5 comments about Two from the Vault.

1. Get this for That's It For The Other One->New Potato Caboose. Evrything else is avalable in much better versions elsewhere.



2. This is one of my absolute favorite CDs EVER. You will wish you had a time machine to get you to the actual show. The Dark Star > St. Stephen > The Eleven is orgasmic. Pigpen's "Lovelight" and "School Girl" make you want to listen again and again. There is a comment posted on this feedback that their music from '68 is raw - and it is - raw talent, energy, passion, and charisma. The crowd "noise" in the background is also raw - they are having a great time. You can tell that it was one helluva show! The music never stops.



3. Two From the Vault is psychedelic primal Dead at their jamming best circa 1968. Thanks to modern technology the Dead were able resurrect this excellent show from oblivion. Due to microphone placement there were phase cancellation problems with the original tapes making them useless for release. Thanks to Dan Healy the phasing problems were eliminated using computer analysis and time correction. Hurray! A great show was saved.
   And a great show it is, replete with marvelous and telepathic playing by all members. From the Pigpen sung songs Good Morning Little Schoolgirl and Turn On Your Lovelight to the rolling thunder of the Other One and New Potato Caboose, it's all good. Morning Dew and Death Don't Have No Mercy being the lone ballads are especially emotional. Jerry's voice and playing are strong and everybody else rolls along with raucous abandon, Phil Lesh especially. I've become a big fan of '68 to '70's era Dead because they play with a fire and psychedelic thunder that they largely toned down as they became better and more refined players. While I love the jazzy introspection and much of the more country material the Dead started playing after 1970, there's just something about the raw energy the Dead generated in earlier years with their original lineup of Jerry Garcia, Phil Lesh, Ron "Pigpen" McKernan, Bill Kreutzmann, Mickey Hart (he joined in 1967) and Bob Weir. This is the Grateful Dead at their raw psychedelic best and a really good example of how they sounded in 1968. They're not quite as good players as they became by 1970, but what they lack in harmonic sophistication they more than make up for in energy and passion.



4. As a newcomer to the Grateful Dead, I'm experiencing everything for the first time. And with the wealth of live and studio material out there for this amazing band, I'm in music heaven!
   
   Two From the Vault (the remastered HDCD version released by Rhino in 2004) is amazing. Every instrument is crystal clear. I'm listening to the Dark Start/Saint Stephen/The Eleven jam as I type this and am astounded at the sonic quality of the music. Little or no hiss. Keyboards, bass, percussion, Jerry's guitar -- it's all here, sounding as if it were recorded yesterday as opposed to 1968 when this concert took place.
   
   Many of the jams on this two CD set are mesmerizing. Really. I listened to this in the car driving down a long stretch of highway, hoping all the way that passing cars weren't looking in to see me with my mouth hanging open.
   
   If you like the Grateful Dead, and you'd like to hear (with crystal clarity) how they sounded in 1968, this is a brilliant choice.
   
   If you haven't a clue what the Grateful Dead sound like, but you like "jam band" music and/or you'd like to know what all the Grateful Dead hype is all about, then this would be a great place to start.
   
   I wholeheartedly recommend Two From the Vault!



5. Two from the Vault was originally released back in '92 when the Grateful Dead were still together and our dear friend and my idol Jerome John Garcia (1942-1995) It is a live concert recorded back in August 23-24 1968 at the Shrine Auditorium in LA, CA. Well, the concert doesn't dissappoint. This was back when the Grateful Dead jammed a lot and their music was only psychadelic. This was before Workingman's Dead so most of this material you won't find on a best of album but it is, in words, unbelievable. This is a great slab of primal Psychadelic Dead when Pigpen McKernan was still playing keyboards and the Dead just smoked away with tunes like good old Dark Star/St. Stephan/Elevan jam that leads into Jerry's passionate rendition of Death don't have no Mercy. This is definately recomended to any Grateful Dead fan and I love it.

5 comments about Without a Net.

1. This is my favorite live Dead album, and I have quite a lot of them (Live Dead, "Skull and Roses", One from the Vault, Reckoning, Dead Set). I come back to this one quite a bit, and it has some of the greatest live Dead recordings ever. Feel Like a Stranger has a punch that is sorely lacking in the lame studio version. Bird Song is beautiful here, running around 12 minutes or so and much better than any previous recorded versions. The version of China Cat Sunflower/I Know You Rider is the best one, along with Help on the Way/Slipknot!/Franklin's Tower. Help on the Way/Slipknot!/Franklin's Tower is full of joy, energy, and soul, and it sounds like the Dead are really enjoying themselves. The grand prize of this collection has to go to Eyes of the World. Branford Marsalis joins in on this song (even though he didn't know any of the Dead's material), and it's one of the greatest live songs that the Dead has ever done. Branford blends in perfectly, and there isn't one lull in the 16 1/2 minutes of the song. The performance is first rate, and the lyrics are some of Robert Hunter's best. For those who don't like long Dead jams might like this album. The jamming never seems like noodling (like it can on other albums).



2. I bought this CD when it was first released. It's been that long since I heard it (since I sold it after only three listens) so I warn you that I'm going on memory here...
   
   I remember actually being surprised at the lack of cohesiveness on this set. It seemed to me that the band struggled and never really gelled into a groove. At the risk of sounding harsh, I'd say that this set runs a close second to "Steal Your Face" as the "Least Greatest GD Live Release Ever" (although I admit, I've never heard the Dylan collaboration).
   
   No, WOAN is not "horrible" by any stretch; It's just missing too much of that ethereal something that makes the Dead special. Espeacially with all the great live material available these days, I'd advise fans to buy almost everything else before this one.



3. That may be oxymoronic for a deadhead, but this album is stellar! "I Know You Rider" is probably the best version I've heard, as is "Looks Like Rain" and "Eyes of the World." Oh, and the other songs are good too.



4. This album has it all...it shows the range of the Dead during an interesting time of their lives. Jerry is actually sober and can play the songs the way only he could. They infuse jazz and funk into several of the songs in ways i have not heard on other live recordings, namely "Althea" and "Eyes of the World". This is such a great album for someone who is interested in the Dead, but has no idea where to start collecting. Start hear...here...and then go back to the beginning and listen to the growth and progression...and then you have to start collecting the [...] Picks, and any other live shows you can lay your hands on...Man cannot live by Dead alone...but it is worth a try...peace.



5. It's 1990, not 1970 or 1980. Things sound a bit different. For tape traders, much of this might seem passe, but for those of us who hadn't really been listening to what Jerry and Brent were doing on studio albums, this album was an eye-opener. The "Franklin's Tower" on this album is one of the most joyful pieces of music I have ever heard -- period. And while the "Eyes of the World" with Branford Marsalis might sound a bit different than some of the gems from the Dick's Picks series, it's still plenty good music. Well worth your money.

5 comments about Arc.

1. Years ago (like, 25 years ago), I heard an interview w/ David Lee Roth & Eddie Van Halen. They referred to a long, drawn-out, heavy, dramatic ending to a song as an "Armageddon" ending. Perfect name. But before any hard rock/heavy metal guys were doing it, hard-rock hippies like Neil Young invented & perfected it.
   
   Arc is weird, loud, annoying, heavy, raucus, experimental & psychedelic. And did I mention heavy? It's all of Neil's fury unleashed over 30+ minutes. It is truly "like a hurricane". Swirling, pounding, ebbing & flowing...with no structure or guideposts. This is 1 track, 30+ minutes of thumping bass, drum rolls, cymbals, feedback, and the occasional Neil Young wail. It's not that you either "like" it or you don't. You either "get" it or you don't.
   
   It's evolution, baby. Part of what makes the multi-faceted Neil Young appealing is his dichotomy. Arc is the other extreme of Harvest, Harvest Moon, etc.



2. Arc is a must have for feed back freaks- its a bit tough- I think seeing Neil Young live and watching him prowl around the stage immersed in his music is something that shouldn't be missed, but to be sitting in your living room listening to feed back, As I said its a little tough.



3. I saw that incredible 1990 tour and it CRANKED!!!! Also, Neil is probably one of my favorite performers and I can find something to love in just about every album he has released. Dare I say I even love: "Life", "re-ac-tor" and "Trans"! However, another reviewer keenly noted that "Arc" really can only be listened to once, therefore, it should not be purchased! It is not even enjoyable on the first listen. It is downright annoying after about 3 minutes but you feel you should suffer through, after all you just paid the $15 or so.
   
   This so called "album" is Neil's only mistake in his wonderful career.



4. This was the worse CD I have ever purchased. I love Neil Young but this one was a very bad recording. The product was poor quality and the music was even worse!



5. [Compiled, cutup, from all the other reviews.]
   
   The sheer fact that Neil was able to produce vibrations of massive steel structures, guitar in a garbage disposal and 'get away with it' reinforces the aura surrounding his accomplishments, one long painful shriek. Any guy with a guitar and six pack may be able to do this, but any guy with a six pack and a guitar DID NOT DO THIS! You rhouse right freaking now CDs, pieces and disintegrating, 10 listenings - Unfinished Wonderwall #9, Metal Machine Music - grime, industry ... 10 listenings, put on headphones, no sense of entertainment. Drum banging and screeching guitars, gentle bass rumbles and high note glissandos, announcements and other oddities, pain and suffering. That moment just before the hitting of that one note, landscape of chaos ... but it lasts for 30 minutes!!! Oooooops! Noise - jagged, silent - is what rock and roll is all about, thunder from below, one of the best records of all time, definitely a pile of something. It is thirty minutes - a chance to open up those brain patterns - that I will never get back.

5 comments about It's a Beautiful Day at Carnegie Hall.

1. It's A Beautiful Day was always one of my faves. In 1971 I saw them back to back with the Allman Bros, with Duane and Barry. They were special. Like a beautiful day they passed away into obscurity.
   Hot Summer's Day is worth the buy.



2. When I saw that I could purchase this band on CD, I went for it. This band was very unusual for their time, the music and words were very memorable. The CD was a great price and well worth it. Patti Santos has such a powerful voice like Grace Slick, and David LaFlamme's voice and violin were very impressive for me back in the 70's, and after hearing this CD again after 30 years...they still are! The music this band made was so cool. Sort of a mixture of classical/rock/blues/with just a twist of Eastern Indian in a couple songs...weird, but interesting to listen to. White Bird is my favorite from this group.



3. This was originally released in 1972. It is 47 minutes long. I have to admit that I have only heard the LP and don't know the sound quality of the CD. The LP had very good sound quality, but not perfect. It has a bit of a booming, echo quality to the sound.
   
   The band at the time has the same members as that were on the album Choice Quality Stuff/Anytime.
   
   This is an excellent live album with great peformances throughout. The three big hits from the first album, Hot Summer Day, Bombay Calling and White Bird are all stretched out to greater than 8 minutes each. But, even the shorter songs have interesting jamming interludes. All the members of the bands take turns giving some impressive moments.
   
   There are three new songs that have not been recorded before. These are all very good and better than any of the songs that were on Choice Quality Stuff. The other 2 songs are Good Loving from Merrying Maiden and Grand Camel Suite from Choice Quality Stuff.
   
   If you can't find this album, there are other It's a Beautiful Day live CD's available on David LaFlamme's website. Just google his name.



4. This CD rates with the best of the classic San Fransisco sound live album releases. If you enjoyed Grateful Dead's, Live/Dead, Jefferson Airplane's, Bless It's Pointed Little Head, and Quicksilver's, Happy Trails CDs, you will probably love this one too.



5. Couple good renditions but pretty poor sonics and a number of forgettable tunes. Their studio album "It's a Beautiful Day" remains the one to own.

5 comments about 8-15-80.

1. If you like Pat Benatar then you will love this album. It includes a lot of her hit songs done live. You hear more emotion in her voice when she sings live as opposed to a studio recording. After listening to this album I made it a point to attend her next concert. It is good to know she won't be lip sincing.



2. from San Francisco, including the encore. Tops the studio recordings in quality.



3. This was recorded at the height of Pats fame...her first 2 albums were kicking ass all over the charts...there were a whole legion of Pat clones starting to surface everywhere....none were anywhere near the real deal tho.
   
   The tracks on this reveal what a fantastic band they were....including Pat...the musicianship is awesome...My clone sleeps alone ....is incredible in an extended version.
   
   You might think these guys couldn't recreate their studio sound live???? well..this CD puts that idea to rest...every track is a killer....they surpassed any expectations...The energy and power crammed onto this disc will prove, without a doubt.....these guys can rock.
   
   Just go buy the CD...ok????



4. WOW...what a rocking performance! this is a great example of what a live concert should sound like. i saw pat's band in 1983 and every time i put this on i can see them like it was yesterday!
   neil giraldo on guitar and myron grombacher on drums are two of the most overlooked heavy rock musicians of all time. the whole group is awsome and pat benatar is one of the greatest live singers i've ever heard!
   this was recorded right around the time they were getting really popular and it shows how dynamic they were onstage.
   i put it on whenever i need a jolt of energy. if you like live music, i suggest you buy it now! you won't be dissapointed.



5. Somewhere in my large, beat-up collection of tapes from the 80's, I have this--I taped it from the radio, on the King Biscuit Flour Hour. And I wrote on the cassette "If destroyed, I will kill". So for all the rest of you early Pat Benatar fanatics, fear for your tapes no longer. Just buy the CD.

5 comments about Live! Live! Live!.

1. Bryan Adams shows his love for music in this album. His raspy voice fits well in each song. Each song he delivers, he delivers with a bang, bringing everything he's got into it. You must be thinking to yourself " if this is a live album, you must here the audience" and you sure do, screaming there lungs out giving Adams and the rest of the band energy for playing. You can hear Bryan Have a little chat with the audience saying
   "I just wanna thank you all for coming out here tonight and enduring the rain..you people are one hell of a crowd"..So if your a Bryan Adams fan, I suggest with all your might, get this cd..It bring 17 pound hitting tracks.. "Into the Fire" all I can say is "he saved the best for last" SO GET OUTTA YOUR COUCH AND GET IT!!!



2. While you can get everyone of Adams studio cds for real cheap these days, this album is a real treat. Ive heard and own alot of live albums but this is one of my faviortes. All his most popular songs at the time is on here and I do enjoy the bonus tracks. My favorite songs are One Night Love Affair, Cuts Like a Knife, I Fought the Law, and Someone. Too many good songs to name really.



3. Bryan Adams has been on the top of the corporate rock world since 1982 when he made huge hits from his third album CUTS LIKE A KNIFE. And his popularity erupted in 1984 with the superhit album RECKLESS. He has been producing excellent albums since then including his recent soundtrack SPIRIT and comeback album ROOM SERVICE. Even so, I still love Bryan of RECKLESS era with full of vigor. This 1988 live album just catches the very moment of his vitality. Particularly I am glad mamy of the tracks chosen are from RECKLESS album, though not so different from studio album arrangement. (It can be more precise that studio album got closer to live). Plus he plays two nice cover songs such as Bobby Fuller's I FOUGHT THE LAW and Patsy Cline's WALKING AFTER MIDNIGHT. I just miss STRAIGHT FROM THE HEART but other than that I love this live album a lot.
   
   Verdict: 80's Bryan fans Essential
   Rating: 91 out of 100
   Recommended for: Bryan Adams fans and 80s pop rock fans.



4. This live album is very good, the choice of songs could'nt have been better. Some really good live versions of every Bryan Adams hits at this time. You can't go wrong with this one if you like Bryan as I do.



5. Although the band is very competent, there is something strange in this album. The performances lack energy; maybe it's the lack of overdubs, and this is how a live album should sound, I don't know... But it's only for completists.

5 comments about June 1, 1974.

1. It is great to hear these four great artists together, live. I really like the version of Eno's "Driving Me Backwards" on this album. If you are a big fan of any of the four artists on thsi album (Nico, Eno, John Cale, and Kevin Ayers) I would say that you should counsider getting this album. If you are a big fan of more than one of them, then this is a must-have!



2. Kevin Ayers after recording the fantastic concept album 'The Confessions Of Dr Dream' with a bunch of session musicians in 1974, decided to form a new band called 'The Soporifics' ( Soporific means having a tendency to sleep!). Instead of doing the natural thing of taking the band into a rehearsal studio,Kevin Ayers being the free spirit that he is took the whole band off to the Rhone Valley for a nice little summer holiday ,using the advance on Dr Dream to finance the jaunt. This was a great idea until the money ran out, and Island record label got in touch to say that the album sales were going well ,and that they had booked the band into the prestigious Rainbow Theatre in Finsbury Park ,London ,in three weeks time 1st June 1974 to be exact ,and the gig had already sold out! This is the moment that panic set in .
   The band gathered up all belongings , family members ,girlfriends ,hangers on etc, and got themselves back to London immediately and decamped to the Walpole Picture Theatre in Ealing to set about rehearsals . After a week Kevin Ayers realized that this was just not enough time to get ready, especially with the band's not exactly regimental time keeping for the rehearsals. Drastic measures were needed. Kevin Ayers decided to get on the phone to a few friends.
   First up was Nico ,the intoxicating Diva from 'Velvet Underground's' first album, and through her Kevin Ayers contacted one of his own heroes John Cale also of the 'Velvet Underground' , who happened to be in town recording his own album ,but was only to pleased to help out as it turns out he had been a long time fan of Kevin Ayers himself . When John Cale arrived he brought with him his buddy Eno, perfect. Having heard on the grapevine that Kevin Ayers was in a bit of a jam, two of his old allies rang up to offer their services , which were also gladly excepted. They were Robert Wyatt who had been an original member of both 'The Wilde Flowers' and 'Soft Machine' with Kevin Ayers. Robert Wyatt had a terrible accident in 1972 falling off a balcony, and was hence forth confined to a wheelchair, but it says a lot for his character that he was still an excellent percussionist and vocalist. The other friend was none other than Mike Oldfield now at the height of his commercial success after the release of his 'Tubular Bells' record, after starting of his recording career in one of Kevin Ayers earlier bands 'Kevin Ayers and the Whole Wide World'.To round things off the delectable services of Lisa Strike, Doreen and Iris Chanter were added as backing singers.
   Now if this is not enough you have to remember the quality of the Soporifics themselves, on lead guitar you had Ollie Halsall one of the most respected guitarists on the circuit, who later went onto a very successful solo career ,as well as stints with 'Boxer' ,'Tempest' and 'The John Otway Band'. Eddie Sparrow on Drums ,one of the greatest session drummers ever ,in fact after this concert he handed in his notice to the 'Soporifics', as he just could not turn down all the money he was being offered outside the band , and he could not do both. Archie Legget on bass who has been on so many Canterbury sounds albums before and after the Soporifics, that they are to many to mention.Then on Keyboards was Rabbit Bundrick who went on to join 'Free' and since then has been 'The Who's ' keyboard player since 1979. With this amount of talent you had the ultimate Avant Garde Supergroup.
   Fortunately Island records to the eternal gratitude of all music lovers had the sense to record the event . Unfortunately all that has ever been released is the highlights ,but what highlights they are. We can only hope that somewhere in Islands vaults are the complete tapes ,which will someday see the light of day. But that is a minor quibble considering what we get.
   First up are a couple of numbers from Eno ( with Kevin Ayers merely playing bass.) which prove that had he wished to go down that path he could of been one of Glam Rock's greatest stars, the two songs are very Roxy Musicish but then what do you expect as Eno had been a founder member of the band and had only left less than twelve months before, after appearing on their first two albums . Next John Cale slithers on stage to crawl his way through Elvis Presley's 'Heartbreak Hotel'. John Cale growls his way through the song slowing the tempo down almost to a stop, as well as giving completely new meaning to the words ,with his emphasis going as far away from Elvis's as is possibly, if you think that the treble speakers have gone out of your equipment fear not, it's just that Cale only uses the bottom end. Such is John Cale's mastery of his craft that by the time the song finishes you feel so dirty you need a wash.
   Then Nico takes centre stage to drag out Jim Morrison's 'The End' accompanied only by some spine-chilling keyboards , it is one of the best choices Nico could of made, as you can hear that she has the audience in the palm of her mind as she recites the words . Big Jim would of nodded his approval.
   Finally Kevin Ayers breezes onto the stage to give us a collection of songs from his back catalogue. Opening with 'May I?' from 'Shooting at the Moon'(1970) followed by ' Stranger In Blue Suede Shoes' from 'Whatevershebringswesing' (1972) then 'Shouting In A Bucket Blues ( Wrongly titled 'Standing In A Bucket Blues 'on the slip sleeve of this album) from 'Bannamour' (1973) wrapping things up with a couple from 'The Confessions Of Dr Dream'( 1974) the bluesy 'Everybody's Sometime And Some Peoples All The Times Blues',encoring with the totally irreverent 'Two Goes Into Four'. The Mike Oldfield guitar solo on the former song is mesmerising ,as it was on the studio version. Kevin Ayers free spirit roams through out his songs ,and all leave you feeling cheerful and carefree. The band are still a little under rehearsed, but in a funny way it just adds to the charm of it all.
   Today Kevin Ayers has not changed, still arriving back in his native England, getting some cash together ,which he never seems to have a problem doing considering his enormous talents ,and then flits off again on his world travels. I just would like to think it is as idyllic as it sounds , one would hope so ,as the joy that Kevin Ayers has brought to the world through his music, he deserves to live life with a permanent smile on his face. A very classy British eccentric.
   Mott The Dog.



3. I was lucky enough to be at this, the greatest progressive super "group" concert of all time. (I even saw the cover being photographed looking through the glass doors.)
   The only negative is that there is so much more of the concert that is absent from the LP and now the CD. Island must have balked at the idea of having "Why are We Sleeping/Dr. Dream" on two consecutive LPs, but we're also missing John Cale's "Buffalo Ballet" and "Gun".
   Island, Voiceprint, Hux, someone has to release the complete concert. The world will be a much better place.



4. --Mike Oldfield, not "Brian," and yes he was and still is a master. Check out his own albums for better compositions. I just can't quite get into Nico's "The End" but am gonna hang with her a bit more on her other stuff. Cale's earlier solo stuff works better than here (try PARIS 1919 for artsy). Eno & Cale teamed on WRONG WAY UP, one of the most irresistible art-pop albums of all. Ayers: You're better off getting THE BEST OF-- .



5. This is one of my favorite live recordings ever. John Cale sings a great version of Elvis Presley's Heart Break Hotel, Nico sings The End, Eno does a brief selection from Here Come the Warm Jets and it is all topped off by Kevin Ayers melancholy, unclassifiable pop tunes. Wonderful sound, stellar British progressive blues musicians and an eccentric lineup of cult stars at their artistic peaks. It's a one of a kind recording. I would suggest this CD to Nick Drake fans.

5 comments about Live Peace in Toronto, 1969.

1. A good time for John, this a good live cd to have. The down side is Yokos on it and it's a little short.



2. A CAVEAT: THIS IS AN HONEST REVIEW! Be forewarned! OK, I've looked all over for a DVD of this performance, just absolutely lusting after the opening acts, Little Richard, Chuck Berry, et al. And the band that Lennon cobbled together for this gig is nothing short of spectacular, Eric Clapton on lead guitar, Klaus Voorman on bass, and future "Yes Man," Alan White on drums. STELLAR, wouldn't you say? WEll...unfortunately...Yoko's on this too. And after a heart-wrenching performance of Lennon singing his signature song, "Give Peace A Chance," Yoko..."takes over." EXCRUCIATING screaming, that is ALL the woman is capable of doing. I can certainly understand why Eric & Klaus just put their guitars against the amps and just...walked...away, because "feedback" is the ONLY appropriate "accompaniment" for Yoko. & much is made of Lennon's performance (yeah, I still have the album...side one is almost worn smooth, but that side two is pristine) of "Cold Turkey," but with a wife like Yoko, one simply cannot but wonder if John still "dabbled" occasionally...Eric, Klaus, John, & Alan are just FANTASTIC, but remember, now, that it's going to take some super-human effort to "listen" to Yoko bellow if you even PLAY her..."material."



3. After reading the reviews here, I was inspired to get Plastic Ono Band. I was reluctant, since it had not been remastered, but I did anyway. After buying at a local retailer, opened it to find the calendar dated to 2006! Looking on the back, I realized it was a new remaster. I will leave the rest to the great reviewers here, but this is noteworty
   
   NB it is a mobile fidelity remaster, 24 karat gold. Never heard any others, but this one sounded great.



4. I'm pretty much in the "can't stand Yoko" crowd, especially when it comes to this performance. I try to be empathetic and happy that Lennon truly found the love of his life in her. I would even say she had a positive effect on him overall (I think some of his very best music was written while he was in harmony with her). I even have a lot of appreciation for avant-garde music (like Faust). And Rock n' Roll isn't always meant to be pretty . . . I just don't care to be subjected to Ono's main performance from LIVE PEACE again, thank-you.
   
   The other reviewers covered the good stuff from this show quite well on this forum already, as well as the basic background info. It's some of the rawest, rockin-est stuff any of these guys has ever done. I just want to add that Clapton in the video footage looks VERY annoyed at Ono and flashes her some scathing looks. Now, I can't claim to know what the man was thinking of course. Another reviewer who claimed to be AT this show said the crowd was booing, so maybe Clapton was teed off at that. Whatever the case, he looks like he's in sheer agony, playing through clenched teeth. Fortunately for us, he channels his feelings into some kick-ass guitar playing.



5. The Toronto show which this album comes from was John's first real concert away from The Beatles. He had already appeared on The Rolling Stones' Rock and Roll Circus but that was more of a TV special than it was a concert, so this pretty much constitutes his first non-Beatles gig.
   
   It's a truly wonderful performance with Eric Clapton, brilliant as usual, on lead guitar, breaking into some great solos, Klaus Voorman (an old German friend of The Beatles) on bass, Alan White on drums, and John on lead guitar. They start off with som great rock and roll covers. The band, newly named the Plastic Ono Band, breathe great life into these covers, and they all sound very rough and loud. After they go through these covers, they perform the fantastic Beatles song Yer Blues, which sounds even better here than it does in its studio version. They also premiere John's song about his heroin habit, Cold Turkey. It's not nearly as good as the studio version, or the version the Plastic Ono Supergroup did at the Peace For Christmas concert during Christmas of 1969, but it's still enjoyable, although it basically falls apart during the end. They then do a great version of Give Peace A Chance. Although I love the original version, it's fun hearing it in this electric version, even if John forgets the lyrics occasionally, which he actually does during some of the early numbers as well.
   
   Of course, then it goes into Yoko's section of the concert. Before you start reading, I'm going to tell you that I'm a huge Yoko fan and I think she did "punk" before it was "punk". The two songs she does here, Don't Worry Kyoko (Mummy's Only Looking For Her Hand In The Snow) and John, John (Let's Hope For Peace), are wonderful numbers, especially the first one, which has some great guitar courtesy of Eric Clapton. Eventually, the band starts leaving the stage until it's only the scream of feedback left.
   
   Live Peace In Toronto is a great album, but it's also very rough and if you prefer the polished studio versions of these songs, then you might want to listen to them again instead of listening to this album.

5 comments about History of the Grateful Dead, Vol. 1 (Bear's Choice).

1. A lesser known release from The Grateful Dead, "Bear's Choice" is one of my favorite documents of Live GD. This mixture of acoustic/electric Dead is from the famous Fillmore East shows of 2/13/70 & 2/14/70.
   
   The Acoustic Side: Things are off to a great start with Pigpen playing some blues on: "Katie Mae." Pigpen, it should be said, might have been out-of-place in 1970, as this wonderful tune would have sounded so perfect in 1933. You are not going to find this gem on any other recording, it is here, and it is one of Pig's finest moments. Next up is: "Dark Hollow" and as I have heard many versions of this classic American recording, this one is the best of the bunch, Bobby & Jerry, are in charge of this and really having big fun, another great track that always reminds me of my time living in The Blue Ridge Mountains of North Carolina.
   
   "I've Been All Around The World" is my very favorite song on this record, Jerry turns in the best performance of this classic that I have ever come across...Blue Ridge Mountains, again! The Everly Brothers hit song: "Wake Up Little Susie" get's the Dead treatment next, and it's all in good fun, the boy's were loose in NYC, and we get to enjoy the results. The closer of side one is: "Black Peter", and it's a longer and slower than it's studio cousin. "Peter" has about the greatest refrain found in any GD song: "See here how everything leads up to this day"...Jerry, really get's inside this song, and it is very powerful.
   
   
   The Electric Side: This second half of the record belongs to Pigpen, who could really steal the show from his bandmates in the early days. "Smokestack Ligthnin' is a blues-romp that Pig had performed for years, the boy's give Pig some really fine backing and jam for about 18 minutes here on this timeless gem. Jerry, has more than a few moments on this, this is great: 'Cosmic' Dead. "Hard To Handle" is another Pigpen showcase, and the closer for the original album.
   
   The Bonus Tracks: A sixties style GD: "Good Lovin' has been heard on many other Dead recordings, this one is short {8 minutes} but, it is a fine version done in the early {pre-Disco Dead.} "Big Boss Man" always sounds good to me, and this is up there with the version found on; "Grateful Dead" as one of the very best versions...great, put's it mildly.
   
   Another version of: "Smokestack" makes an appearance next, but I'd rather enjoy to hear a version of: "In The Midnight Hour" in it's place. The last extra track is: "Sitting On Top Of The World" and it's a fine addition to a wonderful collection of early Live Dead.
   
   This is what The Grateful Dead sounded like at the close of the 1960's and the dawn of the 1970's. A very over-looked record from the group. But, it is one of their very best records.
   4.5 Stars!!!



2. if you never heard the vinyl pressing of this you will probably like this cd. the fillmore east performance is good material from a night when the band was in exceptional form.
   
   i have had this this on vinyl for 30 years and it has always been one of my favorites. my issue with the cd is the remastering. while the sound quality of the cd is good (because the master recording was good to begin with) i don't like the remixing that was done. when listened to back-to-back with the lp it doesn't hold up as well as i'd hoped.
   
   the acoustic material translated fairly well although the vocals were pushed back a bit and the guitars brought up a bit too much. it sounds clear and is a good example of the acoustic first set common in those days, but suffers some when compared to the more balanced sound of the lp.
   
   the electric set didn't fair as well. i'll focus on one example. my favorite song on the original album was the fantastic version of hard to handle. the way it was played that night it had a funky quality to it that was worthy of james brown. in the original (vinyl) mix all instuments have an equal presence. you hear jerry, but you also hear everyone else equally well. those who know the dead know that when the magic happens every instrument is playing an improvisation and as such is a lead. everyone is equal, supporting, and playing off each other, regardless of of the fact that jerry is getting the "solo." such is the case with this recording of hard to handle. the cd remix pushes jerry's guitar to far to the front and, while jerry is great, you lose the sense of the dynamic interplay the band is famous for by making the guitar too dominant. that is, by pushing jerry to far forward you lose a lot of the magic by making the rest of the band take a supporting role. sadly,on the cd this tune suffers most in translation although the same can be said for the smokestack lightnin' from that set.
   
   the extra material is interesting but is not of the quality as the original material. it was a different performance on a different night at a different venue (fillmore west, a week earlier). decent, but not a night when the magic was there. maybe the drugs weren't as good that night, i don't know. it would have been nice to get more material from the original show rather than part of another (weaker) performance, which to me feels tacked on to fill space.
   
   all in all, i think i'll give away the cd and keep listening to my 30 year old vinyl.



3. One of the things that has always been interesting for me is how Dead albums are viewed when first released and then how differently they're looked at by newer fans over the years. I was raised around the Dead and was about 4 years old when this album was first released. I remember growing up with this album (as well as all that came before it) and it always surprised me how those first generation Deadheads never really cared for this. When Bear was picking the songs for this release, he wanted something that would pay tribute to Pigpen and also feature songs that, for the most part anyway, hadn't already appeared on an album and went back to one of his favorite run of shows 2-13 & 14-70 Fillmore East late shows in New York City (Dick's Picks 4 features more from this great run). Originally it was going to include some pre Dead tunes. While others seemed to not really pay much attention, as a kid, I loved it.
   
   The first side showcases Bob and Jerry's acoustic outing with Bobby's singing on Dark Hollow was/is tear jerking and when Jerry joins in, it's something else. This IS REAL country here and not that phony laid back pop emotionless junk but really heartfelt. I've Been All Around The World is Jerry at his playful best and Black Peter always put me into a trace. The second half featured the electric Dead backing Pig. Smokestack Lightnin' is full of twists and turns. Thundering along in places and very quiet in other places. I love the sound of the guitars and very full of drums. Hard To Handle is straight up rockin'. Years ago, I used to be able to do a good Pig imitation and this was the song. The bonus songs are also great, Good Lovin'(from the early show, 2-13-70) rocks out at a nice clip. The second Smokestack (2-8-70 Fillmore West, San Francisco) shows how different the Dead could take even a basic blues tune in the very next version. Big Boss Man (2-5-70 Fillmore West) blows away the Grateful Dead (aka Skull & Roses) version. Sittin' On Top Of The World (2-8-70 Fillmore West) is again, execellent. I should also point out, that untill Reckoning was released in April 1981, this was the only place that you could officially get acoustic Dead and until the vaul reases starting in the early '90's, this was the only place you could get many of these tunes on record.



4. The album was originally released in 1973 and is taken from concerts in 1970. The original LP was 47 minutes long. The bonus material puts the CD right at 80 minutes. Sound quality is very good. Some of the material is very interesting and has a distinctive sound.
   
   The first tracks are stripped down acoustic numbers. I especially like Dark Hollow (I think it is the best thing on the CD) and Wake Up Little Suzy. The acoustic numbers have a nice bluesy feel to them and make this CD worth getting.
   
   The rest of the tracks are electric, and I don't think they are that special over other Grateful Dead live material. I think Black Peter goes on a little too long.
   
   Smokestack Lightning is your typical 18 minute PigPen driven song. I think he has better songs, like Turn on Your Lovelight.
   
   The bonus material is OK, but does not make it worth buying this CD if you already have the original. Another 18 minute version of Smokestack Lightning is included. It is slightly different than the first one, with less vocals by PigPen, letting the music come through a little more. It is a nice contrast, and proves that the Dead rarely play the same song the same way twice. But, I don't think it is different enough to include. I hate it when different versions of a song are included on a CD. I like to listen to a CD all the way through and it takes away from the experience when you have songs repeated.
   
   The one great bonus track is Sitting On Top of the World. There is a nice, jazzy guitar solo, that is different from what I have heard before.
   
   The full title of this CD was History of the Grateful Dead, Bear's Choice, Vol 1. Other volumes were planned. This was the last Dead album on Warner Brothers records, so something must have been dropped into the transfer to Grateful Dead records.
   
   Rhino records has done a wonderful job in reworking the Warner Brothers albums. The sound quality is excellent, and HDCD technology is used (it is supposed to improve sound quality, even on standard CD players). Bonus material has been added so that every second of the CD is used. The CD's come in nice cardboard cases with multi page booklets. (Note that the re-issues of the later Dead albums don't include the nice packaging).



5. February 13 and 14, 1970 at Bill Graham's Legendary Fillmore East. This was a great album. I loved the acoustic material, especially the legendary late great Pigpen McKernan's redition of Katie Mae. This is a great Live Dead album and a great intro to the greatest band that there ever was.

5 comments about Live Licks (topless cover).

1. The 2002/2003 Live Licks World Tour was vast in scope and set a new standard in staging concerts. Spanning 23 countries, The Rolling Stones had gigs in clubs, arenas and stadiums, with ever-changing playlists which made each date truly special.
   
   And this 2-CD set does a good job in showcasing the power and energy witnessed by nearly 3.5 million fans. The diamonds are on the second disc, which features a variety of rarities, including Neighbors, Monkey Man and Everybody Needs Somebody To Love (with Solomon Burke).
   
   But cutting through the clean mix is drummer Charlie Watts. His jazz-inspired patterns has defined the band's legendary sound, while being a great influence on rock-n-roll drummers for five decades. Each number is a textbook in propelling the rhythm, with the highlights being Street Fighting Man, Paint It, Black, Gimme Shelter and (I Can't Get No) Satisfaction.
   
   Leave it to the band to encapsulate cyberspace through the CD cover. Far away eyes, indeed. This is as solid of an authorized live release in the band's discography, which dates back to 1964.



2. This is one of my favorite Stones' live albums. I play it a lot. It's not as good as "Get Your Ya'Ya's Out", but better than all the other live albums, and it's two CD's, so it's the longest. The weaving guitars of Richards and Wood, Charlie's stomping beat, Jagger's frantic vocals, and Bobby Key's saxophone offer a sonorous sprint into outer space on "Neighbors". Jagger's lyrics on "Monkey Man", back when Dylan's influence made everybody try to write poetric lyrics, back in the "Let it Bleed" days, sound better live than in the studio. The tinkling piano offers a different shade to the song than the original Hopkin's recording. Keith recreates "Exile on Main Street" on "Rock's Off", as the backup singers help build the creshendo. One of the best songs on "Sticky Fingers", "Can't you hear me Knocking?", suffers live in comparison to the studio version. "That's How Strong my Love Is", a cover, sounds very early sixties R&B. The Stones' roots are showing. It's Jagger at his best, as he croons for all he's worth. Most of the standards are here as well.



3. The Stones get three points for filling this double CD with favorites such as "Monkey Man" that haven't appeared on previous live albums. The problem is that Mick can't hit the same notes that he could hit when he was 27. "Rocks Off" is downright painful as he ratchets his vocals down. I'd rather hear "no" Rocks Off than a painfully labored version. What MADE the original a classic was its "shot out of a cannon" arrogance. It's like Mick thought about the best part of the song and concluded "Well, we can do without THAT..." No we CAN'T, Mick! The wonderful and amazing Lisa Fischer once again accents "Gimme Shelter," but her ultimate performance of this track can be found on the Japanese import CD single of the "Stripped" version of "Wild Horses" (director Martin Scorsese lifted her bone-chilling vocal solo from that version for a climactic moment in his film "Casino"). There are NO jaw-dropping performances in this set, and with all due respect to the band's fans (I'm one of them), there SHOULD be. Mick's coasting his way through, and to a lesser degree, so are Woody & Keith (although "Happy" is better than the majority of what Mick phones in here). To paraphrase KISS via Homer Simpson, "the Stones used to rock and roll all night and party ev-er-y day. Then it was every other day." Maybe "Live Licks" should have stayed in the vaults. Former strutting rooster Jagger sounds like the heavily bruised veteran of one too many cockfights, and that's sad.



4. I may be one of the few Stones fans left who still enjoys the live albums that follow every tour. Stripped and No security were both great from start to finish. Live Licks continues that tradition. I don't need to hear the live versions of Satifaction or Brown Sugar for the 10,000th time, but when they're placed along side Gimme Shelter, Rocks Off, Monkey Man and Can't You Hear Me Knocking, it all sounds just right. Now Keith, get the Winos together for one more album/tour!!!!



5. i luv this album. its a little unnecessary for its time. although its great to here some new songs from their tour. oh yeah and i choke the chicken whenever i see the album cover. very hot! imagine a girl or a guy licking you.