5 comments about Dick's Picks, Vol. 24: Daly City, CA, 3/23/74.

1. First show with the wall of sound. Five stars for the deadicated, four for everyone else. Playin>UJB>M Dew>UJB>Playin during set 2, rarely played and never again played until perhaps late in 80s. The Wharf Rat that defines August West. A concise show that is edited and sounds perfect,



2. I'm a recent arrival to Deadhead status - I'd say I deserved that title as of a few months ago when I finally ejected my mix of various artists from my portable CD case, and began filling that case with Dead CD's, including a lot of Dick's Picks.
   
   Honestly, this is one of the rougher shows I've ever heard. I bought it without reading any reviews, and I regret that. Between technical problems and some genuinely confused Jerry solos, it seems to me that this show may not quite merit Dick's Pick status. It has its wonderful moments (after all, this is the Grateful Dead,) but there are many much better shows available out there. Also, there are moments here when Donna, (who I usually like,) sounds a bit shrieky. Perhaps the energy was just bad, but this is not one of the legendary shows in my opinion.
   
   I've currently been enjoying Dick's Picks 12 - Providence Civic and Boston Garden, June 1974. Far more pleasurable and coherent.



3. For the uninitiated, Deadheads can be extremely opinionated and the reviews on amazon show it.
   
   I don't know, but I'm guessing that this show made the Dick's Picks cut because the sound quality was high and someone inside Dead Incorporated liked the Playing in the Band > Uncle John's Band > Morning Dew > Uncle John's Band > Playing in the Band sandwich from the second set. I do too, it's excellent. Yes, I can pick at various parts and say the band played this particular section better at a concert two years earlier or three years later, but there aren't that many 45 minute plus jams that are this tight. Jerry finds a very nice line to jam on in the first segment of PITB, the segues between songs are as effortless as any I have heard, and I am sure the crowd was simply blown away at the end.



4. Dick's Pick 24, as the last cd of the new batch of DP's released to stores, ends the set on a high quality note. Even though this installment of the Dick's Pick's series is only two discs, these two discs are jam packed with excellent music. The whole first disc flows along nicely, with excellent versions of "Beat It Down The Line", "US Blues", and the closing "Weather Report Suite". The sound quality, even though this show was used to test out the new extravangant PA sound system, is on par with most of the rest of the DP series, and definately better than a few of the prior picks. Also, it is a nice change of pace to see "Scarlet Begonias" seperated from "Fire On The Mountain", and it sounds excellent here.
   
   Disc 2 is the real treat for this concert. The long jam of PITB - UJB - MD - UJB - PITB is superb, and one of the most unique in the Dick's Picks series. The set ends with a mediocre Wharf Rat and Sugar Magnolia, but by that time The Dead have taken you for quite a nice ride. This isn't one of the most legendary DP's, but out of the new six, I'd only rate DP 19 higher. Overall, an excellent listen.



5. Dick's Pick 24, as the last cd of the new batch of DP's released to stores, ends the set on a high quality note. Even though this installment of the Dick's Pick's series is only two discs, these two discs are jam packed with excellent music. The whole first disc flows along nicely, with excellent versions of "Beat It Down The Line", "US Blues", and the closing "Weather Report Suite". The sound quality, even though this show was used to test out the new extravangant PA sound system, is on par with most of the rest of the DP series, and definately better than a few of the prior picks. Also, it is a nice change of pace to see "Scarlet Begonias" seperated from "Fire On The Mountain", and it sounds excellent here.
   
   Disc 2 is the real treat for this concert. The long jam of PITB - UJB - MD - UJB - PITB is superb, and one of the most unique in the Dick's Picks series. The set ends with a mediocre Wharf Rat and Sugar Magnolia, but by that time The Dead have taken you for quite a nice ride. This isn't one of the most legendary DP's, but out of the new six, I'd only rate DP 19 higher. Overall, an excellent listen.

2 comments about Jackassolantern.

1. No recording can really capture the extreme joy of a Panic show. That being said, this disc is a superb compilation of those Panic covers that fans go crazy for at those shows. Sweet Leaf is a nuts opener. War's Sliping Into Darkness is just plain sick. Many Panic bamas will already have these songs in bootleg form but John Keane's production has made the recordings of superior quality to those bootlegs. This is a must have for any Panic fan.



2. Having spent all summer listening to Panic's amazing Night of Joy release I was ready for more great live recordings...maybe my expectations were too high...for Jackassolantern did not quite live up to my hopes...It's one thing to be at a Halloween concert and have the guys play "fun" cover songs or at a regular concert and hear a cover song... Those both work well I think... but to have a whole cd of those type songs does not work as well... not that it's bad or anything...almost too much...I found myself wanting a real Panic tune to break things up... having said all that there are some great songs here... Godzilla, Sex Machine & Ball Of Confusion...and old fans will enjoy hearing Michael Houser on some songs...my advice get this and play it at your next party it will fit right in...

3 comments about The BBC Sessions.

1. The Pretty Things were no strangers to the various converted theatres, cinemas and hotels that made up the suite of studios in which the BBC recorded radio light entertainment shows, gardening forums, dance hall orchestras and rock bands.
   
   In fact the earliest session here dates from October 1964, which coincides with the release of only their second single, Don't Bring Me Down. The five track session is included in full and includes Don't Bring Me Down, Big Boss Man (which had been the B-side of the first single) and R&B selections from their future first album, Pretty Things, including two by Bo Diddley, from whose song Pretty Thing the band took their name. On the two singles session drummers had been employed, so here is a chance to hear the tunes performed exclusively by the band.
   
   It isn't clear how many sessions and concert appearances the band made between 1964 and 1976 when the band were mothballed for quite a while, but sixteen are drawn from on these two discs. In the sixties these were taken from Saturday Club and John Peel's Top Gear programme, but in the seventies they are drawn from various presenters' shows, including David Symonds, Alan Black, Mike Harding and John Peel. Broadcast dates are given, but further details such as recording dates, line-ups and studio locations are skimpy at best.
   
   There are two recordings of their minor 1966 hit Midnight To Six Man, one for a TV show (in very poor sound), the other far better performance from Saturday Club, and, like the single, featuring the tinkling ivories of session pianist Nicky Hopkins. After this came a swift change of direction, when like a lot of bands, they temporarily ditched soul and R&B and fully embraced psychedelia. In the case of the Pretties this included sitar-soaked pieces such as Defecting Grey and Turn My Head (a song that never got a commercial release), and then the full blown and highly influential mini-opera S.F. Sorrow, from which all of their 1968 session for Top Gear was drawn.
   
   The Pretty Things were in a constant state of flux with frequent changes in line-up and neither of the two songs included from their 1969 session made it onto a record either. By 1970 even founder-guitarist Dick Taylor had left the band leaving only original vocalist and songwriter Phil May from the line-up that had recorded Rosalyn, their first single from 1964, though Dick Taylor did make a guest appearance on their 1972 re-visit to the song for Top Gear. Nevertheless, the Parachute album material and the various tracks from singles that make up what they recorded for the BBC on the rest of the first disc show a lively, focused, inventive band very much on top of their live performances, with the new members clearly being allowed full creative input.
   
   Disc One's final track and the first four songs on Disc Two all come from the same concert, recorded in stereo on 9 August 1973 at the Golders Green Hippodrome, for the In Concert programme, introduced by Pete Drummond. Indeed, at a approximately half-an-hour it probably represents the full segment of the Pretty Thing's part of the hour long show, and includes an uncredited performance of Onion Soup/Another Bowl. Most of this featured on their album Freeway Madness, though also included is their cover of Route 66, a song also covered by the Rolling Stones, a group with which the Pretties were often compared in the early days, especially since Dick Taylor had been a member of an early version of that band before they were signed. Onion Soup and Route 66 also featured on a studio session for Bob Harris's Sounds Of The Seventies recorded a fortnight later, and on which they previewed Atlanta, which was to figure on their album Silk Torpedo in 1975.
   
   Two sessions for John Peel recorded at Maida Vale (and not for In Concert or in front of an audience as stated in the booklet notes) in December 1974 and July 1975 conclude the second disc. They mainly again draw from Silk Torpedo, though there are two surprises. The first is an unlikely version of Dudley Moore's instrumental theme tune for the series Not Only But Also, probably led by recent keyboard recruit Gordon Edwards, and the other is a stomping return to Big City, a song written by their manager Jimmy Duncan from their eponymous first album of a decade earlier, Pretty Things.
   
   It is fascinating to retrace the rocky road travelled by the band over this eventful decade in these unique and valuable recordings. Some of them come from transcription discs made for World Service broadcasts, without which many of these and other priceless sessions by other bands and artists would not have survived at all. How much more of their BBC work has survived isn't known though there are hints in the booklet that there may be more to come on further releases, which I for one will be keen to explore.



2. Two discs,total of 41 tracks from when the Pretty Things performed at the radio sessions at the BBC Studios between 1964-75.A good compilation to have,showing the band's wide variety of material.Disc one shows you where the band had developed into pscychedlia,with tunes like "Roadrunner","L.S.D.","Buzz The Jerk","Ballon Burning" among many others.Then disc two lets us know how they changed their music direction to a rather punk-like/R&B style,with cuts like "Route 66","Havana Bound" and "Come Home Momma".Don't despair,it all makes for good listening.Check this one out.You won't be sorry you did.



3. Formed in the later stages of 1963, the Pretty Things arrived on the Londoner scene playing Berry/Diddley/Reed influenced raw rhythm and blues. The driving force behind the 'Pretties' were vocalist Brian May and Dick Taylor. (Taylor had left a version of the embryonic Rolling Stones with Brian Jones, Keith Richards, and Mick Jagger because the three wanted him to play bass guitar while he was born to play lead guitar.)
   
   The Pretty Things were contemporaries of 'The Rolling Stones' and 'The Kinks'. Of course there was also that little band with that funny name from Liverpool, the Beatles. This dog always had a soft spot for the `Pretties' as the Beatles were a little bit goody two shoes to be considered cool. I mean your parents liked them! The Rolling Stones were great, but always seemed to want to be Americans, denying their Dartford, Kent roots, and the Kinks could get a little whimsical at times.
   
   The 'Pretties' had no image; music was their thing and hard edged rhythm and blues was the starting point. Their first seven singles all went top 50 in the U.K. (they did not mean a light in the U.S. of A., no image, nothing to promote). The sight of the `Pretties' standing on Top of the Pops, trying to hide their embarrassment as they mimed their way through their latest single, was a wonder to behold. Unlike most of their contemporaries their lineup was quite liquid, revolving around the main duo, the drum seat, revolving faster than Spinal Tap's.
   
   In the late sixties the Pretty Things plunged head first, along with everybody else, into the psychedelic culture. Gone was all the straight ahead music and in came sitars, thousands of overdubs on all guitar parts, and kaftans and beads. Although huge on the underground scene, this did not exactly get the till bells ringing over, and in a state of confusion Dick Taylor left the band to settle down into production work. Away from the chaos of life on the road, Taylor produced the first albums from Hawkwind and Cochise.
   Taylor was quickly replaced in the band, which imploded within the year.
   
   But famous rocking's roll manager Bill Shepherd, upon hearing of the 'Pretties' demise, tried to persuade them to reform, telling them that the `Pretties' were too good a band to lose. How right he was. With a new dual lead guitar partnership in place, the mercurial Peter Tolson and Gordon Edwards, they were ready to roar again. After six weeks rehearsal they went into the studio to record the seminal 'Freeway Madness'. The `Pretties' had now put the entire wishy-washy psychedelic behind them and come back with a new hard-edged sound, combining their love of American harmony vocals and crunchy guitar licks with screaming solos.
   
   This gained them enough attention to get them to be the first signing to the newly formed Swansong label, the brainchild of Led Zeppelin manager Peter Grant. Two wonderful albums were released over the next two years, but, although critically acknowledged, both failed to dent the charts. Once more the band fell apart in 1976, when Phil May decided enough was enough.
   The band came together again in the late nineties, including old running mate Dick Taylor on lead guitar, and in 1999 they released 'Rage Before Beauty', an apt title if you consider what had gone before. The band still plays gigs to this day.
   
   This collection of work from the B.B.C. Sessions gives you an overall view of the 'Pretties' career from 1964 to 1976. All the early singles are here. (The Pretty Things had a surge of popularity stateside when David Bowie covered their first two singles 'Rosalyn' and 'Don't Bring Me Down' on his album Pin Ups. To many Americans this was the first time they ever heard of the 'Pretty Things'.)
   
   It all goes a bit pear shaped in their psychedelic era, but then it did for a lot of people (remember the Stones? Or Their Satanic Majesties Request?), but on their return to hard edged rock 'n' roll, like on the Radio One 'In Concert' show to promote 'Freeway Madness', the band is so hot, it is incendiary. Nobody can throw caution to the wind with such abandon and still nail a song down like the 'Pretties' like 'Onion Soup' and especially 'Route 66'. The live sessions for the following two albums are a little more controlled, but equally as exciting.
   
   This album is not only a good overview of the Pretty Things' career, but also a good overview of British rock in this era. If you are not familiar with the Pretty Things, this album would be an excellent way to find out.
   
   Mott the Dog

1 comments about Lights Out in Tokyo: Live.

1. FIRST OFF THIS IS NOT A DVD.THERE IS NO VISUAL FOOTAGE UNLESS YOU LIKE READING LYRICS.THE MUSIC IS GREAT,THE SONGS ARE GREAT,THE RECORDING IS GREAT.BUT THE TERM DVD IS MISLEADING & SHOULD NOT EVEN BE ON THE LABEL. GT2PLUS2

5 comments about Live in Japan.

1. I have owned this CD since it came out back in 1992. I saw that it came out in a SACD/hybrid format and purchased it. The quality of the sound is so superior to the CD. It really picks up many of the nuances of the shows I couldn't hear on the CD. Clapton backs up Harrison's subtle playing. As much as many people give Harrison his due as a guitar player this SACD proves his genius as a guitar player. He may not have been as flashy as many other pickers, his licks have stood the test of time and fit in the framework of what the Beatles were. This SACD is the culmination of his career simply stated and every note pops out of your sound system. When you hear the qulity and depth of the sound of this or any SACD, I am curious why SACD/DVD Audio didn't take off like I would have thought they should have. If you are a Beatles/George Harrison/Eric Clapton fan and an audiophile, this is a must have.



2. 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.



3. 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.



4. 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.



5. 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 comments about Light Fuse, Get Away.

1. New Widespread Panic fan here. I've been listening to this daily for the last 3 weeks and think it's incredible. I listened to 1 WP cd probably 10 years ago and didn't really care for their sound at the time but gave them another try last year and very glad I did. This is my favorite release so far. Favorites (tough thing to do) : Gimme, Pigeons, Love Tractor. Of course Porch Song, Space Wrangler are great but I was already hooked on those before I got this CD. I think this is great sampling of their sound and highly recommend it.



2. I purchased this CD about 6 months ago and in that time i have probably listened to it over 150 times. I had been lightly exposed to panic during my high school days, but when I attened college I made a good friend who was a huge fan of panic. he introduced me to them in detail and since them I have fallen in love with them and especially the late great guitarist Michael Houser. HOuser had a very unique style that had a ligerning effect due to the delay which he always used in his rig.I have read reviews here that say that john herman's keybaords are sub-par in my opinion this is far from the truth. Herman I beleive has a wonderful style using organs and keyboards much in the way of former GRateful Dead keyboardist Brent Mydland. The highlights of these disks in my opinion are Space Wrangler, Impossible and Greta. The jam at the end of Space Wrangler is the best example of Houser's ability to blow your mind with his unique style and just make you want to boogie. the intro to impossible is head shaking hard rocking music that just sets up for another great tune. In my opnion if you are interested in this cd buy it before another panic cd to have some feel for the majesty of thier live shows.



3. When I hear the word jam band, the two groups which first come to mind are Phish and the Grateful Dead. While the Dead exist in a league of their own, I own Phish Live Albums and this Panic album, and I quite easily pick the latter over the former. This Panic cd simply has the soul and energy that I find Phish lacks, and the music is accessible while being unique and engrossing. Wanna dive into the jam band scene? Start with this Panic cd. You won't be dissappointed.



4. Widespread does it again!! They release another live album that is so crunchy, you forget it is the same as the many other live cd's they have that play the same songs, just like Dave!!! Even though I have every 'spread concert, excuse me, show they've played in the past four years in my twiggy new I-pod, I would totally pay 25 bucks to get the same songs, but on another cd. These Georgia boys do it again, but not really again because its the same as everything else, but again in a way worth spending 25 bucks. Keep on Truckin' 'spread, like Trey or the Dead, don't worry about being too monotonous, you're too crunchy for that.



5. Excellent representation of their live shows. It rocks! A definite must-have for any panic fan. Buy this one before any of the the others (if it's your first purchase), it has great songs from many of their albums.

5 comments about Fallout from the Phil Zone.

1. There are some nice selections on this disk (the first Jack A Roe performed by the Dead), but nothing that is a truly must have, other than the Too Hard To Handle. The track is from an audience mic of a 1971 performance and the sound quality is exceptional. I grew up going to Dead shows in the 80's and was accustomed to the crowd interaction when the crowd had a well versed familiarity with the Dead's material. Here there is this raw excitement you can hear from the crowd's reaction. The way that they respond to Jerry's solo is just like an old fashioned revival - the energy just keeps escalating in the crowd response and Jerry in turn just keeps ratcheting up his playing until the house sounds like it going to come down. Amazing!



2. It's a good idea - put out a release with interesting versions of songs, many from the band's early years, where the whole show won't ever be coming out for one reason or another.

   You get to hear some early Dead here, and it's generally enjoyable. You get a hard-rocking "Hard to Handle" that transcends in energy if not sound quality the other versions that I've heard. You get a very nice "Visions of Johanna".




3. This 2-cd set is a sort of GD sampler platter, selected by bassist Phil Lesh from 30 years of live performances. The half-hour "In the Midnight Hour" is hilarious (at one point, Pig tries to get Bobby to dance with a girl in the audience!). There is also a tearfully beautiful version of Dylan's "Visions of Johanna" recorded just a few months before Jerry's death - the way he pours his own pain into the song is simply heartbreaking. There's not a single track that I don't like in this set, and some, such as "Hard to Handle" and "Jack-a-Roe," are my favorite versions in my collection. There's not much continuity in the album - you would never mistake this for a recording of a single concert - but the playing is outstanding throughout.



4. This CD is a strange mix of great Dead songs, you can tell each track is really significant to Phil. Great versions of New Speedway Boogie, Viola Lee Blues, Music Never Stopped, and a 30 minute Midnight Hour with Pigpen at the top of his game. However, the highlight of this 2 disc set is by far, HARD TO HANDLE, containing one of the best Jerry solos captured on tape.



5. I don't buy a bunch of Grateful Dead Concert tapes or the CDs that are being made from them now. My main interest in the group is the early days, before the taping became a big part of the concerts and when the band played every night as if it might be their last. I bought this set because it was cheap - at a used books store, and because there was a live version of "Viola Lee's Blues" to be heard.
   On at least three occasions when I lived in San Francisco I watched the Dead fail to get through this monster they Jerry built onto a Cannon's Jug Stompers blues without at least one painful halt. It always became a major guitar pile up on the freeway of psychodelia. (If you have the 12 cd set you can listen to four or five crashes in one 25 minute version included as an extra on the first Greatful Dead cd). I'd also heard a few taped versions over the years and didn't expect this would be any different. But as I said before it was cheap and there were a couple Pigpen tunes I wanted to have, so I shelled out.
   Now I suspect I'm going to end up shelling out a lot more (yes I bought the 12 CD set but I have an excuse for that), even though I doubt I'll find much better. The three Pigpen songs are all excellent although the sound is rough. The version of "Dancin' in the Streets" sounds like my memory of the old Sunflower bootlegs I wore out 25 years ago and there is a nice version of the "girl who disguises as a man to join her love at war" song(s) called Jack-a-Roe.
   The last 2 cuts on the second cd are both weak. Garcia's voice was shot long before 1995, and listening to him gasp out "Visions of Joanna" is truly painful. "Box of Rain" was always a song that started with a few good solo verses and ended with several choruses of the thinest weakest harmony singing the Dead ever did (and that's saying a lot). A live version has the added disadvantage of the same weak harmonies being sung terribly out of tune. It ain't a pretty picture.

   But those are the only losers in about 2 hours of music - and they do come at the very end so you can hit the old remote and move on to something else or go back and play "The Midnight Hour" again, and again, and again...
   Thank you Phil - good album. I've taken up residence in The Phil Zone

5 comments about Live...With a Little Help from Our Friends.

1. Being familiar with GM for some years as I was, imagine my delight, as I shipped my daddy's ashes up north (final road trip for the old man in the Lincoln) after making a stop at Nervous Charlies just north of... uh is it Nashville or Memphis, one of them places. Fahrworks, as we like to say in southern Ohia. Daddio was on the dash, and Afro Blue with C. Leavell came on the radio station. I tell you what, we had the perfect road music. Don't tell me the old man wasn't appreciatin...
   
   We were driving north between Hurricanes Katrina and Rita, did a very nice dodge while on the Gulf...I just didn't trust the ashes to be mailed so I waited until the last minute to get out of dodge...now, I ask you, is there a God? Yup, at least in my final party book. CYA



2. I am not a big Gov't Mule fan. The endless guitar solo can get boring. I bought this becasue it is suppsoed to have a reputation as a superb live cd.
   
   When I first listened to this, it did nothing for me. The interesting cover songs of "30 days in a hole", "war pigs" and "Cortez the Killer" were pretty lame versions, far worse then the originals.
   
   Befroe I gave up on the cd, I decided to just play the cd from start to finish rather then aiming for particular songs. That is hwne the cd came alive and I saw the light!
   
   The best sonsg are the extended jams, songs with organ, horns and a groove. THis stuff can definitely grow on you in a hypnotic way.
   
   I now enjoy this cd for what it is, great musicians interplaying with each other. The music is far better than the songs. This is like mood music rather than focusing on one songs.
   
   The best song is "Mule" which starts out rocking but then goes into a tight groove. "Soulshine" is good (but the shorter studio version is better). "Afro Blue" and "Mr. Big" are also jamming standouts.
   
   I am sure seeing them live, with the extended jams, will add to my appreciate for the band. This is the stereotypical jam band.



3. I know my title is a bit confusing, but it's still a true statement. While this album is excellent, this two cd set doesn't even begin to showcase the awesome show Gov't Mule put on that night. Luckily there is a 4 disc box set of the entire concert that was released some time after this initial release. The box set is double the price of this album, but the content is way more than double in size on the box set.



4. I got turned on to Gov't Mule late in the act, but thank God I did. They are a great group of muscians who obviously enjoy playing together.It is too bad that they lost their great bass player shortly after this CD. This CD repressents a taste of how this band performs live. If you want to hear more pick up the 4 CD set of this same concert. However, the set list on this 2 CD set is excellent. It has a number of great covers including: Black Sabbaths "War Pigs" ( can't help but think of Rumsfield and the situation in N. Korea/Iraq these days), Humble Pie's "30 Days in the Hole" with a tease of "I don't need no doctor" at the end, and a Great version of Neil Young's "Cortez the Killer". That being said the two tunes that impressed me the most were Dave Mason's "Sad and Deep as You" and Coltranes "Afro-Blue". Just stellar playing throughout. If you like instrumental interplay and long laid out jams this CD is a must. Also some of the other reviewers mentioned the talking in-between songs on the 4 CD set, you won't find that on this set.If you can't afford the 4 CD set this is a excellent way to ease the pain untill that time.



5. I recently saw a Gov't Mule show and it was fantastic. They closed off the encores with Rockin' in the Free World, and it was an unreal ending to a concert which kept me through the roof the whole way through. This album actually does a very effective job, in my opinion, of capturing the live power of the band. Though no live album has or will ever come close to The Brothers at Fillmore East, this may come as close as any.

   And as for when Warren Haynes and Derek Trucks (who is actually Butch's nephew, not son) play together, I also saw the Allman Brothers this summer, with these two and w/out the kicked out Dickey Betts, and it was probably the best I've ever seen. I don't think its unfair to say that Derek Trucks could be a next Duane Allman, and he and Warren dualing to old Allman Brothers blues classics helped me to truly glimpse what it might've been like in the heyday of TABB. If you are a fan of this type of live musical intensity, this album is a can't miss.

5 comments about Rapture of the Deep Special Edition.

1. are you bored with Morse-Airey VS Blackmore-Lord discussions? so, don't continue discussion if you're Morse-Airey fan. just make Blackmore-Lord fans to listen this album and they will guess that maybe Highway Star's solo is the best one, but current Deep Purple is the most fresh, vital, charismatic and creative band as never, after 1970-1973 years!
   
   Rapture Of The Deep is Dp's one of the best album. Actually, Purpendicular and Rapture are THE BEST albums after 1984 Perfect Strangers album. The album sounds too hard, morse has heavy riffs, Airey is just in his way, he's shining, Paice sounds a bit weak, but still good, Roger as always knows his job, and.... and.... of course, great Mister Ian Gillan - the immortal voice of Rock'N'Roll. Rapture is another Gillan-screaming album.
   
   what about songs, Money Talks and Wrong Man are heavy heavy DP-esque songs, rocking. Rapture Of The Deep - the real classic song. Kiss Tomorrow Goodbye - Sometimes I really think that this song was written during Machine Head sessions



2. Product shipped quickly and just as described. No complaints, would buy from again. Thank you!



3. By itself, Rapture of the Deep is an excellent album, perhaps the best of the post-Blackmore era. The out of character ballad Clearly Quite Absurd is deeply moving. Of course there are rockers, the blusey Wrong Man and fun Girls like that stand out, as well as the more experimental Junkyard Blues and Before Time Began. By itself I'd give the CD 4 stars.
   
   Then there's the bonus disk which contains Things I Never Said, a song which appeared only on the Japanese release. The track is very reminiscent of the classic lineup (I wonder if Deep Purple didn't intentionally write a Mark II-style song, but left it off the US version for exactly that reason). The live tracks are fun (so what if it's the 8 millionth version of Smoke On The Water they've released? The song still rocks.) The added CD is worth the extra star.



4. I honestly was surprised at how good this cd is. Of the 3 main lead
   singers Purple's had since '68, I've always been partial to Ian Gillian,
   (though Evans & Coverdale are very good also). Although the band has
   morphed & re-morphed about 8 times, they seem to land on their feet time
   after time.
   The cd, 'Rapture of the Deep', is most definitely a case in point. I
   saw them in '73, and know what the sound was like live. In fact, during
   that same time-period, they were officially declared THE LOUDEST BAND
   on the planet !!! On this cd, they have a lot of fresh, new material, &
   I can't really remember a bad track. HIGHLY RECOMMEND *****



5. My review of the original version of the album:
   
   I saw Deep Purple back in 1994 when Steve Morse had just joined the band (the gig I saw with him was his third ever). In that review, I wrote this.. "Very good concert by a band who surprised me. Well worth the long trip to see them, and I hope they continue." Boy have they continued, and they're like a good wine, they're getting better with age. Their last few albums havent' done well sales wise in the US, which is a damn crime.
   
   Purpendicular was spectacular, one of the best of Purple's entire catalogue. Abandon I didn't care for, but some did. Bananas was a wonderful album, but I think suffered from the perception it got from its goofy title.
   
   Rapture of the Deep is very much a traditional sounding Deep Purple album, and when I started writing this review, I planned on doing a track by track review of it, which is something I generally do. The problem I have is that the album is so universally solid, I'd end up saying most the same thing for every track. This is a great album from start to finish. Even the tracks that others feel are weak in some other reviews I've read I like. It's been said Ian Gillan isn't the screamer he used to be, and that's for sure. He can't wail like he could when he was in his 20's, but his "modern voice" fits the material perfectly. There's rockers, ballads, and everything in between. A great piece of modern music from one of the bands that defined hard rock. The lyrics in the song "MTV" are fairly amusing, and when I saw Purple turn up on Eddie Trunk's show on VH1 Classic, that's all I could think of. :)
   
   You cannot go wrong with this album. Geezer rock be damned.
   
   My review of the updated 2 CD version of the album:
   
   An updated version of the album came out. It was a 2 CD version. Disc 1 is exactly the same as the original 2005 release. Disc 2 is "all new". This new version has 8 extra tracks. Most are live, but there's a few standouts. The standouts for the updated version are an alternate version of "Clearly Quite Absurd", and.. "The Well Dressed Guitar", which is a track I've been waiting on Deep Purple to release for some time now. Back before they released their last album (Bananas), I saw 'em live, and they played Well Dressed in concert, saying it was something they were working on for their next album. It was FABULOUS. I absolutely loved it. So I waited, and before Bananas came out, the space shuttle exploded. Because of that, Steve Morse wrote a song that appeared on Bananas called "Contact Lost". It bumped Well Dressed from the album. They said Well Dressed might turn up as a B Side or something, and it never did. So I hoped it would be on Rapture, and it wasn't. I had just a live bootleg mp3 of the track, which wasn't quite the same. Then I heard of this 2 CD Special Edition of Rapture of the Deep, and "Well Dressed" WAS on there - finally. As good as the main Rapture of the Deep album is, I think "The Well Dressed Guitar" is a track worth picking up the 2CD version of, even if you have the original - I feel it's that good. I will go so far as to say that "Well Dresses" is by far my favorite single track of the Steve Morse era, and Ian Gillan doesn't even sing on it. :)
   
   If you don't have either version, get this one. As I write this in May of 2007, they're priced pretty much the same, so the 2CD version is a much better value anyway.

No comments about Live.