4 comments about Dick's Picks, Vol. 23: Baltimore, 9/17/72.

1. 1972 was a fantastic year for the Grateful Dead: the springtime Europe '72 tour, the two keyboard attack of Pigpen on organ and Keith Godchaux on piano, Pig's vocals and some of the best group mind playing of the Dead's career. Dick's Picks Vol. 23 is from a later show in the year after Pigpen quit mid year for health reasons, he died in 1973 from a hemmorage brought about by his excessive consumption of alchohol. While there are other shows with better versions of individual songs and the jamming isn't as stellar as some of the as yet unreleased shows from this banner year, there's a definite character about this DP 23 that makes it a must have Pick. For one thing every song is played very well, no phoned in performances for this show. The playing is tight and dynamic. But what really sets this show apart is it's sense of organic flow. Whether in the individual songs themselves or the between song transitions, there is a palpable organic unity to the Dead's playing. The Grateful Dead group mind is very much in evidence. Which makes for a subtle experience, and takes a couple of listens for the excellence of this show to sink in. At first I wasn't overly impressed, a very good, if not great show is what I thought. However with repeated plays I came to realize just how good a show DP23 was. Thats "show", the thing has to be heard and judged in its entirety. As a show, as a unified and here's that word again, organic entity, DP 23 is outstanding. Now I generally prefer the sound of earlier shows in the year because of Pigpen's vocals and organ, but until the Dead release the Springfield Creamery Benefit show from 08/27/72, DP 23 is the best (officially released) post Pigpen show from 1972 we are likely to hear. High quality recording and playing, what more could you want?



2. I really like the cover of this album; both how it looks and how it alludes to Poe's epic poem "The Raven" (quite appropriately, seeing as the featured concert took place in Poe's hometown of Baltimore). Quite unfortunately, however, the actual music isn't as stellar as one would expect. Don't get me wrong; it's good, but definately not mind-blowing in the way Dick's Picks 12 and 16 are.
   
   Disc 1: Fairly boring versions of relatively commonplace and unexciting songs. "Friend of the Devil" and "Sugaree" have yet to reach the heights they wouuld achieve in 1977. "China Cat Sunflower" and "I Know You Rider" are always fun, but this rendition has neither the depth of the Dick's Picks 12 version nor the tightness of the Go to Nassau recording. The only highlight is the relatively rare "Bird Song," which allows the band to stretch out and jam just a bit. 2/5
   
   Disc 2: The first set ends on an okay (but not extremely mind-blowing) note. "Playing in the Band" stretches out but doesn't get to anyplace exceptional (go to archive.org and download the 2/26/77 concert if you want to hear a REALLY stellar version of that song). Some may find the "Casey Jones" enjoyable, but I think it drags a bit. Then the second set starts and things begin to look up. "Truckin'" sounds like it has potential to seugue into something and start a really neat jam (like on the Englad '72 box set or Dick's Picks 12) but it just... stops. The other songs are all some of my favorites, but they're all fairly common, so better versions exist of all of them. "Mississippi Half-Step" is probably the most interesting song on this disc just because the arrangement is different from its usual one. 3/5
   
   Disc 3: "He's Gone" is fairly typical... not the best or worst version of the song, but still pretty good. Then, the moment we've all been waiting for: a 40-minute "Other One!" This (along with "Bird Song" and "Sing Me Back Home") was the main reason I got this CD to begin with. Yes, it's just as epic as you'd think and goes all sorts of places... but it doesn't make up for the extremely tedious material on the other two discs. Then there's "Sing Me Back Home." I thought this was going to be some kind of cool jam-fest type thing because of its length and that I was going to be in for a rare treat... but it's really one of the worst songs I've heard the Dead do. Jerry takes a neat solo at the end, but that one solo isn't necessarily worth sitting through the rest of the song. The other two songs are typical Dead staples; as with pretty muche everything on this album, there are better recordings out there. 3/5
   
   Bottom Line: This isn't really that amazing of a show. I suppose this album might be enjoyable for someone who hasn't heard these songs millions of times, but there are lots of better picks out there.



3. This is an excellent late-'72 Pick, from Baltimore in September, about 5 months after the European tour. The first disc is nothing special, a standard first-set. The band is energetic, but hasn't taken flight yet. The best song is "Bird Song," which flaps its eerie wings and takes a few leaps upward, and yet doesn't escape gravity. The worst moment comes on the segue from "China Cat" to "I Know You Rider," when Garcia and Weir get totally out of sync -- it's terrible, I don't know how anyone could consider this a high-quality performance. The "Rider" vocals are intense, which seems to me to indicate their frustration at having botched what is often a sublime moment.
   
   All problems are left in the dust on Disc Two as the band achieves escape velocity with a 19-minute "Playing." Garcia uses his wah-wah pedal to great effect, and the soaring energy is not lost for the rest of the show, but this disc especially is superb Dead, just what people say you have to hear them live to experience. They're flying, riding the wave, in the Zone! "Casey Jones" features Keith on boogie-woogie piano at the end, the best version of the song I've heard. Likewise the rowdy 12-minute "Truckin'," with Bill bashing away on the drums, certainly one of the best available recordings of the AMERICAN BEAUTY counterculture classic. "Loser," which was a new song at the time, is modified from the studio recording on GARCIA with a nice guitar riff. "Mississippi Half-Step," which wouldn't be recorded for nearly a year, sounds great, especially the coda ("across the Rio Gran-dee-o, across the lazy river...").
   
   On to Disc Three, an 11-minute "He's Gone" ends with a long, mellow jam, and then suddenly "The Other One" kicks in, leading to prime improvisation for 40 minutes. While not as intense as the great version on SKULLF**K, Garcia's soloing has a piercing, crystalline quality. In the spaciest section he uses the wah-wah again. Kreutzmann starts "Alligator" at one point with the cowbell, but it isn't pursued. That's the point the jam really ought to end, at about the 30-minute mark, but Kreutzmann starts a new rhythm and Garcia continues to solo introspectively for another 10 minutes. I'm not overly impressed with Merle Haggard's maudlin "Sing Me Back Home," but the band performs it slowly and with feeling -- Kreutzmann and Lesh deserve credit for maintaining forward momentum at such a slow pace. "Sugar Magnolia" is fine and strong, though Garcia blows a solo toward the end, perhaps discombobulated again as in the "China Cat/Rider" segue.
   
   The closer "Uncle John's Band," one of my absolute favorite Dead songs, from WORKINGMAN'S DEAD, is fantastic, a great finish to a great show. When the a cappella chorus begins, after a pause, "Come hear Uncle John's band, playing to the tide...," it sends chills down the back of my neck. This is a fine addition to the Dick's Picks series, and strong evidence that THERE IS (STILL) NOTHING LIKE A GRATEFUL DEAD CONCERT!



4. Disc One:
   Promised Land (3:39), Sugaree (7:59), Black-Throated Wind (6:34), Friend Of The Devil (4:19), El Paso (5:11) ,Bird Song (10:55), Big River (5:22), Tennessee Jed (8:05), Mexicali Blues (3:57), China Cat Sunflower (5:18), I Know You Rider (6:16)
   
   Disc Two:
   Playing In The Band (18:48), Casey Jones (6:12), Truckin' (12:19), Loser (7:20), Jack Straw (5:22), Mississippi Half-Step Uptown Toodeloo (8:38), Me and My Uncle (3:16)
   
   Disc Three:
   He's Gone (10:21), The Other One (39:07),Sing Me Back Home (10:50), Sugar Magnolia (9:25), Uncle John's Band (7:22)
   
   Buy this Pick. This is a Pick that you jaded, longtime heads will be blown away by, as well as one you can use to turn someone on to the Dead. Some of the Picks have a bunch of stuff I could take or leave but the Pick is worth it to me for this or that big jam, but Pick 23 has it all. You get excellent versions of several of the song-songs, and monumental explorations of the big jam vehicles.
   
   The Birdsong is lovely though short, and the China > Rider is a great one... one of the best of the entire Dick's Picks series.
   
   I don't have any of the Picks after #26 yet, and off the top of my head I don't remember what all concerts compromise Picks 27-32 so I can't speak of those right now, but from 1 through 26, the Playing in the Band on this Pick is the hands-down best of the series. If you don't care about anything else here but you're a fan of monster Playings, buy this Pick. The Loser just a few tunes later is another highlight of the set... truly a gorgeous rendition. Cap this all off with an epic exploration of The Other One that travels through many moods and rhythms and you got yourself one of the best Picks in the series.
   
   This is also one of the best sounding Picks in the series. The sound is open and natural and the power of their tones shines right through. This Pick almost has the openness and airyness of the best audience recordings, but with the strength and presence of a soundboard.
   
   Pick up this one, #19 (10/19/73) and #22 (2/23 & 2/24/68) and you have everything you need from this new batch of Picks.

5 comments about Queen on Fire: Live at the Bowl.

1. For most die-hard Queen fans this CD & DVD is a must have. Unfortunately for the rest, it's a take it or leave it proposition. First the sound quality is excellent. Same for the DVD visual. The band sounds great and enthusiastic. The set list is less than to be desired though. They were promoting one of their weakest albums "Hot Space" I must give credit though. The songs from that album sound much better live than their studio counterparts.
   There are some great performances "Save me", Fat bottom girls", "Play the game" & "Under pressure"
   Don't know why they keep insisting on adding yet another extended Brian May guitar solo? That part really gets boring fast.
   Over all it's a good live CD & DVD, but for the causal Queen fan, I recommend either "Live killers" or "Rocks Montreal" Better song lists.



2. In November of 2004, Queen released its fourth live album Queen On Fire Live at the Bowl.
   This live recording and its off-shoot DVD was recorded and filmed at The Milton Keynes Bowl outside London, England on June 5, 1982.
   Not officially released on video or CD, Queen On Fire Live At The Bowl marked the first time a recording of this concert has been LEGITIMATELY available to own as a 70 or 80 minute edit had been available on the bootleg recording circuit.
   Audio producers Justin Shirley-Smith and Kris Fredriksson returned to the original 24 track analog tapes recorded by 80s Queen co-producer Mack and Mick McKenna with The Rolling Stones Mobile Truck and created brand new regular stereo (for this CD and one of the two DVD mixes)) and DTS 5.1 surround sound mixes (found on the DVD).
   We kick off as the band hits the stage with the entrance music of Flash before the band dives into a spirited version of The Hero. Next is a killer We Will Rock You (fast version) complete with Brian May popping a guitar string and the music was left alone. Next is Action This Daywith drummer Roger Taylor and Freddie Mercury duetting on this rocker and John Deacon adding some bass which was muted on the studio recording and Brian playing his Red Special backup as his Red Special had to get a new string and Morgan Fisher did a great synthesizer solo substituting for the saxophone solo. Then Freddie does a nice piano intro which goes into an excellent Play the Game. Next is another Hot Space track Staying Power which is transformed into a rocker with Deaky and May playing guitars plus Roger bashing live drums and Freddie being on fire here. Next is arguably this live set's best track Somebody To Love which buries its studio counterpart by a longshot. Next is Now I'm Here which is excellent with a Freddie/audience vocal duel before segueing into Dragon Attack which rocks although Brian blew yet another string on his Red Special guitar and had to use his Red Special back up for the finale solo and the reprise to Now I'm Here. Next is a nice version of Love of My Life with Brian playing an impromptu teaser of Las Palabras De Amor before starting the track. Save Me is next and is done with more power than the studio counterpart. Deaky's Back Chat ends the first CD as the funk track is turned into a full-on rocker with Roger playing the drums like a man possessed, Brian's guitar dominating, John playing his Music Man Stingray bass and Freddie singing his heart out.
   The second CD begins with Get Down Make Love which is a great short version which then segues from its middle section into Brian's Guitar Solo which is amazing despite the fact his guitar cord came undone (you can see this on DVD unedited) and Brian finishes with some help from Roger's drumming. Roger does an uncredited 30 second Drum Solo at the end of the guitar solo track as a lead in to Under Pressure which is an excellent version of the track. Next is Fat Bottomed Girls which rocks and Freddie's voice was electronically fixed on the part where he says LOCALITY which his voice cracked on the original Milton Keynes BBC airing. We then have a rocking Crazy Little Thing Called Love which is great. Then we have Freddie play a nice piano solo leading into possibly the best live version of Bohemian Rhapsody ever. We then rock out with the set closing Tie Your Mother Down which rocks. The first encore of Another One Bites the Dust is a great spirited version. Sheer Heart Attack follows and is more aggresive than either the News of the World version or the Live Killers version. We then have the second encore of the traditional We Will Rock You with audience participating and a stellar We Are the Champions. We then have the band say farewell as God Save the Queen plays over the PA.
   Despite the fact this album didn't chart upon its late 2004 release here in the States, this live album is a FANTASTIC snapshot of Queen reigning their natural habitat, the concert stage and is one of my favorite live albums EVER!
   HIGHLY RECOMMENDED!



3. This is excellent. This is real offical Queen stuff by Roger and Brian. To me that says it all. It has the best version of Play the Game I have ever seen. Somebody to Love is great too. The quality here is unbelievable. It would be awfully hard to be disappointed with this one in my opinion. This just may be Freddie Mercury's finest hour, well one of many. Long live Queen!!!!



4. Compre este Cd y para que suena bien y la voz de mercury impecable yo recomiendo a los fanáticos de Queen que compren este disco doble es de coelcción



5. It's a great CD, but make sure to pick up the DVD. One of the best ever.

5 comments about So Many Roads (1965-1995).

1. You have to admire the way this set was put together- trying not to duplicate what Deadheads already own and presenting 5 discs worth of unreleased and rare material. There really is a lot of great music in here and a great variety as well.
   In the extensive liner notes to the set, the compilers admit there's not enough Pigpen in it- WHY DIDN'T THEY PUT MORE PIGPEN SONGS THEN??? This is a great set that could have even greater if they included more early material and more Pigpen. 4.5 Stars- very very good but by their own admission, they could have done better in their choice of material.



2. At the time this was released the Dead were still releasing cd's thru Arista/BMG and what happened was Warner Bros. had just purchased Rhino Records. Warner Brothers had put out a press release that they planned on rereleasing the band's old albums in a box set with bonus material. Phil Lesh who was the band member running day to day operations at that time said no and that he thought it was just another way to rip fans off by selling them the same old stuff with a few meager new tracks. However, the Deadhead community at large wanted a box set. In came David Gans, Blair Jackson, Steve Silberman and originally Dick Lavala(who passed away while trying to get this ready for Christmas 1999). The original idea was to use material that wasn't going to be used for Dick's Picks or Vault releases. Sort of an expanded Fallout From The Phil Zone. All of the performances were taken from David Gans' tapes that he uses to produce the Grateful Dead Hour radio program and not the master vault tapes. In other words they're digital copies of the masters where available. A fight began between Phil and both Bob and Mickey over the vault and finally Phil relented which cleared the way for The Golden Road in time for Christmas in 2001. The band's last Arista/BMG release was in 2004. Since then the band's back catolog has been getting reissueed on Rhino Records. This album will be rereleased in 2010. Since the original release of this album several songs have been released in better quality elsewhere. By the way, the discs that hang together best on here are discs 3 and 4.



3. This is a great box set, get it now while you can, there will be no more. This has the best Eyes of the world that I have ever heard, it is my favorite GD song out. The last song on CD five is So many roads, Jerry sounds tierd and seems to be fading away, it is awsome and heat breaking to hear. A must for any fan.
   Philip, TCBRN, Simpsonville, SC. 2006.



4. I once thought that the Grateful Dead deserved a better epitaph than this. While I saw that it was full of unique musical ideas and moments of greatness, I also felt it was full of extraneous moments that are of interest to obsessives only. After living with the box for a while, though, its internal logic exposed itself. Initially, I hoped for a `greatest hits' collection of sorts and felt some disappointment to discover otherwise. Since a five-disk collection takes some time to digest properly, it wasn't until some time passed that I recognized how much better this collection is than any collection of `best bits'.
   If ever a band could use a box set, it's the Grateful Dead. If ever a band could use a box set that disseminates their career and culls highlights from all time periods, it's the Dead. A box that includes the best tracks from "Aoxomoxoa", "Live Dead", "Workingman's Dead", "American Beauty", "Europe `72" and "From the Mars Hotel", along with highlights from other albums, plus selected versions of live tracks chosen from their endless catalog of live tapes would be a beautiful thing. THAT is what I once thought the Dead deserved. I also believed that is what Deadheads wanted, if only to convince nonbelievers of the inherent greatness of their chosen icons. That isn't at all what this box set provides, but after a few listens, I began to determine the intelligence in its design.
   "So Many Roads" combines historically relevant outtakes, rare studio recordings and the occasional definitive live track, resulting in a collection that is as frustrating as it is fascinating. Disk one of this five CD set summarizes the faults and the highlights. It starts with a healthy amount of early tracks where the Dead resemble an ordinary "Nuggets"-era band; the Chocolate Watchband crossed with a touch of Van Morrison's Them, perhaps. Some are good, some aren't. Bob Weir's screaming punk-like vocals on "You Don't Have to Ask" are simply awful, while the energetic, fresh version of "I Know You Rider" is just as simply incredible. Pigpen's showcase, "The Same Thing," takes time to develop, but transcends all expectations before it finishes. Just as the punk-blues mood sets in, gears shift and suddenly, the disk morphs into the remarkable looseness of a twenty-five minute jam. A rather direct and poignant "Dark Star" transforms into "China Cat Sunflower", and then "The Eleven", with a grace and inquisitiveness that made the 1968-1972 Grateful Dead one of the most interesting bands in the world.
   By disk two, the Dead had already lost most of their youthful impetuousness, replacing it with curiosity, attempting to bind themselves to something intangible, something like infinity. After Pigpen's death, assertive energy was substituted with exploration. With Keith Godchaux on keyboards, it became more and more apparent that the Dead really do sound better if you're stoned. As the timeline proceeds, so does the level of exploration, and casual fans will have difficulty sticking with disk four's collapsing, free-form version of "Playing in the Band." Disk four also makes it rather apparent that the Dead never really improved their vocals much. What did improve, though, was the level of expression that they could muster with their voices. Whiles notes cracked or soared out of tune, the emotional center grew more and more focused.
   Brent Mydland is well -represented in the latter-day work. I once considered this guy to be a bland honky-tonker incapable of serving the Dead's needs, but "So Many Roads" proves otherwise. Besides showcasing his powerful vocal style, it also proves that he had a touch not unlike Billy Payne of Little Feat (if EVER there lived a keyboard who should have played with the Dead in their prime, it's Billy Payne). Disk six is like watching a train wreck in slow motion. Momentum is scattered, direction is lost and a sense of impending dread resides over the proceedings, lending each song a sense of destiny that is unshakeable, and often profound.
   While chronologically accurate, "So Many Roads" lacks any sense of coherence that an ordinary fan would crave. People looking for "Blues for Allah" would grow impatient with the band's early harmonica blues-based forays, and vice-versa. But, it is important to note that Deadheads aren't your typical fan base. This box was not created for neophytes but for those who are already convinced. If you want an introduction to the Dead, don't start here. This is where you turn after you have absorbed some of the band's history and legacy. At that point, the relevance of the tracks chosen for "So Many Roads" are more likely to sink in. Hearing Jerry Garcia sing "Days Between" simply won't have the same impact on a newcomer as it will on a connoisseur. "So Many Roads" contains little that is revelatory, because virtually everything that the Grateful Dead have played has already been exploited in some way, but discoveries can still happen virtually anywhere on this collection. Listen to the fluidity of Garcia's guitar on "That's It for the Other One." "Check out the intuitive weave of "Beautiful Jam." Listen to how the band brings "Terrapin Station" to life from its still-born studio version. Remarkable. The more you listen, the more you understand. A- Tom Ryan



5. Don't even know where to start with this 5 disc set. If you're new to the band this is not a bad place to start.
   
   Everything here is beautifully mastered and strong material has been pulled from each period of the band. Even the later stuff sounds great (I generally stick to their older stuff)!
   
   Buy this box set!! 50 stars! By the way, you can download it for a ridiculously low price on iTunes.

5 comments about World Wide Live.

1. There are only a handful of live recordings/CDs where the live music is truly more crisp, powerful and inspiring than the studio versions. Frampton Comes Alive is one... this is the second. Even for non-hard rock fans, the music of the Scorpions is uniquely compelling and stands the test of time. * * * * * I have 6-7 friends who are musicians or rock music fans and all of them have a huge amount of respect for this CD. I hope they go back and re-release the DVD. It's only on VHS as of this time. This is a classic album that showcases the talent of this long-lasting German band.



2. Although a lot of bands are generally bad in their live recordings, Scorpions has always been a great live band. I have been to three of their concerts and they always sound pretty close to studio quality believe it or not. I haven't heard many bands that sound that good on stage except maybe for AC/DC and Judas Priest. This has all of their best stuff really because Love at First Sting was their last great album. Just great lead guitar work by Mathias Jabbs: simply one of the most underrated lead guitarists from that period. You can't go wrong with this live album by Scorpions.



3. And that is just a subjective opinion obviously but like many 80s rock bands their best time was then and so is for Scorpions. Its a must have or at least a must listen for any 80s rock fans.



4. I got this at the same time I got the "TOKYO TAPES" CD and its as good as I remember it. However, I could not find the original double (vinyl) album so I could compare the songs for accuracy, but I believe they are all there! Songs like COAST TO COAST, ANOTHER PIECE OF MEAT, STILL LOVING YOU & CAN'T GET ENOUGH get me through my workouts at the gym!
   
   I saw this tour in Austin, TX, which was my third time seeing them live and the first time I saw them as headliners. If I had to say anything negative about the album, it would be that they left out classic songs like HE'S A WOMAN, SHE'S A MAN and LOVEDRIVE, but I still got my money's worth!
   
   Go get this album!



5. Which is the problem with most live albums, to tell the truth. *World Wide Live* was an honest effort for Scorpions' to capstone the highly successful 79-84 era with a live summerization. Face it, Scorpions had their greatest phase of their career between the *Lovedrive* and *Blackout* albums, with *Love At First Sting* being the commerical icing on the cake. They were some of the best sounding rock albums ever released. However, i belive that *World Wide Live* falls short on doing these songs justice. *World Wide Live* sports a particulary "noisy" qaulity to it that i simply can't stand. Songs are either rushed right through, ad-limbed to death or simply played sloppy. The botched intro to "Bad Boys Running Wild" or all of Klause Meine's lame banter between and during songs are a few examples. Other times, songs are simply lost in excessive noise, by either the crowd or the band themselves. I don't know if this was a result of poor mixing or simply bad production, but it ruins the songs potency when they are buried in an obnoxious crowd setting and played far louder then they should be.The tender nuances of ballads like "Holiday" and "Still Loving You" are completely lost in *World WIde Live*, suffering the most out of all the classics from this flaw. Other number simply feel uninspired and through the 'motions', like "Rock You Like A Hurricane" and "Loveing You Sunday Morning". The original studio versions are far, far superior. My advice is to stick with the studio albums, which for my money, had some of the best production vaules of their time. If you want a live Scorps album, get *Tokyo Tapes* or *Live Bites* instead.

5 comments about Still Life.

1. Stones live albums will always bug longtime fans because very few of them are memorable yet fans have to have them all! `Still Life' is no exception, run of the mill per usual, just as `Love You Live' was five years previous. What these albums should do is only spotlight new songs from that tour to at least give them some variety. "Going to a Go-Go" and "Twenty Flight Rock" are decent but were they really necessary to have on album? "Black Limousines" or "She's So Cold" would've been better alternatives. Also, do we really need TWO Motown songs? "Just My Imagination" sounds nothing like the blood and thunder version from `Some Girls". "Start Me Up" is included here of course but it already sounds tired here, with a sped up tempo - not much different then the one from `Flashpoint". I really hate the concept of stadium rock anyway...small arenas always sound better, but the Stones were already too big (though they still do arenas from time to time). As I said before ` Ya-Ya's' is still the only great live record from these guys so if you are not a serious Stones addict, don't bother with `Still Life', lame title too.



2. The Rolling Stones-Still Life ****
   
   Wile it isn't as widely popular as the 'great' Get Yer Ya-Ya's Out!; Still Life is still an exciting live record, and superior to Ya-Ya's in many ways, and for me personally I think I might like it more.
   
   While I can't for the life of me understand why if this was the Tattoo You tour of 1981, in touring support of the album of the same name, why only one out of the ten songs on the album are from that album, those being 'Start Me Up' of course being the choice for the record. The rest is made up mostly of old rock and r&b tunes the band grew up admiring, and early Stones hits.
   
   So with this is superior to Ya-ya's is well, it's a hell of a lot more fun, and isn't that what a concert is supposed to be is fun. While Ya-Ya's is a classic, the energy isn't as in your face as here. That is also why I prefer to listen to this one as well. Ya-ya's had a better selection of songs, and some classic versions of them, and truly is superior over all but for a good fun listen from a time that was other wise lame for The Stones, Still Life is a nice addition to a live Rolling Stones collection.



3. I love Still Life, recorded on the Rolling Stones 1981 American tour. The album has a great summertime vibe, high energy, and takes me right back to the Tattoo You era and 1981-82. My only complaint about Still Life is there aren't enough songs - and with a band like the Stones they can't include everything, but there's nothing from the Sticky Fingers/Let It Bleed period. Still Life focuses on, understandably, Ronnie Wood material and some standard classics. I'd love to have Hang Fire, Waiting on a Friend, or Little T&A on this album though. Still Life for me is a must have, and a Stones album I listen to over and over year after year. Classic. Standout tracks include: Under My Thumb, Going to a Go Go, Just My Imagination.



4. Another Stones live album. This one has some tracks not included on any of the others on that long list, but it's still a mediocre live LP at best. Keith, Charlie, and Ronnie Wood are in good form throughout. Shattered really rocks and has that punk feel to it that was the inspiration for the song to begin with. The one thing that makes this album mediocre is the vocals. Listening to it, you can't get over the fact that Mick Jagger's voice sounds so God awful bad. It reminds me of The Allman Brothers "Second Set", in which an obviously liquored up Greg Allman sounds unrecognizable throughout.



5. From my view, this presents the Stones as the height of their musical power (albeit at the height of tensions between the Glimmer Twins). I know that reformed Stones purists think that the band ended with Tattoo You (orthodox Stone purists believed the band ended with Mick Taylor), and zealot purists still buy the new albums that the band puts out. Without taking any of those positions, this is simply the band when the guys were still young (and Jagger didn't look like Barney Fife yet) and one dude in football pants could hold an entire stadium of people in the palm of his hand. Some wouldn't like the arena music here as much as the early 'raw' stuff (like the Get Your Ya Ya's Out album), but I like this era: Mick is mastering his choppy and almost flippant delivery of lyrics, and Keith is sufficiently backed up and is allowed to just deal out the chords that make every song sound like a Stones song. The gems here are Twenty Flight Rock, Under My Thumb, Let Me Go, Just My Imagination and the frenetic rendition of Satisfaction. Sit back, pretend that Reagan is still in his first term, and enjoy.

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 at the Aquarius Theatre: The Second Performance.

1. In spite of the "roughness," you really hear The Doors. "Must have" for the dedicated fan. Great that these are being made available. Looking for more. A little pricey, but worth it for the dedicated fan. Shipping and handling very fair. A+



2. Another Bright Midnight Records release, the label responsible for (finally) putting out some of the Doors shows recorded for the Absolutely Live tour, and then some. This is the second Aquarius '69 show.
   
   The sound quality is just as good as the other Bright Midnight releases, recorded with the same set-up, and then remastered years later by Doors engineer Bruce Botnick. So if you only get one Aquarius show, check out the setlist and order and see what you prefer--both nights are similar. Both shows feature a complete Celebration of the Lizard, as well as the excellent Mystery Train/Crossroads jam. This show has Touch Me and Gloria, while the first show has Who Do You Love. The completist will just buy both sets, others may want to ponder. Most importantly, aside from the excellent sound, is thast the shows are uncut and complete. They even separate the in-between chatter and crowd noise into separate tracks like 'The Crowd Humbly Requests'. I'm not aware of any overdubs on this album, either.
   
   Recorded as part of the material that would be sewed into the Absolutely Live album, this is a complete source where as AB was a collection from many shows. Many tracks were, in fact, cut-ups of various takes of the same song from different shows. Guess the band is finally content to let people see them warts and all. AB and In Concert are excellent live albums, but purists wished for complete and uncut concerts tapes, and Bright Midnight is delivering all of the stops, starts, miscues, mistakes, drunken Jim, and chatter in between some amazing versions.
   
   Highly recommended to Doors fans, and if you're really obsessed you'll want to pick up all of the Bright Midnight releases. They seem to be trickling them out, unlike The Grateful Dead or Pearl Jam who bombarded fans with 'official bootlegs' over the years. Thankfully, in addition to the band, Botnick is involved with all releases for continuity and completeness over the decades.



3. Contrary to many reports already Documented this Was not the First Concert Performed since Miami {Chicago, June 14th & Minneapolis, June 15th} Had come and gone without incident.
   
   The Aquarius Theater Shows (2 Performed on July 21st & 1 Show from the 22nd of July) are regarded as The Door's definate "Comeback" performances. 1969 was a Year of Revolution in the US Culture, and to some on the Right, The Doors (Like John Lennon) were considered "Public Enemy Number One". It was Us against Them, in all the Best & Worst Ways that can be imagined.
   
   These Shows were recorded on Multi-Track Tapes for a Live Album. There were no riots or arrests over the course of these Shows. Just very Good Playing by The Band and Some of Jim's Finest recorded Vocals. And because of that many have said that Jim was on a "Tight-Leash" here and played a Good Boy for these Shows. Well, according to Ray Manzarek, that did NOT happen, and Ray went on to say that if Someone had told Jim to watch what he said and did on the Aquarius Stage, it would have triggered him behave badly. We will never know Jim's take on this Story, BUT, he DID sing a bunch during these Shows and now we have 4 CD's as proof.
   
   These two CD's are The Doors performining as a Band, with the Music coming first, and that for the listener is a very Good Thing. "Universal Mind" features Jim really singing well. A great "Gloria" is over 10 Minutes in length, and it's almost like 1966 all over again, this is a Band of Four Men and this is well give you a glimse into what the fuss was all about. When Jim takes a Left turn into Improv, Robby, John and Ray are right there with him {The Music plays The Band}.
   
   There are a few Blues Numbers in the Set: "Little Red Rooster","Close To You" and "You Make Me Real" that on some Nights the Band just Cranks out without much life, but on these CD's they really shine. "Peace Frog" is a real treat, and not easy to find as a live version. "The Lizard" was not a big Favorite of mine when I first heard it on the Double Live LP, back in 1970, but it has grown on me as now I really think it's Cool.
   
   Because, it's 2007 and we now are lucky enough to have Many Doors Concerts released on CD there is a lot to chose from. This Show will not be the Favorite for many, because it wasn't Front-Page news in all the Newspapers the next morning. Nobody died, nobody rioted, nobody got arrested. But at The Aquarius Theater, The Doors, PLAYED! There is 138 Minutes of their best Music on these Two CD's, it's not sedate or boring, but it sure is GREAT!
   FOUR STARS !!!



4. OK, I'm starting out this review because I can't stand to read all of the Doors apologists out there who can't admit when a Doors show was substandard. Now you might have a legitimate gripe with the recent release of the doors live at Boston (where Jim is drunk as a skunk and sings atrociously) but here at Aquarius, while he doesn't sing badly, he's not terribly inspired nor is the band. They make some noticeable mistakes which is a reason why only a couple of tracks were used to be included on the Absolutely Live album. Jim is NOT at the top of his game. The only exception is the band's rendition of Celebration of the Lizard from the first show which is excellent. But the late show just isn't that interesting. Yeah, an embryonic version of Peace Frog sounds entertaining at first but the finished version is much better and this instrumental is lame. With the exception of COTL there is no improvisational poetry from Jim and the band doesn't jam on any of the tunes. They play very carefully (almost too carefully) and they are a bit nervous because they are being professionally recorded. What makes this a good release is the excellent sound coming from the soundboard. But it's not the Doors at their best. By '69 we have a bearded Jim who's already become disenchanted with the rock music scene and frankly has begun is downward spiral into the abyss. The Doors peaked with their January '69 performance at Madison Square Garden in New York. Then Miami in March 1 hit and the band did a slow downward trend from which it never really recovered, although Roadhouse Blues and LA Woman has some great Doors songs on them. But Aquarius is not what it should have been. Really, if you want great Doors music you have to go to 1967 and 1968 when the Doors were at their peak of greatness. Jim was at the top of his game before his downfall. The Aquarius gigs are OK but that's it. Anyone who tells you differently is only wishing the gigs could have been more. When Paul Rothchild and the band heard their Aquarius performance on tape they realized it wasn't a great performance which is why the band recorded more shows to eventually get a better performance down on tape. Absolutely Live was the end result which is made up of a number of different cuts from different concerts. Aquarius is the show that "shoulda,woulda, coulda"



5. As usual with Doors' records, the performance is superb, the music excellent, the emotion is high. BUT there is something wrong with the caption on the cover, which can be seen when you enlarge the 2nd picture in the images, which says that this is the 'FIRST" performance, when all the other titles label this as the "SECOND".

5 comments about Absolutely Live.

1. The Doors' live performances are, of course, legendary. I have found that this is more for Morrison's antics - inciting riots, indecently exposing himself, etc, then the music. But the music itself is pretty good, displaying the Doors as a loose blues band - much like on LP's such as Morrison Hotel and L.A. Woman. If nothing else, fans should have this for the amount of otherwise hard-to-get material, including the worthwhile blues "Close to You" and the moody psychedelia of "Universal Mind", which quotes "My Favorite Things". There is also an electrifying performance of "Break on Through" - along with an even more intense "Five to One" and the lengthy finale "Soul Kitchen", it's the only real hit they play. Don't be fooled by the "No. 2" subtitle (which I believe was applied because "Dead Cats, Dead Rats" uses the organ part) and the fact that it's about twice as long as the studio version, it's still "Break on Through". As for the blues songs, they rule: a funky "Who Do You Love?", a menacing "Back Door Man". But the real reason to get this is for the infamous "Celebration of the Lizard", that sidelong beat poetry reading-meets-jam pitched for Waiting for the Sun that Jim couldn't pull off in the studio because of his alcohol problems. I think it's one of their finest achievements myself: Jim's dark, disturbing lyrics are his best of the kind since "The End", and the group adds several layers of mysterious intrigue to it with Manzarek's moody organ and Densmore's tribal drumming matching Jim's dramatic intonations. Plus the dynamic shifts add a lot of power. Of course, if you hate the Doors, this will fuel the fire. The big downside is an interminable "When the Music's Over" that goes from a lengthy, kinetic groove on the studio version (one of their best, by the way) to total bombast that's just an excuse for Jim to scream his head off; there are other fillers such as a brief "Whiskey Bar", but they're no big deal. If you ask me, any Doors fan should have this one. It's pretty high up there.



2. There isn't really much I can honestly add to the comments here and the many reviews that exist of this album. What I can say though is that it is a true testimony of the quality and depth of the Doors' music on many levels, even the most unimaginable.
   
   
   
   As an 8 year old in 1978, I liked the usual commmercial music you heard on the radio in those days in the US: Bee Gees, Village People, Stevie Wonder, etc.. Then one day my older cousin left this tape at my house and I found it. I put it my portable cassette recorder (the rectangular, mono ones with the extractable handle) and my life changed. I had no idea what Jim symbolized in popular culture, what he was talking about, nothing. All I knew was that it somehow spoke to me in a way I would only find out when I was old enough to grasp what the Doors message was. So I obviously would recommend this album to anyone and everyone. By the way, I think the performance is way above average considerinfìg that Jim was often too wasted to sing, and the sound is great, almost studio-like.



3. if your a beginner fan on the doors then this album isnt really for you it dosent include a lot of the common songs. but if your a longtime fan than this albums for you great live stuff here though jim morrison sounds a little stoned on some of this like on the song, 'Wake Up', or on Back door man other than that its a great album sound quality is the best for live stuff, also i'd like to say that on the song, 'Soul Kitchen', the band must of been pretty stoned cause it sounds all weird the organ and everything it dosent sound right anyway go out and buy this if your the guy who needs all the doors and yes this is......ABSOUTLEY LIVE!!!!



4. The one and only official live-album released in between "Morrison Hotel" and "L.A. Woman" albums, this shows the Doors at it very best. They were not a middle of the roadband who played each night a greatest hits show but varied their setlist as often as possible and did not only play wellknown songs of their albums, on the contrary. Looking on the songlist on this album it shows more songs outside their studioalbums. To begin with a dynamite McDaniel classic "Who Do You Love" with the same sometimes weird lyrics as James Morrison used to write, to a medley which has "Loves Hides", a short but interesting track, not available on any or the regular albums. The same goes for the beautiful "Universal Mind", reminiscent of the "Waiting for the Sun" album, and the even stunning "Build Me a Woman", which is more from "The Doors" album but nevertheless doesn't appear on any of them. Further comes "The Celebration of the Lizard" in its long form as it is used to be but neither on any album released (that is until the 2003 compilation "Legacy" and the 2006 box "Perception"), from which the lyrics are printed inside the "Waitin for the Sun" album because of the song "Not to touch the Earth" which is a part of the mentioned longtrack, overall an outstanding performance (comparible to that on "The Doors Box" set, the "Live in New York" disc) and - oh surprise - the Ray Manzarek sung Willy Dixon classic "Close to You" (on the "In Concert" package switched to the second disc), somewhat comparible to the L.A.Woman outtake "(If You Need Meat) Don't Go Further", also by Dixon and sung by Manzarek. And last but not least "Dead Cats, Dead Rats", which preludes a heavy metal version of "Break on Through (To the other side)" with stunning guitar work by Robbie Krieger. Closer "Soul Kitchen" is also fabulous. The midsection is dominated by a long version of "When the Music is over", the audience was clearly having trouble with something or someone and the singer shows his annoyance and treathens to stop the show or play only one repeating note by Manzarek, with which the audience give in and the song evolves to a real eruption. Many acts have released timeless live recordings, this is definite one of them. Superb, it really gives you an idea how a Doors performance could have been and gives you the feeling that you were there. Highly recommended!



5. Do not buy this CD "Absolutely Live" by the Doors. Pay the extra few dollars more & get the double CD, "In Concert" instead. The reason, the "In Concert" double disk has the live albums "Absolutely Live," "Alive She Cried" & "Live At The Hollywood Bowl" all in one package with one exception: an unreleased live version of 'The End' (the main reason to get that double disk just for that song alone!). Get it & it'll be money worth spent.

5 comments about Europe '72.

1. In my opinion, the first CD is one of the best issues of released Dead music, live or studio. With the exception of One More Saturday Night (no disrespect to their performance or the recording, I just never cared for this song), every song on CD1 is musical perfection. From the the controlled epileptic seizure Cumberland Blues to the laid back He's Gone, Brown-Eyed Woman, to the best recording ever of China Cat->Rider, this is a keeper. Just as my mother weened me on Revolver and Yellow Submarine, I kept my 2 daughters contantly exposed and rocked to China Cat->Rider, and the rest of CD 1. CD 2 bores me a bit, or maybe it's just because CD 1 is so interstellar incredible, I keep starting it over at track 1, never really giving CD 2 a chance.



2. The 2 disk set contains fabulous versions of several of the Dead's standards but for me the medly of China Cat and I Know You Rider is the highlight. A great He's Gone , Tennesee Jed,Mr. Charley , need I say more...This was my favorite live recording when it first came out and has remained one of the Dead cds I listen to on a regular basis. After all these years it still packs a punch. The Dead were the quintisential live band and this is the way to hear them at their creative peak.



3. but not the only one you should get. Make this a purchase, but get live/dead also because it has all different songs, and then look at other live releases. The dead have a lot of good recordings, just pick and choose among them. This one has become a staple of great dead songs in my collection. It is amazing how many good songs they have, and how intimidating it seems to get their best stuff, but you can't go wrong with this release even though some people feel it isn't up to scratch.



4. People can disect this CD all they want. But what you have here is a solid piece of music gold. Europe 72 is a much more laid back CD than earlier dead CDs (Live/Dead for instance) but it is just as good as anything from their earlier days...maybe even better.
   
   I'm not going to sit here and bore you with repetative comments about this album's brilliance, I would just like to comment on its finale.
   
   The first time I heard Morning Dew I was not prepared for the emotions I'd feel. It begins quiet...very quiet. Jerry's guitar comes swooping in and it gets under way. The song is about nuclear holocaust, if you didn't know, and I really think it has that emotion in it. They originally recorded this song on their first CD, The Grateful Dead, but that was a quicker, less poignient version. This one is slow, pensive, precise. I thought that the verses alone were enough, that it couldn't be anymore beautiful...woa, boy was I wrong. The solo is SOO amazing that I can't even describe. The notes just rip into your heart and into your soul. You can feel all the emotion that Jerry put into it. Then it fades into the verses again. And before it finishes they begin an outro. The outro is just like the solo, but even better. I am completely uncapable of relating to you how amazingly heartfelt and powerful the solo and outro are. I have been brought to tears many times by this masterful piece. Jerry's guitar is crystal clear and you can hear it weep throught this song. Even describing it, I can feel that special feeling I get when I listen to it. I only hope that you feel the same way when you listen to it.....
   
   but I guess it doesn't matter anyway.



5. MY feeling of Europe '72 is this: Love, love, love disc 1. Every song is performed with energy, great jams and one of my favorite Tennesse Jed's ever. Disc 2 on the other hand bores me a bit. Truckin' is great, but the Prelude>Morning Dew is boring to me. But the bonus material (starting with a beautiful and etheral Looks like Rain) redeems it. So not a perfect live disc, no other official releases truly shows the creative live peak musically and songwriting-erly (is that a word?) the boys were in 1972, in the midst of their prime.

5 comments about At Fillmore East.

1. The reason the material is on 2 discs is because hybrid SACDS hold more information (SACD material plus red book CD material) and thus cannot fit 80 minute of music on them. That is why this album is spread over 2 discs. It made more sense to split the album in half, just like the original LP, rather than put all but one song on the CD and then put the last song on the 2nd disc. The entire album would not have fit.
   
   The same thing happened with Elton John's Goodbye Yellow Bring Road SACD - while the redbook CD is on 1 disc, the SACD version wouldn't have fit.
   
   Don't think you're being ripped off. It's the price you pay for an audiophile listening experience.



2. Great music, and a great transfer to SACD multichannel. It seems to be much easier to allow your ear to focus on the various instruments as the band plays. You get much more effect of being in a small concert hall with this mix. Even though it's the original mix, anyone with the right equipment (SACD Player and a decent 5.1 surround system) shouldn't be dissapointed in getting this SACD.



3. I cut my teeth on jamming listening to Cream. So the Allmans' Live was not a revelation just a stunning album and purchased on release in Australia. I know it all by heart -just burnt into the synapses.
   
   In 1992 Tom Dowd did a full concert remix and remaster as "The Fillmore Concerts". This is where the controversy starts cause it sounds different and so it should - Tom transferred the original 16 track master tapes to digital and remixed. Taking advantage of the wider dynamic and frequency range, he produced a mix with the bass guitar stronger and drums clearer and more dynamic. Unfortunately the guitar freaks found the relatively lower level guitar sound unacceptable but the bass freaks loved Berry's sound (more bottom end).
   
   Now we have the SACD stereo, multi-channnel and Audio Stereo remaster release of the original 2 record set accurately split over 2 cds. It should fit on one but there is marketing to us baby boomers. But I gotta say they did perform split sets so it does reasonably capture the night.
   
   And more controversy - the stereo CD layer is a remix closer to the original LP release. Drums are further back but the bass guitar bottom end is retained. The tracks are identical to the original release but not on the SACD layer with the Fillmore Concert's "Stormy Monday" used, which is the unedited version including the harmonica break, and a different edit to end "Whipping Post". On the SACD layer the tympany start to "Mountain Jam" is rapidly faded out and applause overdubbed which is annoying if you want the sonic continuity when following up with the jam from the "Eat A Peach" SACD.
   
   Sound of both layers is excellent with SACD preferred because you can adjust the bottom end via the sub control. The surrounds give some reverb and audience noise - "Play all night". The centre has plenty of bass guitar, some drums and some of Greg's vocals (reinforcing the original centre-left positioning of the vocals). I would have preferred the drums a bit higher in the centre.
   
   I can feel the SACD Deluxe "Fillmore Concerts" is on its way - the wallet is already feeling lighter.



4. One of the best live albums of all time, I was hoping for more when they released this as a Hybrid 5.1 SACD.
   1) Its now 2 cds again. And you would think they would have 2 seperate holders for the cds. They just piled them on top one another.
   2) The surround sounds don't use the backs enough. I think the quality of the recording hinders the effectiveness of surround sound. I never feel like I am at the concert, unlike other surround sound discs.
   Update:
   I had a problem with the back speakers on my stereo.
   Now, it sounds like the audience is behind you.
   I now feel like I am at the concert. It's amazing



5. The Fillmore Concerts that came out in the 90's was actually "corrected" from the spliced versions of the original, to include the full, uncut versions. It pretty much is a different album altogether from the first. Both are great, but many would consider the first release to be the definitive and "best" version. There is no grave rolling or shame in releasing this greatest live album of all time in SACD.