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 The Essential Live.

1. This live album captures most of what dnc is about. Mixing heavy rock with folk/country numbers, like a weird mix of the Dictators and John Denver, Kevn Kinney and his bandmates rip through nearly 20 of their greatest hits, warts and all. The band, with help from Joey Huffman on organ and David Franklin on guitar, is typically rough and spontaneous, delivering blistering versions of classics such as "The Innocent," "Build a Fire," "Straight to Hell" and the great unreleased song "Dirty Angels." The only weakness derives from the track list, which evinces the band's intention in making this a "greatest hits" affair. Some of the songs, such as "Honeysuckle Blue" and "Scarred but Smarter" don't come off very well here, but as "greatest hits" they're indispensable. In short, a less predictable track list featuring more rarities would have made this fan happier. But if you like rough performances from earnest bands or remember fondly waking up with ringing ears, a hangover, and the stale cigarette smoke in your clothes after a night with dnc, you'll like this one.



2. I worked at Elizabeth reed Music Hall in Macon where some of this album was recorded. In my 5 years of working at this once great venue, Drivin N Cryin was one of my favorite live acts. This Disc captures the band very well. Kevin and the boys know how to rock. I miss the band and the venue. ....Im pretty sure I can hear myself yell.."Get used to it!!...Its an awsome disc..just like all their albums are...DC Liz Reeds 08/94 to 10/99



3. As a rule, I've eschewed "live" albums. However, my knowledge of DNC's strengths performing live pushed me just enough so that I purchased "Essential Live." I was NOT disappointed. This quite possibly is the best live album I've heard. By "best" I mean that it accurately portrays what it's like to see DNC live. The production is great; and each song warrants playing over and over.

   DNC, see you in Murfreesboro, TN, and on Thanksgiving!




4. This album is second only to seeing DNC live yourself. The quality of recording is excellent, and really captures Kevn Kinney's guitar punch. Finally, an album that totally captures this great rock band's potential. I personally was at the Atlanta show (one of the three represented on this album), and am now ready to see them again ASAP!



5. This Album shows how a Band from Atlanta can really rock at a live venue. I have followed the band for many years now, This is a true album that shows how a great band sounds live without a lot of noise interfearance. Anyone from Atlanta and the south knows the band and has more than likely seen the band before and this album has tracks from all the albums we love. In other words, BUY THIS LIVE ALBUM!

5 comments about Live in Japan.

1. Jesus H. Krishna - where did this forgotten gem come from?
   
   From the high water mark of "All Things Must Pass" in 1970 that served as a compendium for all of his accumulating and unused Beatles-era work, George Harrison's more recent solo output has been at its best, spotty and at worst, downright desultory. Sharing the stage with Eric Clapton and taken from his last, very abbreviated, solo tour in 1991, Live In Japan (re-released after a ten year plus absence) brilliantly showcases a reinvigorated Harrison in top form - ripping through his Beatles and solo canon with a delicate ferocity that is both moving and completely unexpected.
   
   The Beatles chestnuts are all here however, it is on some of his lesser-known solo compositions that his enthusiasm for the material really shines - in particular "Devil's Radio" and "Cheer Down." The "quiet" Beatle delivers a landmark performance that is worth every penny.



2. George and the gang sound great it's nice to have a first class live show form George. It needs to come out on dvd.



3. From producers Spike and Nelson Wilbury, backed by Eric Clapton and a band of talented session musicians... George Harrison, Live in Japan!
   Perhaps the best thing about this concert tour and the album made from it, apart from the musicianship and songwriting, is the date on which it was performed: December, 1991. Not only was the Dark Horse at the top of his game, but he also had free range of what would be just about the entirety of his solo discography, not to mention all those Beatles tunes. Everything from, "Don't Bother Me", to "Cheer Down", was in the running, and Harrison was able to sort out the cream of the delicious crop, the best of a bumper harvest of musical actvity. Things start on an energetic note (literally as well as figuratively) with, "I Want to Tell You", from, "Revolver", recorded with the Beatles. The band kicks in full swing (including some, er, interesting keyboard licks) and then the vocals start; we all recognize the tune and the lines of the third verse ("... feel hung up and I don't know whyyyyy!") sooth us with their catchiness... and then the guitar takes over. The moment when George begins the solo (yes this song now has a substantial guitar solo worked into it) is when the hypnosis settles in- and it doesn't lift until the moment the crowd roars its approval of the concluding cover of Chuck Berry's, "Roll Over Beethoven".
   Yes, this album is THAT great for Harrison-Heads. Each song plays to its full potential, showing off not only Harrison's melodic and lyrical prowess, but also the skills of the band, and in particular, three great guitaritsts: Harrison, Clapton, and Andy Fairweather Low. Guitar solos, often adding symetry, always adding beauty, outline almost every song, and in that respect they might as well ALL be called "highlights".
   There has been some arguing on this site about who played which solos, but to me its obvious in most cases: Harrison and Clapton in particular have very distinctive tendancies and styles in their solos, and as far as I'm concern, Concert for George (though a great show) has proven that NO ONE could play those slide bits like George... and you bet your Beatles memorabilia collection he lets loose here. Some highlights in no particular order...
   . The aformentioned opener, "I Want to Tell You", with its enchanting guitar work, and the energetic follow-up, "Old Brown Shoe", with its ever-imaginative lyrics.
   . "Taxman", has to be one of the THE moments of the evening: a brilliantly played, expertley written and bitting tune about tax-paying... aided by some lyrical updates, circa 1991.
   . Dark Horse without the "Hoarse".
   . "Something", and even the otherwise unremarkable, "If I Needed Someone", get a boost in the ratings due to some magic from the guitar wizards, especially Clapton to who waxes tender during the instrumental segments of both tunes, often exploring and ad libbing as George takes the original gorgeous guitar parts.
   . "Give Me Love (Give me Peace on Earth)", serves as the selection from my personal favorite of George's solo offerings, "Living the Material World", while, "What is Life?", an "All Things Must Pass" classic, rocks more than it ever did before, liberated by producers Spike and Nelson W. from the Phil Spector treatment.
   On disc 2, the selections from George's (then) recent material score points in the album's favor: "Devil's Radio" (including George's verbal coda, 'Devil's radio; don't be a broadcaster!'), and, "Cheer Down" (then George's most recent solo single, from 1989 and used in the film, "Lethal Weapon 2", thanks to a bizare connection with Eric Clapton and Silver Pictures, prove themselves highlights while, the titular track from, "Cloud 9" lays down its funk agreeably. (In additon, "Got my Mind set on You", which rounds out the first disc, rocks with all the fire of its studio counterpart as George revives the great songs and composers of the '50s and '60s.)
   . No matter what anyone tells you, "Here Comes the Sun", is rendered gorgeously here.
   . "Isn't it a Pity", and particularly, "While My Guitar Gently Weeps", serve as the finale section of the concert and are most effective (again, the solos are more-or-less beyond description, especially as George and Eric go at it together during the last section of, "...Guitar...").
   ."Roll Over Beethoven" rounds out the show in the best way possible: with plain old rock 'n' roll fun! One wishes they'd keep, "rockin' in two by two"!
   . For the curious (ammend that to the curious and lazy) the show also includes: "Piggies" (with an amusing coda), "All Those Years Ago", and the 1970 mega-hit, "My Sweet Lord", all performed sincerity and great qualit of musicianship as per the standards of the album.
   The album also includes photos, liner notes (actually excerpts from Harrison's book, "I Me Mine", for the most part) on the various songs, as well as the customary production credits, track listings, ad nausem All these (particularly the photos) are nice touches for all the Harrison-Heads out there (myself included). In fact, the ONLY thing missing from this release is... a DVD! Don't get the Wild One wrong, the performances released on DVD so far (all five of 'em, no less ) are greatly appreciated and enjoyed, and I still enjoy watching them from time to time, but I cannot be the only one (in fact I've done enough review-reading on Amazon by itself to be SURE) who wants a full DVD covering the shows played in Osaka and Tokyo in December, 1991. We know tapes exist since we've gotten all sorts of bits 'n' bobs through the various DVD releases, and even if EVERYTHING weren't intact, I'm sure many Harrison fans would love to have all there is in the best possible quality in one place! But I digress.
   This gets 5 stars as an album of beautiful music, as a document of the one-and-only George Harrison performing live in concert, and as a darn fine piece of rock 'n' roll entertainment... it'd probably get a few more were the entirety of the video portion intact!
   --The Wild One.
   NOTE: this review is dedicated in memory of the following: George Harrison, Spike Wilbury, and Nelson Wilbury.



4. Well, I bet alot of you didn't know that I had a poetic side. While I am certainly no Cyrano De Bergerac - I have courted many a lady to the words of classic poetry. For example; "Do not go gentle into that good review, Old Seers should burn and rave at close of day", "Metamorpho is truth, truth Metamorpho", "I'm noteworthy! Who are you? Are you - noteworthy - too?". And ad infitum etc. etc. Not to brag - but I have many degrees and have been exposed to the finest schooling the metaphysical universe can offer. I even graduated from Notre Dame. Does the name Quazimodo ring any bells? I thought so.
   
   All this, of course, qualifies me to write the following review. (And not much more! You forget I can read your thoughts!). In any event, this selection is really a wonderful remembrance of our friend George Harrison. How I miss him and his music. Listening to this makes me miss him even more. But it is a fine reminder of so many great songs he left the world. This was missing from my collection for a long time. But, I finally acquired it and it is an essential addition, especially if you have a considerable Beatles accumulation.
   
   George was always the shy and quiet component of the Beatles. So, I suppose it took a little urging for him to go out on tour. Enter Eric Clapton (he does get around on my reviews, doesn't he?) and his excellent band and off to Japan they go. I don't know if Harrison would have done this without him, but be glad he did because this is a stellar live recording.
   
   Expertly done, we have fine songs from George's whole career up until that point. He conjures up some of his best Beatle tunes ("Taxman", "Something", "Here Comes the Sun", "While My Guitar Gentley Weeps" etc.), adds selections from his excellent "All Things Must Pass" c.d. ("My Sweet Lord", "Isn't it a Pity", "What is Life" etc.) and extras from his other albums (Devil's Radio", "All Those Years Ago", "Dark Horse").
   
   To my mind, George was the most "reflective" of the Beatles and that is why he remains on such a high plain in my mind. He knew there was something else beyond here (well, there is you know). And I can see him now happy, knowing his was right, and riffing along with Lennon. OK, I'll stop. But you should know wise Seers can envision these things.
   
   In all, an accomplished backing band enabling Eric to relieve George of some lead guitar duties. It all works and is a wonder to hear. This is recommended if you love 60's pop and especially moreso if you loved the Beatles. In closing, we really miss you George. Thank-you for this.
   
   Metamorpho said to
   a mouse, that
   he met
   in the
   house
   'Let us
   both listen
   to Harrison:
   I will
   educate you -
   
   cheers - Metamorpho



5. George Harrisons Japan tour was generally unavailable in CD format for many years. This led to rumors that the performance was sub par, that George was unhappy with the result or that he did not enjoy the tour and would rather forget about it. Those rumors are certainly eclipsed by this disc. The performance is brilliant. The arrangements of the tunes are outstanding and evocative of the best of the Beatle recordings of these tunes. In some cases, arguably better. Clapton's contributions are enormous; the lead solo to WMGGW alone is breathtaking. It is a pleasure to have this disc in SACD. On a true HiFI, that added clarity brings smiles. Talk about being there!

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 Captured.

1. Journey's first live album in 1981 just before multi-million seller ESCAPE is what live album should be. Particularly Steve Perry's voice is outstanding. He rarely drop notes even at high-notes and in some places better than studio version. There's no OPEN ARMS, SEPERATE WAYS, DON'T STOP BELIEVING today's Journey fans take it for granted in live. Yet this prowess of band is super and unrivalled. Except for some parts where LIGHTS AND STAY AWHILE mixes incoherently performance is perfect.
   
   Verdict: Best live album I have ever encountered.
   Rating: 96 out of 100
   Recommeded for: Every Journay fan, 80s rock and pop fans.



2. What a great trip into the past. Not only the sounds and songs of Journey but live to boot.
   Most excellent sounds to "road trip" by.
   Rosanne



3. .....You see this one right over here?....Do you know what that means?" Yes, I would guess that anybody at that particular show who didn't know what that meant, quickly found out that they were involved in something special---- One of the most inspired, beloved live albums to date! And although this album was recorded over the span of many months on their world tour, one could easily be "fooled" into thinking this was taken from a single show. This live release simply has an exceptional flow to the varied material heard here....almost as if the people who edited this together, were aiming for that effect. The band must have been in great 'form' for the entire Tour....great musicianship, great crowd interaction, and one heck of a great setlist. I don't know of many other groups besides Journey that can alternate between straight-on 'rockers' and heart-wrenching 'ballads', and keep an audience enthralled for the entire show. And the Solos on this album are absolutely 'Killer'... Mr. Schon certainly gets his fair share of the audiences' attention....even the "not too common" bass solo/spanking in "La Do Da" brings Mr. Valory kudos from the crowd. But for me, being a drummer, its Mr. Smith that caught my attention in a BIG way with his wonderfully constructed drum solo. Steve Smith has become my single favorite drummer over the years and I literally NEVER tire of hearing his facility and mastery on the drumkit( if you've only heard Steve with Journey, you MUST do yourself a favor and explore some of his "other-worldly" work with Jean-Luc Ponty, Vital Information , and Vital Tech Tones....absolutely amazing playing by all involved!). But I would venture to say that Mr. Perry played the biggest role in keeping these audiences "on their toes" during the recording sessions for "Captured"---- Steve Perry is truly one of the great vocalist of Pop-Rock music and should certainly go down in music's history as so.
   
   As for the individual songs here on "Captured", there is a nice mix from the bands past releases...though you won't hear anything from the bands "progressive" years here. I like nearly everything Journey has put out, but, through no fault of the band, I have been 'over-exposed' to some of the songs here...thanks to our local "small-Town" AOR radio station. So with that said, I do find myself skipping through a handfull of tunes...most notably: "Lights", "AnyWay You Want It", "Wheel in the Sky", and "Lovin',Touchin',Squeezin'". Don't get me wrong, I love those songs, but its the songs I hadn't been exposed to that keeps me coming back to this album---- "Dixie Highway", "Walks Like a Lady", "Line of Fire", "Too Late", "La Do Da" and, possibly my favorite (slow) Journey tune, "Stay Awhile". By far, this is my preferred version of this great band----shortly after this recording Greg Rollie would move on, and Journey would hit 'SuperStar' status with their next album ("Escape")...not to be 'De-throned' till many years later. This album is truly one of the most exciting live albums ever recorded...and Journey is truly one of the best, universally liked bands in the history of R-n-R---- #3 of my all-time favorite live albums....See Why For Yourself!



4. Captured is a superb live album from one of my favourite rock bands which brought out hits like faithfully and open arms.This great album features hits like Wheel in the sky,lovin touchin squeezin.Very highly recommended.A must have.Please get this classic but avoid the latest album from Madonna which is really awful.



5. Journey's seventh US release and first and only double live album Captured was released in February of 1981.
   Captured was recorded on Journey's 1980 tour in support of the album Departure. This album marked the last appearance of founding member keyboardist and vocalist Gregg Rolie whom would retire from the band during the mixing of this album.
   Rolie, along with lead singer Steve Perry, guitarist Neal Schon, bass player Ross Valory and drummer Steve Smith rock out on this album and until the release of Live in Houston 1981 this was as close as you got to a Journey concert on album.
   We begin with the taped recording of the Evolution track Majestic which then segues into the killer Where Were You and is a superb version. Next is Just The Same Way which is one of my favorites, Schon's soloing here rocks. We then segue into Line of Fire which is a great rocking shuffle. Next is the medley of Lights/Stay Awhile which is superb. Too Late is next and rivals the studio version. The exclusive track Dixie Highway is next and a studio version of this track was not ever recorded. Then the first half(first vinyl disc) ended with the medley of Feeling That Way/Anytime which features stellar harmonies once again with Rolie and Perry do a nice job trading off vocals.
   The original album's second disc starts with the rocker Do You Recall which is a great version of the Evolution track. Next is Walks Like A Lady which includes some bluesy work from Schon and Rolie before ending with a wll of feedback from Schon's guitar which would segue into a killer La Do Da which is better than its studio counterpart and has a bass and drums improv from Valory and Smith before going into a killer drum solo from Steve "the Machine Gun" Smith. Lovin' Touchin' Squeezin' follows and is another highlight with stellar harmonies and excellent guitar work from Schon who plays some nasty slide here. Next is Wheel In The Sky which is a killer version and is rivaled only with the Live in Houston 1981 version and this one segues into the set closing Any Way You Want It in stellar fashion. The closing studio track The Pary's Over(Hopelessly in Love) is a great song and featured Steve Roseman on keyboards as Gregg Rolie was gone from the band by then but is a great song.
   Captured remains a classic and was a successful live album peaking at #9 upon release and gave Journey its fourth Platinum album in a row. Journey proved with Captured that they could rock live and were great live!
   Recommended!

5 comments about David Live.

1. I had this on vinyl when it was new and loved it. Unfortunately the CD sound quality is terrible, sounds like it was recorded over a cell phone. I took it right back to BB and since they had no more in stock(wink) I got something much better. A shame to say the least since I'm sure it was a really fun tour. I can't understand how things this bad get sold, maybe someone should give it a listen before they print thousands of bad Cd's. Or in the case of Springsteens "magic" millions of very bad Quality CD's were sold. I couldn't return that one since all the store had them aplenty. LOL I hate giving Bowie a bad feedback but hey the disk stinks, Everything else I have heard from him is just fine.



2. I've had David Live on cassette, vinyl, and now of course on CD. I truthfully have not listened to David Live end to end in 20+ years. The CD sounds really great! If they've cleaned it up or digitally re-mastered the CD they did a nice job. This is David at his peak (in my opinion of course) and is a must own CD 2-disc'er. Not any deliberate "voice overs" so common to Live recordings either A plus.



3. Yes, Bowie looks ill and deathly thin on the cover. Yes, he probably was not in the best of shape when this record was recorded. I don't care. Maybe that's what makes his performance so phenomenal........maybe the music was all he had at this time in his life, and he was clinging to it desperately. This is one of the greatest rock live records ever recorded!! Buy it!! You'll be knocked back by the incredible performances by the sterling band. Mike Garson (piano, mellotron) and a two piece horn section featuring David Sanborn (alto sax, flute) and Richard Grando (baritone sax, flute) point the way to a very jazzy sound throughout. Earl Slick (guitar) throws a fiery edged rock touch into the mix. Add lots of percussion, a second keyboard player, and a couple of great background vocalists, and you have a band which would be hard to match anywhere. Bowie draws on a variety of his early 70's material, but the record is dominated by selections from Aladdin Sane and Diamond Dogs. I actually prefer the performances here to ones on those two studio records because of the spontaneity of these great musicians in a live setting. Bowie gives urgent vocal performances on some of his most passionate tunes such as Rock 'n' Roll With Me and Big Brother. The band, particularly Slick, prove they can rock hard whenever they want on Cracked Actor and Width of A Circle. All in all, just a tremendous and most essential record if you really want to experience live Bowie at his best.



4. Sorry...I LOVE this album, and after bootlegging..."many" tracks off the late great Napster, I'm now gonna buy the "new refurbished, etc..." Why? And "why" the title to this review? OK 1), my glorious band in NY, circa '75-'76, always opened our sets with a "Diamond Dogs-Rebel Rebel-Moonage Daydream" medley, in their entirity, and, note-for-note, ripped straight off "David Live." And yes, I HAVE gone on record as saying that Mick Ronson, Bowie's "Ziggy's" ex, SHOULD Have received the job that one R Wood received in '75 - but Earl Slick (in ADDITION to being married - at the time - to one of the absolute HOTTEST Babes EVER, Fanny's Jean Millington), himself was/is hot as a jumper cable at a redneck funeral. (and, yeah, when Ronno defected from Ian H in 1977, Ian scooped up Slick for what I consider his finest work, the glimmering "Overnight Angels.") And 2) right after this, Bowie started purveying disco, then ran into the arms of Rob't Fripp...give me a freaking break...(but "Ashes To Ashes" WAS a good song...) Enough. Bowie: 1974: Earl Slick, David Sanborn, et al... like Lous Armstrong said, "If ya gotta ask, you'll never know."



5. My sis and her boyfriend bought me David Live back in 1975 on 8 track!!
   Bowie was a house favorite then and still is today.I wore it out ,got another and wore it out too.
   This is one of the best live albums ever.Bowies unique style and fabulous writing,not to mention his band are just incredible!!
   Finally in 2007, I am buying this again ,ON CD!!!!!!

5 comments about Dick's Picks, Vol. 8: Harpur College, Binghamton, NY, 5/2/70.

1. 
   There are a handful of Dick's Picks I ration out to myself on a schedule. Volume 8 is so special, so fulfilling, I only let myself listen to it once every two years. Any more frequently than that and it would lose the element of surprise, that amazing feeling of discovery.
   
   The first disc is an acoustic set. The band sounds great, even harmonizing like professionals. Following a nice "Friend of the Devil," the crowd shouts out their requests to the band. Jerry settles the crowd: "Relax, man. We've got you all night." And, just like that, we are all held. We can get into a comfortable space and just enjoy. We can enjoy the Dead hitting on all cylinders at a period of time when they were great at getting intense and spacey, but also starting to reign it in a little bit more and bring in a little more of the roots music sound that would characterize American Beauty and Workingman's Dead, their two best studio albums, which were just on the horizon at the time of these shows.
   
   The first set is worth the price alone, but discs two and three are their electric set for the night, following the New Riders. I would have enjoyed having the New Riders material released with it for a more authentic feel of the night, but you can't have everything. But electric Jerry on the second and third disc is absolutely tremendous. Jerry's solos increase a couple notches in intensity during "The Other One," wrapped in a "St. Stephen," "Cryptical Envelope" (times two) followed by a "Cosmic Charley" that some rank as the best version ever. We also get to hear Pig doing his best James Brown, still with a spirited "Dancing In The Streets," the multiple climaxes of "Morning Dew" and "Viola Lee Blues," topped with the always cozy closer, "We Bid You Goodnight."
   
   It is a feast for the autonomic system. The whole band is playing with a rough, raw intensity, which kicks up the listener's sympathetic tone. But Jerry, searing and soaring all the way, also manages to find those dreamy, cosmic places which, in turn, boosts the parasympathetics. So the whole package together increases your arousal and alertness while at the same time relaxing you. The only other things capable of doing that are yoga and nicotine. Nicotine's bad for you, at least in its more convenient delivery systems. And- yes, I know this goes against conventional wisdom- but I've always suspected yoga is bad for you too. Too gristly or something. I don't know, let me think about that one and get back to you.
   
   I've said it before and I'll say it again: They weren't always good let alone great, but when they were great, nothing could be better. This Dick's Pick is everything that was right about the Dead when they were in their prime and having a solid night. Happy Birthday to me.



2. I was a freshman at Harpur College in the Spring of 1970, and I went to this show. It was my first Dead concert. The first set was all acoustic, and even though Working Man's Dead and American Beauty were out, many in the crowd seemed unprepared for the acoustic set. They kept yelling things like "Get it on, man!" and Jerry and the boys had to ask them to calm down and be patient---the electric stuff would come later. But on this CD you can hear some early first live performances of many songs that have long ago now become Dead standards. It's worth getting the CD for these tracks alone.
   
   They also introduced a new group called "The New Riders of the Purple Sage," whose album would be released later that year, and whose personnel were still sketchy enough that Phil had to play bass, Garcia pedal steel, and Kreutzman drums. It was still magical stuff, and one of my disappointments about this CD is that none of those songs were included. Oh, well, not to worry.
   
   Because still, it was a 6-hour concert of at least 3 sets, and this CD has given us a generous sampling of what went on that night. For years after, Garcia used to say this concert he remembered as at or near the top of his list for best Dead concerts ever. This CD is a must for the Dead collector just for the historical significance of the concert alone. But the music itself is a rare example of early Dead onstage genius in the still-young, still raw and vital days of the band's psychedelic heyday. Highly recommended.



3. I bought this Dick's Picks mainly for the acoustic set on CD1. The sound quality is quite good, and in addition to excellent early renditions of some favorites, I enjoy hearing the band chatter between numbers. I just finished Rock Scully's book on "Living with the Dead," which really made me want to revisit this earlier show. My favorites on CD1 are Don't Ease Me In, Dire Wolf, and Deep Elem Blues.
   
   It took me awhile to get into the electric sets on CDs 2 and 3, as I've always tended to favor electric Dead from the mid-1970s and later. But reading Scully's book re-awakened me, and I thoroughly enjoy these sets. My absolute favorite is Viola Lee Blues, followed by Casey Jones and Cosmic Charlie.
   
   This is a terrific show that features the Dead in transition. I highly recommend it.



4. I want to add my accolades to the already overwhelming
   praise for Dick's Picks #8. It IS truly mind-blowing.
   Even though I can take-or-leave the first (acoustic) CD,
   Cd's 2 & 3 are the pinnacle of ecstatic music. I'm the sort
   of Grateful Dead fan that seeks out Jerry's JAMS above all...
   and Dick's Pick #8 delivers! The jams are SO GOOD, in fact,
   that the little bit of vocals here & there don't hurt at all.
   "The Other One": GREAT JAM
   "Cryptical Envelopment": GREAT JAM, even with a little bit of vocals.
   "VIOLA LEE BLUES": Even with a bit of vocals, the jams on this
   track: at least three grand climactic crescendos...are
   truly mind-blowing in the best sense of the term; and
   THEN: some surprises......At first you might skip songs
   like Good Lovin' & Dancing In the Streets because you think
   there are too many vocals....but wait! In both these tracks,
   Good Lovin' & Dancing In the Streets...once you get through
   a little bit of vocals in the beginning...Jerry treats you to even
   MORE extended mind-blowing JAMS!!!!!! Both GREAT.
   And then you get an A+ Morning Dew...and the St. Stephen is
   definitive...in my opinion, even better BECAUSE it's missing
   the first few minustes of the song...you go right to that spacy
   "Lady Fingers..." part, which I love.
   All in all, Dick's Picks #8 is truly astounding and magical and
   powerful and...well...what else can I say?
   Just this: PHIL LESH: this may be the best PHIL LESH Dead album
   out there...I mean his bass BOOMS! VERY sub-woofer friendly!



5. Despite a major technical glitch and another less-than-awesome first disc, I have to give DP 8 all the stars because of the unparalleled zeitgeist (spirit of the times) that it captures, both the spirit of the Dead's music at that moment, and the spirit of the hippie youth/peace movement. Personally I don't find a great difference in quality between DP 8 and DP 4 (2/13-14/70 see my review) -- they have different strengths and weaknesses, but on balance they're both fantastic.
   
   DISC ONE) This entire disc is an acoustic set. I don't find it nearly as compelling as the one from February that was released long ago as BEAR'S CHOICE (from the same nights as DP 4). I'm not sure why. The crowd is very impatient -- what they want is the psychedelic electric Dead!
   
   DISC TWO) This is fantastic stuff -- too bad that due to a technical glitch it's only in mono sound. Also, the beginning of "St. Stephen" was lost, so there are only about 3 minutes remaining. The "Cryptical Envelopment/Other One" jam is superb, and then following "Cosmic Charlie" and "Casey Jones," the band launches into another astoundingly good jam on "Good Lovin'." There is a riff in the middle of it that sounds really familiar to me -- it sounds like "One Fine Morning" by Lighthouse. That song didn't come out until the following year, so I'm not sure how to explain it, but it makes a great basis for jamming.
   
   DISC THREE) Pigpen leads off with a rarity, the James Brown number "It's a Man's World," and Pig is in fine form. After a high-energy "Dancing in the Streets," (the crowd must have been more than satisfied by now!), the band plays a tremendous "Morning Dew." This leads into another high point of the show, a VERY strong jam on "Viola Lee Blues," which was on the first Warners record. They build to three deafening crescendos of white noise, and then each time drop back into the pocket of the groove, right on a dime.
   
   See my reviews of other Picks -- DP16 (1969), DP4 (1970), DP23 (1972), DP19 (1973), and DP10 (1977). See my complete lists of Dead recordings on this site for 1968/9 (PRANKSTERS & OTHER ONES), 1970-1972 (COSMIC COWBOYS), 1973/4 (EYES OF THE WORLD) AND 1975-1977 (ESTIMATED PROPHETS).

5 comments about Coma Divine.

1. Like many others, I am not always keen on "live" albums. They are often poorly recorded, drawn out, and seemingly released merely to add to the record company's bottom line. While two of those points may be partially true with Coma Divine, no fan can complain about the quality of the recording.
   Though its hard to add anything to reviewer R Gorham's comments, I will at least get in his amen corner. Like Gorham, I own the Snapper music remaster of this CD and like him I think the recording is superior. Though some of the songs are a little drawn-out (something you want if you are actually at the concert), Coma Divine should thrill long-time fans of Porcupine Tree. Those new to the band can hear their roots in hard rock/psychedelia right here.
   PT is often compared to Pink Floyd. That's fair enough but that doesn't mean its a clone. It is however the brainchild of multi-talented musical polymath Steven Wilson. On Coma Divine, those talents become apparent to any music-lover who listens and just one hearing should squelch any doubts you may have about the depth of those talents.
   My favorites here are Waiting Phase One and Phase Two, The Sky Moves Sideways, and Radioactive Toy, the song that could be an anthem for both the current Iranian "president" and the current dictator of North Korea.
   In short, Coma Divine is a strong and memorable performance and a worthwhile vehicle for showcasing a future supergroup while it was yet in its adolescence. My advice is to get this now while it is still available. If your musical tastes lie outside the confines of what you are fed on the radio, then Porcupine Tree may be the band for you.



2. THE BAND: Steve Wilson (guitars, vocals), Richard Barbieri (keyboards) Colin Edwin (bass), Chris Maitland (drums & percussion).
   
   THE DISC: (1997) Originally released in '97 (containing 10 tracks), this elegant digitally remastered foldout digi-pak was re-released in 2004 by Snapper Music. 2 discs containing 14 total tracks (53+ minutes on disc-1, 47+ minutes on disc-2). Included with the discs is a 6-page booklet containing band pictures, song titles & times. Recorded live in Rome in March 1997.
   
   COMMENTS: The new & improved remastered version of "Coma Divine" is brilliant. New cover artwork and crisp remixed sound makes this totally worthwhile. While England's Porcupine Tree is always beautifully crafted music from the maestro Steve Wilson, this recording is where the band puts it all together on one stage. PT reaches so many different kinds of listeners (or at least they should)... catchy pop, hard rock, retro psychedelic (1970's style in the vein of Pink Floyd), electronic, etc. Wilson's strong writing and guitar wizardry can't help but take you on a mesmerizing journey every time you listen. I enjoy PT's willingness to be different and experiment. 14 tracks are featured on "Coma" - great live rendentions include "Signify", "Waiting - Phase I & II", the 13 minute "Radioactive Toy", "Up The Downstair", "Moonloop" and the 12+ minute "The Sky Moves Sideways", et all. The audience seems fairly small and very enthusiastic (and respectful at the same time)... in some songs you can hear a pin drop. Songs from "The Sky Moves Sideways" album dominate the track list on "Coma Divine". You'll also find a few tunes from "Signify" and a few from earlier releases. Due to this being a 1997 release, you'll find no songs from recent classics "Stupid Dream (1999), "Lightbulb Sun" (2000), or "In Absentia" (2002). Can't wait for a live album from PT featuring tracks from these awesome albums. If you're a fan of Porcupine Tree - you MUST own this release (5 stars).



3. Live albums seem to be only for the die hard fans of particular bands. When you're unsure of the particular content of their material, what basis for contrast do you have, right? I feel that's wrong, and upon visiting JB's I picked up a rather tasty 2 CD pack titled Coma Divine by one of England's best psychedelic alternatives, Porcupine Tree.
   Relatively unheard of down here in Oz, Porcupine Tree can be summed up in a short amount of words. Pink Floyd of the 21st century.
   Their variety of instruments, additional synthesisers and sound effect's shows why Steven Wilson (Front man and heart + soul of the band) is a musical wizard.
   It shows in this album. Recorded live in Rome before a modest crowd, the band plays songs you can find on recent albums (Signify, On the Sunday of life...) as well as improvised instrumentals.
   This entire album is just one large psychedelic vacation taking you on a philosophical journey about technology and social consciousness. In one word this album - inspiring.



4. I already owned the single-disc version sold on the Delirium label, but I saw this in a record store and couldn't resist (along with the dual-disc 'Signify').
   
   Yes, its a digi-pak, but its still got the plastic snap-on base, glued onto a duo-fold cardboard frame. It includes more (and better) artwork than the old Delirium release (this two-disc set is a Snapper release).
   
   Anyone wowed by PinkFloyd's Ummagumma Live album should listen to this superb recreation of these classic PT cuts (wow, PT's been around long enough to have classics already). All performances are flawless. This is real headphone music, and its a great introduction to older PT material for those not already familiar with the band (though I am remiss that they didn't perform the song 'Sever' on this set).
   
   For those who already own the single-disc version, maybe you should hold off unless you want the dual disc as a collector's item. It might be worth it if you want to upgrade to a remastered copy. Otherwise, there is only an additional 25 minutes on this two-disc set compared to the 76 minute long single disc. Unless you're burning to hear the extra tracks live, the single disc is still a good album. I find the sonics of both the single-disc and the two-disc set to be about the same, which is to say, excellent.



5. This is a great album representing the early stages of Porcupine Tree's music. Flawless playing from the whole band, especially some excellent drumming. Like the first reviewer, I haven't heard the original recording so I can't comment on the remastering. Although I will say that the sound quality is crystal clear and very full, so unless the original was already excellent this must be a great remastering job. I'm not sure which tracks are bonus tracks and I can't be bothered to look it up, but both discs are great beginning to end.
   
   Many people seem to have been introduced to PT through In Absentia, myself included. Although In Absentia is a great album, I do not agree with the previous reviewer who says that this is early work and cannot compare. It's true that this album cannot compare ONLY because these songs are a completely different style of music, and because this is a live recording and In Absentia (obviously) is not. But as far as quality, I really can't say that this material is any less great than In Absentia. In Absentia is more conventional in the sense that the songs are mostly average length and structured while many of the songs on here have longer periods of seemingly free form jamming and instrumentation. Assuming that you like this style of music just as much as the style on In Absentia (which I do), I don't think you will find this to be any less enjoyable than that album.
   
   Overall a great live recording and a pretty good place to start for those introducing themselves to the early PT material.

5 comments about Dick's Picks, Vol. 21: Richmond, Virginia, 11/1/85.

1. This three disc set is the only official release from `85.It includes songs rarely seen on other live releases from The Grateful dead like 'spoonful','lost sailor','gimmie some lovin','she belongs to me','gloria' and 'keep your day job'.
   
   This show would be 100 percent perfect if not for the fact that Jerry Garcia`s vocals are a bit weak on 'high time' and 'he`s gone' from the second disc.Otherwise this show if filled with top-notch performances and rarely played songs.



2. This show was a delight to the ears. They were on this day. If you still liked the Dead in the 80s you will like this Cd. I think it's got a nice happy vibe to it dispute the bands poor additude and drug use in that decade. Do you all love it, I do!!!!!!!! Peace



3. great couple of sets from '85
   spoonful, comes a time, lost sailor in 2nd set
   one of my favorite shows from this series



4. It's a good show. It seems to me from my limited listening to this point that 1980's shows usually are - Brent Mydland was a solid player and added energy. The fidelity is good. There's no particular extra-special something to place this above the other Dick's Picks or live performances available though. It's pretty much exactly the same band and same approach as on DP 13 from 1981.



5. It is no secret that Grateful Dead shows from the decade of the '80's could be hit or miss affairs, but the band was still more than capable of delivering stunning, if somewhat ragged, performances. 1985 stands out as a pinnacle year for great shows, and this one represented by DP 21 is among the top 5 of that esteemed year. From the "Dancin' in the Streets" > "Cold Rain and Snow" opener to the energetic reading of "Gloria" to close the second set, this show sparkles with a wonderful intensity. Jerry was in the mood for ballads this evening and he delivered : "High Time," "He's Gone," "Comes A Time," and "She Belongs to Me" are all played with some serious soul and heart. The rest of the band is on, too, with Bobby delivering the goods on all of his tunes (especially Gloria) and even Phil joins in with a fun "Gimme Some Lovin.'" In short, if you are new to the Dead, you might want to pass this one in favor of a pick from the seventies. The sound is a little thin (per usual for '80's shows) and there are some missed chords and lyrics...however, if you appreciate the Dead even a little bit or are merely a fan of honest and beautiful music, this collection won't disappoint. Oh yeah, if this amazing '85 show isn't enough, four juicy bonus songs from 1980 will surely satisfy those pleasure centers in your brain.

5 comments about Bowie at the Beeb: The Best of the BBC Radio Sessions.

1. David Bowie-Bowie At The Beeb ****
   
   
   For die hard David Bowie fans this is in as few words as possible a must have and a treasure. This is a incredible collection of David Bowie during the late 1960's to about 1972. This are all performances of Bowie at BBC in England. This three disc set is different then the other collection which only contains the first two discs.
   
   The first disc is a collection of songs that the average listener would not recognize as David Bowie songs. Some of the performances on this disc are uncomfortable as the range of styles is all over the board showing weakness that Bowie rarely shows. Highlights from the disc include 'In The Heat Of The Morning' 'Bombers' and the Hunky Dory featured 'Kooks.' But over all Bowie feels awkward during these performances like he had not yet found his skin.
   
   The second disc is the real gem in the collection. This is made up of material from Bowie's Hunky Dory and The Rise And Fall Of Ziggy Stardust And The Spiders From Mars. This is a great collection of music on this disc as it overs new and different takes on classic songs from Bowie's canon of music. Mick Ronson really shines during these performances. The whole disc is a real treat.
   
   The last disc only appears on only this version of Bowie At The Beeb. this is a performance from 2000 showcasing Bowie showing his age which is something we never expected from him. For one he still looks 25, and acts it but on stage now he doesn't hardly move and performs as if he is giving a speech. The performances sound great but you can tell, not to sound to cliche, that Bowie didnt really leave a pint of blood on the stage. Though 'Im Affraid Of Americans' 'Always Crashing In The Same Car' and 'Fame' are performed fantastically.
   
   Bowie At The Beeb is an interesting find if you can find it, it is worth the price but really only if you are a serious David Bowie fan.



2. `Beeb' is a British affectation for the BBC, the state-run media which plans (or planned) all television and radio for Great Britain. Bowie was around when the BBC was implementing its 4-station radio broadcasting, and he became one of the first guests in early 1968. BBC rules were strange and archaic by American standards, insisting that pre-recorded music represent only a fraction of airtime, the point being that this would provide employment for professional musicians. So it was that David Bowie appeared with a crew of musicians to perform his songs live a number of times over a four-year period.
   I'm a very big fan of Bowie's early work (reference my review of Images 1966-1967 if you're interested), but the earliest sessions on this collection are the least fulfilling. Disk one holds interest to Bowie-philes for historic reasons, but it is disk two that presents the artist in full flight. Working with Mick Ronson, his Ziggy Stardust-era songs shine brilliantly here, in some cases rivaling the album versions. "Hang On to Yourself," "Suffragette City," and "Ziggy Stardust" all rock with authority and grace. "Queen Bitch" has more energy than the version on Hunky Dory, while the songwriting brilliance of songs like "Changes" and "Oh You Pretty Things" come through loud and clear. Most telling are the two Velvet Underground songs performed here. Both "White Light/White Heat" and "Waiting For My Man" are definitive, surpassing all Bowie versions that were previously available and perhaps even surpassing Lou Reed's original versions.
   For those of you who are lucky enough to find it, a limited edition of this package comes with an extra disk of Bowie performing live at the BBC radio theatre in June of 2000. Search it out! The extra disk is extraordinary, featuring some of the best live Bowie ever recorded. The band is phenomenal, playing each song to perfection without sacrificing any energy. This version of "Stay" blew me away, forcing me to recognize the sheer funky power of this band. Just as mind-boggling are the versions of "Fame" (a new, `improved' version!), "Absolute Beginners" and "Man Who Sold the World". Every track on this extra disk is exceptional, making it an absolute must for even casual fans of David Bowie. A- Tom Ryan



3. David Bowie is indisputibally on of the most talented artists in music ever. His songwriting is always at a peak, and was always excellent in his early days, and that is proved on this fantastic collection from the BBC. All live, but you wouldn't know it because it's sounds as clear as his studio recordings. And how about those lyrics? Bowie is so inventive, and he's never gotten the due he's deserved. Look at the amount of work he's accomplished, and look how good he can still be; even better than most. He's amazing. One listen to this collection and you'll realize he's amazing too, i hope. If you're still in doubt listen to all of ziggy stardust, but trust me you'll love it.



4. CD2 - The first CD could be a symphony of (flatus) and I'd still give this 5 stars for the nearly immaculate performances on the second disk. In particular, "Hang Onto Yourself" (track 3), "White Light/White Heat," and "Suffregette City" (featuring Mick Ronson making this totally hot kissing noise with his guitar)crackle with energy. It is truly a thrill to hear these old favorites in such a new (as such) and exciting light. Bowie and Co. burn down the BBC studios. Repeatedly. Any rock fan (but especially an old Bowie fan, of course) is likely to meltdown in ecstacy upon hearing this.
   
   CD1 - Many hardcore fans will surely (sweet milk) over CD1 as well although I'm not personally crazy about all of it. Some of David's early Brittish folk period is represented which can be a bit hippy-dippy at times. The first 4 tracks, recorded in May of '68, fit that description although they do feature brilliant in-studio orchestral accompaniment.
   
   Much of CD1 does in fact rock. "Let Me Sleep Beside You" and "Janine" are very good, easy-going rockers recorded with Junior's Eyes who had a short-lived collaboration with Bowie and the session was never broadcast. Bowie delivers a stunning solo performance of Jacques Brel's "Port of Amsterdam" (vocal and guitar). The same session shows off Mick Ronson just a few days after hooking up with Bowie for the first time. They perform an intriguing, half-written version of "Width of a Circle." Ronson really cuts loose on "Unwashed and Somewhat Slightly Dazed" and "Cygnet Committee" is positively intense. Some studio hum can be heard on the session, an atmospheric reminder of the electric nature of these proceedings (that may or may not appeal to the listener). "Memory of a Free Festival" had sadly been edited for time and remains so.
   
   Recorded in June of '71, the last session on CD1 features all of the future Spiders From Mars as well as some friends on vocals and guitarist Mark Carr-Pritchard who played for a phantom Bowie project called Arnold Corns. Early embryonic versions of "Moonage Daydream" and "Hang Onto Yourself" were recorded and released under that name. The group stomps through "Bombers," a rare HUNKY DORY-era cut that sounds better (and less cheesy) than the studio version which I have as a bonus cut from the RYCODISK release of HUNKY DORY. "Looking For A Friend" is a country-ish, Stones-y rocker and they also turn in a rousing cover of Chuck Berry's "Almost Grown." And Bowie performs "Kooks" solo on vocal and guitar which he had just written for newborn son Zowie.
   
   Note: Those concerned about excessive voice-overs from BBC radio hosts (like the ones that marred the Jimmy Hendrix BBC release) can relax. There's very little talking over the songs and quite a bit of interesting Bowie banter on CD1. CD2 has nothing but back-to-back songs. Tracks begin with actual songs, not the preceeding dialogue.
   
   Bonus Disk (June 27, 2002 live at BBC Radio Theatre) - ****1/2 Excellent line-up (Earl Slick, Mike Garson), great choice of songs, Bowie in top form. Still, something's missing. A little too slick and professional, maybe? But this is great stuff. "Seven" comes off really well. "Always Crashing In The Same Car" is excellent and much more organic than the album version. The studio wizardry of "Little Wonder" and "Hallo Spaceboy" is expertly reproduced. This album takes on more definition with repeated listens and sounds better over time too. (Many live recordings can initially sound "same-y" from song to song due to same background vocalists, etc.)
   
   We can probably thank Kurt Cobain for reviving Bowie's interest in the post-apocalyptic "Man Who Sold The World," wonderfully played here. "Fame" is vamped-up with a slightly altered rhythm, still funky as ever. "Stay" rocks out. And on the final cut, "Let's Dance" is reimagined as a Carribean breeze before, suddenly, the beat kicks in and the audience "trembles like a flower."
   
   This entire package is most worthy. Highly recommended!



5. I rarely listen to this although having said that I have been listening to it a lot more recently. The fact is is that this is a hard thing to recommend. You might not have some of the songs that are on here and for that you might want to top up. I bought it as an overview of Bowie's earlyish career ( I'm not going anywhere near The Laughing Gnome ). Which in hindsight was probably a bit of a mistake but I wouldn't buy this album if it didn't have the extra CD - call me banal if you will but that's what happens when you have collector tendancies in you!

   Bowie's early stuff ( pre-Ziggy ) sounds anodyne and twee. The conversations you hear on the CD make Bowie seem genuinely nervous but pleasantly friendly. Of course he might not do one song " because to do it would be possibly over everyone's budget." You could take that as nerves if you will but this is the BBC we're talking about. Their budgets at the time were not astronomical.

   I've said this before that when you see " Live At The BBC " it doesn't really mean it's really *live* if you've ever heard BBC radio presenters like John " that was quite tasty " Peel or any others you'll know that they say " and we have [musician's name] here live in the studio." It's in a studio and it will never give you a live feel for the songs. It's just BBC engineers working on Bowie's songs and in return you could I suppose think of them as session outtakes from his album. But one thing should be made clear - if you haven't got Bowie's version of Jacques Brel's Amsterdam, this is where you can get it. It's passion almost matches Le Grand Jacques in it's intensity

   As the second CD moves and the classics come in you begin to think " this is more like it " and Bowie seems more at ease with everything. Notice his covers of White Light/White Heat ( " make me sound like Lou Reed ")

   Now the third CD becomes even more sprawling since it tries to fill in all the places that the first two CDs left out. And it's not always a winner. Little Wonder and I'm Afraid of Americans are terrible songs but actually sound better than what they sounded like on their original album. Still doesn't make it good but at least you can probably tolerate it this time. But overall it didn't capture the gig very well since I saw this on TV when I was 15 and I thought the gig was fantastic. Bowie really had them going ( but then that was to be expected right? ), the CD just doesn't capture the songs well and though I like nearly all of the songs, it lacks the cohesion that the show actually had. Still, for the money I paid for this it's not too bad. But then, there's always a nagging feeling that it could be improved but whatever about that, the sheer amount of material you have here you can be somewhat happy if you want to buy this.....of course that is if you are a diehard fan. If you're not - try figuring out which compilation you want to get of Bowie. There's a lot of them around!