5 comments about Carlos Santana & Buddy Miles: Live!.

1. I think that small amount of reviewers who gave this one star were on drugs........BAD drugs!!! I'm a drummer and while Buddy Miles may have not been Buddy Rich he certainly didn't deserve to be called a "bad drummer." And I'm a real sucker for a Hammond B-3 organ.....the very first note I heard of it and I was hooked. And the jams? INCREDIBLE!!! I was in high school when this album was recorded and wish I had been as fortunate as several of the reviewers were to see in person. Bad reviewers get the wax out of your ears.......you're not hearing properly!



2. Self-indulgence and over-indulgence go hand-in-hand with this poorly recorded relic "Carlos Santana & Buddy Miles! Live!" Hearing this recording again recently, I winced at how bad it sounds. In truth, this one was never a favorite of mine, and now the meandering, pointless jamming, slipshod playing, and all-around poor quality of the recording render it a relic.
   
   Perhaps the musicians enjoyed cranking out some tunes inside a dormant volcano while enjoying some of nature's finest highs, but the novelty does not translate to a pleasant experience for the listener in any setting. I would grant it two stars for historical value but hope I never actually have to listen to this sprawling mess again.



3. There seem to be all sorts of urban legends surrounding this 1972 Top Ten album from Carlos Santana and Buddy Miles. Some people claim that the concert never took place, which seems unlikely since Santana and Miles toured together extensively in late 1971 and early 1972. Others suggest that Carlos played little on the disc, and while I respect the six-string talents of Neal Schon (who legend also says turned down an invitation from Eric Clapton to flesh out Derek and the Dominos to play with Santana's band, and who built a great reputation for himself as lead guitarist for Journey), there are numerous guitar runs on 'Live!' that have S-A-N-T-A-N-A written all over them. I think many of the myth-makers are deluded by the overly-engineered master tapes. It was common practice in the early seventies to modulate the amplitude of the crowd noise, as is evident on programs such as ABC-TV's 'In Concert' late night program, and this seems to be what was done with 'Live!'. While it sounds hokey at times, that doesn't mean the performances didn't happen.
   
   Perhaps also lending to the controversy is the liner notes listing the recording date as "January 0, 1972", a non-existant date, suggesting the concert never happened. But the concert actually took place in Hawaii, in the center of the Diamond Head volcanic crater, on January 1, 1972 during the 'Sunshine '72 Festival'. Supporting that fact is a collage of about fourteen photographs from the concert itself. I can see Carlos playing guitar in several of them, and there's a number of Hawaiian-looking people standing around as well. That's proof enough for me. I guess this one doesn't rise to the level of the McCartney death hoax!
   
   Fortunately, the music does rise to the occasion. I first acquired a copy of this disc as one of my 12 "free" records when I joined the Columbia Record Club. I wasn't sure if I would like it, but in 1972 most people were convinced you couldn't go wrong with Carlos Santana, and I was one of them. I wasn't disappointed. While it may take a little time and a few listens for the 25 minute plus 'Free Form Funkafide Filth' to grow on you... it does. I'm not sure how 'free form' this filth is (it's credited to Miles, Santana, drummer Gregg Errico, and bassist Ron Johnson), but it manages to hit a funk groove on several occasions and passes the ample running time (especially for a vinyl disc) admirably.
   
   The real gem, however, is side one. While the track listing lists five seperate tracks, tracks one and two ('Marbles' and 'Lava') and tracks four and five ('Faith Interlude' and Mile's best known composition, 'Them Changes') segue seamlessly into one another, creating a musical suite. Only an upbeat, horn augmented version of 'Evil Ways' stands alone, almost as a centerpiece. All of these tracks, save 'Faith Interlude', which is perfectly titled given it's bouyant strains, are funky tomes of dynamite. Robert Hogins on organ and Coke Escovedo on timbales, along with a trio of conga players, do yoeman's work keeping up with Santana, Schon, and Miles. Over the years these tracks have merged in my mind, and belong together as one piece of work every bit as much as the flip side of the original vinyl disc.
   
   This is at least the third time this disc has been reissued, having been remastered in 1994 and reissued in 2005. The pressed copies of the 2005 release must have gone quickly, explaining the need for this 2008 reissue. Sadly, no additional tracks have ever been added to any of the reissues, suggesting that no additional quality recordings from the concert exist. That's a little hard to believe, but what else could explain it? If additional material comparable to what is being offered here is ever released, criminal negligence charges should be levied against Bob Irwin, the "Reissue Producer", for keeping it under wraps for so long. Regardless, your classic rock collection isn't complete without this one.



4. If you don't own this, I'll tell you now- buy it! This is perhaps the ultimate jam album (I'm not kidding) and its at single album price! Recorded in an extinct Hawaiian volcano it is as mind-blowing as the concert site. One of my best friends' brother-in-laws was stationed at Pearl Harbor in '72 and was actually at this show- he still can't quite describe it- you get the idea.
   I've seen Santana near 30 times live (including once with Buddy Miles in the mid-80s) but none of it touches what he does on this recording. The accompanying brass and flutes on this record take the sound to a whole other level and Carlos plays with a fury that is unmatched on his other stuff- which I own all of. Absolutely not to be missed!
   Best,
   Rick D



5. This was the first album I traded in way back when. I just played it on a streaming service to see if I was wrong. I wasn't.
   
   Pointless riffing, overdrawn song endings, endless repetition, meandering instrumentals, too much inter-song crap (including 3 minutes of band tuning at the start of "Free Form"). Songs don't really resolve, they just end when everyone gets tired of playing.
   
   There are much better versions of "Evil Ways" out there; this one is OK, but seems rushed and I'm not that fond of Miles' howling throughout.
   
   I truly don't get the 5-star reviews of this. I've never been that stoned, including when I bought this new. If "Hey man, lets get together and jam." is your thing, then maybe you'll dig this. I don't.
   
   Oh yeah, it's miked badly too.

5 comments about Steve Miller Band: Live!.

1. Steve Miller Band live is with no doubt the best recording of a live performance I have ever heard.I,m not saying that all of the other LIVE recordings we have loved for years are not as good of a music experience,such as ALLMAN BROS filmore,BOB seager,FRAMPTON.What I,m saying is this STEVE MILLER is by far the best example of how a live recording should sound.After working in the live music business for 15 years I heard many types or styles of live mixing,S m LIVE is the best.Just listen you can hear the mixing changes as they should be,everything or I should say all of the instruments have their position in the mix and then BAMM another lead jumps out to the front of the mix or MR> buffalo with his dynamic harp,it just seems each feature of the song just keeps jumping further out front never loosing anything into the background.Its all there,my hats off to the front of house tech on this project,hope to hear mor of your work and of course lets hear more from STEVIE miller.



2. Steve Miller live is a decent live album. The song than what is missing on the CD is available on the cassette version.Steve Miller live is a live CD containing hits mainly from The Joker,Fly like an Eagle, and Book of Dreams, with a few songs thrown in from other albums. The song choice is excellent in my opinion,but the performances of on the album aren't very good. Fun if you enjoy live albums but not essential.



3. I'm searching for that missing tune which I had on the original tape version. A real pity it's missing. That tune alone would have been reason enough to purchase this cd. Still, great versions of the songs that are included here.



4. This CD is fine as far as it goes. However, there is a Laser disc available of the same title (and cover art) leading one to believe the CD contains the same music. Not true!! There is a great Norton Buffalo tune at the end of the laser disc version which is painfully absent from the CD. Those who've never seen the laser disc version don't know what they're missing!! The CD is still worth the money but I felt somewhat cheated.



5. I first heard this on tape years ago and have worn the tape to death. Now, I've got it on Cd so it can last. I think these are the best versions of the songs. I looooooove this Cd. It is really awesome. Try it, you won't regret it!

5 comments about Genesis Live: The Way We Walk, Vol. 1 (The Shorts).

1. ONLY COLLINS GETS INTO IT.
   
   As you probably know, there are two CD's released from the We Can't Dance concert tour, We Can't Dance, The Shorts and The Longs. Most of the songs from this tour came from the three previous albums, "Genesis", "Invisible Touch" and "We Can't Dance".
   
   This biggest problem with the CD set is the sound quality. Early CD's tended to have poor sound, but by 1992, when this was released, the sound quality had improved greatly.
   
   The problem with the sound is that it is muted with limited dynamic range. It is poorly mixed with the band sounding deep in the background. The only plus side is that the audience noise is kept to a minimum (although some people like to hear the screaming fans of the music and the whistles in the middle of a solo).
   
   The band does not sound like it is in it, but some of that may be to the poor mix. During the songs on The Shorts, no one in the band breaks out or does anything interesting. I think the studio versions are much better and much more alive than these tracks.
   
   The only one who does break out is Phil Collins. He really gets into a few of the songs. But, unfortunately, he gets little support (or that support is just mixed too far back to be heard).
   
   In the end, this comes out as a poor quality greatest hits CD.
   
   Compare this CD to the other live Genesis CD's, especially Seconds Out. On those CD's the music is alive and vibrant. I have other live tapes of Collins lead Genesis concerts that are sensational. Colins can be very entertaining and charismatic and the band can play some stunning music. None of that comes through on this CD.
   
   This CD might benefit greatly from remastering. Genesis has always had problems with sound quality on their releases. Their early LP's on the Charisma label always had defects and pops. I actually bought these on cassette, hoping for a better listening experience. Of course, there were no crackles and pops, but the sound quality was not up to LP standards. The release of their catalog had all the problems of the 1980's CD releases. The transfer to digital was poorly done and the sound was muted. Now many of them are available in a remastered version.



2. ...is how it reads, but the way it sounds is great. Own it. Love it.



3. Genesis' 18th album entitled The Way We Walk Volume One (The Shorts) was released in November of 1992.
   This live album was recorded on different dates on the band's Invisible Touch and We Can't Dance tours in 1986/87 and 1992 respectively.
   The first of this two-part series of live albums from the height of the band's peak of popularity as a three piece (lead singer/drummer Phil Collins, guitarist/bass player Mike Rutherford and keyboard player Tony Banks (plus help from drummer Chester Thompson and guitarist/bass player Daryl Stuermer in concert)) focuses on the band's hit singles from 1983-1992 and the songs are, in most cases, superior to their studio recording counterparts.
   We begin with a great version of "Land Of Confusion" which was recorded on the WCD tour. Next is an excellent version of "No Son Of Mine" which rivals its studio counterpart. We then follow with an excellent version of "Jesus He Knows Me" which features fiery guitar work from Stuermer and Phil's mocking of the evangelists towards song's end (shame that the full intro where he talked about the shadiness of preachers (and mocking of a few) was deleted). Next, we go back to the Invisible Touch tour for an excellent version of "Throwing It All Away" recorded at Wembley Stadium in 1987. Then we go forwards in time back to the We Can't Dance tour for a great reading of "I Can't Dance".
   We then go back to the Invisible Touch tour for "Mama" which is the same version as on the Wembley DVD. Then we head back to the WCD tour for "Hold On My Heart" which is a great version. The next two tracks come from the Invisible Touch tour. First is "That's All" recorded at Wembley Stadium. Then it's "In Too Deep" recorded in Los Angeles on the Invisible Touch tour (was dropped from the 1987 leg). We close with the medley of "Tonight, Tonight, Tonight" and "Invisible Touch" from the WCD tour which was a great closer before the "Turn It On Again" encore (which was not on either part of this live album series).
   The Way We Walk - The Shorts reached #35 in the US and became the last Genesis album to go Gold in the U.S. of A. (until the Turn It On Again - The Hits collection).
   Recommended for all Genesis fans!



4. This past year, we've seen a lot of reunions from some of Rock and Roll, and the influences that they've made. While most of the hype has been around The Police and the reunion of Sting, Stewart Copeland and Andy Summers, another trio had reunited for the first time in over 15 years, Genesis. With the hype of Phil Collins, Mike Rutherford and Tony Banks coming together, many had wondered if the group could really show that they still had the spark that made them a legacy for decades. While original members Peter Gabriel and Steve Hackett passed on the opportunity, the group showed themselves as a threesome, which was where the group showed their commercial diversity the broadest. That was also shown for what was the last time back in 1992 with this live set.
   
   Live: The Way We Walk - Volume 1 The Shorts, is a single disc compilation of Genesis during their tour for their We Can't Dance album. The songs here on this album don't show as much diversity for hard core fans, but mainly showcases a live set of their big songs from their 80's top of the game. the songs here show well from live performances of Invisible Touch, Throwing It All Away, the somber In Too Deep, as well as the deep and haunting Mama. The songs here were all captured well on the album. Sadly, the album though could've shown a little bit more to appeal to hard core fans. A lot of great tracks were not highlighted during this live record like Abacab, Follow You, Follow Me, Trick Of The Tail and Dutchess, that could've added great diversity, while some other songs like The Lamb Lies Down On broadway and Home By The Sea, were displayed on a second volume which felt a bit shorter to deliver to all fans.
   
   All in all, Live: The Way We Walk - Volume 1 The Shorts isn't as definitive for what should be the best of Genesis live, but deliver a decent group of songs performed nevertheless. While the collection isn't as diverse to appeal to all fans, as was the case with their 2007 Live Over Europe live reunion album, it still has a lot to appeal for those 80's fans of the group. They can sing, but here it isn't the eternal dance.
   
   Album Cover: B
   
   Songs: C+
   
   Price: C
   
   Mastering: B
   
   Overall: C 1/2+



5. This cd contains the "hits" from the band, under Phil Collins era, I have to say that I'm a bit tired of hearing these songs, but also, most of these live versions are "refreshing" to hear in a different version.
   I prefer these versions to the original ones. The sound is pretty good for a live release. That's All folks !

5 comments about King Biscuit Flower Hour Presents: Robin Trower In Concert.

1. In the mid-70's, my younger brother and I would do our high school homework in separate rooms, listen to the radio, and yell out which station to tune into for the next great song. More often than not, it was Rochester's WSAY, a great and truly progressive rock station (on the AM dial!).
   
   I only mention this because it was only there that you could hear in frequent rotation such classic songs as "Ice" by Crack the Sky, "Free Hand" by Gentle Giant, "Nowhere's Too Far For My Baby" by Frampton, or "Day of the Eagle" by Robin Trower. A belated "thank you" to WSAY for opening up my musical mind.
   
   At that time, I was a folk-rock junkie beginning the transformation into a prog rock champion. I was not a fan of the blues, and I did not yet fully appreciate heavy electric guitar; but I knew there was talent and emotion in Trower's music, and I became an avid closet Trower collector and listener long after WSAY changed formats. This recording of a King Biscuit Flower Hour performance from 1977 shows Trower at his peak, and is a treasure for anyone who ever fell in love with this Englishman's unique style of electric blues/acid rock guitar.
   
   James Dewar's vocals are great (always reminded me of David Clayton Thomas [from Blood, Sweat & Tears] doing an imitation of Jimi Hendrix!), and he gets a chance to focus on vocals-only here as bass duties are skillfully carried by Rustee Allen, while Bill Lordan plays all drums. Trower himself is flawless in his execution of these killer tunes, and you get to hear him talking and joking with an adoring crowd. He shines brightest on long slow jams, and we're treated to a couple of classics on the extended versions of "Daydreams" (12 minutes) and "Bridge of Sighs" (9 minutes).
   
   This recording does a nice job of capturing the fun and excitement of the show. My only complaint is that the bass was mixed kind of low - to get a nice dynamic feel for this music, I suggest turning the bass way up on your stereo equalizer (especially so you get the most out of Allen's bass solo on "Messin' the Blues").
   
   A fantastic 70-minute overview of Trower's music in the late 70's, I highly recommend this one-of-a-kind cd.
   
   I value interesting music that is played and recorded well. This cd's rating was based on:
   Music quality = 8.9/10; Performance = 8.5/10; Production = 8/10; CD length = 10/10.
   Overall score weighted on my proprietary scale = 8.8 ("4-1/2 stars")



2. In Concert is a great performance by Trower's best line-up playing his best material.
   
   His studio albums have always seemed too slick to me. This live recording adds some needed rough edges to the Trower sound. Although the late James Dewar's vocals could be a little cheesy at times, he's great on this one.
   
   Okay, so Robin was influenced by Hendrix, tell me what guitar player from the last 30 years hasn't been? But it is not true that Trower was just a Jimi wannabe. He was a *peer* of Hendrix, one of many guitar players who explored a psychedelic twist on the blues in the 60s and 70's.
   
   "Further on up the Road", is a Trower-ized version of the blues classic and it is THE shining jewel on this CD. This song alone is worth the price of the CD.
   
   2004 is the 50th anniversary of the Fender Stratocaster and the 30th anniversary of Bridge of Sighs. I can't think of a better anniversary present than this album. Enjoy!



3. This is the ultimate live album. Dewar's soulful thick voice and Robins GUITAR work is at its PEAK!!!!!!!
   
   This is energized and raw. Just get it if your a Trower fan or just a guitar rock fan. This live album can NOT dissapoint.



4. If you're reading this review, then chances are you are already familiar with the music of Robin Trower. If you aren't, and you happen to enjoy Electric-Psychedelic-Acidrock-Blues, then rush out to any record store and score yourself a copy of Bridge of Sighs. If you like it, then you'll absolutely dig this previously unreleased 1977 gem from the vaults of The King Biscuit Flower Hour (it was never aired on the radio).



5. James Dewar lets Rustee Allen play the bass and concentrates on the vocals, a perfect tradeoff. The band is having a great day and plays many of the greatest Robin Trower songs. All in all it's like being there with the band, esp since the whole concert is there without breaks and with many of the songs in extended versions. Nice surprises includes a very bluesy version of "Too Rolling Stoned" where the band deviates quite a bit from the studio version as well as a version of "Daydream" in a really slow tempo that allows one to hear all the nitty-gritty licks that Robin Trower plays in this tune. The album also includes possibly the best version of "Bridge Of Sighs" that Robin Trower has ever recorded. All in all this album is a true undiluted blues/rock concert experience with real musicians playing real instruments in front of a captivated audience. Even if you have all the studio versions of the songs you'll need this album to experience! the live Robin Trower sound.

5 comments about Night Watch.

1. I read through some of the reviews here, and they all tend to reflect my feelings almost exactly. This performance was captured when the quartet of Robert Fripp, David Cross, Bill Bruford, and John Wetton were at their peak. Timewise the performance comes sometime after Starless and Bible Black, but before Red. As for the performance itself, there's not much to find fault with, the show is fantastic, flawless, brilliant. The cd packaging is also of high quality, and the liner notes from Fripp are an excellent addition to a perfect package. Add this to your growing King Crimson collection!



2. This is a very fine concert that has been around in bootleg circles for years. According to the liner notes there might have been another song for this show but it's missing from all of the band's master tapes. There are also a couple of techincal problems-1)David Cross' mellotron breaks down during The Night Watch 2)The end of Improv:Starless and Bible Black is missing due to the reel running out 3)part of these performances were edited, overdubbed and used during the making of the album Starless and appearently when this was put together the had to use some of the misc overdubs because the original parts were erased.
   
   As far as the release itself, it is a must have. The songs on here are done in a fine fashion and most of the tech issues have been handled so well that you won't even notice them. Easy Money starts off rocking so hard that you'll be on your knees begging for mercy. Lament, Book Of Saturday and Fracture are all great versions and will put a great big smile on your face. The Night Watch features David's mellotron going down so he quickly moves to electric piano. The Starless improv is great. Improv:Trios is one of the most wonderful and pretty songs they've ever come up with. The same can be said for Exiles. Improv:The Fright Watch is again interesting. The Talking Drum and Larks, Tongues In Aspic(Part Two) rock as hard as the opening Easy Money. The Schizoid Man also rocks and showing off how great this band can handle an older favorite. If you like King Crimson, get this.



3. Starless And Bible Black has always been one of the KC albums I appreciated the least (not sure why), so that would explain why I don't like this as much as many others (a great deal of the 2-disc set is from that album). But get it if you dig KC, particularly this era. Good stuff, just not as good as B'Boom or Thrakattak (heh)



4. I'm a huge Prog fan and a huge King Crimson fan, and this was my favorite lineup of my favorite Prog band, recorded live at the peak of their powers, complete with some facinating and revelatory liner notes. Ain't no way you're going to find me saying one bad thing about this fantastic 2-CD document of the band's November 3rd, 1973 concert in Amsterdam.
   
   This is the show that served as the basis for the Starless & Bible Black album, without overdubs and with crowd noise. Even with technical malfunctions, this is one of the best live albums I've ever heard. You think the mighty Crim was going to let a little mellotron meltdown dilute their power? Think again.
   
   Buy this CD. Cue up "The Talking Drum" and let the CD play through to the end. Now scrape yourself up off the floor and put on the best-ever version of "Exiles." Then listen to the whole thing. Marvel at the way KC could go from the raw power of "Fracture" to the delicate and beautiful "Trio." Thrill to the brilliant interplay of 4 insanely talented musicians with a taste for daring improvisation. Shake your head in disbelief at how astoundingly good KC was during this period.
   
   Essential, powerful, gutsy and timeless are just four of the words that come to mind when I think of The Nightwatch. Here's two more: Highly Recommended.



5. Robert Fripp has turned the King Crimson archives into a cottage industry, releasing countless live recordings through his label, Discipline Global Mobile, and the "King Crimson Collector's Club." At this point, live King Crimson albums outnumber their studio recordings. You really need a scorecard to keep track of live Crimson.
   
   "The Night Watch" is among the best: a double live CD recorded at Amsterdam's Royal Concertgebouw in November 1973. This features arguably Crimson's (and progressive rock's) greatest lineup ever: Fripp on guitar, John Wetton on bass and vocals, Bill Bruford on drums & percussion, and violinist David Cross. The concert is noteworthy for producing about half of the "Starless and Bible Black" sessions, which were recorded live and later polished for inclusion on that record. (If you already own "Starless and Bible Black," don't hesitate to pick this up as well.)
   
   The live set covers an admittedly narrow portion of Crimson's career; 10 of the 12 tracks appear on either "Larks' Tongues in Aspic" (1973) or "Starless and Bible Black" (1974), with the unreleased improvisation "The Fright Watch" and a relatively rote version of "21st Century Schizoid Man" thrown in. What the disc lacks in diversity, it makes up for in intensity and live energy. "Easy Money" and "Lament" rock harder and faster than their studio versions. The live setting magnifies the epic grandeur of "Exiles." And the hypnotic, dynamic rendition of the "Talking Drum/Larks' Tongues in Aspic, Part II" medley achieves new levels of aural euphoria.
   
   King Crimson always excelled in the studio, but they really come into their own on stage. "The Night Watch" illustrates this as well as any other Crimson live album. If you aren't familiar with the mid-1970's incarnation of King Crimson, this is a great place to start. If you're already a diehard Crimson fan, this set will become an indispensable addition to your collection.

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 Dick's Picks, Vol. 9: Madison Square Garden, New York, NY, 9/16/90.

1. OK, if you consider the place the band was in this night it's a good show. Overall though, it's a little weak. Obviously Bruce Hornsby cooks - hello? But overall the band is tentative, and it's Vince's 9th show. God Bless Him, I just don't think Vince was the best fit for them - even though he did eventually find a place for himself in the music once he gained some self-confidence as a member of the band. (It's a shame that happened right as Garcia started to slide for the last time...) Steve Urbauer Stephen Urbauer



2. I don't really have much of a problem with the Dead releasing concerts from this era; even though most of the shows they played around this time really weren't all that great, there are still some really awesome ones that deserve a release in this format. However, this concert definately isn't one of them. Vince doesn't seem to know what he's supposed to do wtih most of the songs... and his volume's turned up, so the listener has to endure his fumbling all over all three discs. The rest of the band seems really worn out and confused, which makes sense; they had just lost Brent, who had been playing with them for more than ten years and was at that point an integral part of their sound.
   
   I suspect that this is one of those concerts released as a DP because of "historical value." It was, after all, one of the first concerts without Brent in the picture. Unfortunately, the band doesn't seem to have adjusted to the lineup change quite yet. If you want to hear a great concert from this approximate era, try Dick's Picks 17. Just whatever you do, stay far away from this show. It is completely unparalleled in its suckiness by any other volume in this series I've heard so far (and I've heard a lot of them).



3. Some lovely stuff on this album such as the He's Gone>No MSG Jam>Drums>Space section where everybody really shines. Morning Dew has some excellent singing and playing by Jerry. I Need a Miracle has some good energy and those songs make this CD worth buying. But much of this album is as sleepy as the Dead ever got while still managing to hold it together. Dick's Picks Vol. 9 is a good album, not a great one. Unfortunately it's a snapshot of a band in slow decline: Jerry's sounding creakier in the vocals (which I kinda like) but his guitar playing doen't have the fire he used to be capable of. Most disappointingly, the drummers often plod along in an almost perfunctory thud, whack kind of groove. They aren't really engaged for some of this album rather they seem to be cruising on autopilot. Keyboardists Bruce Hornsby and Vince Wellnick were fairly new additions when this was recorded and everybody was feeling their way about and so the music is a tad stiff at times. But that's understandable. Often though they inject some well needed instrumental enthusiasm to the proceedings despite some of the odd timbres Vince experimented with.
   
   Overall, DP 9 isn't bad, but isn't essential either. The energy level just isn't high enough for my tastes despite some very good playing and moments of beauty. For me the nineties were characterized by a gradual decline in the bands abilities/energy until by '95 they were a pale shadow of themselves with Jerry barely able to play or sing. So while DP 9 is good, compared to their peak years of '72 to '78, (not to mention '80 and '81) it's kinda sleepy.



4. The gig here is pretty good, considerably better played than the gig on Dick's Picks 17, but the very muffled sound quality lets it down badly. I would have given it four stars were it not for the poor sound quality.



5. Having read the negative reviews posted regarding this show, I just had to chime in with my take. This is a show which truly rewards repeated and careful listening...the tasty blues interplay on Little Red Rooster, Jerry and Bruce having fun all over the place, and, I don't care what you nay-sayers think, a beautiful and powerful second set. Morning Dew gave me chills the other day and the jam after He's Gone is wonderfully magic. Granted there are some weak spots, but that's all part of this show's charm. Sit down on a cool and windy fall day and enjoy this one!!!

4 comments about Reunion.

1. The Hollies were and are one of my favourite groups. Allan Clarke's voice, the trademark of the group, really is still there. I don't usually care for live albums, but this is a delight and made wish I had been there for the recording. Yeah, some of the songs are not duplicates of the 1960s songs, but you get the idea they were just having fun. I am sure the fans felt the same way. Hey, times has passed. While they do not duplicate their early works to the letter, they are good to hear them doing them, loving them for giving us one more go around on the carousel!
   
   Especially great is to hear Alan chiming in on the CS&N "Teach Your Children" I just wish the album had more and more of their hits.
   
   Thanks for one more trip down memory lane.



2. I wish there were half stars for the review because I would give it 2 1/2 stars. Read the other reviews here for details about the origins of this concert CD. Although this concert was technicaly very well recorded the actual performance was just "OK". There are moments when the vocals are perfect and some when they are very shakey. The use of the keyboards in place of guitars is a bit disappointing especially on the intro to "Bus Stop". This CD is historical since you get to hear Graham Nash sing on songs that were recorded after he left the band like "He Ain't Heavy, He's My Brother" and "The Air That I Breathe". It also gives you a chance to hear songs Graham might have brought into the band as they run through "Wasted On The Way" and "Teach Your Children". In the liner notes Graham mentions that though he enjoyed being out with his old friends, the tour also reminded him why he left the band in the first place. The Hollies were a great band but on this paticular day they sound a little tired. The bottom line is there is no energy to these performances.



3. This brief reunion of 4/5 of the Graham Nash-led 1960s Hollies lineup resulted in a U.S. #29 hit, "Stop in the Name of Love", that recaptured some of the old Hollies magic, and an album, "What Goes Around", that mostly didn't, due to a preponderance of weak material and a then-trendy synthesizer-heavy sound. The tour that followed echoes the comeback effort of the fictitious band in the film "This Is Spinal Tap"; gigs were cancelled or replaced with ones at lesser venues, such as this concert at Kings Island Amusement Park in Cincinnati, Ohio. Musically, once dynamic guitar-driven tunes such as "Look Through Any Window" and "I Can't Let Go" sound rather limp and cheesy with the over-reliance on keyboards. The best moments here, therefore, include an acoustic version of "King Midas in Reverse" and a pair of CSN tunes, proof of The Hollies' superior vocal harmonies. While it is good to hear Nash sing his solo vocal bit in the ever-charming "Carrie-Anne", one misses his opening lead vocal on "On A Carousel"; here it is sung by Allan Clarke. Of the new material, the two best songs, "If The Lights Go Out" and "Take My Love and Run" are sorely missing; the former was played at this show, but is absent from this CD for reasons unknown, and the latter wasn't in the set list at all. Instead, we get two others; the mediocre "Someone Else's Eyes", which actually made the Billboard AOR chart, even though it was the B-side to the downright bad "Casualty", with its synth riff sounding too similar to Laura Branigan's "Gloria" for comfort. The nostalgia-fueled show ends with an extended version of The Hollies' biggest & best U.S. hit, "Long Cool Woman (in a Black Dress)", featuring Tony Hicks delightfully working in some "Shakin' All Over" licks.
   For a band that always has claimed to be at its best on stage, it is tragic and ultimately damaging to The Hollies' reputation that the only live concerts commercially available are this one and the 1976 New Zealand show, neither of which were recorded during the band's peak years. Hollies fans can only hope that the live concert vault door will open wider one of these days.



4. This re-release is, essentially, the same album as "Archive Alive" released several years ago, but with additional tracks from the "What Goes Around" album that appeared on the bootleg version called "Hello Graham Nash" - "Casualty" and "Someone Else's Eyes." Archive Alive received criticism for not including these tracks. In addition to the inclusion of these two tracks, which are wonderful, there is more banter and conversation between tracks on this CD. The liner notes are the same as the "Archive Alive" release, but with different photos, some from the same shooting that resulted in the cover shot for the "What Goes Around" studio album. It's wonderful to hear Graham's harmonies on tracks that recorded after he left, such as "He Ain't Heavy" and "The Air that I Breathe" and to wonder how the studio versions might have differed had he stayed with the group, and to hear the Hollies do some of his CSN material. I bought my first Hollies record in 1965 ("I'm Alive") and who would have thought that I would still be buying their music 34 years later!! All in all, a great performance with Graham Nash during their short Fall 1983 US tour.

5 comments about Chicago XXVI -- The Live Album.

1. First of all, to all of you critics who only accept a band's original studio recordings, this IS live and this IS Chicago in 1999! You WILL hear different voices.
   
   What you will also hear is great and new harmony. You will hear new life to some of the most classic rock hits of what could have been an era gone by. You will hear a 13:29-minute-long melodic and creative blending of Make Me Smile / So Much To Say / Anxiety's Moment / West Virginia Fantasies / Colour My World / To Be Free / Now More Than Ever. You will hear guitar rifts with more of an edge than the original studio versions. You will hear clear and impressive horns. You will hear some of the most crisp guitar and vocals of any live cd. None of that "over there somewhere" sound as on so many live cds these days.
   
   And hey, what other Chicago live cd/album has Feelin' Stronger Every Day? Just You 'N' Me turns into a cool jazzy piece (with flute) that sounds much like Traffic. And for a special treat, you'll get Michael MacDonald (of Doobie Brothers fame) singing Your Love Keeps Lifting Me Higher.
   
   Here is the track list and song lengths:
   the blend (see above) 13:29
   I've Been Searchin' So Long 4:39
   Mongonucliosis 3:39
   Hard Habit To Break 5:16
   Call On Me 4:33
   Feelin' Stronger Every Day 4:24
   Just You 'N' Me 6:17
   Beginnings 6:17
   Hard To Say I'm Sorry / Get Away 5:38
   25 Or 6 To 4 5:53
   Back To You 3:41
   If I Should Ever Lose You 4:30
   Your Love Keeps Lifting Me 4:10
   
   How many other bands who started in the late 60s, endured with new hits into the 80s? How many bands survived the loss of their most recognizable singer?
   
   I have the often-repackaged 8-song live Chicago cd, and the 4-cd Carnegie Hall set, and the top-drawer Live In Japan (I paid $90 for it, and it is worth it). Chicago XXVI doesn't replace those last two productions, but it is definitely worth having for your listening pleasures!
   
   Chicago has brought their road show my way for several years, most recently with Earth, Wind & Fire. Wow, what a show! 3 1/2 hours of energy, as if these guys were still in their 20s! This summer they tour with America.
   
   My opinion is not that they have too many live cds. They need to release a very new one, with the energy that they rocked us with on '04, '05, and '06. Give us a track list stuffed with just the best stuff, including those mesmerizing long live renditions. My next $90 is ready!



2. I love this CD. I don't know about the studio tricks, though. I don't doubt that some in-studio editing happened on this, but when I saw them live at DTE Energy Theatre a few years back, they did not sound much different than this.
   
   Sorry folks - I love and miss Terry, Peter, and Danny (is that the three of them parachuting out of the plane in the cover picture? Maybe it is the three wind players? I know - I'm reaching!) - - - but, this present line-up is the best ever. None of the Original Seven can ever be replaced, but today's Chicago is made up of members that want to be in Chicago, that care about the legacy of Chicago but who also want to keep the sound relevant and current.
   
   In my Night and Day review, I state that the present era of Chicago began then. This is the era where they finally get it together after several personnal shake-ups. It represents the culmination of a search that began with CTA, and never really was completed, which is - What Is Chicago? I really feel like they have it altogether now. Sadly, the industry doesn't seem to care, but no matter . . .
   
   This era of Chicago will last until the industry and fan base does rediscover Chicago, as they did Tony Bennett a decade ago. Chicago will be "cool" again, before the remaining original members all retire (and I have hopes that Chicago as a band and concept will outlast any one member). But I predict another revival for Chicago within ten years.
   
   Buy this CD, listen and enjoy it. I disagree with Robert Lamm: This IS Chicago.
   
   Meanwhile - I look forward to seeing them one week from today, again at DTE!



3. This may sound crazy, but I think it's worth the price of the Cd just for the new studio cut "Back to You", which to me is one of my favorite Chicago songs. I also love the studio cut "If I Should Lose You."
   
   As a whole, I think the live album's pretty good. It captures the band's current lineup in concert, which is cool. But, nothing compares to a real Chicago concert, live and in person.
   
   I disagree with those who say the band can no longer play well live. To me, Chicago continues to be INCREDIBLE live. Few (if any) are the bands who could even be compared. They are one of the best concert bands, period.
   
   The only negative thing I could say about a Chicago concert nowadays is Keith's lead vocals. I think Keith is a great guitar player, and, yes, a decent singer. But it is wrong to let him sing multiple tracks live. He is no Jason, Bill, Robert, or Peter. He could be given maybe ONE song to sing. But to let him sing multiple songs that are classic hits- this is insane. No disrespect to Keith, but... let Jason, Bill, and Robert handle the leads.



4. I bought this right after I attended the concert at the Taste of Chicago 1999. I agreed with most of the selections made for the album (I might have even dropped one of the studio tracks for another live track). In my opinion, the best tracks are Mongonucleosis (a jam mixed with a little salsa -- it knocked the crowd out), Beginnings (it may never have sounded better), the Ballet, and 25 or 6 to 4 (Keith just knocked the crowd out with a killer guitar, with a horn riff going on behind him near the end of his solo). The studio tracks were OK, though I might have dropped either of the last 2 for another live track (I'm a Man flat out rocked in Chicago -- I would have included that). Since the tour with EWF appears to have helped sweep this one off the racks, I sure am glad I bought this early!



5. The last 2 years have seen Chicago team up with Earth Wind and Fire for one of the most unforgettable tours in recent memory. The DVD, "Live From The Greek Theatre" is an amazing snapshot of what both these bands represent, and what they can still accomplish live. A few years ago, Chicago released a mostly live CD of perfectly executed songs from a cataloque as deep as any band's.
   
   The album, Chicago 26, live, is now a hard to find CD. It contains some new studio recordings as well. If you enjoy the audio from the new EWF/Chicago DVD, this CD is the best legal way of owning a part of the show. In fact, this disc goes far in that you get an entire suite from Chicago II, "Ballet For A Girl In Buchanon", which was not in the EWF show. This is great for FM radio buffs, and for deep cut Chicago fans. The band plays their live stuff like most bands do studio.
   
   Jason Scheff continues to improve, and does a rousing "Call On Me" with Lee, Jimmy and Walter pushing the horn section with clarity and precision. Scheff is argued back and forth as the wrong replacement for Cetera, who took leave of his own free will. Scheff can also play smooth fluid and even funky bass guitar. Cetera was a strong bass player, but Scheff exemplifies the musicianship that Chicago has pioneered since 1967.
   
   "Hard Habit To Break" is a hard song to pull off minus Cetera. Bill Champlin is such a strong vocalist, he ends up taking Scheff along for the duration of the song which allows the listener to not worry about Cetera's absense. "Mongonucleousis" is a jam included in the EWF concert and originally is found on Chicago VII. The fact that this instrumental is here, shows the band's dedication to their loyal following. Plus, it's a kickin' song.
   
   "Feelin' Stronger" and "I've Been Searchin'" are well executed with Scheff feeling more at home then when he joined in 1986. The horns again are killer with Lee Lougnane pulling some huge notes down. Scheff may be most at home with "Just You N' Me", where his Cetera at age 19 sounding tenor fits this older gem with more dexterity than an aged Peter Cetera might do. Robert Lamm may have picked Jerry Scheff's son (former Elvis bass player) for this very reason-to have Chicago sound like Chicago for years to come.
   
   "Beginnings" is the only Lamm tune to find it's way on this collection and is every bit as impressive as their Carnagie Hall version which nearly fills an album side. This version is far more polished and shows more intelligent improvisation. "Hard To Say I'm Sorry/Get Away" is a great meld between Scheff and Champlin. This track features Champlin's harmony vocal originally, as well as Bill's soulful "Get Away" reprise. The horn jam at the end is totally fat and intense.
   
   "25 or 6 to 4" showcases the youthful guitar playing of Keith Howland who could be Chicago's best guitarist since the late Terry Kath. Howland is fluid, and he does some jazz fusion and classic rock style jamming. He doesn't over embellish or steal the show. Yet his presence is felt throughout.
   
   The last 3 tracks are new studio tunes that are the band's best new material since 1988, (except "Hear In My Heart from 1997). Scheff shines on "Back To You", a stripped down love song that showcases a less produced Chicago-but a more satisfying sound overall. The same kind of production is found on "If I Should Ever Lose You". The odd ball song on this disc, and soon to be a collector's item is the great Jackie Wilson tune, "Your Love Keeps Lifting Me Higher", featuring former Doobie Michael McDonald on lead vocal backed by a funked up Chicago. A wierd combination that bears fruit and shows how diverse and humble this band is.
   
   All and all a very satisfying work. What is strange is how unavailable this CD is. With Chicago on tour with EWF, the band should re-release this gem as it's a great sample of the DVD and makes a great post concert souveneir. If you can find this disc, and you love Chicago, buy it!

5 comments about Live.

1. THIS IS A FANTACTIC LIVE ALBUM !!!! A MUST HAVE FOR ALL ROXY FANS AND A
   GREAT INTRODUCTION FOR NEW FANS. I'VE BEEN A ROXY FAN SINCE 1973 AND HAVE
   MANY OF THE ORIGINAL VINYL ALBUMS. THIS ALBUM JUST "BLOWS ME AWAY" !!!!
   BEST CUT...EXTENDED VERSION OF "SONG FOR EUROPE". TRUST ME YOU'LL LOVE
   THIS LIVE SET !!!!



2. The best thing about this cd is that I am on three of the songs!!!
   A Song For Europe, Love Is The Drug and Editions Of You.
   You can hear me. I am the one clapping and cheering.



3. Roxy's comeback was a triumph - even given the lack of new material, given the great musicianship, the energy to put on a fantastical show, and the cool vibes all around. This disc is from the same tour of the DVD, but the songs are not taken from the same performances and there are songs not on the DVD. A must have for Roxy fans and amongst the very best live albums ever made.



4. Roxy Music confirm that they are an excellent live band. For long-time fans who know that a new studio album is not likely, this is the next best thing.

   The sound quality is not as flawless as it could have been, hence one star removed.

   Could they have made this a three-CD set? Given their calatogue of great material, yes. I'm not sure, though, if they performed more than these songs on the tour.




5. The music of Roxy Music can be separated to 2 eras: the first 5 studio albums (1972-75) that brought us something fresh, new and interesting, and the music from the 80's that is more Brian Ferry solo - shmaltz, elevator music, just choose for yourselves. Lets call it "The Avalon era". In between there was a bad album from 1979 by the name of "Manifesto".
   Last live album of the band, that was also the band's last one, "Heart still beating", from the 80's, took many fans to cardiologists, cause it was so B-A-D (kids, don't try it at home!). So I had many reasons not to expect much. But After reading that most of the material is taken from the 70's, I decided to give it a chance.
   So... "Live" is not "Heart still beating", and also better than a few live albums from the Manifesto tour ("Concerto", "Live concerts"). But it's inferior to the old live album of the band, "Viva!", and to "Valentine" and "Vintage", 2 live albums of the early band, (that were released only lately) that include video clips (with Eno, Eddy Jobson, John Wetton and so). "Live" sounds too syntetic for more than once, by trying to bring us the original studio sound like in Re Make/Re Model, Out of the blue and others (ah, they brought us the motorcycle from "Virginia", but forgot the car from "Love is the drug"!). It's hard to understand it, because during the 70's, the band changed, improvised and improved the studio versions of many songs."Chance meeting" that was mixed together with "Both ends burning" in "Viva!" is a good example. Last part and the most dramatic one, in "If there is something" was done in "Viva!" much better than in the original first album. "Street life" (listen to Jobson's great violin solo!) and "Virginia" were done great in "Vintage" and "Valentine"; "Do the Strand" best version is in "Concerto". Jobson, in his time did not try to copy Eno, and brought us a new sound that for more than once was better than Eno's.
   So why did they try to copy the old solos now?
   Also I'm not satisfied with the sound. Roxy is a band of great individuals, but, sometimes they're lost here among the good technicians (on stage and in studio), that joined the band for the tour. After listening to the BBC 2 broadcasting of the show from Glasgow, I suspect that many mixes, too many, were done in the studio. But don't get me wrong. the album is a good one and if you are Roxy's fan, you'll love it,despite of its weaknesses.