5 comments about Join Together.

1. I just recently bought this CD ( 16 years later ) and it really is an amazing live recording captured by John, Pete and Roger. They had alot of help on this one cause the band behind them is huge complete with a horn section and back up singers but one of the best parts of this concert is hearing the amazing Simon Phillips behind the drums. He really adds alot of energy to the music and to hear classic songs from the "TOMMY" album recorded with more up to date drum technology is really something to hear.
   It's Awesome sounding.



2. This is the definitive Live Who disc (or double disc) and is in fact possibly the best album the band has done. Unlike many live efforts, this transcends the studio rather than being a pale reflection of it or some crappy sounding bootleg tape. The joy, the energy and the talent of the performers all shine through.



3. I saw one of this concerts on tour, and let me tell you that it was GREAT. The first part was Tommy, with the apperance of Phil Collins, Billy Idol, Patti La Belle, Steve Winwood and Elton John. On the second part they played their usual songs, but with such an energy. The sound was great, Pete Townsend playing with such energy, Roger Daltrey with his roaring voice, John Enwistle with those magic fingers, Simon Phillips was on drums with a huge perfomance, I do remember that at the end of the concert, P.T. made a statment: "It took a lot of people to find someone to replace Keith Moon, on drums the extraordinary Simon Phillips". There were a lot of musicians that at this moment can remember, but all of them made an awesome perfomance.
   
   Well, on this album it is the same thing, BUT, you will not find these: Phil Collins, Billy Idol, Patti La Belle, Steve Winwood and Elton John. But do not worry, because on the original studio album, they were not there, The Who members made all their vocals, and how was it?
   
   The Who, on this one, sounds very different than you are use to listen, but different does not mean bad nor ugly, otherwise, it sounds with quality.
   
   You will get a great experience.



4. That's actually what I called this recording, when I learned the Who would tour, but with Townshend's current band, Deep End.
   
   Needless to say, the band rocked its way through "Tommy" and a number of old hits, and it must have been a hell of a show to see (I sadly missed the Foxboro, MA show in '89).
   
   The lineup was different this time for a number of reasons: Townshend was suffering from tinnitus and so Steve Bolton was hired to handle lead guitar (which I thought was good, but a bit more flash than Townshend's). There were the backup singers, extra percussion, extra this and that, and it made for a fuller sound. I rather liked the band doing "Tommy" on this, rather than the all-star lineup you see in the video.
   
   All around, a good solid performance, though perhaps not what purists would like to have heard.



5. One of the best live albums I've ever heard. The 1989 Who "Reunion" tour has the first disc (1st LP and half of 2nd) being a live rendition of Tommy and the 2nd disc (other half of 2nd Lp and 3rd LP) are live versions of great Who tunes including Eminence Front, I Can See For Miles, 5:15, Love, Reign O'er Me, Trick Of The Light, Join Together (obviously), You Better You Bet, Behind Blue Eyes, and Won't Get Fooled again. Plus 4 Pete Townshend solo songs (Face The Face, Dig, A Little Is Enough, and Rough Boys). These Live Tracks were recorded at Radio City Music Hall, New York, Universal Ampitheatre, Los Angelas, and various other concerts during the US Tour, 1989. This album is dedicated to Keith Moon (1947-1978)

5 comments about Jimi Hendrix: Blue Wild Angel Live at the Isle of Wight (Digipak).

1. There are so many other performances out there that merit putting on to CD. Hendrix is just not with it for this show. You are better off buying Live at the Fillmore East. I guess the "Isle of Wight" name carries some weight (The Who released a great Isle of Wight performance a few years back). The only other significance is that this is Hendrix' last major public performance, so there is the curiosity factor.



2. "i wanna tellyou, lord, i'm a lover. i said i'm a lover."-jimi hendrix



3. While the Isle of Wight concert contains some great playing (as any Jimi Hendrix release does), it is not close to as good as some other Hendrix releases. I do not find myself listening to it very often at all, despite the fact that I am a big Hendrix fan. Certainly there are some enjoyable numbers (a rarely seen live Watchtower, newer songs like Dolly Dagger and Midnight Lightning) but overall Jimi seems somewhat sloppy and tired. I find myself wishing I only bought the single CD. I leave open the possibility that this album may grow on me, but for now I don't listen to it much.



4. The Isle Of Wight was one of the last Jimi Hendrix concerts before his death in Semptember 1970. Their were many other bands that night including The Who, and The Doors. Jimi Hendrix did many great things that night including his highlighted performence Machine Gun that seems to run on too long. Their are many of his known hits that were played including Purple Haze, and Foxy Lady. But their were also his latter songs that were really interesting to hear including Freedom, and Dolly Dagger. Hendrix was at the peek of his career he was on too much drugs.

   Watching the Concert captures the intesity that was played that night. My favorites are LoverMan, All Along The Watchtower, and In From The Storm. Jimi Hendrix did some crazy blues solo's on songs like Red House wow. I still cant believe some of the great things hendrix was doing on the guitar during 1970. Blue Wild Angel is a great concert but not one of his best. I recomend this concert to a real Jimi Hendrix fan for the rest im leaving this one up to you enjoy!




5. Jimi Hendrix's performance at the Isle of Wight festival is definitely my favorite for many reasons. There's nothing about this performance I don't like. Hearing live versions of Ezy Ryder (Probably my favorite Hendrix track), Dolly Dagger, Freedom, In From The Storm, and Midnight Lightning are rare treats, considering they weren't performed too many times. First off, Dolly Dagger is great in studio form, and this live version makes it so much better, it's the best version any Hendrix fan will ever hear, and that's saying a lot. Freedom has such a cool riff, hearing it live only makes it better, this song should not be missed at all. Ezy Ryder is such a foot-stomping song live. And is performed at a faster pace. I can't get enough of Ezy Ryder from Isle of Wight. Midnight Lightning is such a rare spectacle to hear, it's a great blues track, and really flows from Jimi.

   Machine Gun is mind-blowing. The guitar and drum solos in the jam section are excellent, this track, at first listen left me in a state of shock and awe, definitely his best version of Machine Gun ever performed. Another is Red House, this song is performed with amazing enthusiasm and ability the solos never fail to amaze me, in fact this song challenges the version on the Jimi Hendrix Experience Box Set (which is amazing as well) as the best performed. A final spectacular performance of a song by Jimi would be one of my favorite Hendrix tunes (especially live) Spanish Castle Magic. Jimi really jams on this version better than any other I have heard. His guitar sounds as if it's about to combust, and that's a great thing. One word to describe this version of Spanish Castle Magic. Electrifying.

   Next are the songs performed by Hendrix performed plenty of times, and are never boring, but magnificent. Lover Man is performed with great enthusiasm and at a lightning pace which is great for this song. Hey Baby (New Rising Sun) was a staple of the 1970 tour and rightfully so, the song is incredible, really makes you think in the direction where Jimi was going. It's my favorite version performed live. And the proper arrangement of Message to Love is my favorite at this show as well, it's performed with such effort and charisma it can't be passed up.

   Finally, are the old Hendrix classics that we all started out on (Hey Joe, Purple Haze, All Along The Watchtower, Foxey Lady, and Voodoo Child (Slight Return). I won't go into detail, but the version of Foxey Lady is the best and my favorite, All Along The Watchtower is great as well, Purple Haze and Hey Joe are always great, and this version of Voodoo Child (Slight Return), is amazing, I love this version it gets my fists in the air and my feet stomping on the ground. Electrifying.

   It all ends with In From the Storm, this is a great way to end the show with a lot of power. This is my favorite Hendrix show ever and once you listen to this, you'll see why. This should be in your Henrix collection for it's power to amaze, excite, and astonish.

5 comments about The Blow-Up.

1. The live version of Little Johnny Jewel is an event. Listen to this to hear the inheritor of the Jimi Hendrix mantle. Listen to this for another world, a dark vision beyond goth or metal. Listen to this for an artist pushing beyond stupid formula into new territory. Listen to this.



2. What a find! I've always _liked_ Television, but the studio records left me just a wee bit cold. This burns a hole in your spakers. Not just for previous fans. Art-rockers will no doubt like the studio stuff better, but rock-rockers will likely appreciate this more. I'm a bit of a tech-geek and I hate badly engineered records, but I find this eminently listenable. The sound is not necessarily full, but its reasonably crisp. It is a live reocrding after all, and sounds like it. But this should not keep anyone away. Yes, the shorter, quiter, more 'composed' songs like Venus do work better in the album versions. But most of the material here benefits from the looser, more energetic playing. One could say its more passionate, but that doesn't begin to describe it. These guys are playing like their lives are at stake. Even if disc one was a total waste, which it isn't, disc two would be worth more than the price of admission even WITHOUT 'Little Johnny Jewel", and that particular track is priceless. I think this is simply one of the great rock and documents ever, right up there with The Who Live at Leeds.



3. If you havent heard Television and want to learn the origins of todays and tomorrows rock, than buy this record. Everyone seems to only mention Tom Verlaines work, but its the virtuosity of the guitar interplay that occurs between Richard Lloyd and Tom Verlaine (2 geniuses of the guitar) that make this band extraordinary (and Tom Verlains haunting vocals).
   
   I am amazed by their last studio effort in '92 which almost surpasses Marquee Moon and Adventure. I saw them live in '92 at Roseland in NYC and was amazed how fresh and new this band still sounded. No other band compares. Kudo's to Bono for mentioning Television and Patti Smith as their main influences during this years rock and roll hall of fame. I wish other bands would admit their ideas were borrowed if not stolen from these legendary bands and composers.
   
   Catch them while you can and buy their albums!



4. This is simply one of the greatest recorded live performances I've ever heard and I spend a good deal of my life listening to live music in person and on CD.

   The downer is that the sound quality is pretty poor in spots, but does get better on some tracks. Consequently, listening to this on headphones definitely beats listening to it in your car. In short, the sound quality will annoy you at times, but if you listen carefully, I believe you'll find it well worth it.

   On "The Blow-Up" you hear a band that is literally fearless. It's a bit like watching four incredibly gifted artists sprint back and forth on a tightrope. Not only is the collective performance incredible, but Verlaine's material ranks with the finest in rock history. Yes, the guitars are awesome, but the rhythm section of Fred Smith and Billy Ficca is equally incredible.

   Buy Marquee Moon first (everyone should own a copy of that), but get this too to hear what Television were capable of live.

   If you can find a copy, I'd also highly recommend Television - Live At The Old Waldorf: San Francisco, 6/29/78. This disc is a much shorter show, but it was professionally recorded and the sound quality is top notch. The performance is excellent, but perhaps not quite as incendiary as on "The Blow-Up."

   Sadly, Rhino Handmade only issued 5,000 copies of "Live At the Old Waldorf," so you'll have to do some hunting on Ebay, etc. However, if you love great rock and roll, it's worth the trouble and expense.




5. The first Television album is all tension and restraint -- beautiful guitars slashing at each other over Verlaine's wavery voice and a thumping rhythm section. "Marquee Moon" is the sound of a world class garage band, and one of the great guitar bands of all rock music playing majestic music, nearly losing control at each curve, but catching themselves before they fell apart.

   This album strays at every opportunity. It's loud and indulgent. The playing is sometimes ridiculously sloppy, but when the band gets it right, as with the 15 minutes of "Little Johnny Jewel," it's as breathtaking as anything on "Marquee Moon."

   I still prefer the studio versions of every song on this album to the live ones, but this is the perfect companion to "Marquee Moon." Even though the album was recorded after "Marquee Moon" was released, it works well as a backdrop for that album. Compared to the insane experimentation here, the solo on the studio version of "Marquee Moon" sounds tame and structured. The full-blown feakout of "Friction" is compressed into a tight single in the studio.

   Which isn't to say the album doesn't stand on its own. As a double live album with low quality sound, it doesn't have much going for it in principle, but the guitars are fantastic. Very raw, very loud, and a lot of fun. Any fan of rock music owes it to themselves to buy "Marquee Moon" first (THAT'S the essential album), but this works well for those of us who can't get enough of a good thing.

1 comments about Title Live Cream/Live Cream Vol. 2.

1. this fantasically done compilation represents the best of eric clapton, jack bruce, and ginger baker at the height of there short time together. every "woodstock generation" rocker should have this in his or her collection and listen to it regularly to just remember the days!! long live the 60's rockers!!

5 comments about Paris.

1. Hard enough for myself to accept, but I've never even heard this double live CD reissue of Supertramp's memorable November, 1979 concert in Paris before. Most I've ever heard is like two tracks played late nights on an album rock radio station when it first came out. At least as good as their 1976's 'Is Everybody Listening?' {see my review}. Tunes that were truly compelling to hear the live versions of were "Ain't Nobody But Me", "Breakfast In America", "You Started Laughing", "A Soap Opera", "Asylum" and the priceless "Take The Long Way Home". Plus of course, there are the Supertramp staples - like "Bloody Well Right", "Dreamer", "Rudy" and "Crime Of The Century". Sound quality is great. My only regret is I didn't get to catch the band on this particular tour when it came through my town. I did, however catch them six years later on their 'Brother Where You Bound' tour after Roger Hodgson had already exited the band. Guess you REALLY can't have your cake and eat it, too. Recommended.



2. Supertramp was/is one of the only bands that i like outside the hard rock/Metal genre. This cd is why. The distinct differences of the Hodgson/Davies come accross great here. The atmosphere is nice and the keyborads sound more crisp here than the studio versions. Was nice to get this and remember the late '70's with these gems. From "School" to the closing "Crime of the Century" this cd shows Supertramp in their peek. Great stuff.



3. a good cd. worth the $20. But get the 20th century one for $6.99



4. Altough I really dislike compilations (and live albuns, are ultimately, compilations - where you never know how much was "added" or "Taken" in the studios....), I must admit PARIS has unique feeling surrounding it, makin it one of the best live albuns ever.



5. This is one of the all-time great concert recordings. It is very easy to lose yourself in your imagination, transporting yourself into attendance on a Paris night that could just as easily have been yesterday as some twenty years ago or so. Listening to this recording gives you the feeling of sitting outside a parisienne sidewalk cafe on a warm night surrounded by friends. The music is tight, as good a any studio production from the band. I have to admit that the sound of the crowd can sometimes get a little annoying, given the perfection of the music, but this minor flaw is easily dismissed. I read where a professional reviewer said this recording was "unnecessary". I strongly disagree. This recording was not only necessary, but well worth the price. Like a cup of fine Parisenne French Roast coffee, enjoy, enjoy, enjoy!

5 comments about Genesis Live: The Way We Walk, Vol. 2 (The Longs).

1. Such layered synths, with booming sound and semi-jangly, humming sweet-sumptuous, rich CRANKED guitar...oooh, I love it! The songs could be better; "Driving The Last Spike" does kind of dwindle on, but who can resit "Domino" or ESPECIALLY - the spine-tingling highlight - "Home By The Sea/Second Home By The Sea"?!??!, the best live version I've ever heard (bear in mind though I'm too young to have been to a Genesis concert, although if I had $200++ to spare, I might have been able to catch them on their reunion tour; gosh, I hope they make another album! Go to genesis-music.com to find a piece about Tony Banks saying they **MIGHT** do it...)
   
   anyway, it's not perfect. If you don't get a kick out of hearing live music, I'd suggest buying ABACAB, INVISIBLE TOUCH and then this one. Then you can go back and hear SELLING ENGLAND BY THE POUND, WIND & WUTHERING, possibly THE LAMB LIES DOWN ON BROADWAY (which a lot of people don't like as much 'cause it has a bunch of atmospheric instrumental pieces...).
   
   Of course, if you're of the vinyl era, and weren't aware of Peter Gabriel's invovlement in Genesis, you prolly wanna just stick to TURN IT ON AGAIN: THE HITS. If you were of the vinyl era and DO know who Peter Gabriel is and appreciate his work, then the immediately above paragraph most likely doesn't apply to you, since you probably already own ALL of Genesis' music from the Gabriel era and little if anything from the Collins' era. The recommendations in the above paragraph are mainly aimed at curious youngsters (I'm 24 and didn't get into early Genesis until I was about 18), although there seem to be fewer and fewer of us, admittedly.
   
   goonight!
   ~Jonathan Cardwell



2. Genesis' 19th album entitled The Way We Walk Volume Two (The Longs) was released in February of 1993.
   This live album was recorded on different dates on the band's We Can't Dance tours in 1992.
   The second 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 longer tracks from 1971-1992 and the songs are, in most cases, superior to their studio counterparts.
   We begin with "The Old Medley". First, is a stellar piece of "Dance On a Volcano" before segueing into a piece of "The Lamb Lies Down on Broadway" (which neither of the aforementioned sections had not been played since 1981). We go into the ending of "The Musical Box" (which features fiery guitar work from Stuermer and had not been played since 1982). Next, we segue into the middle section of "Firth of Fifth" which has killer duel drumming from Collins and Thompson and Stuermer's guitar playing on fire. We end the medley with "I Know What I Like" (which has pieces of "That's All"/"Illegal Alien"/"Your Own Special Way"/"Follow You Follow Me"/"Stagnation) and a great version and Phil's tambourine dance was unreal on this.
   We then have "Driving the Last Spike" which is a great version. Next is "Domino" and trumps the studio version. Next is a great version of "Fading Lights" in where the band shines in the middle section with great playing from Banks/Collins/Rutherford. Next is "Home By the Sea (Parts 1 and 2)" and a great version. We end the disc with Collins and Thompson's legendary "Drum Duet".
   The Way We Walk - The Longs reached #20 in the US but unfortunately didn't sell as well as Part One.
   I say, as a Genesis fans, buy both parts and combine the tracks to make a great live album from the 1992 tour.
   Recommended!



3. What the hell is going on in the old medley...It start great with "Dance on a volcano" it is amazing in the "Firth of Fifth" extract and it finish with..."Follow you follow me and That's all" which totally ruins the whole medley. A real deception here. Next you have the best of Invisible touch (Domino), the best of We can't dance (Driving the last spike and Fading light) and the best of the "Genesis" album, which is Home by the sea-Seond home by the sea. Conclusion, not enought space for old stuff, and the only place it had is ruined by extracts of some songs that should have been on "The shorts"



4. It was all downhill for the band after this album. After the tour during which it was recorded, Phil Collins would leave the band, they would record the infamous "Calling All Stations" and not too long after that, they split for good. But the "Longs" installment of this 2-volume set of live material was a glimpse into the greatness of Genesis.
   
   The premise is pretty basic: six songs exceeding the 6-minute mark (in fact, five of them go over the 10-minute mark), showing off some of the band's most ellaborate work, to balance off volume one, which focused more on the singles and short songs. Starting off the album, standing tall at almost 20 minutes of duration, is a medley of reaaaaaaaly old Genesis, where 1975's "Dance on a Volcano", 1974's "Lamb Lies Down on Broadway", 1971's "Musical Box" and 1973's "Firth of Fifth" and "I Know What I Like" all are brought back to life, if at least for minutes at a time each... reviving the spirit of one of the world's best progressive rock bands ever.
   
   Following the opening track come two tracks from their "We Can Dance" production, along with the "Domino" bundle (from their "Invisible Touch" album) and the "Home By the Sea" bundle (from their self-titled 1983 album). Taking it all home is their classic Drum Duet, featuring Phil alongside Chester Thompson, delivering a massive drum discharge that will electrify you.
   
   If you ask me, this last glimpse at their great work is a good as it gets... I am thankful I had an opportunity of catching them during this tour, back in Knebworth, in 1992. They don't do them like this any more. ;)



5. When it comes to the rock band, Genesis - I think this band is often unfarily criticized for going "commercial". Yes, the band did move into more of a pop-music direction in the 1980s, but I think they added a breath of fresh air to the pop music and paritcularly 80s landscape. As a result, Genesis picked up a lot of new fans - many of whom probably went on to appreciate many of their earlier works. The album, "The Way We Walk - Volume 2: The Longs" presents a collection of 6 "longer" live tracks of over 6 minutes long.
   
   When I look at Genesis as band, I see four distinct phases the band has gone through. Phase 1 is the Peter Gabriel Era. This spans from 1969 ("From Genesis to Revelation") to 1974 ("The Lamb Lies Down on Broadway"). It was during Phase 1 that Peter Gabriel was the lead vocalist and Genesis could easily be categorized as a progressive Rock band. Phase 2 is the Early Phil Collins Era spanning from 1976 ("A Trick of the Tail") to 1982 ("Three Sides Live"). In this era, Phil Collins took over as lead singer. The band was still very much a progressive rock band, but as the progressive rock landscape would change - so would Genesis. This might indirectly have led to Phase 3 which is the Late Phil Collins Era from 1983 ("Genesis") to 1993 ("The Way We Walk Volume 2: The Longs"). This is the commercial/pop era that I referred to earlier. At this point, there would be a lot less progressive rock flavor to Genesis' music. The fourth phase, Phase 4 is the Ray Wilson Era. This was when Ray Wilson took over as lead vocalist for Phil Collins. There would only be one album in this era - 1997's "Calling All Stations" and it seemed like Genesis tried to recapture some of their progressive rock roots - but 90s style. "Calling All Stations" would do poor commercially and Ray Wilson would take the fall and be asked to leave the band.
   
   In Phase 3, Genesis would grow more and more successful commercially with each album release. Some of this probably would do to the fact that Phil Collins' solo career was also taking off. The last studio album that Phil Collins would do with Genesis was "We Can't Dance". It was a huge commercial success and resulted in a hugely successful World Tour. Naturally, the band decided to capitalize on the success of that World Tour by releasing a live album and video. Genesis had done live albums before ("Three Sides Live", "Seconds Out", "Genesis Live"). On each live album, the focus of the live material would on the studio releases that had not been done live up until that point. Genesis had not done a live release for Phase 3, thus "The Way We Walk" would have a focus on this material. For this live release, Genesis would employ a unique formula - they would release the material in a two volume set called "The Way We Walk". Volume 1 would focus on the shorter (normal) length songs. Volume 2 would focus on Genesis' trademark longer songs. This review focuses on Volume 2.
   
   Normally when there is a live release, I prefer the album to be a live recording from a single concert performance. I prefer it to be delivered in the order in which the songs were actually delivered. By having things from a single night and in order - I feel there is continuity and the magic of the concert is captured perfectly. Since Genesis took this unique approach to the way they were presenting this live material, this was going to be very hard to do. However, the material was strong enough to overcome this. Yes, I still would have preferred a two volume CD that contained a night from the 1992 "We Can't Dance" Tour in its entirety, but I do like the unique two volume approach. I find it very convienient to listen to either the "short" songs or "long" songs (depending on my mood)".
   
   Four of the six songs come from Phase 3. The first song is a 19+ minute medley of songs from Phases 1 and 2 called "Old Medley". A unique thing about "Old Medley" is that it features a medley within a medley - namely "I Know What I Like" also has a mini medley of "That's All", "Illegal Alien", and "Follow You Follow Me". This medley will help the new Genesis fan appreciate the older material. The band does a terrific job delivering emotional performances of the newer classics - "Domino" (from "Invisible Touch") and "Driving the Last Spike" (from "We Can't Dance"). There is a terrific version of "Home By the Sea" which includes "Second Home By the Sea". (I always prefer listening to "Home By the Sea" and Second Home By the Sea" together - so this works). "Fading Lights", a song from "We Can't Dance" is also included. I think this isn't the strongest Genesis tune, but the band does a nice instrumental which gives the song a boost. Finally there is a terrific "Drum Duet" featuring Phil Collins and Chester Thompson in a double drum "solo" performance. Because of the copyright date listed for "Drum Duet" (1989), I wonder if this was actually recorded on the "We Can't Dance" tour or if this was when it was written?
   
   The liner notes are weak. There are no lyrics and nothing to provide insight into the Tour - or when and where these songs were recorded. The production credits are pretty light as well. There are some decent photos from the Tour included. There may be some "old-time" fans who don't like the newer material by Genesis, but these longer performances still show that Genesis hasn't completely morphed into a pop band. These performances will appeal to the old Genesis fan as well as the newer fan.

3 comments about Wall: Live in Berlin.

1. so this is a fairly good concert, i would rate the actual performance about a 4 out of 5 but the surround sound mix for this SACD is just poor. The left and right channels get most of the sound while the rear channels get the shouting of the audiance and not much else. The second problem was that the bass is just missing. usually i have to turn my active 150 watt subwoofer only to about 4/5 to listen to SACDs, because they usually have lower bass than normal CDs but now i had to turn it all the way up, and it still sounded shallow, meaning no deep bass. I would have tried the normal stereo CD layer....if there was one. All my other SACDs have STEREO and SACD layers (HYBRID SACDS). They are: Dark Side of the Moon - perfect mix by the way, Brothers in Arms, and Slowhand. So I would have prefered this to be a Hybrd but, now it mostly gathers dust. Makes me sad to see how it just sits there. Still, a good concert.



2. The music content of this SACD is excellent. However, the audio although very good, is presented essentially in concert mode. I would therefore suggest that viewing the concert on DVD (if available) would probably be a greater experience than just listening to the cd. That does not detract from the 'listenability' of this quality SACD.



3. I like this concert. I think Roger Waters did a really good job of getting a good support group for this show. It's a shame that he couldn't get the support group that belongs in this concert - the other members of Pink Floyd. It's interesting that the two Germanies could unite, but Pink Floyd couldn't.
   As I said, I liked the people that he did get. The Scorpions for In the Flesh, Sinead O' Conner for Mother and others. It is interesting that Roger Waters sounded old for this concert and not for In The Flesh.
   I am happy they released this one in SACD. Now if they would release the others.

5 comments about Live in New York City (Multichannel/Stereo).

1. There are many reviews here that are better than anything I can write. So this is just an informational note. I haven't seen it mentioned that the CD as released by Amazon doesn't include 5 songs that are on the DVD as released by Amazon. Plus many of the songs on the CD are in a different order than the DVD. The missing songs are Backstreets, Darkness On The Edge of Town, Light of Day, The Promise and Thunder Road.



2. The CD companion to the DVD of the Madison Square Garden Reunion Tour. My only wish is that they had included Light of Day on the CD. There are plenty of gems for Springsteen fans in this one. Don't take my word---rent the DVD and check it out for yourself. Better yet, take a peek at the set list on this CD. This is my 3rd copy because two others have been scratched up through use.



3. Creo que es exelente producto pues lo regale por el sistema de amazon a un amigo en su cumpleaños y no me lo devolvieron.



4. Say what you want about Bruce "getting old", but I strongly believe that this album (which showcases Bruce in his late-40s/early-50s) puts many rockers half-his-age to shame.
   
   All the songs are great, especially the ones that are re-arranged, such as "The River." For a special treat, Bruce throws in the rarity, "Don't Look Back."
   
   And yet, of all the songs on this live album, I believe the most impressive is Bruce's acoustic version of "Born in the U.S.A.", where Bruce plays an acoustic 12-string. For those of you who have Tracks, but not this, trust me when I say LINYC's version of "BITUSA" makes Tracks' acoustic version look like nothing.
   
   ONE WARNING: Though I personally have no qualms about the song-selections, some of you who want to hear the "staples" (i.e. "The Promised Land") might be dissapointed. And yet, when it comes to preferences of Bruce-fans, the term "to each his own" is definetely applicable.
   
   Is it an extensive treasure-trove of live performances a la Live 1975-1985? No. Is it worth it nonetheless? Yes.



5. LIVE IN NEW YORK CITY is a live album taken from Bruce Springsteen's reunion tour with the E Street band, and the results are electrifying. This album beats the great PLUGGED by a country mile, and has the feel of a religious service, with Springsteen testifying and hollering like there's no tomorrow. The studio reunion album, THE RISING, was just as good, and proved that the reunion was not just a temporary thing. Springsteen's belief that the young Australian tourist jailed in Indonesia since the spring of 2005 on drug-smuggling charges was unjustly convicted makes this CD/cassette an essential purchase for both your ears AND your conscience.

5 comments about Live in Paris 1975.

1. This show was the last show Deep Purple did with Ritchie Blackmore until the reunion in 1984. Although he'd been somewhat lackadaisical during earlier shows on the Stormbringer tour, Ritchie gave this emotional final show everything he had, and it spurred the rest of the band to deliver a stellar performance. Coverdale and Hughes do the vocals very well; Glenn's shrieking is under control. Ian Paice and Jon Lord leave it all out on stage, so to speak.
   
   There are several good reasons to have this recording. One, it was Ritchie's last show with Purple for 9 years. Two, this renders Made in Europe, Mk 3: The Final Concerts and other such compilations from the last few Mk 3 shows obsolete. There's no splicing or editing. Nada. This is the whole show, including Coverdale's and Hughes' chitchat in between songs. Three, this is the best Mk 3 show I've heard to date and stands up well with Mk 2 live stuff. Burn and Stormbringer blow the studio versions away. The Gypsy really shines live. I wasn't particularly fond of the album version, but here you can really feel the emotion Ritchie puts into it. Mistreated is well done, but I miss the longer, louder guitar intro of the Burn tour and subsequent performances with Rainbow. Then, of course, we have Smoke on the Water. I'm not a fan of the Mk 3 rendition of this song, though. Highway Star proves to be a pleasant surprise. After hearing the two live Mk 4 recordings (Russian Foxbat and Tokyo 1975), I was appalled with the way Highway Star was done. I had my doubts about Coverdale's ability to do it, but he manages to pull it off fairly well here, although the words have changed. Again. Most of the song is Ritchie going nuts and demolishing his guitar, but it's still cool to hear.
   
   End note: Coverdale and Hughes have their little chats with the audience in between songs, but at the beginning of the show, during the intro to Burn, I swear I can hear Coverdale softly singing something like, "Ohhh...if only you didn't smoke cocaine..." I can DEFINITELY make out the word "cocaine." That makes me smirk a little bit inside.



2. This live recording is a perfect example why live on stage Deep Purple Mk III were both better and worse than the Mk II line up.
   
   I say "better" because Coverdale had a stronger voice than Gillan. Glenn Hughes style of playing the bass guitar was more interesting and varied than Roger Glover's. The band was brilliant when it played songs from the "Burn" and "Stormbringer" albums.
   
   I say "worse" because Glenn Hughes' screaming is at time unbearable, as are his excursions into funk and soul. Also, it never sounded quite right when then the Mk III band played Mk II songs.
   
   The sound on this album is crystal clear and spectacular. The first CD is brilliant, the second CD is not my cup of tea. The interaction between Coverdale/Hughes with the audience is at times painful to the ears, as is the Glenn Hughes' attempts of singing. Someone should have explained to this guy that Deep Purple was not a funk/soul group from Motown, but a hard rock band instead.
   
   "Live in Paris" surpasses "Made in Europe" and "The final concerts". It is the CD of choice when it comes to the Mk III farewell tour. Saying that: should "Made in Europe" be remixed and remastered one day, with the song playing order being restored and the annoying editing being removed, then there will be no reason for buying "Live in Paris 1975" any longer.



3. wow... i got this album soon after it came out and i cant believe that everyone in the world isnt required to own it... its AMAZING.. MIII's made in japan!... very bluesy... its amazing... ITS WORTH THE PRICE!!!!!!!!!



4. This is to me, the finest example of Deep Purple live...well, actually its a toss up between this one and Live In London. Ritchie's last show with the band in the 1970's is flawless and so full of energy. He certainly knew the meaning of the expression of "going out with a bang". Great job. My personal fave here is The Gypsy. Hard to beleive that this awesome version remained in the vaults all this time. Forget about Made In Japan...as i never truly understood the fascination with that LP except it contains more recognisable tunes.
   The only thing i don't like is about this CD is Glenn Hughes coke induced screams that make Mistreated all but unlistenable.



5. Sorry... but that review below is way off the mark...
   
   This set is DIFFERENT from "Mark III: The Final Concerts"...
   
   "Mark III: The Final Concerts" was a mid-90s COMPILATION with tracks from TWO DIFFERENT SHOWS (Paris and Graz), with some EDITED tracks, and REPEAT performances...
   
   "Live In Paris" does just what it says on the tin: It's the Paris 1975 show COMPLETE and UNEDITED... plus, it has been REMIXED from the master tapes and THE SOUND QUALITY IS SUPERIOR to "Mark III: The Final Concerts", which was tinny and without depth, as opposed to this new set that sounds full and rich...
   
   The below reviewer may be a collector, but he doesn't know his stuff...
   
   This set is new and BETTER in all respects... Hughes/Coverdale era Purple fans won't be disappointed.

5 comments about Extended Versions.

1. PERSONALLY I DO NOT KNOW WHAT A FOGHAT IS, BUT MY HUSBAND AND SISTER-IN-LAW LOVE THE GROUP SO I ORDERED A COPY FOR BOTH OF THEM. I SUPPOSE MY SISTER-IN-LAW IS LISTENING TO HER COPY AND LIKING IT. AND MY HUSBAND IS GOING TO OPEN HIS COPY ON CHRISTMAS. I DO NOT KNOW ANYTHING ABOUT THE BAND MYSELF, BUT HUBBY SAYS THEY'RE GREAT. I'M THINKING IT'S A 7OS ROCK.



2. The whole "extended version" series of cd's is a little dubious. You have to be careful as a lot of these discs are disguised previously released material! For the faithful, this is a good clean sounding recording from their live dvd. A welcome addition to your collection. For the casual fan, its a great party/picnic cd. The opening song / salute to their Savoy Brown roots (Louisiana Blues) is totally awsome! Nice fat guitar tones throughout! Its a nice historic audio document of the original boogie men! Long live Lonesome Dave & Rod Price!



3. Foghat's superb live album, Extended Versions, is the CD version of their DVD Two Centuries of Boogie, and was recorded just a couple of years before Lonesome Dave's untimely death in 2000. Bargain priced (about half the cost of a normal price CD), the listener gets more than an hour of classic Fog at the top of their game. The rock and roll hits, such as "Drivin' Wheel" and "Stone Blue" are very good, but what really makes the album stand out are the outstanding blues covers. Remember, Foghat started by splitting off from that excellent blues-rock outfit Savoy Brown, and Muddy Waters "Louisiana Blues", a live showcase from those days featuring one of the first recorded vocals by Lonesome Dave, opens this set with incredible high energy. Robert Johnson's "Sweet Home Chicago" and Muddy's "I Just Want to Make Love to You" prove that the blues can really rock, but it is a slow blues, Elmore James "It Hurts Me Too," that is far and away the best cut on the album. Rod Price plays some of his most gut-wrenching slide ever on this album, and Tony Stephens and Roger (Mr. Loud!) Earle provide excellent support throughout. (As Dave reminds us, all four original members of Foghat contribute to this effort.) Get this album at once, and prepare to rock your blues away!



4. This is a great CD, "Nothing but trouble" is one of the
   greatest Foghat songs I've ever heard and you can't find
   this in any other Foghat CD, or at least I haven't heard.
   Plus you've got classics such as "Slow ride" and "Stone blue".



5. Great live CD at an equally great price. And speaking of "Price", Rod Price is excellent on these live renditions of classic Foghat. To hear "Louisiana Blues" by these guys is worth the price of the CD alone. Roadcases was released on this tour earlier and is excellent. Yet, to fill out the final days of Lonesome Dave's tenure with Foghat you must get this CD. Yeah, many of the cuts are the same tunes, but they are from different shows and have their own unique qualities. Aside from the opening number you get two more cuts that were not on Roadcases, including "Stone Blue". Not to mention another great version of "It Hurts Me Too!". Bottom line on this is what an encore performance by a great Boogie Blues band.