5 comments about Caught Live + 5.

1. Review # 32. I've been wanting this CD for ages. Recorded at the Royal Albert Hall on December 12, 1969. 'Caught Live + 5' just shows us how far ahead of their time the Moody Blues actually were. So many fantastic art rock, progressive (whatever you wish to call it) vintage tunes here - several I simply do not remember. It was great hearing the beautifully played "Dr. Livingston, I Presume", the catchy "Never Comes The Day", the inventive "Peak Hour", "Tuesday Afternoon", "Are You Sitting Comfortably?" {great flute playing}, "Nights In White Satin", the trippy "Legend Of A Mind" and "Ride My See Saw". Plus, the five extra studio cuts are nice as well - liked "Please Think About It" and the well played "Long Summer Days" the best. A must have.



2. 'Caught Live' is the only live recording of the Moody Blues made during their late 1960s rise to the heights of British psychedelic pop. As such, collectors are going to snatch it up, and diehards will say very nice things about it. This isn't a bad CD by any means, but it isn't a good one either. The song selection draws from the cream of the Moody's late 60s material and some of the performances are quite good. Unfortunately, as beautiful as Justin Hayward's voice is, his guitar is muddy in the mix and he's sabatoged by some awful harmony vocals. ("Nights in White Satin" and "Ride My See Saw" are ruined!) Too often, there's dead air immediately after some of the very polite applause, which makes this sound like a bootleg of a concert only intended for midnights on FM radio.
   
   Mike Pinder's Mellotron, on the other hand, is given full prominence. It's absolutely amazing what Pinder could accomplish with the Mellotron's unearthly, dreamlike tapes - just listen to him deftly evoke string sections and carefully work the volume and pitchbend controls. I can't think of a single other Mellotron player who could rival the care with which Pinder consistently played that instrument. Pinder's keyboards come across stronger here than on the Moody's studio albums and, if you can get past some of the disc's more annoying moments, are well worth the effort.
   
   As a bonus, there are 5 studio tracks that somehow never made it to the Moody's albums or singles. These are all good and solid songs that will strongly appeal to even the most casual of Moody Blues fans.
   
   If you're just getting into the Moody Blues, I suggest postponing buying this CD in favor of "Every Good Boy Deserves Favor."



3. This is a 'snap-shot' of the Moody's very early on in their long sojourn to Rock and Roll stardom. One must remember that at this time The Moodies had a very small vault of songs to choose from ... and a number of these songs have not been played live since ... if ever.
   
   Yes, there are true Moody Blue's Classics here, and Yes, they sound significantly different than the album cuts, and even somewhat different than way they are played live today. Some start different, some end different, and even some of the harmonies are slightly different. Why ?
   
   At this point, 1969, the Band was still experimenting with trying to do their music 'live'. They were attempting to shed there over-the-top synthesized spacey sound. To their devoted fans, they were known and loved for their lush orchestral and unique sound effects. But here we find them trying to improvise, reproduce, and impress us with their creativity and raw talent. They picked the best tracks from their limited collection (they only had 4 albums [excluding 'Go Now'] and there is only 1 track on here from 'To Our Children' ) and blew us away doing it live ... and this album is a testament to that.
   
   
   In 1970, soon after this concert, 'Question of Balance' was released, and 'Every Good Boy' soon followed. Both albums lacked the lush over-laying and Mellotron heavy tracks of the earlier albums. After these 2 albums were released, many of the songs played on 'Caught Live' quickly dropped off their live show play list ... sadly enough.
   
   The extra Five Studio cuts are great clippings that for whatever reason didn't make it on to the either of the first 2 albums... 2 tracks from '67 (Days of Future Past), and 3 tracks from '68 (Search of the Lost Chord)...these are very good cuts that just didn't get pressed.
   
   This is a true Collector's Choice, a must have because of it's innocence and rawness, which can't be heard on any studio album.
   If you attended an early Moody's concert, you'd understand !~!



4. To start off, what a topnotch remastering job on this splendid release! :)
   
   I was so glad when "Caught Live + 5" was finally released on CD, back in 1996! When I had a copy of the album on cassette, and compared it to the vinyl release, I was shocked at how much material was edited out of the cassette version ... I guess it was a matter of fitting the entire album onto the cassette, but thank goodness the CD featured the unedited full versions of the live songs, as heard on the vinyl release. I was also impressed that all of the material between the two original records fit on a single CD!
   
   For the live portion of the album, "Gypsy" was a great way to open up the act, and it really rocked ... Both the mellotron and lead guitar really grab the listener's attention, here!
   
   "The Sunset" sounded awesome on this release, and since the mellotron was really powerful, on this occasion, I call this the "To Our Children's Children's Children" rendition of the song! :) Notice that, on this track (and also on "The Dream"), Mike Pinder's voice is more audible on the left stereo channel, within the stereo field ... This reminded me of the stereo trick used on the earlier recordings of The Beatles (Ex: "Day Tripper"/"We Can Work It Out"), where the voices were offset to one of the stereo channels!
   
   On "Dr. Livingstone, I Presume," you can hear some amusing screams, here and there, probably by John Lodge!
   
   Both "Never Comes The Day" and "The Voyage" feature magnificent mellotron solos from Mike, near the end of each track. On the latter composition, the mellotron replaced the pianos from the original version, but the piece was played just as well, here!
   
   The harmonies of John Lodge and Ray Thomas are great, as they sing the bridge to "Peak Hour" twice. Mike's mellotron solo is outstanding, once again.
   
   The Moodies really rock well on both the bridge and ending of "Tuesday Afternoon!"
   
   "Are You Sitting Comfortably?" features some well-done flute and mellotron solos.
   
   Mike delivers Graeme Edge's poem, "The Dream," in an enthusiastic way, and I love the way he recreates the wailing sounds of the mellotron for the backdrop, sounding much like the original version!
   
   On both parts of "Have You Heard," I liked the "gust of air" effects in-between the individual lines in the song, as well as the group effort of each of The Moodies chanting in their own way, in unison, near the end of Part Two.
   
   The closing sequence of the live set was nice, featuring "Nights In White Satin" (More great harmonies from John and Ray on the "Oh, how I love you," parts), "Legend of a Mind" (An amusing mellotron track during the "Along the coast..." part of the song), and "Ride My See-Saw" (Featuring powerful drums from Graeme in the intro, as well as an amusing count-in, sounding more like "Fee... Fo... Fee... Fee," rather than "One... Two... Three... Four!").
   
   To me, the "+5" tracks are just as enjoyable as any of the material from the "Classic 7" albums. :)
   
   "Gimmie a Little Somethin'" sounds like it was recorded during the same recording sessions as "Dr. Livingstone, I Presume" or "House of Four Doors." There are some nice flute tracks in-between the verses, and I like the ascending notes on the piano and mellotron during the chorus ... Great stereo mix with excellent separation of the different instruments and vocals, too (Best experienced through headphones)!
   
   Both "Please Think About It" and "Long Summer Days" feature wonderful harmonies and piano tracks.
   
   "King and Queen" has a similar rhythm track to "Legend of a Mind," once the chorus kicks in. I enjoy this Justin Hayward track as much as "Voices In The Sky" and "The Actor" ... The acoustic guitars and mellotrons really stand out on this track, as well as Graeme's drumming on the chorus and during the fadeout!
   
   "What Am I Doing Here?" features a lot of layered soaring mellotron tracks, making it sound like a selection from "Children's Children!" I like the piano and additional mellotron pieces during the fadeout, plus Graeme's thunderous drumming, especially near the end of the track, is outstanding!
   
   To finish up, I enjoyed "Caught Live + 5" just as much as the "Classic 7" albums ... That's why I gave it the nickname "Classic 8" in my review title! The album was like an addition to the other amazing albums from the same time period. :) Thanks for reading! God Bless... :)



5. NOTE: This is an edited version of my original.
   
   This is a great collection of early MB's live recordings, tracks 1-14 that is. I thought all the live songs were fantastic, especially Lodge's 'Peak Hour' and 'Ride My See Saw'(awesome version!) and Pinder's 'Have You Heard/ The Voyage'. Hayward's "Nights" is a great one too, almost as good as the Isle of Wight performance. The live versions of these four fabulous songs alone are worth the price of the whole CD in my opinion.
   
   On to a few of the 5 studio tracks. J. Lodge's 'Gimme a little somethin', the lead sung by Hayward, is a short but good tune. John's fab falsetto soars on the chorus parts. 'Please think about it' is one of the most "non-melancholy" tunes I've ever heard by Mike Pinder and I really, really liked it! Pinder's voice sounded so very good on this one. "Happier" tunes suit his vocals, I think. No, it's not THAT upbeat of a song, but it IS for a Pinder tune- lol! The harmonies are fantastic as well, reminds me of the 1950's style. Justin's 'Long Summer Days' is mostly sung by him in that somewhat lower register of his that I have always loved. Harmonies are great as well as the pretty melody. Hayward's 'What am I doing here" is a bittersweet poignant tale of lovers, heroes.... and death. Justin and mates' vocals and playing perfectly suited the tone of the song.
   
   I had read a critique somehwere(maybe here?) that this album sounded like a recording of a Moody Blues rehearsal. I beg to differ with that charge most vehemently. If these live tracks of Prelude are a Moodies rehearsal, then this album REALLY speaks volumes as to just how wonderfully talented these men truly are. I'd love to "catch them live" any day of the week.

5 comments about Ziggy Stardust: The Motion Picture.

1. I have been a David Bowie fan for over 20 years now and though it certainly isn't his best CD (what "live CD" of an artist's is), I certainly would want this in my collection even if I were a casual Bowie fan. As a matter of fact if I had to choose between this CD and the October '73 Santa Monica bootleg (which I also own) I would choose this one. Yeah it doesn't have the songs with Jeff Beck but neither does the Santa Monica '73 CD either. This captures Bowie during his most interesting and innovative stage and is one of the very few times that the late Mick Ronson was captured live. The live versions of "Ziggy Stadust", "Watch That Man", and "All The Young Dudes" are outstanding, this is what live Bowie in 1973 sounded like. What's all the fuss about. So if you ever find this CD, which is rather hard to find, get it. You won't be disappointed!!



2. In response to the previous comment...

   Rumour has it that Jeff Beck never made it into the movie because Bowie didn't like the pants that he wore than night, and this being the soundtrack, the performances never made it there either.




3. Does anyone know the true reason why Jean Genie with Jeff Beck on guitar was never included on the audio release?



4. Its defintely live and its very raw. Mixed in with Bowies heavy guitar Ziggy sounds are some of his lounge act confessional songs that sometimes leave you scratching your head. This is a weird time as Bowie was the biggest rock star in the world after Ziggy and yet he still has this artsy side that wants to be heard. The medley apparently was in '73 still(still to Bowie anyway) a viable theatrical device. Sounds kind of funny hearing him delivering Wild Eyed Boy From Freecloud-All The Young Dudes-Oh! You Pretty Things, songs which thematically have nothing to do with each other all sung as one long mini opera. Bowies strongest point has never been consistency though and since he follows the medley up with a rockin Moonage Daydream you really don't have time to question his artistic choices. "My Death" as the other reviewer noted is a well delivered theatrically spoken number which does manage to do the impossible, interject poetry into a rock set. One of my favorite moments is hearing "Width of a Circle" from the under represented Man Who Sold The World. I think that album is one of his best by the way. Bowie does pull out all the stops for the final four numbers. Lets Spend the Night Together, Suffragette City, White Light/White Heat, and Rock and Roll Suicide. With an impressive rock repertoire/arsenal like that to draw on and a great band behind him I don't suppose it will matter much to listeners that the level of the recording is a bit below par.



5. The song My Death is particularly brilliant

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.

4 comments about Peckin' Party.

1. The 3 studio recordings on this 6-song EP are top notch, and as good as anything on Ditch Diggin' (which may be their best album alongside Dirt Track Date). The live recordings are a bit murky, but the performances are excellent. The studio recording of "8 Piece Box" (the fried chicken song!) is slightly different and, in my opinion, better (more true to the way they perform it live) than the version on Dirt Track Date. If you can find it, get the 10-inch vinyl pressing on egg yolk colored vinyl!



2. The only problem with Peckin' Party is that you don't get to experience what a true SCOTS show is like by just listening. The CD is also only 6 songs-six wonderous, funky, toe-tappin' and slammin' tunes to keep you jumpin'. The quality of the recordings is fine as well, sounding as grumbling and loud as a finely tuned cadillac. Buy it, you won't regret it.



3. If a drunk garage band off on a lark performing for a local talent contest is your idea of fun and good times, this album is for you. But in that case, any popular album ever made should foot the bill. The live tracks, in particular, are uninspired, with poor sound and lackluster performances overall. And even if the album is an "EP," the asking price is way out of line. Schlitz, anyone?



4. This band rocks and Peckin' Party is fine example of their down-home lyrics and clever guitarmanship. Mary Huff and Dave Hartman are the tightest foundation for Rick Miller's reverb-soaked, tremolo-saturated, whammy bar-whipped concocation of hillbilly, funk, surf, and rock. Worthwhile just for their remake of "Daddy was a preacher and moma was a go-go girl"

3 comments about Crush.

1. This is one of the best cds Bon Jovi has. the music is upbeat, fun and just great good old rock 'n roll sound.



2. Bon Jovi's last studio album ("These Days") recorded back in 1996 has the boys bouncing back in 2000 to make an album like Crush, which strays far enough into pop/rock adding a mixture of various sound elements. First off, Bon Jovi enters the charts with a bit of the glory days talk-box laden, ("It's My Life") that remains a strong track. Followed by a Beatles sounding ("Say It Isn't So"), and even sweet, stomping British 70's glam T. Rex or David Bowie ("Captain Crash and the Beauty Queen From Mars"), a little different from their previous work. Always a big influence of Jon Bon Jovi, a Springsteen-flavored ("Two Story Town") and the gutsy ("Next Hundred Years") with major guitar riffs from Sambora!. ("Just Older") sums up Bon Jovi's acceptance of their current status nicely and is still able to deliver. ("I Got The Girl") and ("Mystery Train") lends it's hand to a rather pop sound while the requisite power ballads of ("Thank You for Loving Me") and ("Save the World") are kinda' mawkish in a working-class way. (Both could be soundtrack songs taken from Meet Joe Black and Armageddon respectively!!). ("One Wild Night" is a welcome gritty ending for rockers, and ("I could make a living out of loving you") being a fair bonus track not originally included. ("Neurotica") is the odd ball of the set but a polished gem that certainly makes it's mark. The bonus live disc recorded from Osaka includes six added tracks, three taken from Crush, deilvcred with passion and energy and an astonishingly new rendition, stripped to the bones version of "Runaway". "Someday I'll be a Saturday night" see Jovi going through the motions with ease while "Rockin' in the free world" has that typical Jovi feel written all over it, when compared to the original Neil Young cut!!.

   Overall, the songs included make it sound like the band is attempting to try a little diversity, as with the previous ("keep The Faith") but for the most part, the variety coupled with the consistently polished songcraft makes for a highly comendable album. Bon Jovi has changed producers and updated its sound with a smattering of loops and impressive arrangements, without losing the too much pop crunch of its earlier days.

   The 6 track extra is a nice addition, but is there more to come??




3. The 2nd CD in this Box set makes it worth to buy. The 6 live tracks are great - all recorded live during the Japanese Crush Tour in Summer 2000. The slow version of Runaway is just wonderful and breaks every Bon Jovi fan's heart! A must buy for real fans - for all others: something nice to have in their collection.

5 comments about Bring Me the Head of Yuri Gagarin.

1. well, what can I say?..... WHAT A STINKER! Dave Anderson's a wanker!!! sound quality is very poor.... if ya buy it, it'll only collect dust! This is not an official release, and it sounds like someone stuffed a two dollar tape recorder down their trowsers!!!



2. First off,I'd like to mention that I can certainly understand as to why most people(even the most extreme Hawkfans)might strongly dislike this CD.The sound is not that good,but it is very listenable.I've heard a lot worse.I heard that Nik Turner was ACTUALLY paid not to put this recording out.But,'Bring Me The Head...' does serve the purpose of a fan hearing a halfway decent audience-like home made taped performance of the band from May,1973.I guess I've gotten used to the disc for what it is.It starts off with two tunes that are unavailable anywhere else "Gaga" and a decent Nik Turner poem "In The Egg".Soon after "Orgone Accumulator" there's another Turner poem "Wage War" which is pretty good,in my opinion.Other 'Wind classics are present,like "Master Of The Universe",a good version of "Urban Guerilla","Welcome To The Future","Sonic Attack" and "Silver Machine".I heard awhile back that a French label,Spalax reissued this title;with a 30% improvement remastering job on the sound quality.Also noticed that Turner isn't even listing on the back cover.Have to wonder why.



3. heavenly bliss if ever a drummer held UP, BANGED A BEAT FOR A BUNCH OF HEADS FIRMLY TOASTED BEFORE LIFT OFF SWIMMING down stream WASH OUTS simon king tries to KEPT A FLOAT[hawkwind here a [CAST OF BURNT OUTS [SHRILL DISCORDANT HISS mish mash mosh pit SLOP SLOSHEMP SPACE EXEECUTIONERSMILESMIRED behind IN THE SLUDGE TAR PIT,,]



4. All else aside, I've heard better sound quality from tape recorders placed under a chair than you can find on this one.

   To bad it is a waste of some decent cover art and a name for an album.




5. I felt I needed to contribute this review to drive the average rating further down. No offense to the person who gave this two stars, but this disc doesn't deserve ONE. The info on its dubious origins was new to me but not surprising. This one has almost an identical song list to one I have on vinyl but didn't see listed here (might've missed it among the other 121 entries), called "Live 70-74." That one is not the greatest recording either, but it's an audiophile's dream compared to this terrible offering. It would be worth it to get a copy of the hilarious "In The Egg," but find it on another release and don't bother with this one. In addition to the overall poor quality, the recording levels are almost nonexistent. Unless you crank it up to maximum volume you won't even believe there is ANY sound on this disc at all.

4 comments about Forever Changes: Live.

1. It was both Arthur Lee's dream, as well as that of his dedicated cult of fans, that someday the great "Forever Changes" would be recorded in live performance. Just a few years before his passing, Arthur achieved that dream - and with impressive results. The concert is recorded in London in front of an enthusiastic crowd, and with Arthur bringing along a full string and horn section to faithfully replicate the albums symphonic sweep. Although Arthur at this point is not in his full acid-Johnny Mathis splendor, he still sings well enough and is backed capably by a group known otherwise as Baby Lemonade (the guitarist's solo on "A House is not a Motel" is blistering!) but became Love whenever Arthur fronted them. Following the triumphant rendering of the entire album (climaxed by the sublime "You Set the Scene") they offer up a FIVE SONG ENCORE of some of Love's greatest tunes, including the rare "Your Mind and We Belong Together" which was originally slated to be on "Forever Changes." True, it's not what it could have been with Bryan McClean but... If you wish to pay honor to Arthur's memory, and I personally feel he was the most shortchanged of all of rock's heroes, then give this - his last great achievement - a heartfelt listen and an esteemed place in your collection.



2. When I was 10 years old I bought the Guess Who 45 "Hand me down world". I played it for anybody and everybody who would listen (my poor mom), it was magic to me. A quarter of a century later I buy the Forever Changes live DVD and that old "magic feeling" returned like a tsunami. The "Forever Changes" lp always had something special about it, incredibly this show multiplies whatever it is infinitely. Some people say it is "Arthur Lee", but I also give credit to whatever God aligned the planets when these musicians took stage that night. It REALLY is that special. And speaking of Arthur, God rest his soul, he is the reason I would buy the DVD first - he is so cool on stage - the world lost possibly its best frontman when he passed this year. It was definately the "bummer in my summer".
   
   If you truly love music - buy this DVD (and CD) NOW! If your not moved by it, check your pulse, or put your Nickleback CD back in. PEACE!



3. Just a handful of years ago, I had never heard of Love or Forever Changes. Luckily for me, my wife had heard the album as a young woman and wanted the CD release for her birthday. I thought it was impenetrable and hated it on my first listen, yet the next day I found myself humming the incredibly hooky, if complex, melodies crafted by Arthur Lee, the genius behind Love. With repeat listenings, the literary quality of Lee's lyrics, evoking all the facets of tumultuous 1967, became readily apparent; lyrically, the album is up there with Dylan and Costello. It rapidly became one of my "desert island" CDs, and I recognized why many rock critics include this in their top 20 albums of all time lists.
   
   This CD is not a remastered version of the studio album from 1967. Rather, it is a live performance of the entire album, recorded in London's Royal Albert Hall, 35 years after the album was released (and after Lee spent a six-year stint in prison for gun offenses).
   
   And it smokes. Lee's voice is clear and strong, even when he provides higher-range vocals for the two songs originally sung by rhythm guitarist Bryan MacLean. His sense of humor and joy at playing these songs for such an appreciative audience are apparent in the sparse between-song banter. What really makes this album a winner, though, is the music itself. The band is tight, the sound is crisp, and these guys play their hearts out. Of particular note is Lee's guitar solo on "A House is Not a Motel": it is beyond scorching, beyond blistering, almost a third-degree burn of intensity. It definitely ranks among the best guitar work from Hendrix, Prince, or Funkadelic.



4. Ignore the album details as listed by CDNOW/Amazon above. This is a live recording from a performance at, I believe, the Royal Albert Hall in London, England. I do not own a copy yet, but I did listen to the album and the performance is wonderful. Of course the songs are wonderful to begin with so I give it 5 stars.
   
   PS: There is also a DVD available. I can't wait to see that.

No comments about Live Bullet.

2 comments about Live 1970.

1. Unfortunately, it's the same CD, which was issued as "Live 1970", but this one is called "Live in France". I thought it was two different CD, so I was a little bit frustrated after receiving the same CD.
   But regarding music, does not matter which one of the names is written as tittle - the music is perfect. Highly recommended to all Soft Machine fans



2. the cd i have and the one pictured is only a single disk and does not have the listing that is advertised above. this is music recorded in europe in 1970. the disk is about 47 minutes in length. recording quality is so-so. first 2 tracks, facelift and moon in june are excerpts under 6 minutes each. if you like the softs earlier material, get the cuneiform releases. i think they are hitting the bottom of the barrel of early live recordings. wouldn't mind seeing some live recordings of their later releases.

5 comments about Eagles Live.

1. I really like this CD alot; The live venue gives some of their catalog a little extra punch! Hard to believe half of these are live since they are so right on the money--it's almost like listening to a studio album at times. Nice addition of some lesser known Eagles tunes like Seven Bridges Road, Saturday Night, and All Night Long; Plus the addition of Life's Been Good only helps. great sound and great playing all across the board. The extended sax solo at the end of The Long Run is one of the best sax solos I have heard in a long time. A great look at a talented band in their earlier days. A must have for fans! Joe Walsh and Don Felder tear it up guitar-wise...or as much as you can tear it up in an Eagles song!



2. Greatest band of all time! What else can I say. Wish it was a DVD!



3. The Eagles' seventh album Eagles Live was released in November of 1980.
   By 1980, The Eagles were going through a schizophrenic time. The band had another chart-topping album out of The Long Run but inner tensions between drummer Don Henley and guitarist Glenn Frey reached fever pitch. The strains of keeping up with success were taking a toll on messieurs Henley, Frey, Don Felder, Joe Walsh and Timothy B Schmit.
   Before splitting up, the band decided to release a live album recorded from its 1979/80 Long Run Tour with some tracks recorded from the pre-release tour in support of Hotel California from November, 1976.
   The 1980 portions consists of spirited versions of "Hotel California" which is arguably better than its studio counterpart with Don Felder's excellent Gibson double neck guitar and Joe Walsh's Fender Telecaster work, a rocking "Heartache Tonight", a soulful "I Can't Tell You Why", a soul-tinged "The Long Run" featuring some excellent alto sax work from Phil Kenzie (whom played on Al Stewart's Year of the Cat and Time Passages albums), a laid-back unplugged "Saturday Night', a stellar "Life in the Fast Lane" and the closing extended rocking "Take it Easy" which is better than its studio counterpart with some excellent guitar work from Walsh at the end.
   The 1980 portion also included the band's take on two of Walsh's solo tracks "Life's Been Good" (arguably better than the original) and the then new track "All Night Long" which buried the sterile sounding version on the Urban Cowboy Soundtrack. Lastly, it featured the acoustic "Seven Bridges Road" which was a country number the band would play in rehearsal (see the 1977 Hotel California concert film for proof) and would be the band's last hit for 14 years.
   The songs recorded from 1976 featured "New Kid In Town" and "Wasted Time" which were at the time the performances were recorded unreleased, an unEarthly version of "Take It To The Limit" with original bass player Randy Meisner hitting an A flat to F Sharp near the end and given a STANDING OVATION for it. Lastly, "Doolin-Dalton Reprise II" was an orchestral interlude to "Desperado" which was a good version.
   Eagles Live upon release hit #7 on the album charts and quickly hit Platinum status. Millions have been sold since then (I helped the cause when I was 8 when my folks got me this on cassette as a Christmas present and then on CD and now the remastered CD).
   Recommended!



4. The Eagles Live cd is and always has been a Complete Rip-Off! Warner Brothers has been raking it in on the Eagles catalog for decades and has only continued the tradition with the remasters (see my review of Hotel California). This is the original version from way back in 1989. They did not have 80 minute cd's back then, only 74 minute discs. That I understand , but this has also been remastered and released AGAIN on 2 discs! There is absolutely NO EXCUSE for this to have been released on 2 compact discs except that it allows Warner Brothers to demand a higher 2 cd price!
   
   I vowed to NEVER buy this release, even though I own all the other standard Eagles remasters. They do sound much better, so it is worth it to me. But, you get NOTHING NEW. Same ol' booklets, same standard gray jewel cases, etc.
   
   HERE's The GOOD NEWS - I just bought this at a local SAM's Club for only...$12.88. I could not believe the price. And, it is the newer remastered version in a standard double slim jewel case. It says right on the back, "remastered by so and so at Sterling Sound 1999".
   
   I do hope that sometime in the near future, Rhino records or Universal Chronicals will put out a "Deluxe Edition" of this release with more tracks from that era and fill up those 2 compact discs. Until then...



5. This is a fine recording of a great band. However I cannot recommend it and hence it only gets 2 stars.
   
   The reason for this is that you might have thought that with an album cover which says EAGLES LIVE this would actually be a live a album. But no its not, in fact if you read the credits you'll find that there are overdubs added. So it should be called EAGLES LIVE (EXCEPT FOR THE OVERDUBS WHICH WE ADDED AFTER THE CONCERTS). Now if they called it that I probably would have given it 4 stars.
   
   Shame, because the recordings are good, but if I wanted a studio quality recording, I'd have bought the original studio albums. Live is live, it can't be almost live unless its advertised as such!