put out several great pop/rock albums, none of them captured the energy of the live performances like this one does.

   Like many other great live concert recordsings made in Japan (Beck, Boaert & Appice (LIVE); Santana (LOTUS); Chicago (LIVE IN TOKYO), and Miles Davis (AGARTHA, PANGAEA) all come to mind), this one sounds as clean as a studio recording (the Japanese, it appears, prefer to mike a live performance from the stage, rather than the middle of the audience). While there is some crowd noise, it is minimal and doesn't interfere with the songs--unlike so many American live CD's, where the crowd noise is as intrusive as a TV laugh track.

   The live in Japan '92 CD that was eventually released in the US is somewhat rusty compared to this one. What is really astonishing is how Utopia re-produced their high-tech sound live in concert (apparently it was not all overdubbing and other studio tricks--they actually had the talent).

   My only criticism here is that the only selctions from "Adventures In Utopia" are 'Last of the New Wave Riders', and "Shot in The Dark". While "New Wave Riders" is a song that outdid Van Halen at their own game, and "Shot" sounds very New-wavish here, it is simply not enough for the hard core Utopia fan.

   Still there are enough other great songs here to keep listeners and fand interested, and coming back for more.

   The songs from "Oops, Wrong Planet!" are just steller: the energy level and the quality of the recording make them more enjoyable than the studio versions. 'Love In Action' and 'Trapped' open the performance and Utopia plays to kill here: US fans will really wonder why they have been denied this aural treat for so long.

   The segment where Todd Rundgren takes center stage and does his own songs is a bit long, but here agin, the recording quality is so good that these come across as higher-energy remakes of teh original studio recordings. "Black Maria", Todd's Jimi Hendrix "tribute" sounds far better here than it did on Something/Anything, and 'Couldn't I just tell you somes off as a powerful rock plea; somewhere between Clapton's 'Layla' and the early Beatles for musical intensity.

   Many of the Rundgren solo pieces are stripped of the audio-sweetening tracks here, and, while they lack the pop-polish of the studio versions, tehy actually sound better to this rock fan's ears, since they aren't weighed down with un-needed extras. "Can We Still Be Friends" and "A Dream Goes On Forever" sound more 'genuine'; not schmaltzy. Utopia's backing instrumentals are sparser, but more powerful than the studio playing. I guess if you only have 4 guys, you have to select the 4 really critical tracks from the 24 you laid down in the studio...they chose well. The Outstanding cuts (worth the rather high price of this CD) are Love of The Common Man (much more dynamic and full than the thin, flat studio version on 'faithful'); Love in Action--a great version of a really great song; Last of the New Wave Riders; Black Mariah; Coudn't I jsut Tell You?; and Hello, It's Me.

   One more thing: This CD establishes that if nothing else, TOdd Rundgren can really sing. Unlike many bands whose lead singers can't hit high notes or maintain difficult phrasing when singing live, Rundgren's voice sounds as resonant here as he does on the studio LP's.

   Utopia was one of the great bands Americans never knew -- too bad, as this CD is a real gem for any pop/rock fan.