5 comments about Live at Watkins Glen.

1. This is the only official live recording of The Band playing as a quintet. Rock of Ages and the The Last Waltz have horns and other instruments augmenting proceedings.
   
   You know you're going to enjoy this from the first track a stirring version of Chuck Berry's 'Back to Memphis'. Levon Helm's vocal is powerful and gritty and Robbie Robertson plays some mean variations on Chuck Berry's original rock 'n' roll guitar licks. 'Endless Highway' shows off the organ playing skills of Garth Hudson and the vocal by Rick Danko isn't bad either. Talking of vocals, the version of 'I Shall Be Released' on this album gives you the chance to hear Richard Manuel's unique singing voice. For this song its sung entirely falsetto, an amazing performance.
   
   My favourite track on the album is 'Loving You Is Sweeter Than Ever'. A great cover of a Motown song, which on this performance sounds like it was written for The Band (it wasn't). Danko's vocal is brilliant, aching and desperate, with the rest of the backing vocals fitting perfectly.
   
   The reason it doesn't get five stars is the inclusion of 'Too Wet To Work' a Garth Hudson instrumental which is like an old fashioned Cinema interval. He's a brilliant musician but this sounds out of place.
   
   The rest of the album is great and captures one of the most important American/Canadian Rock N Roll groups at the height of their career. Whether this is isn't the Watkins Glen concert doesn't matter to me its dam good regardless.



2. Yes, this album is somewhat fraudulent, but some of the material is actually from the concert. Both 'Back to Memphis' and 'Endless Highway' are in fact studio recordings (available on the 2001 reissue of 'Moondog Matinee') with overdubbed audience noise, and Bill Graham's actual introduction of The Band at Watkins Glen. 'Don't Ya Tell Henry', 'Time to Kill'(opening with Robbie tuning his guitar), 'Jam', and 'The Rumor' are from the rather extensive soundcheck The Band played earlier that day. 'Too Wet To Work' is from the intermission in the concert when it began to rain, but it features some dubbed-in thunder rolls at unnaturally frequent intervals and also seems edited, as in the concert Garth's organ solo led into 'Chest Fever'. The remaining three songs - 'I Shall Be Released', 'Loving You', and 'Cripple Creek' - are also from the Watkins Glen show, and are not 'Rock of Ages' outtakes as one reviewer stated. The Band simply played those songs at almost every concert they performed. Also recommended is the scorching bootleg recording from August 1, 1973 at Roosevelt Stadium in New Jersey, which is a much more complete representation of The Band's live sound in the summer of '73.



3. This 1995 release is now (thankfully) out of print because there is almost no sounds from the actual Watkins Glen concert. If you read the other one star review and then listen to the album, you will learn the truth: this album is merely a bunch of studio and Rock of Ages outtakes given a "live" feel with poorly overdubbed crowd cheers. The opening Bill Graham introduction IS actually from the concert, as well as a few other announcements and between-song chatter. However, the Band did NOT perform "Don't Ya Tell Henry" and "The Rumor" and Time To Kill." If you get a bootleg tape of the complete show (which is in extremely limited circulation), you will not find any of these songs, as well as the overly dramatic thunderstorm sounds. The liner notes state that the disc was produced using the most complete recording available, but it's a total lie. The Band successfully removed this album off the record store shelves, but only after they released several of these tracks on their own box set ACROSS THE GREAT DIVIDE (!)



4. Don't bother tracking this one down, Its not what it claims to be - the first two tracks are studio outakes from MoonDog Matinee with audience noise overdubbed and the rest are outtakes from the Rock of Ages album (all of which is now available on the reissues)



5. After recently becoming a fan of The Band, I found this album and decided to give it a listen. I had no idea what Watkins Glen was, and i hadn't heard many of the songs that were on this album. After taking the album home I read the cd booklet and found that Watkins Glen was a concert organized by Bill Graham which included The Allman Brothers Band, The Band, and the Grateful Dead. I am a HUGE fan of the Allmans and an even bigger fan of the dead. So, without even listening to this album i was excited. Listening to the album was no dissapointment to my anticipation either. The entire album is great. It blends all different types of music and occasional jams. The best songs in my opinion are ENDLESS HIGHWAY, THE RUMOR, and UP ON CRIPPLE CREEK. All of which were written by J.R. Robertson. All in all, i would have to say this is one of the better live albums that i have ever listened to.

2 comments about Stages.

1. The other reviewer is absolutely right: the two studio tracks are out of place and should NOT be on this remastered cd. But not just because they don't fit well with the live tracks, or because they are quite poor songs (especially "Empty Inside", a very lame ballad). No, even worse, because this means that a live song that was originally included in the vinyl version (i.e. "Allied Forces") has been left out of the cd! You really have to wonder who chooses to put studio tracks instead of live tracks on a live album.
   
   Another complaint (but this was already so in the vinyl version as well) is that the applause is faded out between the songs. Obviously, this is because the tracks were taken from various shows during different tours, but by not mixing the tracks together, it's harder to get into the feeling that you are really witnessing a live show.
   
   These remarks aside, the actual live music on this CD is great, especially Never Surrender, Magic Power, A World of Fantasy and Fight the Good Fight. The songs often sound even better live than in their (often too polished) studio versions, making this pretty much the best overview of Triumph's music around. If not for the bad packaging this would be a five-star CD.



2. There is nothing like a good live album when it comes to big arena-level rock. Triumph were specialists in the field of concert performance and this remaster of their 1985 Concert piece entitled "Stages" is a testament to that fact. The CD was originally recorded over the course of several of the bands tours, so the fact that is crosses many years in their career makes it all that much more interesting to listen to. Like all live albums of the time, this particular one did not skimp on including all of the classic numbers. The radio hits as well as the fan favorites are all here to listen to in a fresh and cleaner production.
   
   For those fans who already own the original version of the CD you will be happy to know that the drum solo by Gil Moore that was excluded on the release when medium went from vinyl to CD is included once again. The surprise to me was still leaving the two studio tracks that were here instead of perhaps modifying it for an unreleased or unheard classic. I thought it would have been prudent to move them to a different remaster, but they did not do anything different on that end.
   
   As with the other remasters in the Triumph catalog there is no bonus material included. I was not happy about this fact, but do enjoy seeing the time taken to expand on the original booklet artwork as well as making sure that the production was as concise and clean as possible. Triumph were one of those bands that you just had to see in concert, and owning this remaster just made me relive the experience all over again. They are one group that I hope does some sort of reunion sometime soon.

5 comments about Live at Monsters of Rock.

1. Hey, I have not listened to Gary in over 15 years, all I know this 55yr. old still rocks better than anyone. If you want a great blues-rock album this is a great place to start.



2. First and foremost, Gary Moore stands alone when it comes to Les Paul, amps on "11", killer tube tone. Although the statement "Gary Moore's guitar playing is like Bluesbreakers era Peter Green on steroids" might not be politically correct, I think it will give you a little insight on what you can expect out of your speakers (home or car) when cranking this album.
   Moore states right at the begining of the concert that the set list will be a little different from usual. What we get is a sampling of Moore's virtuosity whether it be blues, metal, or flat out rock 'n' roll. Very few guitarist can play so ferociously one minute and then gently the next (and with such technical brilliance) like Gary Moore.
   The real treat, which makes this album a must have for any Thin Lizzy fan, is the version of the Phil Lynott song, "Don't Believe A Word". Moore states in the intro, the song was recorded in two versions (that being Thin Lizzy's version from "Johnny The Fox" and the one from Moore's solo album "Back on the Streets"). He proceeds to play the mellow ballad Lynott intended the song to be, but half way through Moore & the band break into a flat out rocking version of the song in which they sound so much like Thin Lizzy is scarey. It brought a huge smile to my face and ya know Phil was smiling too.
   As far as this criticism this should be a double disc set or a longer show ....read the title. My guess is Moore's set at the Monsters of Rock only ran about an hour, hence we get one disc running about an hour. Let's just say quality not quantity in this case here. This show is extremely well recorded and mixed with each instrument blended perfectly. Actually I'd give this 4 1/2 stars if I could.
   With so little high quality rock out there for consumption these days, this album is a breath of fresh air, albeit a short one. Any Gary Moore or Thin Lizzy fan deserves to add this cd to their cart ASAP. You will not be disappointed.



3. Another amazing effort from the G-man. I've been a fan from day one. A lot of people will say that the vocals aren't up to snuff. But come on, the Guy is almost 52 years old. Take for what it's worth. Enjoy this gem because it's 3 guys and it's undubbed and Gary is breath taking as always.



4. I always anxiously await any new Gary Moore material. I was especially juiced for this CD (and companion DVD) as Gary is so good live. I must admit to being a little disappointed but not because of his guitar playing.
   
   1.) For some reason it sounds like an outdoor show. Which means it is missing that natural echo live shows in buildings usually have (which adds to the fullness of the sound). Also, audience noise usually seems more distant at an outdoor recording and seems rather distant here too. This is not so much a criticism as an observation.
   
   2.) Song selection spans more than a generation and so the show seems to lack any real theme. This would be much more acceptable if it was a double length CD and each era of Gary's career was well represented. However, at only 10 tracks long this strategy is impossible, so the CD ends up sounding more like a live compilation disc rather than a cohesive and flowing single show. Blame the short set list on the fact that Gary must have been rather early on the playbill. His support status seems even more apparent by the rather reserved (dare I say dull) audience reaction throughout. Check out the DVD if you don't believe me.
   
   3.) Lastly, Gary either forgot how to sing the older songs or he thought the P.A. was not working. He shouts out the vocal on many on the songs. This is probably the single most disappointing part of the CD. This is even more acute for me because I have heard Gary at his best (accepting the known limitations of his vocal skills). But this performance ain't even close.



5. Made in CAN in 2003, Serial# 06076-84642-2, Playing Time 62:52

   Have no fear, you won't get a Canadian pressing unless, like me, you buy it from Amazon.ca (I'm Canadian, eh!)

   The music on this CD comes from the performance recorded in Glasgow on May 22 of 2003, and features Cass Lewis and Darrin Mooney, the same power trio as on the "Scars" album.

   This recording is "untouched" and extremely well recorded. I've always been a good fan of Mr. Moore, and I must say that he's satified my cravings for emotionally charged guitar work (similarly to Jeff Beck before the 90s...)

   We get quite a mixed bag of tracks here, covering a 25-year span (all the way back to the "Back On The Streets" album.)

   Just like YES must perform "Roundabout" as an encore, we're dealt here with "Parisienne Walkways", a great but too often heard concert track that doesn't bring anything new to the portrait of the performance.

   From the opening chords of "Shapes of Things", we know the band mean business: this isn't going to be a blues-only performance, and that's perhaps the unfortunate side of this concert: there are many style changes that would have been, in my opinion, more palletable on a double-disc (e.g. a "rock" disc, a "blues" disc) so you can choose which one you're in the mood for.

   Gary Moore puts so much emotion in his guitar playing it often gives me goosebumps (or is that simply caused by the volume of my stereo).

   Of special interest on this hour-long (too short) performance is the FANTASTIC rendition of the Phil Lynott-penned track "Don't Believe A Word": GM recorded it as a slow number on his "Back On The Streets" album, while THIN LIZZY recorded the straight-ahead rock track on "Johnny The Fox". This time, Gary and the band start it as a slow, bluesy track, and shift gear into "whoomph" mode after 4 and a half minutes... a killer version.

   The 3 tracks originally recorded for Scars have an edgier sound, with as much wailing and sustain that he can extract from his guitar.

   This CD is a great start for anyone unfamiliar with Gary Moore's multi-faceted musical career; but if you love the guy, you'll probably react the way I did after about an hour: is it already over???

5 comments about Without a Net.

1. With the enormous wealth of dead live material available this should be very low on your list. They are obviously (to me at least)well past their prime here and only surviving as a novelty. Sure there's lots of great instrumentation here but you've heard it all before and heard it much better.



2. By 1990, Deadheads couldn't expect the same level of vocal musicality from the Dead. Their vocals were, quite simply, shot. "Looks Like Rain" (2nd set) is a perfect example of this. Musically, the song runs with the best versions the Dead has ever offered, but vocally, it sounds like Joe Cocker is on the mic.
   
   "Eyes of the World" follows, and again illustrates strained Dead vocals. The boys are game; you can tell an earnest effort is being made to perform the chorus well, but it sounds forced; even mechanical.
   
   What saves this album?
   (1) Branford Marsalis. What a fresh sax sound he adds to EOTW.
   (2) Selection. Rarely will you find a better song selection by the Dead. Obviously, this set list was culled from months of performances, but it plays like a show.
   (3) Instrumental performances. Perhaps the vocals were drifting away over the years, but the Dead never lost their ability to play. Any jam session had its share of missteps and imperfect notes; this recording has almost none.
   
   It's a great CD for capturing the musical mastery of the Dead in their twilight years, but it holds one unforgivable fault. "Dear Mr. Fantasy," the final song, is inexplicitly cut short (faded out) before it finishes. Bad Form!



3. After listening to the entire disk one more time, I understand now why there is so much controversy about this one. What you have in this twilight-era set are some amazing, mature, heartfelt and very compelling performances. There are also a couple of big disappointments that just leave a huge vacuum. Most of Disk 2 is just dullsville.
   
   High points: "China Cat->Rider". The group mind kicks in nicely Very tight and played with heart. Mellower than the old days but worth hearing. "Althea" charms with a lilting groove, a catchy riff and some fine close high harmony. Jerry sings it like he means it, and the band is quiet but interested. "Cassidy", originally on Bob Weir's Ace album, is a little Brent-heavy but interesting. "Bird Song" will never compare to the Fillmore East version but again, the guys show some really fine high, tight harmony and the song features a nice jam that will have you visualizing birds flying inside this 12:57 version -- trippy, mature, mellow and earthy. "Let it Grow" is given an 8-Miles-High-esque guitar treatment that gets jazzy like everyting else on Without a Net, but never gets boring or loses focus. So, all of Disk 1 is quite good, but after "China Cat->Rider" on Disk 2, head for the exit. And that brings me to my low points.
   
   Low points: The absolutely ponderous treatment of "Eyes of the World", one of my favorite songs. Branford Marsalis drones through this like he can't wait to go home. 16 minutes of nothingness! A major disappointment. "Dear Mr. Fantasy" is an absolute embarrassment. I was really psyched to see this included but as rendered, it was like bad karaoke. Yuck! Moral: If you're going to do one of Traffic's best you better bring some fire or leave it alone entirely. "One More Saturday Night" sounds more like "One More Saturday Night Watching TV." But I still sang along. "Victim or the Crime" is a positively awful piece of music -- disjointed, depressing and really just unpleasant. Not surprisingly, it first appeared on the panned Built to Last CD, which is where it should have stayed. "Help->Slipknot->Tower" sounds like the guys are just going through the motions. The guys riff on the Allman Brothers during "Slipknot", which is cool, but by "Franklin's Tower" it's clear that the four winds have died down to a very light breeze. I made the mistake of driving during this snoozefest and almost fell asleep at the wheel. Instead of rolling away the dew, I almost rolled away into the ditch.
   
   Overall, I am mystified how anyone who's familiar with the high points of the Dead's live work can say that this is a great album. It's not. The guys really sounded tired, and with Brent zonked out of his mind, noodling around in some kind of amorphous haze, and Jerry not quite recovered from his coma, much of the material comes off as uninspired. There are too many weak spots here. If you get this, be sure to drink an espresso or two because you're not going to light the world on fire with the buzz from the music. I had to chase this with my Road Trips Volume 1 Bonus Disk, which sounded ten times better despite having been recorded on a bloody soundboard cassette. Brent and Jerry both deteriorated considerably between 1979 and 1989, sad to say.
   
   Create your own edit of Eyes of the World, because it can easily be cut down to 6 minutes or so from 16, cut out Dear Mr. Fantasy and the insufferable "Victim or the Crime", and most importantly, don't expect Live/Dead, One/Two/Three from the Vault, Fillmore East, Winterland, Cow Palace or any psychedelic rockets.
   
   Four stars for the fine work on Disk 1 and the opening China Cat on Disk 2. The rest of it is mind-numblingly dull, bad or both.



4. When I'm looking for a cd and i'm reading the reviews. I look for the "not so good" reviews, because they wouldn't lie about not enjoying a cd. Unlike people who are so in love with a band, that they can't tell a bad cd when they hear one. And yes i love the Dead, but come on now, call a spade a spade. So here is my review.
   
   I disagree with some that the sound is great. Good, maybe great no. To me the music sounded like it was recorded far away (if that makes any sense) it wasn't clear and the crowd isn't felt on this cd.
   
   I would give it one star, mainly because compared to ALL the other Dead live cd's, this one is pretty bad. Without Pigpen, I feel that the Dead lost some of their soul and blues feel. Call me old fashion but where's that soulful organ, that i love so much. A little less piano, a little more organ.
   
   Get Ladies and Gentlemen...The Grateful Dead Live from the Fillmore East 1971 4 disc set that is way worth the money. Trust me, I wouldn't lie about it.
   
   For real this 2 disc set isn't worth the money. I would take it back and get any different live cd if I could, but i can't return it. I opened it.
   
   Uncle Blunt



5. Without a Net is an excellent CD! I love the Dead!! I love this CD!! I like to keep my reviews concise so I will not mention all of the highlights. There are too many. China Cat Sunflower opens with an excellent guitar riff and goes uphill from there. Eyes of the World is an excellent song in its own right, but an appearance by Brandford Marsalis makes it so much better. Here is a summary of my review: this album is just what the title of my review said it was. Buy it and enjoy!!

5 comments about Dick's Picks, Vol. 2: Ohio Theatre, Columbus, OH, 10/31/71.

1. I think this is the only 1 CD Dick's Picks release. Again, people kind of raised their eyebrows at this one when it was first released - 1 CD? Really? Well - it's OK folks! Taken from one of the band's first shows w/ Keith Godchaux @ piano - this is a fun ride. The Dark Star pretty much makes the disc. OK - St. Stephen needs two drummers, and the Sugar Magnolia is still in its infancy - but it's still a good ride! Steve Urbauer Stephen Urbauer



2. No, you won't find any "Unbroken Chain" here, but what you will find is 58 minutes of melt in your mind masterpiece. The "Tighten Up" jam in the midst of the melodic "Dark Star" is a rare treat, and it seems that no one ever points out the "Cold Rain and Snow" jam between "GDTRB" and "Not Fade Away".
   
   A real good early seventies specimen, I can see why Mr. Latvala chose this selection for his second choice. Wish there was more than 58 minutes of this one...



3. The title tells it all! It was during my freshman year at a small college 45 minutes from Columbus, and some friends dragged me to the show with the well-known line "There is nothing like a Grateful Dead concert!" and guess what? They were right. I was converted into a Dead Head for life.
   
   I can't honestly tell you that it's just like I remembered, but so what? The music on this CD shows the Dead at their powerful, spacy, magical finest. The fact that it brings back such special memories for me is a bonus, but it's great music by great musicians at their best.



4. Okay, there's not a lot here, but what IS here is a stellar version of "Dark Star." Clocking in at over 24 minutes, it bears a strong and spacy resemblance to other versions for the first half but then goes into an up-tempo, funky jam in the second half. I've long been a believer that no "Dark Star" beats the Live/Dead version, but this one comes mighty close. If you're a fan of this song (and what Dead fan isn't?), then track this down somewhere. Well worth finding.



5. Many of the other reviews of this classic CD describe it quite well,
   so I'll just add another 5-star rating.

5 comments about Message To Love: The Isle Of Wight Festival 1970 { Various Artists }.

1. The music on this two CD set is superb in its breadth of coverage of the performers. In this aspect it is quite a better more diverse than its larger - at four CDs - cousin 'Woodstock.' It's hard to imagine being able to hear the likes of Leonard Cohen, ELP, the Who, a deliciously incoherent Jimi Hendrix and the Great Awakening on one product.
   
   As a depiction what was hot, there is not a better collection.
   
   But, it is also an equally good depiction of what was not in the summer of 1970. You see, there's a bit of a problem here and there with attitude, clearly showing the Summer of Love had passed and was likely - in retrospect, certain - not to return. Whether it's the recordings of songs in lieu of actual performances or nasty, tacky, pretentious comments from performers and concert organizers not happy with the stae of the paying and non-paying audience (H*ll, maybe Joannie Mitchell is never happy on stage) , this is not a collection to which one listens to relive the buzz.



2. This is a great collection, but where is the great Mountain track
   Stormy Monday, that is on the L.P.?? Check it out if you can find
   a copy of the L.P., and still have something to play it on.



3. I picked this goodie up in a used CD store - and only because I saw the video of the concert (which is pretty hip but slacking in total music performances).

   As with any festival type collections (a la Woodstock, Horde, etc.) there will be some great cuts and some lame ones. So here's my thoughts....
   FREE - nice but unneccessary. A 2 chord jam gets boring quick and Paul Rodgers was never anything to write home about.
   TULL - Kicks...!!! See the video performance!!
   COHEN, KRISTOFERSON, TIM, BAEZ - ..eh!
   HENDRIX - not his best but enjoyable
   TEN YEARS AFTER - Amazing! Alvin Lee is the guitar man! 10 minutes of mindblowing jaming!
   JONI - Phenominal (as always)
   ELP - if you dig them you'll love the performance - see the video for Keith playing his keys upsidedown.
   DOORS, WHO, DONOVAN, MOODIES - as always, great performers
   MILES - the man was incredible. 16 minute free-jazz jam
   GREAT AWAKENING - whoever this is does a great rendition of Amazing Grace!
   DYLAN - just the studio cut from Highway 61.

   Give it a try if you like the performers.




4. This CD is ok but you are better off getting The Who's cd and Hendrix's cd. It is a good cd if you want to get a mix of what was at the fest.



5. OK, the sound quality of the recordings is about what you'd expect of an early era outdoor concert, but this collection is worth getting if only for the glimpse into a time of turbulent change in the rock&roll scene. The collection of artists & selections here shows the diversity of music widely enjoyed by rock fans before they had to decide if they were fans of rock, or heavy metal, or folk, or alternative, or adult alternative, or pop-rock, or some other category of interest primarily to the record company marketing staff. This was still (barely) the days of music for the fans, a fact sometimes too aggressively proclaimed by the infamously unruly crowds at this festival. The small club folkies haven't yet figured out how to hold a vast crowd with less-than-ideal acoustics, the power groups haven't yet become addicted to endless decades of self-congratulatory stadium tours for inflated prices, teh guitar players are still playing just to show you what new things they have learned that a guitar can do, and you can even get a glimpse into why there is such a split opinion over the ratings of such clearly talented people as Pete Townshend and Jim Morrison (the Darryl Strwberries of their genre, clearly talented, but not always able to channel those talents into a connection with their audience). If you want an eclectic music collection, you can get a good start with just this set. Obvious comparisons with the Woodstock discs beg, both sets include a great variety of styles and quality levels of performances and recordings, but I find the main difference to be in a perceptible change in the audience. At Woodstock we were still there to groove on the music and the scene and free love; the audience and the performers were equally as starry-eyed about the whole scene. Here we were starting to think everything ought to be free, and we were owed it, man, and those freakin' singers better deliver it. If Woodstock was a celebration of the hippie era, then Isle of Wight was a riot demanding it, audience and musicians on opposite sides, the start of a rapid growth of commercialism in rock & roll, a growing pain of a developing industry. Still, for anyone who likes music of the early 70's, there is a lot of wheat among the chaff here, and it always makes an interesting listen, even if there is a temptation to skip a track now & again. 3+ stars for the music (4 if you're a Hendrix or Alvin Lee fan), 4 for the experience.

5 comments about A Show of Hands.

1. Rush's A Show of Hands was first released in January of 1989.
   The album was recorded during various stops on the band's Power Windows and Hold Your Fire tours in 1986/87/88.
   The sound of this live album was worse than 1981's Exit...Stage Left. If you watched the live DVD and compare to this, the mix on the video (and the re-released DVD) was better than on the album and the mix of the album is why it is four stars.
   The album does have some highlights like "Marathon", "Turn the Page", "Manhattan Project", "Mission" and "Time Stand Still".
   Some of the others like "The Big Money", "Distant Early Warning" and "Red Sector A" were way better on 2003's Rush in Rio (why fans detest this album is beyond me). "Subdivisions" and "Mystic Rhythms" are way better on R30. "Witch Hunt" was better on the Grace Under Pressure Live CD (which was released with the Rush Replay X 3 CD/DVD set).
   I didn't like the cheesy Simmons drums on the "Closer to the Heart" performances from 1984-93, thankfully Neil went back to the acoustic drums on this track for the Test For Echo tour forwards and the best versions of Closer are on Different Stages and Rush in Rio IMHO.
   "Force Ten" was better on the Japanese version of Different Stages and the 2005 released R30 CD/DVD set and "The Rhythm Method" was edited on A Show of Hands, if you watch the video they play YYZ as a lead in into the solo, it is missing on the album.
   This live album did modest peaking at #21 and went Gold (just like every Rush album before it).
   Recommended but buy Different Stages, Rush in Rio, R30 and Rush Replay X 3 instead!



2. This is part three of a comprehensive four part series of Music Reviews of the Progressive Rock band Rush. When a band has been around as long as RUSH has (30 years), their musical styles will change and evolve, just not always for the best. I group the bands third set of releases into what is known as Rush's "Synthesizer Period". All of these albums came out during the 1980's and represent the band's post-Moving Pictures era. The albums are Signals (1982), Grace Under Pressure (1984), Power Windows (1985), Hold Your Fire (1987) and A Show of Hands "Live" (1988).
   
   A Show of Hands is a snapshot of the Hold Your Fire tour. Only two songs on the record, Mystic Rhythms and Witch Hunt were from the preceding Power Windows tour. I'm only giving Show of Hands 3 stars. But this is compared to all of Rush's other Live offerings, which I consider better. Production is good, even better than Exit Stage Left, but I just don't like a lot of these selections, which are predominantly from Power Windows and Hold Your Fire, my two least favorite Rush albums. Personally, I would just like to forget that the 80's even happened and that one of my favorite progressive hard rock bands had to travel down this dark path of synthesizer laden "new wave" crap.
   
   On the bright side, for a fully loaded single disc that used to cost about $14, you can now pick up this '97 re-master for around $8 brand new. Now that's a bargain.
   
   Not recommended. For completists only.



3. I have read many reviews on this cd, many are two or three stars rating.
   For me, this live cd is just great. The choice of songs is not perfect but is there a live cd or a best of containing every songs you would have chosen ? Again, I like this cd very much and it is an easy five stars rating for me. Good job Neil, Alex and Geddy !



4. Rush's tradition of releasing a live album after every fourth studio release continues with "A Show of Hands". Unlike the wretched "Exit Stage Left" which was plauged by terrible recording problems, this albums avoids the problems which make "Exit" nearly unlistenable. Unlike "Exit" and the masterful "All the World's A Stage" which present one live show, "A Show of Hands" presents cuts from different concerts and tours.
   
   As an attempt to show case different tours, it lacks the cohesion and sustained energy that make a "Rush in Rio" and "R30" such triumphs. As an anthology of different shows, the shifts between the different concerts is often jarring.
   
   It's absurd to label this as the "worst" Rush live album--since its clearly far superior to "Exit, Stage Left." (And "Exit's" problems are not performance-related, but as I note above, technical.)
   
   As a matter of personal preference, I like a live album to be of one show, a snapshot, so to speak, of a band's work and spirit at a single moment in time.
   
   For the new Rush fan I would not recommend it. "Different Stages" would be a much better intro to their live work. It showcases their more recent work as well as the pre-"Hemispheres" albums on that fantastic third concert disc.
   
   All of that having been said, "A Show of Hands" should be in every serious Rush fan's collection. It is really completely inaccurate to describe Rush's 80's oeuvre as "the synth period" since the use of synths began with 1976's "2112". The shift is gradual and doesn't support the label the period is too often given.
   
   As a sampling of their live shows in the 80s, it does a good job. To repeat, I would have preferred one show but the anthology approach does provide a more global perspective on one of the most successful concert acts of the last thirty years.
   
   Rush also has has more consecutive gold and platinum albums than any other band--excepting only the Beatles and Rolling Stones (in the that order).



5. This is easily the worst Rush album ever made. The versions aren't that bad, the songs just aren't that good. Still I could elevate a rating to 3 1/2 stars if they just had a more even representation of the 4 albums it's supposed to represent.
   
   As others have already suggested, the biggest problem is the whole album seems to be Power Windows and Hold Your Fire. Only three songs from Signals and Grace Under Pressure is deplorable. The album is short enough they could've added a couple more songs easily.
   
   Signals should have included:
   1. Subdivisions
   2. The Weapon (as the fear trilogy)
   3. New World Man
   
   Grace Under Pressure:
   1. Distant Early Warning
   2. The Enemy Within (as the fear trilogy)
   3. Red Sector A
   4. last half of Red Lenses (with YYZ and Rhythm Method drum solo in the middle)
   
   Power Windows:
   1. Big Money
   2. Manhatten Project
   3. Marathon
   4. Territories
   
   Hold Your Fire:
   1. Force 10
   2. Time Stands Still (only because it was a single, shudder)
   3. Turn the Page
   4. Mission
   
   And as out of cycle songs:
   1. Witch Hunt (only so they can do the whole Fear trilogy)
   2. 1/2 of YYZ (only so they can include it in the drum solo going into the last half of Red Lenses)
   
   Leave out Closer to the Heart, swap out Mystic Rhythms for Territories; add Analog Kid, New World Man, The Enemy Within, and YYZ/Red Lenses. I haven't timed that, but if that's too long for an 80-minute CD, I would say Marathon, Mission and Red Sector A, in that order are expendable. Now you've got a fair representation of the four albums. It's still PW and HYF heavy, but it's at least respectable.

5 comments about Life Live.

1. Unlike many fans of this greatly underestimated band, I was fortunate enough to see this concert tour live in a couple of locations. While the original album did justice to the performance, the CD truly captures the essence of Thin Lizzy and proves to the generations that have and will follow that Thin Lizzy and Phil Lynott were masters of the Heavy Metal sound of dual guitars, Bass that was not just an instrument for keeping time, and percussion that was used as an instrument of music. While we have unfortunatly lost the greatness of this Irish Band, the sound that is captured so eloquantly on Live Life will forever tell the tale of the founding of Heavy Metal. Long Live the Emerald!



2. Aunque fans y críticos se ponen de acuerdo en afirmar que "Live & Dangerous" es su mejor disco en directo, yo pondría éste en el mismo lugar -e incluso casi por encima.

   Es el perfecto testimonio de su trayectoria musical, un repaso musical a su discografía y, además, en directo. Por el escenario pasan todos los guitarristas del grupo en una especie de tributo a ese mago/dios negro del rock, llamado Phil Lynott.

   SI REALMENTE TE GUSTA EL ROCK DE LOS 70'S Y LOS DISCOS EN DIRECTO, aquí encontrarás otra joya de esa época. ¿Has pensado alguna vez en la cantidad de increíbles discos en directo que aparecieron en los 70's y primeros 80's? Ponte a contar: ALLMAN BROTHERS BAND (at Fillmore), DEEP PURPLE (in Japan), HUMBLE PIE (at Fillmore o King Biscuit), RORY GALLAGHER (Irish Tour), JUDAS PRIEST (in Japan), GRATEFUL DEAD (Live Dead), CHEAP TRICK (at Budokan), LITTLE FEAT (Waiting for Columbus), J. GEILS BAND (Blow your face out), JOURNEY (Captured), KISS (Alive), PETER FRAMPTON (Comes alive), NEIL YOUNG (Rust never sleeps), LYNYRD SKYNYRD (One more from the road), UFO (Strangers in the night), MOLLY HATCHET (Double trouble), AEROSMITH (Bootleg) y un larguísimo etcétera. Este disco doble está a la misma altura que los anteriores: destacan los duelos de guitarras sin tregua, la sección rítmica atronadora y, por encima, de todo esa voz tan sentida y única en el rock del malogrado Phil. Hay grandes momentos, de furia rockera, de medios tiempos sencillamente excepcionales y también de bellísimas baladas.

   Las exageraciones adquieren aquí verdadero sentido porque hablamos de THIN LIZZY y de sus discos en directo. Todos sabemos que sus discos en estudio son brillantes, pero cuando adquieren su verdadera dimensión es encima de un escenario -no cabe ninguna duda. Ha llegado un nuevo milenio y dos cosas: o me estoy haciendo viejo a pasos agigantados, o ya no hay grupos ni se hacen discos como éstos de hace más de 20 años. Aquí está una prueba más. CONVÉNCETE Y DISFRUTA DE ÉL (como de la buena sidra). Un saludo.




3. Rock "experts" rate Lizzy's earlier "Live and Dangerous" as being their best live album, but for my money this roaring monster is both bigger in sound and in soul. "Life" was recorded on Thin Lizzy's last tour(s) and while there are couple of dodgy songs (I don't really think that "Thunder and Lightning" is quite up to the standard of the band that produced the glorious "Cowboy Song"), there's a big, fat, valedictory tone about the whole album that's very satisfying. The last twenty-odd minutes are the high point, as all of the band's old guitarists take turns guesting on signature songs; Brian Robertson on "Emerald", Gary Moore on a stirring version of "Black Rose" and Eric Bell thrashing up a storm on "The Rocker" which ends up with about five or six guitars at once, as all the old boys troop on for a last bow.

   A suitably epic epitaph for a great band, easily the best Irish band ever, in this (young) Irishman's opinion.




4. This often ignored double vinyl album came at the end of Lizzy's 13 year career in 1983.

   Recorded on the bands farwell tour, it offers the band stomping through old favorites as well as newer material from "Black Rose" right up to "Thunder and Lightning." The more diverse cross section of material performed on this release: make it superior to its higher grossing sibling live album "Live & Dangerous."

   The mix is a little flat, but its the music that matters the most. Its great to hear the incredible versions of "The Sun Goes Down," Phil's delicate vocals on "Still in Love with you," and the amazing finale of "The Rocker." During "The Rocker" every nearly every guitarist who ever preformed reguarly with Lizzy is there - Bell, Gorham, White, Robertson, Moore, and Sykes. Its ear candy to hear all the Lizzy guitarists seguing back and forth.

   The bottom line here is that for the wonderful cross section of material this is a must have set for the Lizzy fan. If you aren't familiar with later Lizzy this is a nice package to pick up to introduce yourself. Loaded with all the old favs and the '79 and later material its a special treat.




5. I have this on CD and it is a great live set. I found my copy at a flea market type event still in the plastic. So don't give up looking for it. You might try record conventions. I paid about 10 dollars for my copy, sometimes people just don't realize what they have. This set has alot of cool pictures in the liner notes. The copy I have was released by metalblade records.If you are having trouble finding it email the guys at the metalblade site and see if any reissue date is set.I think all fans should be able to obtain this masterpiece.

No comments about Live Concert Rock Classics.

5 comments about Rockin' Down the Highway: The Wildlife Concert.

1. I consider three 1970's groups (Lynyrd Skynyrd, The Allman Brothers Band, and The Doobie Brothers) the originators of Southern rock. The Doobie Brothers were the gentlemen of Southern rock. These gentlemen's personalities shine in "Rockin' Down The Highway: The Wildlife Concert", a recording of an extremely fun, happy, and energetic 1996 concert for the Wildlife Conservation Society. The Doobie Brothers' support for the Wildlife Conservation Society is appropriate. Nearly twenty-five years after their first recording, The Doobie Brothers still are rockin' down the highway and their wild life continues. That's an extremely long playing record!

   This excellent recording presents The Doobie Brothers' lyrics more clearly than some of their studio recordings. Two selections: 'China Grove' (with its outstanding guitar solos) and 'Listen To The Music' (a great concert arrangement) are examples of Southern rock's best. Another 8 selections are particularly outstanding. 'Take Me In Your Arms (Rock Me A Little While)', 'Minute By Minute', and 'What A Fool Believes' feature Michael McDonald's outstanding vocals. 'Takin' It To The Streets' features saxophone solos and Michael McDonald vocals. 'Slow Burn', 'The Doctor', & 'Without You' feature outstanding guitar solos. 'Excited' features vocal and guitar solos plus a rolling arrangement reminiscent of "The Lizzies" scene in the 1979 Michael Beck cult movie "The Warriors".

   The Doobie Brothers have polished their artistry and style for over twenty-five years. That artistry and style shines in "Rockin' Down The Highway: The Wildlife Concert". I recommend this fun live recording both for Doobie Brothers fans and also for those unfamiliar with The Doobie Brothers' music.




2. This is a great album for anyone who has not heard the Doobie Brothers before and wants to get to know the band. For anyone who has a lot of Doobie albums, this cd probably is not a good buy. The songs are simply recycled and there is no creative spin to make the cd unique. This cd is best for new fans or the Doobie obsessed.



3. Saw the Doobies Labor Day 1999 at a festival. Found this CD to be on par with that concert. This CD captures all the musical excitement that a festival setting can give. I recommend this CD to any Doobies fan or fan of music from the 70's.



4. I have this CD and the video and I highly, highly recommend both for a look and a listen to one of America's greatest, cleanest sounding and most talented rock and roll bands, who provide grand doses of not only rock but also country, jazz and blues. Buy the CD for your stereo, and the video for your television. And share both with your children so they can learn and understand what great seventies rock and roll really is. Amazon offers great prices on both the CD and VHS (and NO, I don't work for them!) Guaranteed to please.



5. Having been a Doobie Brothers fan for 20 plus years, it wasn't until 1990 that I saw them perform live. I have seen them 3 times since. I was convinced their onstage live energy couldn't be captured on "vinal" or CD. I was wrong. This is a terrific double album. Crystal clear sound, great selection of classic hits spanning the last 25 years.Even non touring ex-Doobie-Michael McDonald appears in several tunes (I guess there are no ex Doobies). Highly recommended!!!added for a few tunes.