5 comments about Iron Butterfly Live.

1. As one of the founding fathers of today's heavy metal rock music, Iron Butterfly has them power, drive, and sound that made them unique in the world of rock music. This live album serves as a testament to that fact. Eventhough the recordings of live concerts from the late 1960's through the mid 1980's was primative at best (by today's standards), this live recording of Iron Butterfly captures most of the groups best music durring their prime as a chart-topping group of that era. This is a "must-have" for all Iron Butterfly fans.



2. The first five tracks are decent versions, but if you are interested it for a version of "In-a-Gadda-Da-Vida" that's two minutes longer, forget it. First off, it's a shade too fast. Then somewhere along the way, bassist Lee Dorman and guitarist Erik Brann get bored with the signature ostinato that made the song great in the first place. And if they'd based this album on a wider range of performances, or hadn't begrudged us an extra song, they could have ended with the "Iron Butterfly Theme". I saw them during the tour supporting the "Ball" release and they ended the show with that one by Brann putting his axe in the stand with the last note still sustaining as he walked offstage until the local DJ who acted as emcee came out and shut it off before msking his last announcement.



3. For some unexplainable reason(s),I've never been able to much get into this live album.To anyone who's often taken a look at my reviews,I usually love live lp's.Oh,'Live' isn't terrible,it just isn't 'great' either,as most other fans have noted that it's one of the best live albums from that era.Only two cuts here I even liked were "Soul Experience" and "In-A-Gadda-Da-Vida".Too bad this disc didn't have "The Iron Butterfly Theme".Now,THAT might've made a huge difference.



4. Not much more I can say than that...
   
   Even a year later...we still miss you Erik.
   
   -Your "Lil Bro", Jon



5. Iron Butterfly was a great band. this takes tracks from their first 3 albums. (all of the concert from that tour is on the cd, except some shows had 2 different tracks played instead of others on that tour. The Iron Butterfly Theme and Flowers & Beads)
   
   As for this show. The only bad things is some feedback during In The Time Of Our Lives and Some woman singing during the drum solo in In A Gadda Da Vida.
   
   The good? Solid musicianship, great solos. Vocals tight and perfect. and a good setlist. The only tune i would have loved was Belda Beast from the Ball album. Otherwise it is a good representation of their songs. The poppier You Can't Win, The heavier Time of our lives, filled with fear & are you happy. The lighter sounds of Soul Experience & the total psychadelic, acid trip of Vida.
   
   For fans of the group it isnt ALL you can find (some stuff is available on bootleg, even some REAL good sounding radio broadcast stuff) But it is a good live album as a whole.
   
   For the non fans, it isnt a good way to introduce yourself to the band (Light & Heavy best of is better) but if you are a live rock concert buff, it ranks up there.

5 comments about Sabotage/Live.

1. The extra tracks - from the EP "Animal Justice" make this a must buy for Cale fans.
   "Hedda Gabbler" is particularly good and "Rosegarden Funeral of Sores"
   [covered later by Bauhaus] is not far behind.
   The live tracks capture a good performance from Cale with the band in good form.



2. An album that you don't really have much concern over when one song stops and the next one starts. It grabs you from beginning to end. Cale can knock you off of you chair as well as wake you from any stupor. Play this one over and over! It rocks....



3. As a fan of Lou Reed, I decided to check out John Cale (post Velvet Underground). My method is to check out 'live' albums - this give me a better impression of the artist in action. Overall, I liked this album, but I found that while it started out quite well, it did tend to drag a little from midway through. It is a good collection of songs, but the album itself did not play as well as the 'Circus Live' set. I will purchase more of John Cale's material, specifically 'Even Cowgirls Get The Blues' and 'Fragments of a Rainy Season'. This will then give me a better overall picture of his work.



4. The centerpiece of this live album is "Captain Hook," an 11-minute exercise in psychosis and fuzz guitar, nicely augmented by the spooky, wailing background vocals of percussionist "Deerfrance." At the two minute mark there are some nicely descending minor chords, which resolve into a brief guitar solo somewhat reminiscent of the Hunter-Wagner intro to Lou Reed's "Sweet Jane" on "Rock & Roll Animal." More tortured lead guitar arrives at the four minute mark, followed by Deerfrance, then by Cale declaring "I lost my memory today, the day my ship set sail..." At nine minutes, another distorted guitar solo winds its way into more Deerfrance wailing and the repeated howling refrain "By hook or by crook, I am the Captain of this life..." The song is very moody and slowly builds to its apocalyptic climax. It's a great album, but "Captain Hook" is the terrifyingly essential song here. The next song is the tranquil "Only Time Will Tell," a lilting Velvets-style ballad with lead vocals by Deerfrance, which sets you up for the dissonant arrogance of the title track, and that's followed by the hymn-like weirdness of the album's closer, Chorale." A true gem in the Cale catalog.



5. This is one very intense album, partly because of the subject matter (genocide, colonialism, denial, etc.)and partly due to the combination of ferocious and restrained performances. A big part of the power of this album is imagining what it must have been like to hear this music performed live, the thought of which sends shivers down my spine. To me, the album works very well as a cohesive unit (even including the bonus studio tracks); there are some standouts though, like "Baby you know", "Dr. Mudd", "Captain Hook", "Walking the dog", "Chorale", and all of the bonus tracks. All in all, I wouldn't suggest this as a starting point into the ouevre of John Cale, but for those acquainted with some of his work from the 70's, it's a fascinating and visceral experience.

5 comments about Live In Australia With The Melbourne Symphony Orchestra.

1. Why should it not work? Well,considering the not so great quality of the albums he released during this period; BREAKING HEARTS, ICE ON FIRE, LEATHER JACKETS and REG STRIKES BACK, the mid-eighties were a period of Elton John's music that I am not fond of at all.
   
   Also at this time Elton got married either as a publicity stunt or to allay any suspicion of being gay. He was alo trying to kick a drug habit as well a finally ending a soured recording contract with David Geffen. And on top of all this his voice was overworked and almost completely shot.
   
   So out of all this he makes a live album in 1986 with the Melbourne Symphony Orchestra and makes in my opinion one of the best live albums I have ever heard. Conduted by James newton Howard, it allows Elton sing songs not normally heard live. Only four of the fourteen tracks were singles and he delved into his early albums and sang quite a few lesser known songs. In fact none of his songs from 1977 through 1986 were included. Also the first four tracks are Elton with only the orchestra and the band do not make an appearance until Track #5 (SORRY SEEMS...)
   
   But I think what makes the album so special is that he was certainly going through a very rough time (again!). And the rasping, rough vocal only adds to the appeal.
   
   Track listing is given at the end and there is no real need to analyse the songs in detail. But in most cases, they are ideal for a full orchestra accompaniment. The only song without orchestra is CANDLE IN THE WIND, much more restrained and in my view, much better than the studio version.
   
   However it is just wondeful to hear songs like MADMAN ACCROSS THE WATER, SIXTY YEARS ON, THE KING MUST DIE, THE GREATEST DISCOVERY, BURN DOWN THE MISSION get the full treatment.
   One of the best tracks is TAKE ME TO THE PILOT. It stands out even more as it is the only fast-paced song on the album. Maybe one or two more fast songs would have helped vary the tempo but overall i do not care as the album is very rewarding anyway.
   
   Some tracks are over the top. HAVE MERCY ON THE CRIMINAL was always way too bombastic for me and unfortunately his raspy vocal gets swamped by the orchestra. TONIGHT sounds too much like cheesy Gershwin and the orchestra is too loud for the sad, yet tender lyric. The album version on BLUE MOVESis much better as it is more understated. YOUR SONG is also better on the studio version with its subdued strings.
   
   But it is a very unique live album and it is not a rehashed Greatest Hits Live. If you only know EJ for the hits, go discover these great early songs with great melody and great lyrics by Bernie Taupin. It ranks up there with Elton John' best albums. Just be prepared for the rasping hoarse vocals.
   
   1. Sixty years on (5.08)
   2. I need you to turn to (2.34)
   3. The greatest discovery (3.48)
   4. Tonight (7.26)
   5. Sorry seems to be the hardest word (3.30)
   6. The king must die (4.58)
   7. Take me to the pilot (3.54)
   8. Tiny dancer (6.06)
   9. Have mercy on the criminal (5.28)
   10. Madman across the water (6.20)
   11. Candle in the wind (3.46)
   12. Burn down the mission (5.27)
   13. Your song (3.48)
   14. Don't let the sun go down on me (5.28)



2. A few posts have correctly pointed out that we're only getting about half the concert here, but the tracks that Gus pulled for the half we did get are spectacular. While Elton's voice isn't at its best - he was indeed headed for throat surgery just after New Year's in 1987 - there's an emotion to them that's tangible. At this point, had the surgery been unsuccessful, we may never have heard him sing in public again, and that would have negated huge chunks of the wonderful works he managed to issue during the years since, including his last few albums. On songs like "Don't Let The Sun Go Down On Me," one can almost hear him singing a prayer, if you will, that the sun won't set on his ability to entertain, something which he dearly loves. Gus said in later interviews that if you think this performance is rough, some of the earlier shows on the tour were downright scary. In fact, Elton's voice is its best of the entire tour on the night they went live and recorded the album! How's that for divine intervention???!!!
   
   His voice not withstanding, this is a magnificently produced and mixed album, and that it didn't win a Grammy for best engineered recording is mind boggling. Gus managed to get a 13 piece rock band and 88 piece symphony orchestra into gorgeous form, and even if the song sequence is a bit out of order, who cares! This is Elton at his biggest, most over the top on record and he pulls it off famously.
   
   A showman to the last, you don't need to see him to hear how big the show is, and the remastered recording is sonically HUGE! Only a surround, Deluxe Edition version would be better, but for now, in regular stereo, this is a great album. I won't compare it to "11-17-70" or "Here and There," since those are different recordings from a different time.
   
   Historically speaking, though, looking back on his career, "Live in Australia," the last big hoorah for the "old" Elton John before he retired the costumes, glasses and platforms for good, is simply a must have for Elton purists and die hards, if you just like a great recording by a great musician and songsmith, this one's got to be in your library.



3. Elton's Geffen Records contract had run its course and his old home, MCA, made him an offer he couldn't refuse. MCA also wanted to bring Elton back into prominence, to regain the respect and sales he'd accumulated in the 70's. How better to do that, then, than to revisit those early songs in a live context? Better yet, Elton enlisted the Melbourne Symphony Orchestra and James Newton Howard to create a televised extravaganza with eyes towards a live album. The set list leaned heavily towards the early years (nearly half the "Elton John" album is here) and tapping some underrated songs like "Tonight" from "Blue Moves" and "Don't Shoot Me I'm Only the Piano Player's" "Have Mercy On The Criminal."
   
   The orchestration is magnificent, utilizing the original Paul Buckmaster and James Newton Howard arrangements, and on CD they are absolutely majestic. Elton made one of his last forays into costume drama, showing up in full Mozart gear and powdered wig. "Live In Australia" even paved the way for "Candle In The Wind" to finally become an American hit, hitting number 6 in 1987. It is a gorgeous album, lush in sound and giving justification to all claims of the brilliance of Elton and Bernie's songwriting.
   
   Only one problem: Elton's voice was almost shot. He was mere weeks away from major, voice threatening throat surgery and the roughness on his vocal chords shows. He can't sustain the highs and his falsetto is gone. On some of the songs, he makes up for it admirably. In fact, he sounds really good on the songs where range isn't a major requirement (like the dramatic "The King Must Die" or "Take Me To The Pilot"), but the ballads occasionally show the frayed spots (like "Tonight," where the orchestration is very Gershwinesque, or "Sorry Seems To Be The Hardest Word"). Had it not been for those moments where Elton's voice betrays him, this could have been a five-star definitive work, on a par with "Procol Harum Live: In Concert with the Edmonton Symphony Orchestra." While "Live In Australia" is still pretty darn good, the definitive live Elton remains the remastered "Here and There."



4. If I could only have one Elton John album (a fate nearly as bad as death for me!), it would be this one. I absolutely love the symphony with him, and I think the journey through his older songs is well warranted. This album introduced me to his older music and inspired me to buy several of his early albums. I've seen reviews that knock it because Elton's voice is rough, but that doesn't detract from it at all. Rather, I admire his courage and determination to go out and perform when he was feeling far from his best.
   
   My only negative - I have the "original" CD version, not the remastered release, and the sound is very low and erratic. I haven't bought the remastered edition yet - I've been holding out hope for an expanded, remastered CD. When his other albums were remastered and re-released, extra tracks were added. I can't understand why this one has never gotten deluxe treatment - this is only about half the concert. I'm not sure, but I think the video of it had the complete concert.
   
   Definitely a hidden gem!



5. From the OBJECTIVE reviewer...Elton has never been good in concert because he isn't able to put a new spin on his music when played live and when it doesn't have the lush production it falls flat. Kudos for employing a symphony, but it still doesn't make it memorable.

5 comments about Fillmore: The Last Days.

1. I enjoy the CD set very much. Santana's performance of "In a Silent Way" by Miles Davis is worth the price of admission right there. This version goes into my all time favorite tracks list - the young Neil Schon is spactacular. Honorable mentions go to Elvin Bishop, the later day Quicksilver, and critically important, Bill himself. My question is, where is the DVD? I saw it on cable televsion several years ago and before that about twenty years ago in a theater. There is likely some legal BS with the estate preventing the release. Please get past it and make this available - that is the real time piece.



2. although flashbacks aplenty are there to enjoy for anyone who once felt the rumble of those stacks of marshal and custom amps all those many long years ago. i once told jerry garcia that all of their (the ded's) songs sound alike to me and he grinned real big&said, "it's all the same song," so i'm not gonna complain about this anthology's scarcity of ded tunes; instead i have to applaud its inclusion of precious rarities like hot tuna and elvin bishop.
   
   Live recordings are something i habitually eschew, and rare are productions for which i make excceptions; the clarity of sound quality throughout all of the recordings here is superlative!
   
   this collection is bill graham's crown of glory, and the brightest gem has got to be the live and extended version of white bird by it's a beautiful day. having awaited the re-release of that group's original recording on ceedee for so many moons, those who remember the summer of love are sure to agree that the virtuoso rendition reverberating through that palacial sanctuary of rock culture surely transccentds the studio version everryone is so familiar with and enraptured by.
   
   buy it - or, better yet, come on over to the olde cult compound and listen to it here!



3. I bought this years ago on vinyl, and I still have it. The LP came with an authentic poster and ticket, an informative booklet which included some great photos and a listing (by date) of every show that ever played the Fillmore, and a bonus 7" 33-1/3 rpm "Words With Bill Graham" disc. The CD reissue, of course, doesn't give you the poster nor ticket, nor the extensive booklet, but the interview is included. Musically, this album is excellent. Some performances may be marginally better than others, but many are brilliant, and all were chosen by the artists themselves. The recording quality is amazingly good, especially when compared to many other live recordings of the period. What's also cool is that the album presents a number of very talented artists who were somewhat obscure at the time and almost unknown today-- but who deserve not to be forgotten. Alongside of those are great performances by bands and artists who went on to become legends. The incredible version of "Baby's Callin' Me Home" by Boz Scaggs is alone worth the cost of the set. The Dead's cover of "Johnny B. Goode" that appears here is the best I've yet heard-- far superior, to my ears, to the already great version that appears on "Skull & Roses". In addition are great performances by Quicksilver, The Sons, Santana, New Riders of the Purple Sage, Cold Blood, Tower of Power-- the list goes on. The "Final Night Jam" that closes out the set (with Taj Mahal, Boz Scaggs, Elvin Bishop and a host of others not even credited) is way cool. It all ends with "Greensleeves", often played at the end of the night, amid the sounds of the audience leaving the auditorium for the last time. Very poignant, indeed. Some may pan this album for various reasons, including the very inclusion of some of those more obscure artists. But I think they are missing the point. This is a documentation of a moment in time and history. And I for one would not want to be without it.



4. I would buy the record set if you can find it-its out of print. I was there at the Fillmore during these shows and at numerous other Fillmore West and Fillmore Auditorium shows from 1967 to closing in 1971- $3 a show and you get a poster. 3 bands-two sets each -shows usually ended at 2:30Am The record set has a poster, an actual ticket which you could not keep at the shows, and an outstanding booklet listing many pictures and all the shows at the Fillmore and Fillmore West---But if you cannot find the record set-get this at least!!!! I was there and I have never seen anything like the Fillmore since then-I have been to the Fillmore several times in the past 10 years-but it is not like the original times-good but not the sixties.



5. I was there for two of the last four days of Filmore West and this set carries on the experience that existed. It will bring back memories for anyone attending any of Fillore West shows including the 'apple barrel' and the free posters and poster cards handed out. The record set gives you a cool poster which isn't included with the CD set but it's well worth the cost! I was a Quicksilver, Cold Blood, and Tower of Power fan which certainly was covered on this CD. If you are an old hippie you will enjoy it too!

5 comments about Made in Japan.

1. i have this albem on all the release format back in the day yea i show my aged but this is still one of the best from DP ever



2. With The Band's "Rock of Ages" and The Allman Brothers "At Fillmore East" double live albums, it's only fitting to capture another stellar live band in their prime. DP was hitting their peak with the lineup that made them legendary (known as the Mk II lineup). With the success of their biggest selling album "Machine Head", the boys embarked on an extensive tour culminating with these performances in Japan.
   
   The octane level of these performances is simply immeasurable. No slouchers here at all! Blackmore's guitar just pierces right through your ear. Lord's Hammond organ gives so much weight to the sound, it'll knock your feet off the floor. Glover's bass playing matches both of them easily. As a drummer myself, Paice has always been the bee's-knees for me with his fast and powerful execution. And Gillan's voice just soars to the stratosphere.
   
   This was a time when Rock bands actually played live and NOT just simply duplicate the studio versions of the songs like they do today. Almost all the songs here are extended to double, triple and even five times the length of their studio counterparts! This type of musicianship is getting more scarce than ever today.
   
   I'm not going to go over all the cuts here but highlights are: The opener Highway Star that just doesn't let up. Paice's drum solo on The Mule. Lord's opening Hammond segment on Lazy making you think it's Jimi on keyboards. Gillan and Blackmore's voice/guitar exchange on Strange Kind of Woman and the 20 min. workout on Space Truckin'. And with the newly added bonus tracks of Speed King, Lucille and their earlier hit Black Night, we now have a more complete concert.
   
   MIJ certainly ranks with the previous said albums along with The Who's "Live at Leeds", Yes' "Yessongs", ELP's "Welcome Back...", King Crimson's "USA", Little Feat's "Waiting for Colombus" and the countless Grateful Dead live albums. Now if the mindless punks of today would just pay attention to this!



3. Made in Japan may be the best live album recorded during the early 1970's. The Mark III line-up was the actual Deep Purple as we know them today. The early versions with Nic Simper and Rod Evans, along with the later Mark IV version with Glenn Hughes and David Coverdale were competent and produced good music with a few classics, but Deep Purple was Ian Gillan, Richie Blackmore, Jon Lord, Roger Glover, and Ian Paice. This album is a tribute to how good musicians once were, how well they could learn to play together, and they defined what a band must do to be established as a great live band. All of this during a time where the group grappled with extreme personality clashes amongst themselves.
   
   Starting with the brilliant and understated opening of Highway Star, you know within a few minutes that this is a great CD. The guitar solo in this cut actually involves Blackmore playing through one passage with his hand above the neck which left young impressionable guitarists gasping in awe for those lucky enough to have seen it. Gillan, with his very unique and sometimes totally annoying voice is as much a part of the DP sound as Jon Lord's Marshall driven keyboards. The stolid talent of Roger Glover and Ian Paice's "Buddy Rich does hard rock chops" all contributed to the overall sound which is captured authentically on this CD.
   
   Although all the cuts on this album are worthy of listening over and over, the standouts are the inventive version of the overplayed Smoke on the Water, and the crowning achievment Child in Time. The latter, once you get through Gillan's oddly engaging screaming, treats the listener to a short but effective keyboard solo, and then ascends into one of the single most brilliant instrumentals ever played during the rock era. It is doubtful that any of the garage bands turned mega-stars could manage to cover this tune, much less duplicate the original musicality. The guitar solo is absolutely brilliant, soaring time and time again to where it is almost physically unimaginable, shows why to this day no great guitarist lists are complete without Blackmore. Underneath it is a very solid and understated Jon Lord and the incredible drive of Paice and Glover playing in a style reminiscent of a hard rock version of one of the 1940's swing bands. Just to listen to this one instrumental, which at the conclusion leaves the audience silently awe-struck is worth owning the CD.
   Neither of the encores are really much to mention, but the added treat of the lively Strange Kind of Woman makes this CD one of the best rock albums ever recorded. If there was a band that could compete with the Mark III line-up of Deep Purple, I must have missed them as none come to mind. This group clearly paved the way for ELP, Kansas, Rush, and the other major concert bands who followed.



4. This is one of the best, if not THE best live album by any 70's rock band.
   The atmosphere on this album is electric throughout. Listen to the start of Highway Star, the band changes gear a couple of times and delivers a stunning performance - the whole place is rocking.
   The sign of a great live album is that some of the versions on Live In Japan are better than the studio originals. One such track being the overplayed Smoke on the Water.
   The mk II line-up of Deep Purple was fantastic. Blackmore and Lord repeatedly deliver brilliant solos, Gillan's voice is amazing and Ian Paice still remains one of the best rock drummers (playing with McCartney in the late 1990's).
   The set has subsequently become a greatest hits album by default.
   The 2nd CD contains 3 encore tracks which are a bit of a mixed bag. I had a far better version of Lucille on an LP many years ago, but this is a minor quibble as overall this album represents a great band at its peak.



5. Last May, VH1 did a special on the history of heavy metal which was broadcast over four nights and while it was enjoyable it was also remarkable who they had elected to omit and who they included. Calling KISS's landmark lp 'Alive' metal's first live album was grossly inaccurate as Deep Purple, an genre innovator whose contributions to metal seem to be neglected by revisonists, actually released THE first heavy metal live record in December of 1972. 'Made in Japan' can not only lay claim to being one of the first warts and all live documents of super heavy music but it also one of the genre's finest early momunments and the shining jewel in the Purple catalogue. Though they were falling apart at the seams internally, the Mark II lineup was in its fabulous glory and totally unified on the stages of Osaka and Tokyo during August of '72. The band was playing the greatest versions of their best songs which is always the mark of a great line record, historically relevant and outdoing what was recorded in the studio. The epic length of such cuts as "Child in Time", "Strange Kind of Woman", "The Mule", "Lazy" and closer "Space Truckin'" feature not one wasted note. Gillan proves his worth as emcee of the loudest and most exciting live band in the world and his performance is magnificent ("Child in Time" - scary good, "Strange"- virtoistic and funny at the same time). Blackmore is the master! ("Highway Star", "Strange" and of course "Child in Time" - just the best in the business at playing lead guitar). Lord, organist supreme and causing pain and pleasure during "Lazy" and "Space Truckin'". Paice shows he may have been John Bonham's biggest rival as he shreds during "The Mule". Glover's bass raises goosebumps as he enters "Smoke on the Water" - for many the definitive version of that song, though you could say the same for all seven cuts. Bonus CD is emmense with "Black Night", "Speed King" and "Lucille" contributing to the sonic celebration. Deep Purple may not be respected much today in the heavy metal annals but they are right up there with Zeppelin and Sabbath in my humble opinion. Neither one of those bands created a lasting live document during their peak years (though we waited 30 years for 'West Was One'!). Purple should be in the insanely stupid hall of fame for many reasons but maybe because of what happened on three nights in the Far East most of all.

5 comments about Got Live If You Want It.

1. Man let it go about the tech crap, this is and will always be a great time piece recording of the Stones. All of the original band is here. They couldn't play anywhere without all the screaming, it was just the way it was back then. Give a listen to the Beatles at Shea or Hollywood Bowl. Hell they couldn't tell if there mikes were on. Tech had not caught up with them however it did with the Stones because they stuck around for a long while. Yea Get Your Ya's ya's out and Love you live are both great live recordings. This (Got Live) is what it was. The sound is not bad, just listen to Brian and Keith exchanging licks and Keith backing Mick on vocals and Bill and Charlie's soild backup. This is the real deal. Don't listen to all that crying about tech and recording contracts. Just read the song list and give a listen and you will really like this classic live Stones disc.



2. When a band needs to meet contractural obligations to a record company, it mostly means nothing really good will be produced.
   
   The Rolling Stones were faced with this dilemma through their U.S. distributor, London Records. Before the sessions were completed which produced Between the Buttons, this "live" album was issued on December 12, 1966.
   
   And talk about a rush job; the live material was recorded in early-October gigs in Newcastle upon Tyne and Bristol, with studio overdubs done later that month. Two songs - I've Been Loving You Too Long and Fortune Teller - were cut in the studio during different sessions (several years apart), with raucous screaming by girls overdubbed on the tracks.
   
   Basically a great example at the lengths record companies would go to get product into the marketplace, the band ultimately distanced themselves from the project, though it earned them a gold album and peaked at number six on the 1967 Billboard Pop Albums chart.



3. This album isn't really a "must own" Stones album. The recording features screaming teenage girls more than the music of the band. I have the remastered edition, and the audience levels still way overpower the band.



4. This album is not the hybrid SACD version as listed on the website. Just the DSD remastered CD. Customer Service could not ensure the product was correct before it was shipped. The Customer Service centers are not in the same location as the fulfillment centers.
   For these reasons, they are unable to check the physical details of an
   item for you. They did however say they would accept a return no problem.



5. Is it really a rush as one reviewer writes? Well, no. Is it the best concert I've ever heard as another reviewer writes? Not even close (that would have to be Band of Gypsies - Hendrix I think or BB King Live at Cook County Jail). However, I don't think it deserves the bad rap its gotten over the years either. One imagines that most of the unhappiness comes from the poor(er) fidelity because the playing is really pretty good. One has to remember the context in which this was recorded (including the 2 "fake" live numbers on this disc). "Got Live..." was recorded and released in 1966. There wasn't a lot of experience recording rock-n-roll acts live at the time. Sure, there were lots of live albums out there but these were mostly jazz musicians recorded in clubs where there is far better sound and it's easier to control the fidelity of the recording. Coltrane's "Live at the Village Vanguard" and Davis' Lincoln Center concert comes to mind as really, really good early 60's live recordings with grrrrreat fidelity.
   
   Now, before the review, here's a suggestion. Do you want an even better live CD of Brian Jones' Rolling Stones? Capture "Got Live If You Want It" in your favorite mp3 software, maybe I-T-U-N-E-S. Now delete "I've Been Loving You Too Long" and "Fortune Teller" since those aren't really live tracks anyway and "I've Been Loving You Too Long" sucks anyway and "Fortune Teller" ain't much better. Now, capture the two live tracks, "I'm Moving On" and "Route 66" from the album "December's Children". Now create a play list with the combined tracks and burn yourself a CD. Presto! You have a REAL live album by the original line-up that is much better.
   
   So, back to this first live release by The Rolling Stones. I purchased this because I'm collecting all of the ABCKO remasters and I've always been a big fan of the band from 1965 up until 'round 1972. This is the only CD you can purchase (legally) where you can hear Brian Jones play live. The band plays pretty well, in fact, there is only one track I will proclaim an out-n-out stinker: "I've Been Loving You Too Long" Jagger must have really had a pair to believe he could do justice to one of Otis Redding's landmark recordings. It is awful. I will note that he covers Otis very well on the Out of Our Heads CD ("That's How Strong My Love Is") but he should have left well alone. Actually, I think "I've Been Loving You Too Long" is one of the two tracks they cheated on and recorded it in the studio. If that's the case, they tried too hard to make it sound live because Jagger sounds out of tune and his performance stinks. However, apart from that one tune, the rest of the music is great. Sure, the screaming girls are a tad annoying but it isn't anywhere near as bad as the live tracks released earlier on "December's Children" and "Out of Our Heads" You can barely hear the band on those releases.
   
   There is an odd moment just before the beginning of "The Last Time" It sounds as though they crammed in a snippet of "Satisfaction" there but it only lasts a few bars. Weird.
   
   The beginning of "Have You Seen Your Mother Baby" is something of a mess but the song itself is done very well.
   
   Nineteenth Nervous Breakdown is an exceptionally good performance and a standout track in a CD where the performances are actually pretty good - Not nearly as bad as I'd expected based on other reviews.
   
   In summary, if you like the early Rolling Stones or you are collecting the ABCKO hybrid SACD remaster series, you need to own this one to get 'em all - it isn't nearly as bad as some have made out. But it isn't something I would call great either. Otherwise, skip it.
   
   After thought: For those who keep remarking and wondering why the Rolling Stones have release so many live sessions, my hunch is they do this to beat the inevitable bootleggers. Why buy a bootleg when you can get a much better product through legal channels? This would seem to be the motivation for so many live albums.

5 comments about On Stage.

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



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



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



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



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

5 comments about Rockin' the Joint.

1. I would have given this a 5 star rating but I cannot stand the Just Push Play songs and I Don't Want to Miss a Thing. This album is also missing song selections from the best Aerosmith album of all time...Rocks. Get rid of Miss a Thing and add Rats in the Cellar, Back in the Saddle, or Nobody's Fault. Or how about Sick as a Dog? Get rid of the Just Push Play songs and add in some Rocks and this album would have been a masterpiece.
   
   But I am happy to see some of the other rare songs like Seasons of Wither and No More No More. But this album is in bad need of some Rocks.



2. This Album has a great concert in Hard Rock Las Vegas, include classic songs of the band till the record Just Push Play, and it is a Dual disc, it means that has a the live songs in one side and a 4 presententations LIVE (in DVD format) in the other side, if you are a Aerosmit's Fan you MUST LISTEN THIS ALBUM



3. Again, Aerosmith hasn't let us down. They continue to rock hard and put out awesome CDs! I highly recommend this as a "must have" for any Aerosmith fan!



4. Aerosmith can still rock it after 30+ years. Steven Tyler and Joe Perry Sound better than ever. The only reason i give this 4 stars is because there are so many different CD variations that include all these bonus songs, so why not just but it on the CD. Even if it is two discs, include the bonus songs.



5. This is a great cd! Too bad they issued only 58 minutes on this pressing. Perhaps in a second printing we'll get 80 minutes. Still a great show! These guys "can still kick it out". Makes me wonder why they issued a 2002 show in 2005? Since this is indeed the case, why not go back through the Aero Archives and offer the longtime fans some juicy shows from the 1970's, kinda like what The Allman Brothers and The Grateful dead are doing. Having said this, Brad Whitford is great both on rhythm and lead here, as the two guitarists interchange solos. Joe Perry is great, but he is outshone on this particular night. Maybe that's why they retreived this 2002 performance? 5 stars if Aerosmith issued 80 minutes on a disc. Only one power ballad on this cd - which is good. "AeroRock".

5 comments about On the Road.

1. Not a bad album at all - it would be foolish to say so with the presense of Muscle Shoals' own Roger Hawkins and David Hood (awesome, AWESOME rhythm section, those two guys; they're equalled ONLY by Al Jackson/Duck Dunn or Bill Wyman/Charlie Watts) and keyboardist Barry Beckett, whose presense freed Steve Winwood to "focus" on piano and guitar. Despite their presense, and despite the fact that the "musicanship" on this album is nothing short of exemplarly, still - one can pick up the same "vibe" here as the Stones' "Still Life." In short - TRYING TOO HARD. But Traffic was Traffic, and given the absolute dearth of anything special the seventies - the decade that inflicted "punk," the Eagles, and (God help us) "disco" on us - had to offer, complaining is but quibbling. HOWEVER -there IS one more "factor" that, in all honesty, can't be ignored: the presence of...drugs. If you've "been there," you can detect its presense in a couple of the performances. "Light Up Or Leave Me Alone" seems to be trying too hard, and a couple of the other song titles all but give it away, dig, "Sometimes I Feel So Uninspired" and/or "Tragic Magic." But my one most memorable..."interpretataion" is that of my (then - in 1976) 17 y/o guitarist's comment on the album's "graphics," I guess. As our band liked to occasionally incorporate keyboards into our set, Jeff would have to switch off on bass to allow me to attempt the keys. Jeff and I were earnestly trying to get the rhythm to "Low Spark" correct, and, during a "smoke break," Jeff picked up "On The Road," gazed pensively at the album cover, and then appraised the inside picture of Winwood clutching the Strat: "Hey, man, d'you think somebody was doin' a little acid here?" Yes indeed - as, evidentally, were all the band. Still: Traffic on acid is SO very infinitely preferable to J Garcia and his Dreadful Grate. Deal with it.



2. THIS TRAFFIC LIVE OFFERING IS ONE OF THOSE "WELL IT IS TIME TO RELEASE SOMETHING FROM TRAFFIC TO KEEP FAN INTEREST"....THE SOUND IS MEDIOCRE AND THE MATERIAL PRESENTATION IS POOR.IF YOU WANT TO BUY TRAFFIC,BUY LAST EXIT,LOW SPARK,JOHN BARLEYCORN!DO NOT WASTE YOUR DOLLARS ON THIS CD!!!



3. 30 years on and this album sounds as fresh and exciting as it did in the 70's. Fantastic songs, fantastic musicianship, fantastic improvisation. One of my all-time favorites.



4. This is a really great live album featuring improvised versions of songs from John Barleycorn, Low Spark, and Shootout At The Fantasy Factory. Barry Beckett was added to the band's lineup to help out on keys. The release opens up with a version of Glad/Freedom Rider that, back in the old days, took up the entire first side. the rest of this release finds the band giving the same treatment to Low Spark and Fantasy Factory songs. Tragic Magic is a pretty Chris Wood instrumental. Sometimes I Feel So Uninspired is a classic among classic Steve Winwood songs. Shootout is a fun rock and Roll number as is Light Up Or Leave Me Alone. The album ends in fine fashion with a cool version of Low Spark Of High Heeled Boys. This album also features no overlap in songs that are on the band's first live album Welcome To The Canteen. Now if only we could get them to release the unreleased live album from Fillmore East 11/70 on cd and Santa Monica '71 on DVD we'd be set.



5. altho it's noted in these other reviews i have to mention the thrill for me is hearing so much winwood playing gutiar. when i would see them in the 70's he wouldn't play as much as he does on here but everytime he picked up his axe my jaw would drop, thinking this guy is great on this insturment, (no slouch on piano mind you..) so what a treat to here him do so many solos on here!

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.