5 comments about Truckin' Up to Buffalo: July 4, 1989.

1. Superb! Good song list,strong vocals,esp.Jerry and Brent.Jerrys guitar work stands strong,and one of the few recordings that has Phils bass properly mixed so the listener can enjoy one of the best rock bassmen of all time!This recording is not just for the loyal Deadhead(ME!)but a nice intro.to the later Dead for the general listener.



2. I was right in front of the stage at this show. The best sound, of course, isn't right in front of the stage, but I was always fascinated by watching Garcia and Lesh's fretwork up close and personal. Fortunately, Rhino has released this 2-disc set and I can now experience the music in a way I was unable to back in '89.
   
   In retrospect, this was a great show. I think that, at the time, I was disappointed at the set list. The Dead had a prodigious repertoire of country and blues standards, as well country- and blues-inspired songs that they wrote themselves. This material made up over half of this show. I liked their "jazzier" material (for lack of a better term) and their ballads. Of these, only "Terrapin Station" and "Row Jimmy" appeared. [I don't count "I Will Take You Home" as a favorite ballad, because it's nauseatingly treacle.]
   
   What about the music? Listening to it, I realize that the show was much better than I imagined. Garcia just SHREDS "All Along the Watchtower"... some of his best pyrotechnic playing ever. "Row Jimmy" is emotionally powerful, and the "Terrapin Station" from this set is the one I use to practice my bass line. It's a classic rendition of the song, light and lyrical at the beginning... wildly explosive later on. A lot of the material is just fun stuff... like "Bertha", "Greatest Story Ever Told", "Man Smart, Woman Smarter", "Not Fade Away" and "US Blues"... but the band is SUPERtight and the solos are, by and large, spot on.
   
   [Note: The "Playing in the Band" reprise-- which, strangely, is the only part of that song that appears in this show (thus, reprising nothing)-- also has a nice jam in it... though nothing like those extended ones from days of yore.]
   
   So, looking back, it was a fun show with a lot of energy and some great Garcia virtuosity. OK... Garcia's voice is a little painful in "Ship of Fools"... but wasn't it always? This is from 1989. Garcia and Weir's voices weren't what they were in the early 70s... and the weren't even great back then!!! What's impressive is how much tighter the band was than in the 70s... despite how much Deadheads reminisce about that era. Even with the tighter format and presentation, there's a lot of improvisational freedom... and not just from Garcia. Did Phil Lesh ever HAVE a bass line, anyway? Neat stuff.
   
   How about the CD set? First off... the sound is EXCELLENT. Crystal clean and no caffeine. The tracks seem to be cut at the right places, by and large. The cover is fun and colorful, with raised lettering. The insert has some great pictures of the boys... and the liner notes are informative, though the style of the writing is the typical Blair Jackson crap... full of nostalgic platitudes and general silliness.
   
   You don't buy a Dead album for the liner notes, however.
   
   What's my recommendation?
   
   If you don't have it, buy it. [If you have it, why are you reading this review? Go listen to it.] It's a lot of Dead for $25. It may not satisfy the hardest of the hardcore Deadheads, because of the set list and the rather short jams. But even the hardcore Deadhead should recognize how much fun this show is... so don't buy it if you don't like having fun.



3. While Disc One had its moments songs like Touch of Grey and Man Smart, Woman Smarter are really bad. I bought this cd because I wanted a live recording of Touch of Grey. The version on this cd sounds like he is just reading the words and the band isnt really noticable. Man Smart, Woman Smarter is probably the worst song the Dead has ever recorded. The second disc is where the Dead regain form and play out there hearts. Id highly recommend this cd for a Dead Head.



4. I was this concert, and it was amazing! I would go back to the year 1963 and do all the traveling again. I would follow the grateful dead for the rest of my life if I could, i kid you not. But this concert was awesome, and during the song "looks like rain", it actually rained! i was at just about every dead show for 30 years, and it never rained when they it. definetly get this, it is a must have for anybody who even half likes the grateful dead.



5. I'm was born and raised in Buffalo, but I was mostly disappointed with this set. Almost all of the tunes were performed much more enthusiastically on previous CDs from the 70's. By Dead standards, they seem almost listless at times on this set. I do like the cover artwork, though.

5 comments about On Stage.

1. Great live album. Bought it on vinyl when it came out. Still love it today. Clever intro and solid all the way through. Blackmore's guitar playing is at it's best. The subtle stuff is brilliant. So is the fire demonstrated on Mistreated for example. Cozy powell is...well...Cozy Powell...Slammin'!! Dio's vocals are powerful. Guy's been in 3 different bands that have achieved incredible success...nuff said. Forget the picky things mentioned in some of the reviews and listen to this record. Really listen to it. It never gets old.



2. As I consider this Record is Worthy of being on many: "Best Of" Lists. Best: "Live" Album, Best: "Live Album of the 1970's", Best: "Live Hard Rock" Album, Etc,Etc. This Double Record, had more room on the Four Sides of those Records to fit more Songs from the 1976 Concert on it. I was Lucky enough to see a Show from the Summer 1976, "Rainbow over America" Tour at the Berkeley Community Theater. And as I have always been Big about this Album as one of the very Greats. But, when it is compared to the Concert I attended in Berkeley, here on this CD, you are only getting about HALF the Show.
   
   The Epic Version of; "Stargazer" {With Drum Solo by Cozy and The Big Explosion in that Solo} is not here. That was by Far one of the Highlights of this Amazing Show. "Black Sheep Of the Family" was far better than it's studio counterpart {Not included as well}. "Do You Close Your Eyes" {Where is that?}. 31 Years is indeed a Long Time, and as I don't remember everything from that night, I do know that the 1976 Show was 2 Hours in length, and lot's more of that Show could and should be presented here to tell the Complete Story.
   
   Still this is one of the very Best live Records ever released, but if there was a CD that needed a: "Deluxe/Expanded Edition", of 2 CD's to be released: "On Stage" should be at the Top of that List.
   Any Fan of Ritchie, Tony, Cozy, Ronnie James and Jimmy, should already own this Monster, but there is more that needs to be heard!



3. I must admit that I have not listened to the CD as I am still playing my purchased-in-1982 vinyl copy. I stopped listening to it for about a decade (the dreary 90's!) but a chance listen to UFO's Strangers In The Night caused me to rifle through some of my classic 70's hard rock LPs. And a classic this certainly is! Yes, I have a sentimental attachment to it, but, the sound this recording possesses goes far beyond a simple effusiveness: it is bold, direct and heavy yet it retains a moody meander that offers stimulating respite. It is an album to be played loud! There are 6 basic tracks but it feels like there are more as the songs are embellished in that Deep Purple kind of way. Perhaps this notion of the taking of a studio song and fleshing it out in the live setting will be what Ritchie is remembered for, long after the riff to Smoke On The Water has settled in the dust?!
   A number of people have complained that this doesn't capture Rainbow circa 1977 or that it is not a comprehensive snapshot of one of their live performances or even that it lacks songs from Rising and/or led off with a song that was on an album yet to be released. These may be valid criticisms, however, as a slice of late 70's hard rock this is very hard album to beat! Ronnie James Dio was at his hungriest and simply on top form, Blackmore was, as always, inventive and beguiling. Two of the 70's most underrated artists also appear; Cozy Powell is so very solid and punchy while Tony Carey's collection of Moogs, Clavinettes and cut down Hammond play the perfect foil to Blackmore, much like Jon Lord did in Deep Purple. Simply, these guys were at the top of their game and they came together and made memorable music. Music which may sound dated now but will somehow always retain a timelessness. An album to crank-up loud... as you grow old and cranky...



4. This captures Ronnie James Dio live before he got really cocky. Man on the Silver Mountain is a must for every metal fan. It's a more serious band than Dio, and the lyrics aren't as corny but the songs not as catchy. I got this as an impulse buy I found it for really cheap. Worth getting if you find it used, but I wouldn't recommend it.



5. I have been a Rainbow fan ever since I can remember. I was 10 years old when this LP came out and listened to it over and over and over throughout the years. There is no question that the Dio era is the BEST Rainbow era by far. If you want to simply listen to a great live album and listen to Dio, Powell and Blackmore do their stuff, then this is a great listen. However, there are a couple of disappointments with this.
   
   First! There is not 1 song from their BEST (or even one of the best albums ever for that matter), that being "Rising", on this live effort. Sure you get the short "blurb" of Starstruck during the Man on the Silver Mountain medley, but that only lasts about 20 seconds.
   
   Secondly! Catch the Rainbow is a great ballad but it is WAY too long and took a complete side of an LP when originally released. It also had some long silent moments. I was willing to get by this but then Mistreated was also a complete "side-stealer". That being said, those 2 took too much time and should've left room for songs like "Tarot Woman, Stargazer, the complete Starstruck or even Light in the Black", songs that are certainly worthy of playing live.
   
   The live versions of Kill The King and Still I'm Sad are the best tracks.
   
   I'm still giving this 4 stars simply because it's the classic lineup and it sounds good.

5 comments about Stage.

1. This was my favorite Bowie Live Cd and still is. I love the tracks from the 'Low' period and they sound so much better on here than on the original. They sound fresher and i am happy to say the remaster is great.
   
   The instrumental Eno/Bowie tracks were originally on one side, but this edition states it is the performance in its original track order as performed at the time. Somehow though, there are noticable 'dips' and fades of the audience in between tracks, so it doesnt flow as 1 show. Probably due to how they did it the first time, but that is too bad. Very small and insignificant complaint though.
   
   Other than that i think this new version of the reissued 'Stage' is the best. I owned the original LP (it was out of print in the 80's, shortly after the release)and then the cassette (when re-issued in the 80's), disc and now this new version.
   
   The songs all hold up well, but nothing beats the excellent and vibrant rendition of 'Station to Station' that is on here. Just a great performance, as are the versions of 'Heroes', 'Breaking Glass', 'TVC15' and 'What in The World'.
   
   The 'Low' era tracks are great as mentioned previously. Studio albums at the time (mid 70's) had a tendency to sound 'muddy' or dull. These versions hit the mark and the live atmosphere enhances them.. The Ziggy era tracks are good, and sound more clean but less heavy. It works on this CD but i still prefer the Ziggy tracks on The Motion Picture Soundtrack for the movie/concert documentary from the mid 70's. Mick Ronson on guitar provided some great style, riffs and Solo's to those tracks that are hard to beat. But there are great solos on here as well by Adrien Belew.
   
   The bonus tracks are just an added incentive and are great to hear for the first time in 30 years, making this a must have purchase.
   
   So that makes the CD essential for its Nice Packaging, Tracklist in exact order, bonus tracks, a good remix and the version of Station to Staion that just kicks major as*! Great stuff.



2. EMI's packaging and design of this reissue are spot on - much better than the flimsy package they have put together for David Live (another enjoyable but non-essential live album). Even if you were to never to listen to it, Stage would at least look very cool on your shelf. The sleeve is now adorned with lots of interesting colour photos from the tour, a marked improvement on the vinyl edition's murky sleeve design.
   
   Bowie certainly works his magic on the stage (see the excellent Serious Moonlight DVD), but there's never been a truly outstanding live Bowie CD: Stage is no exception. His late Eno 70s work - the main focus here - are studio albums in the true sense of the word: Eno's obsessive productions lend so much atmosphere to albums like Low and Heroes. Translated to the stage, much of these atmospherics are lost.
   
   Instrumentals like Sense of Doubt and Warszawa are the worst affected, the live setting not adding anything to the songs. The latter sounds identical to the studio version, only with a bit of cheering added (and apparently some boos according to the liner notes). Songs like Heroes and Station to Station fare better, but neither sound much different to the studio versions. Speed of Life is probably the best of the Eno-era performances on here, given a brisker, synth-heavy type treatment, and allowing Belew to go mental.
   
   Another point to mention is that Bowie becomes quite obsessed with that 'whooshing' Station to Station synth effect throughout Stage.
   
   Some of the highlights of Stage are the bands treatment of earlier songs, particularly Five Years, Hang on to Yourself and Star - each brought to life by fuller, lush treatments from the band, and Bowie's matured voice.
   
   So Stage, while not really a must-have (unless you are a big fan), is still very worthwhile, though the fantastic packaging adds a lot to its desirability. Looking through the photos from the tour, what you're really left wanting is Stage: The DVD. Now that really WOULD be something.



3. By far the better of David Bowie's two live albums, STAGE is an impressive document of the chameleonic rocker's 1978 North American tour, with an outstandingly tight band helping the Maestro to recreate some of his most carefully constructed studio recordings in concert. Their whelming success in this endeavor is indeed a pleasure to hear.
   Focusing on material from the ZIGGY STARTDUST, STATION TO STATION, LOW and "HEROES" LPs, STAGE can't exactly be called a balanced retrospective of Bowie's career. Nevertheless, it's obvious right from the ominous opening chords of "Warszawa" that a great deal of thought went into selecting the material for these shows, with a keen and at times surprising intuition for what would work onstage. The disco-minimalist instrumentals Bowie crafted in collaboration with Brian Eno sound just great rubbing up against a faithfully reproduced half of ZIGGY, allowing the artist's progression to shine forth in clear, logical and above all tuneful relief. Said artist sings beautifully throughout, and Adrian Belew's effects-laden guitar work soars over the consistently strong rhythm section of Bowie stalwarts Carlos Alomar, George Murray and Dennis Davis. Anyone who loves David Bowie's classic 1970s work should consider STAGE - now expanded and rearranged into the original concert sequence - an essential element of his or her collection.



4. Even though I prefer 1974's David Live to 1977's Stage, I still think that this is a pretty good representation of David Bowie's live act at the time. Adrian Belew/Carlos Alomar on guitars. Dennis Davis on drums. George Murray on bass. This is in the midst of the Bowie/Eno compilations and yet Eno is absent on the tour. Suspicious? You bet. Their union was probably dead even at this early date. Still, Bowie trudged on. No longer the wunderkind he had previously been with such classic releases as Ziggy Stardust, Diamond Dogs and Hunky Dory, Bowie is starting to reach the age of medocrity and that's musn't feel too good. Still Stage has all the staples: Ziggy, Soul Love, Fame, Station To Station, Five Years & "Heroes". Also quite a bit of the Bowie/Eno instrumentals are represented here, too. Warsawza is among the better of them. I still prefer David Live but this is an interesting glimpse into the mixed and mumbled times that Bowie was facing at that strange turn in his career. Listenable and enjoyable.
   
   Dig it!



5. Perhaps this album was issued as a means of overcoming the rather disastrous "David Live" from a few years earlier, or perhaps Bowie just felt it was once again time to document his live show. Either way, Stage adequately represents Bowie's multi-faceted career without sounding excessive, forced or extraneous. Full of incredible musicianship and focused in a manner that defined Bowie's character at the time, it rights everything that was wrong with David Live. It is also perhaps one of the most schizophrenic live albums ever made, since Bowie skims from various stages of his career without any attempt to conjoin his multiple phases of fashion.
   
   Ziggy Stardust kicks off the album as if he were an independent opening act. The entire first side of Stage consists of excellent versions from the Ziggy Stardust album, performed faithfully to the originals despite the absence of the original Spiders from Mars (Mick Ronson, et. al.). From there, Bowie leaps headlong into his `Los Angeles/Berlin'-era music. The next-oldest song on this collection is "Fame". Otherwise, the show features highlights from Bowie's previous three albums, all of which were excellent studio efforts, but which left the apparent impression that they would not be capable of making a transition to the stage. Stage disproves that theory handily, with live, atmospheric versions of a few of his most enigmatic instrumental works serving as set-up pieces for "'Heroes'," "Blackout" and "Beauty and the Beast." Since it contains nothing new, Stage can hardly be considered essential listening, but it is a rather extraordinary live document that will not disappoint fans of Bowie, particularly those who recognize the late seventies/early eighties as one of his most creative phases. B+ Tom Ryan

5 comments about Heart Greatest Hits: Live.

1. This was CBS' first compilation of Heart material, and the result is unique among the many 'greatest hits' releases that have come since. Maybe it was because of the digital remastering (a relatively new thing at that time). Maybe it was the running order: going from 'Silver Wheels' into 'Crazy On You' in the same manner as they were doing in their live shows really gives Nancy a showcase. Maybe it was the sheer power of 'Mistral Wind' which only increases in the live setting. Certainly it wasn't 'Hit Single' and 'Strange Euphoria' which were blessedly dropped when converted to CD. Maybe it was the original band (yes I know Roger isn't on the live tracks) at its height before the slide of 'Private Audition' and 'Passionworks' and the revamping of the band into 80's hair, cleavage, and power ballads. Whatever it is, nothing sounds like this disc, and it's worth having in your collection even if you've got all the discs that led up to it.



2. The description of this cd is very very misleading. I figured the title
   Heart "Greatest Hits:Live", would mean all songs were live but only a select few are and there not even great hits IMO



3. Don't get me wrong, they looked a lot better in the 80's with stilletos and all that make-up, and puffy hair that could raise any skyscraper, but old Heart is a hell of a lot better than their newer stuff. I thought they sounded like they meant it like: Crazy On You, Barracuda, Straight On, Heartless (my favorite from them). Yep these vixens who were compared to Led Zeppelin as a hell of a rock band, boy oh boy, pretty damn close I might add. Anyways this album kicks serious butt.



4. "Strange Euphoria" was the one of the "new" songs on this recording but it was deleted from the CD of this late 1980 release. Call Strange Euphoria" what you want, but it is a cool song and sounds like Ann and Nancy are on a LSD trip while singing. It was a great song which was not replicated on 1997's Whirlygig even though Heart tried.
   
   The cover sports one of my favorite photos of Ann Wilson with the stand-off-ish, jacked up, over-confident look.



5. Greatest Hits Live originally recorded in 1980 was one of my early CD purchases during early 90s but I happened to miss simply because it was dubbed as "Live" and I thought that was not I had been looking for. (At that time I was looking for Definitive collection of Heart including 80s hits). Time has changed and I happened to uncover this CD from the heap of my dusted CD collections.
   
   It has nine best tracks from their early works such as Dreamboat Annie(1976), Little Queen(1977), Magazine(1978), Dogs and Butterfly(1978), Bebe Le Strange(1980). On the back jacket name of the albums the each tracks are from are shown. Then the album become live recording collection during August and September 1980 tour. Live recording of BEBE LE STRANGE takes place at the stage side where the chat among members before the show can be heard. Interesting intrigue. TELL IT LIKE IT IS is unusually not live but studio recording and became single cut from this greatest CD. And then the ending live performance is LED ZEPPELIN classic ROCK'N ROLL. Alas, it shows their rock spirit.
   Yes, it misses PRIVATE AUDITION(1982) and PASSIONWORK material to be the early Heart collection. But the timing for the release was excellent because it was made when HEART was at their artistic height.
   
   Verdict: It is no doubt Heart fans' essential and 70s rock fans' paradise. Showing well how HEART had been during their early prime.
   Rating: 88 out of 100. Well-edited (particularly Silver Wheel and Crazy On You combination just as their live performance) and consistent. Transition from studio recording part and live recording part has been done excellently.
   Recommended for: Every Heart fan. Lots of 70s rock fans and the appreciators of recent Heart releases such as Desire Walks On(1993) and Jupiters Darling(2004).

5 comments about Here and There.

1. Elton and company first put out the "contractual obligation" version to help fulfill recording requirements in 1976. "Here and There," pulled from a show in London and one in New York two years earlier, was just a single LP back then, though the songs included were pretty choice, even with limited side space available.
   In the later 90s, the album's (and Elton's) original producer, Gus Dudgeon, remixed and expanded the album for CD, adding a ton of extra songs from both shows. Added were, among other things, the John Lennon tracks from New York that were sadly his last concert performances. On a more positive note, if these were to be the former Beatle's last stage recordings, they're at least a worthy part of Lennon's (and Elton's) great musical legacy on their sheer power and charisma alone. They certainly left an impression on Elton, who still cites that show as his greatest concert memory of all time.
   As much a band album as a vehicle for Elton, all the musicians get superior treatment in the new mixes and were on fire during these shows, easy to see why they were picked for release. Some of the versions of Elton standbys are wonderful variations..."Honky Cat," "Love Song," both versions of "Take Me To The Pilot" and "Your Song," "Bad Side of The Moon" all take on a life of their own live.
   Both discs have their own atmosphere - a little more showy on Disc 1 in London, a little more straight up rock 'n roll on Disc 2 in New York, but put them together and you get a great snaphshot of Elton's range, esp. during his mid-70s heyday.



2. Este Album Doble es una verdadera Obra Maestra de Sir. Elton John quien es uno de los mas prolificos artistas que ha tenido y tiene los generos rock y pop. Cada vez que lo escucho me agrada mucho mas. Lo recomiendo como un Disco de Coleccion por el inigualable talento musical que contiene.



3. This is a great double CD set featuring two concerts from when Elton was at the eight of his fame. Both shows are good. If you enjoy Elton alone with just a Piano you may prefer the London concert as he does start this solo.
   the London concert is a little more formal, because of the precense of royalty but in most respects is just as good as the US concert. The difference with the US concert is the famous last ever stage performance by John Lennon. This makes the US concert of considerable historical interest. These are both superb shows and with the extra tracks now make this the best live audio recording of Elton John you can buy.
   
   The reason I have said nearly perfect is because if you listened to these concerts on vinyl for as long as I did, you will notice that in the remastering process, Gus Dudgeon has managed to digitally remove certain sounds. So for example at the beginning of Funeral for a Friend when a girl in the audience screams "Elton" this has now gone. In the sleeve notes we are advised that Gus has managed to fix the occasional musical mistakes.... Why!! It was there on the night and was an integral part of the recording and the atmosphere. Its a minor quibble but live is live as far as I'm concerned.



4. Includes John Lennon's last live concert performance. A must for all Beatlemaniacs! Elton is also pretty good.



5. Originally a single disc album with ten songs, "Here and There" was a contractual obligation album that Elton disavowed. But in 1996, as part of the ambitious "Classic Years" remastering project, "Here and There" was given a deluxe redo, expanding the album to a pair of CD's, over two hours of music and the classic New York appearance on John Lennon with Elton for three songs. This is also now a terrific document of the extravagance and sheer exuberance of Elton's mid-seventies concerts.
   
   
   
   The "Here" segment was a benefit Elton performed in 1974 at the request of Princess Margaret, and is the more reserved of the two shows. It is also an interesting show in that Elton dipped into his oldies and played the likes of "Skyline Pigeon" and "Love Song." The British respond with typical stiff-upper-lippedness...until "Crocodile Rock" comes along. They jump from their chairs at the last minute, for "Saturday Night's Alright For Fighting." But for the most part, Elton leans hard on the piano based early tunes like "Border Song" and "Candle In The Wind."
   
   
   
   The reserve is totally blown off for the "There" concert, Thanksgiving in Madison Square Garden 1974. The crowd is already roaring by the time the opening graveyard wind whistling of "Funeral For A Friend/Love Lies Bleeding" breaks into its meaty main verses, and hardly wanes from there. While John's voice is a little raw from the constant touring (you can hear his voice crack on "Rocket Man"), he's obviously having a blast. You also get a couple songs here that have long since been trimmed from the live shows, like "Grey Seal" and "You're So Static."
   
   
   
   Even with all that energy, when Elton introduces Lennon, you can almost feel the Garden shaking. Little did these folks know that they were witnessing history; Lennon never played in public again. As history records, Lennon accepted a dare from Elton that "Whatever Gets You Through The Night" would not hit number one on the pop charts. Likely because of Elton's popularity and his piano playing on the single, the record did top the charts, and Lennon made good on the deal. The reward for us now is that Elton and Lennon's version of "Whatever...," Lucy In The Sky In Diamonds" and a loose, raucous version of "I Saw Her Standing There" are preserved for posterity.
   
   
   
   The remastering is exquisite, and when you figure the sonic improvements along with the extra tracks AND the inclusion of the Lennon songs, "Here and There" is the best of Elton's live albums. For all the live albums that glutted the seventies, "Here and There" can now be counted among the best.

5 comments about Last Exit.

1. I am a devoted Traffic fan and my love for their incredible music seems to grow stronger as time goes on. I saw the original Traffic trio perform in 1968 and still count it as one of the greatest of my live concert experiences ever. I have devoured all of the fantastic Traffic Remasters previously and Last Exit sounds as good or better than the others. I cranked up Shanghai in my car and was completely blown away by the perfection of writing, playing, singing and sound of this masterpiece. I wish there was more "hidden treasure" Traffic in the vault for future release but the fact that there probably isnt only makes the available jewels even that more precious.



2. As the author of the Jefferson Airplane book "Take Me To A Circus Tent" and a former radio disc-jockey, I am often asked to write and or discuss various recordings from the 60's and 70's.
   
   The record company's decision to release "Last Exit" a collection of previously unearthed Traffic studio and live tunes turned out to be an unexpected gift for all degrees of fans.
   
   The collector that must have every note could never be disappointed with the assortment of sounds that seem all over the globe and cohesive at the same time. Those that are somewhat into the band or looking for songs they heard on the radio will be happy with the inclusion of Shanghai Noodle Factory and Medicated Goo.
   
   The album opens with a wonderful bit of psychedelia called "Just For You." The vocals pay homage to the fantastic British Invasion sound circa 64-67.
   
   Shanghai Noodle Factory is one of the finest tunes that the band would leave us. Complex and catchy at the same time. There is a certain intensity in the delivery by Steve Winwood.
   
   Something's Got A Hold Of My Toe lets the music do the talking. A clever riff and perfect improvisation makes this worthy of a repeat listen.
   
   Withering Tree has Winwood using the vocal style that would be synonymous with Blind Faith. The words come from the heart and the instrumentation provides the perfect backdrop.
   
   Medicated Goo complete with a bit of funk and lyrics that remain with you was a Album Rock radio song for numerous years (Well deserved).
   
   Taking a page from Cream's playbook the record company mixed live and studio tracks for our pleasure. Recording at the Fillmore West in San Francisco you can feel part of the festivities with Feelin' Good and Blind Man. An opportunity to understand Traffic's gift to shine in and out of the recording studio.
   
   If you missed the exit the first time around the present is as good as any to make up for lost time.
   
   Enjoy the music and be well,
   Craig Fenton
   Author of the Jefferson Airplane book "Take Me To A Circus Tent"



3. Dispite some of the negitive press it gets for being thrown together by the record company, this is actually pretty good. The opening song hasn't aged well but everything else is pretty great.Shanghai Noodle Factory, Withering Tree and Medicated Goo shows Traffic as about as good as they get. Now about the live performances, these get ragged on quite a bit, however the new remastered version they've never sounded cleaner. The quality stems for how they were recorded-basic 2 track with no being able to fix it in the mix. The performances are all top notch and of songs that are not currently available elsewhere. Sure I wish Chris Wood was louder in the mix and Stevie Winwood's organ wasn't turned up quite so loud. Feelin' Good is wonderful and full of emotion. Blind Man shows how great they were at taking a blues tune and turning it into something special. You'd never guess that they didn't write these two tunes.



4. Let's begin at the beginning. Steve Winwood is a total talent and a prodigy. You can rate him as a composer, bandleader, musical innovator, guitarist, organist, and especially singer and he comes out on top in every category. In rock that's almost unknown. This blather about Traffic's second album being their best because of the dynamic tension between Dave Mason and Winwood is eyewash. Mason is a folky annoyance.
   
   When Winwood, still a teen back then, stepped up with Spencer Davis it was clear there was a new sheriff in town. The first Traffic album is amazing. When Last Exit came out, the third, nobody knew it wasn't their last. What about the complaints that Last Exit is a dog's breakfast, odds and ends tossed together? So what? On the LP, one side was live, the other was studio. Big deal, not exactly uncommon.
   
   Now, the songs. Just For You - throwaway fluff from Dave Mason, fortunately the only one of the disk. Shanghai Noodle Factory - excellent funk, great to sing along, love those lyrics. Something's Got A Hold Of My Toe - this is the one every reviewer gets wrong. Rather than being some random snippet of tape lying around the studio it is 2:14 of driving rock guitar and back beat that really doesn't let go of your toe. Withering Tree - classic Winwood doing pretty as only he can. Medicated Goo - man, if you can't feel this one in your funky sneakers somebody gave you a soul-ectomy.
   
   Then the big finish, Feelin' Good and Blind Man, 18-minutes of Traffic live at the Fillmore West. Sound quality is admittedly low but this shortcoming is vastly overshadowed by the performance, absolutely the best live Traffic ever. What Winwood does to Feelin' Good is simply beyond belief, he turns it inside out and puts a brand on it. As to Blind Man, that's the blues, big, bad, and beautiful. Just a fantastic CD. That's it from the Traffic-copter, now back to the studio.



5. Traffic's third album, "Last Exit," was originally intended to be the group's final album (hence the title), as Traffic leaders Dave Mason & Steve Winwood were splitting up over creative differences at the time, and because of it, both men decided to put Traffic out to pasture. Thankfully, this did not happen, as Winwood, flautist/saxophonist Chris Wood and drummer Jim Capaldi unexpectedly revived Traffic with their 1970 classic, "John Barleycorn Must Die" (but that's another review). In the meantime, "Last Exit" is a great odds-and-sods Traffic album, containing several rare singles like the lighthearted "Shanghai Noodle Factory" and the groovy "Medicated Goo," and a pair of barnburning, jamming live tracks (recorded at the Fillmore West) in the form of "Feelin' Good" and "Blind Man." "Last Exit" is an excellent album that no Traffic fan should do without.

5 comments about Live Cream.

1. Not as strong as I had hoped it would be. A real disappointment. The band just doesn't sound tight or as inspired as on other live efforts.



2. N.S.U. ,Sleepy Time Time, Rollin and a Tumblin' and Sweet Wine are all from the debut Fresh Cream. This is what those 4 songs sound like on stage. The Cream's strength is live improvisation and this is their best live document hands down.
   Also included is the backing track of Strange Brew with different bluesy lyrics.



3. a big fan of clapton i just got around to buying this and was surprised how heavy it was. the first song reminded me of sid barrett floyd, and for the rest I thought of hendricks, sabbath, and song remains the same zepplin. very worth buying for clapton fans to see where he came from.



4. It came as expected. I was familiar with the album, and was a great old album. Prompt delivery, good condition, definitely okay.



5. While Cream released recorded three fantastic studio albums during their short career that spawned several classic rock staples, most notably the huge hit singles "White Room" and "Sunshine of Your Love", it was their live shows which brought them to another level. Quite simply, there has never been a more exciting live band than Cream was in the late-60's. What made them so exciting? It was a combination of things. First of all, bassist Jack Bruce, guitarist Eric Clapton, and drummer Ginger Baker were among the best rock musicians to emerge during the late '60s. The second reason was the massive egos, particularly those of Bruce and Baker, which came with the territory of being masters of their craft. But the most important reason why Cream was so exciting was their live performances. They were the first as well as one of the very few bands that can take a 3-minute pop song and stretch it into a long jam without a wasted note. While some may call this indulgence, the beauty of Cream was the incredible interplay between the members. Live Cream, released in 1971, long after the band had broken up, shows the band at the height of their powers. While bands such as the Allman Brothers Band and the Grateful Dead would become legends in their own right due to their stellar live shows, neither possessed the raw energy and improvisation of Cream. The fact that their amazing sound was created by only three musicians made this even more impressive.
   
   Right from the first notes of "N.S.U.", the magic of their live show is in full force. Bruce's vocals are very enthusiastic and the long jam that follows is nothing short of amazing. With Baker providing the anchor, Clapton lays out a long solo which bounces between tasty lead work and relentless power chords. Bruce's bass playing matches the proceedings, whether he's providing fast runs or slower melodic work. The mid-tempo blues of "Sleepy Time Time", while not quite as electrifying, provides a showcase for Clapton's lead work while Bruce and Baker's playing remains busy while not abandoning the original theme. "Sweet Wine" is an awesome example of the band's interplay. Bruce's counter bass lines provide the perfect accompaniment for Clapton's solos. However, it is Baker's drumming which holds it all together, changing in mood throughout while Clapton and Bruce follow his lead. At over 15 minutes, there is not one boring moment to be heard. Their cover of the blues standard "Rollin' and Tumblin'" is awesome, as this time Clapton and Baker provide the backbone for Bruce's energetic harmonica playing. The album concludes with a studio version of "Lawdy Mama", which is basically "Strange Brew" with different lyrics. In conclusion, Live Cream is an excellent album that showcases one of the best live bands that have ever performed. Highly recommended.

5 comments about Journey - Greatest Hits Live.

1. Most live albums are never as good as a the studio version. That is not true with this cd. Every well known Journey song makes an appearance and several songs surpass their studio version. When I am in the mood for Journey I often chose this album over the 2 disk Essential Journey just because the live album truly has all the greatest hits that I want to hear.



2. If you are one of the millions of fans who became intoxicated with the awesome power of Steve Perry's voice, then hearing him live will be a dream come true. The live versions of hits like "Dont stop believin", and "wheel in the sky" are great symbols of the uniqueness of his voice. Although this album includes some songs that I personally dont think are any good, overall it is a great collection and worth owning by any Journey fan.



3. There's not too many bands that play well live or even change the song from studio version, but Journey does it as good as anyone. I put this CD up there with B.O.C.'s "Extraterestial Live" and UFO's "Strangers in the Night."
   
   FYI - Journey has a new singer, Arnel Pineda from the Philippines. He was discovered on YouTube by Neal Schon. I haven't heard him as my work computer doesn't access it, but I heard he's pretty remarkable. Their also going to release a new CD in spring/summer of '08 and perform at the MGM Grand in Vegas.



4. I just discovered the magic of Steve Perry's voice, lyrics, and style and have become an avid fan. This album showcases that he is a atruly great musician- his voice is as good live as in the studio. I love this aalbum.



5. I don't like all of their work nor everything on this CD but worth having in my collection (only CD I own by them).

5 comments about A Show of Hands.

1. Rush's A Show of Hands was first released in January of 1989.
   The album was recorded during various stops on the band's Power Windows and Hold Your Fire tours in 1986/87/88.
   The sound of this live album was worse than 1981's Exit...Stage Left. If you watched the live DVD and compare to this, the mix on the video (and the re-released DVD) was better than on the album and the mix of the album is why it is four stars.
   The album does have some highlights like "Marathon", "Turn the Page", "Manhattan Project", "Mission" and "Time Stand Still".
   Some of the others like "The Big Money", "Distant Early Warning" and "Red Sector A" were way better on 2003's Rush in Rio (why fans detest this album is beyond me). "Subdivisions" and "Mystic Rhythms" are way better on R30. "Witch Hunt" was better on the Grace Under Pressure Live CD (which was released with the Rush Replay X 3 CD/DVD set).
   I didn't like the cheesy Simmons drums on the "Closer to the Heart" performances from 1984-93, thankfully Neil went back to the acoustic drums on this track for the Test For Echo tour forwards and the best versions of Closer are on Different Stages and Rush in Rio IMHO.
   "Force Ten" was better on the Japanese version of Different Stages and the 2005 released R30 CD/DVD set and "The Rhythm Method" was edited on A Show of Hands, if you watch the video they play YYZ as a lead in into the solo, it is missing on the album.
   This live album did modest peaking at #21 and went Gold (just like every Rush album before it).
   Recommended but buy Different Stages, Rush in Rio, R30 and Rush Replay X 3 instead!



2. This is part three of a comprehensive four part series of Music Reviews of the Progressive Rock band Rush. When a band has been around as long as RUSH has (30 years), their musical styles will change and evolve, just not always for the best. I group the bands third set of releases into what is known as Rush's "Synthesizer Period". All of these albums came out during the 1980's and represent the band's post-Moving Pictures era. The albums are Signals (1982), Grace Under Pressure (1984), Power Windows (1985), Hold Your Fire (1987) and A Show of Hands "Live" (1988).
   
   A Show of Hands is a snapshot of the Hold Your Fire tour. Only two songs on the record, Mystic Rhythms and Witch Hunt were from the preceding Power Windows tour. I'm only giving Show of Hands 3 stars. But this is compared to all of Rush's other Live offerings, which I consider better. Production is good, even better than Exit Stage Left, but I just don't like a lot of these selections, which are predominantly from Power Windows and Hold Your Fire, my two least favorite Rush albums. Personally, I would just like to forget that the 80's even happened and that one of my favorite progressive hard rock bands had to travel down this dark path of synthesizer laden "new wave" crap.
   
   On the bright side, for a fully loaded single disc that used to cost about $14, you can now pick up this '97 re-master for around $8 brand new. Now that's a bargain.
   
   Not recommended. For completists only.



3. I have read many reviews on this cd, many are two or three stars rating.
   For me, this live cd is just great. The choice of songs is not perfect but is there a live cd or a best of containing every songs you would have chosen ? Again, I like this cd very much and it is an easy five stars rating for me. Good job Neil, Alex and Geddy !



4. Rush's tradition of releasing a live album after every fourth studio release continues with "A Show of Hands". Unlike the wretched "Exit Stage Left" which was plauged by terrible recording problems, this albums avoids the problems which make "Exit" nearly unlistenable. Unlike "Exit" and the masterful "All the World's A Stage" which present one live show, "A Show of Hands" presents cuts from different concerts and tours.
   
   As an attempt to show case different tours, it lacks the cohesion and sustained energy that make a "Rush in Rio" and "R30" such triumphs. As an anthology of different shows, the shifts between the different concerts is often jarring.
   
   It's absurd to label this as the "worst" Rush live album--since its clearly far superior to "Exit, Stage Left." (And "Exit's" problems are not performance-related, but as I note above, technical.)
   
   As a matter of personal preference, I like a live album to be of one show, a snapshot, so to speak, of a band's work and spirit at a single moment in time.
   
   For the new Rush fan I would not recommend it. "Different Stages" would be a much better intro to their live work. It showcases their more recent work as well as the pre-"Hemispheres" albums on that fantastic third concert disc.
   
   All of that having been said, "A Show of Hands" should be in every serious Rush fan's collection. It is really completely inaccurate to describe Rush's 80's oeuvre as "the synth period" since the use of synths began with 1976's "2112". The shift is gradual and doesn't support the label the period is too often given.
   
   As a sampling of their live shows in the 80s, it does a good job. To repeat, I would have preferred one show but the anthology approach does provide a more global perspective on one of the most successful concert acts of the last thirty years.
   
   Rush also has has more consecutive gold and platinum albums than any other band--excepting only the Beatles and Rolling Stones (in the that order).



5. This is easily the worst Rush album ever made. The versions aren't that bad, the songs just aren't that good. Still I could elevate a rating to 3 1/2 stars if they just had a more even representation of the 4 albums it's supposed to represent.
   
   As others have already suggested, the biggest problem is the whole album seems to be Power Windows and Hold Your Fire. Only three songs from Signals and Grace Under Pressure is deplorable. The album is short enough they could've added a couple more songs easily.
   
   Signals should have included:
   1. Subdivisions
   2. The Weapon (as the fear trilogy)
   3. New World Man
   
   Grace Under Pressure:
   1. Distant Early Warning
   2. The Enemy Within (as the fear trilogy)
   3. Red Sector A
   4. last half of Red Lenses (with YYZ and Rhythm Method drum solo in the middle)
   
   Power Windows:
   1. Big Money
   2. Manhatten Project
   3. Marathon
   4. Territories
   
   Hold Your Fire:
   1. Force 10
   2. Time Stands Still (only because it was a single, shudder)
   3. Turn the Page
   4. Mission
   
   And as out of cycle songs:
   1. Witch Hunt (only so they can do the whole Fear trilogy)
   2. 1/2 of YYZ (only so they can include it in the drum solo going into the last half of Red Lenses)
   
   Leave out Closer to the Heart, swap out Mystic Rhythms for Territories; add Analog Kid, New World Man, The Enemy Within, and YYZ/Red Lenses. I haven't timed that, but if that's too long for an 80-minute CD, I would say Marathon, Mission and Red Sector A, in that order are expendable. Now you've got a fair representation of the four albums. It's still PW and HYF heavy, but it's at least respectable.

5 comments about Steppin' Out with the Grateful Dead: England '72.

1. It was this music that convinced me there is a God. Such exalted musical perfection is simply inconceivable without Love and Power from on High. A stunning testamony to the fact that popular music can be art, and a magnificent demonstration to the power of that art to bring us glimpses of the Great Beyond.



2. To kick off with a cliche: if I could take one CD to a lonely island, it would be "Europe '72". Ever since it was released, it has been a steady companion, which in 35 years never lost its musical power, creativity, poetry, joy of life, spirituality, humanism, and incredible craftmansship of these six musicians at work. "Steppin' Out" is a wonderful and welcome addition to the Dead's official live album of their legendary European tour. After their arguably two best studio albums, "Workingman's Dead" and "American Beauty" and before losing Pig Pen and Keith Godcheaux who have never since been adequately replaced, the Dead were at the top of their game when they crossed the Atlantic, and "Steppin' Out" is the best proof of that. Garcia's and Weir's vocals have never been better. Their guitar dialogues are downright telepathy. In the band's most complex compositions like "Jack Straw" or "Uncle John's Band" the Dead are as self-assured and tight as in rockers like "Big Railroad Blues" and in the jams of "Truckin'" and "Dark Star"... and it is sheer Rock'n Roll magic to listen to Pig Pen leading the band through "Good Lovin'" and "Turn on your love light". In short: "Steppin' Out" is a great contribution to the Grateful Dead legacy and their musical universe.



3. This 4 cd set is superbly recorded and the band is fearless. It is also poignant, as this was the last overseas tour that Pigpen played. Listen to him perform here, and you'd never know.
   
   Oh yes, some great jams too.



4. Steppin' Out (along with Hundred Year Hall) is probably the greatest example of how powerful the Dead were in 1972. This set contains, in my opinion, the greatest Dead lineup, minus Mickey Hart.
   
   What is actually great about this set is that fans of the early Live/Dead era stuff or fans of the Post-Pigpen years will get the best of both worlds, here. You get Pigpen's B3 organ, Soulful Voice and astounding harp blowing wrapped up with Keith Godcheaux's stinging grand piano (he used the Helpinstill piano pickup system, that's why the piano always had somewhat of an electric feel to it, which you couldn't get with microphones; piano players and/or Helpinstill enthusiasts, take note).
   
   Steppin' Out contains so many definitive Dead moments that were never released. Disc 1 and 2 contain superb performances of the shorter songs, especially "Greatest Story Ever Told", "Deal", "Black-Throated Wind", and "Playing In The Band". Speaking of "Playing In The Band", I really think that this is the best version that the Dead had ever done of the song. I really don't think that any hour-long jams that this song bookended after 1974 really captured the essence of the song, as well as this version does.
   
   Speaking of hour-long jams, the "Truckin'-Drums-The Other One-El Paso-The Other One-Wharf Rat" jam on Disc 3 is the true defining moment of this set. However, "Dark Star-Sugar Magnolia-Caution (Don't Stop On The Tracks)" on disc 4 is just as deserving of the same title. But the only problem I have with it is that Donna Jean Godcheaux doesn't get up and harmonize on the "Sunshine Daydream" section with Bob Weir. She did that so well when you heard it on "Europe '72" (although I read that Donna's part was later added during studio overbuds for "Europe '72", so that answers my question). After mayhem of "Caution", Disc 4 and the entire experience in general, ends with the best closing song ever imaginable, "Brokedown Palace". It just sums up everything that has been experienced throughout the duration of the set.
   
   Getting down to the musicians, Jerry Garcia and Phil Lesh's lead guitar-bass guitar interplay has never been performed so well, especially in the cerebral modal crosstalk throughout "The Other One" and "Dark Star". Whenever Jerry plays low notes on guitar or Phil plays high notes on bass, they sound so similar, it's almost impossible to tell them apart. Bob Weir's solid rhythm guitar has never sounded so rich and full and hasn't since (during the tune up between "Ramble On Rose" and "Black-Throated Wind", he plays the opening guitar lick from "Weather Report Prelude", which makes you wonder what other things they may have needed these tapes for). Billy Kreutzmann's drumming is just so solid , especially on "Drums" where he rings in "The Other One" in true rhythmic splendor. Along with Kreutzmann, McKernan's random moments of backup percussion (tambourine [audible on "Deal", "Jack Straw", "Wharf Rat", and "Black Throated Wind"] maracas/shakers ["Sugar Magnolia", and "Playing In The Band"], guiro ["Uncle John's Band"]) really does at least make up for parts that were originally played by Mickey Hart in the studio. Still the double drumset crosstalk is sadly absent, and in a way was never the same again after Hart's departure and return, being that both Hart and Kruetzmann changed their drum sounds and styles radically after 1972.
   
   Basically to summarize, any body who even likes the Dead a little bit, should get this set just to here really good live versions of their short songs, but any devoted Dead fanatic who followed the band in it's later years, but couldn't get over to England in time for the recordings of these shows (or you weren't born yet), should get this for the metaphysical/psychological rush of musical mayhem that is the jams, that encapsulate the ends of discs 2, 3, and 4.
   
   The Dead sound very powerful, yet very natural. In later years, they would expand their stage setup with so much percussion equipment and amplifiers that the music seemed to become less original and astounding. This is why, in many respects, this was The Dead at their pinnacle, with Pigpen on his way out and Keith and Donna on their way in. Pretty much the only thing that could've made this better would've been a surprise appearance by Mickey Hart, but unfortunately that was never to be (at least with Pigpen still in the group).
   
   So please, do yourself a favor and buy the album. I promise that a fan of The Dead on any level will love it.



5. Judging solely on the basis of DARK STAR, Steppin' Out
   is a no-brainer 5 stars. If you program for Dark Star plus
   the two OTHER ONE tracks, you have a full hour of brilliant
   jamming with a bare minimum of vocals. Now you may wonder,
   the Rockin' The Rhein release, ALSO from 1972, ALSO has a
   long DARK STAR that is over-the-top fantastic; so the question
   becomes: is the 1972 Steppin' Out DARK STAR different enough from the 1972 Rockin' The Rhein DARK STAR to justify purchase?
   Hell yes!!! In fact, it's COMPLETELY different! To my ears,
   Jerry's guitar tone throughout Steppin' Out has a much sharper tone to it...I'm guessing it's because he was using a Stratocaster
   guitar? Anyway, the long DARK STAR tracks on Steppin' Out and
   Rockin' The Rhein are very different jams...both GREAT.
   Also, if you search around, Steppin' Out has some definitive
   vocal tracks as well...Sugaree, Deal, Ramble On Rose, Comes A Time, Brokedown Palace, etc., and after all, I believe it's best to buy Grateful Dead CDs for favored "definitive" tracks you program for, rather than playing the CDs from start to finish. Incidentally, Steppin' Out has some cool pictures in the little book. No "touch of gray" in Jerry's hair here!