3 comments about Feels Like '67 Again.

1. There is no excuse for releasing shoddy product like this. The sonic quality is variable and mostly horrible--and mono, no less! As Craig Fenton (who should no better than to endorse this with four stars) noted, the order is all mixed up, songs fade in and out. There's distortion on most of the lead vocals. It's just a slipshod deal from beginning to end. Is the music good? Absolutely! But I guarantee you can hear much, much better Airplane from this era (though streaming only) on wolfgangsvault.com or a couple of other past '67 releases. A truly bad, unauthorized bootleg.
   
   (I am a lifelong Airplane fanatic and author of several books about the Grateful Dead...)



2. Hi Airplaners:
   
   As the author of the Jefferson Airplane book "Take Me To A Circus Tent" I put together this information for you and hope it gives you the best source of making a judgement about the recording. If you don't already have the music, please don't be turned off by the change of sound quality. Many times in order to acquire previously unreleased music you can't always have it sound like George Martin was part of the project.
   
   This is the same as "Cleared For Take Off " Acrobat (U.K.) ACMCD 4001 CD released 11/6/03 (Taken from the Winterland, San Francisco, California performances of 3/10-3/12/67) but puts the tracks in a different order and on two CD's. The sound quality changes throughout the CD and the pops come at no extra charge. Although the CD wasn't put together with the greatest respect to the band or fan (Some songs fade-out and have wrong titles), those that don't own the material will be interested. There should have been one version of everything played during the three nights. The CD doesn't include "And I Like It", "Let Me In", "Fat Angel", or the jam. No information was given in the liner notes about the dates used for the songs so I have included that for you. "3/5 Of A Mile In To Seconds" 3/11/67, "Don't Let Me Down" 3/10/67, "Don't Slip Away" 3/10/67, "She Has Funny Cars" 3/12/67, "Let's Get Together" (Fades-out) 3/11/67, "High Flying Bird" 3/12/67, "It's No Secret" 3/12/67, "Come Back Baby" (Listed as "Jorma's Blues") 3/12/67, "Plastic Fantastic Lover"(Intro cut) 3/11/67, "Runnin' Round This World"(Listed as "Running Round The World") 3/11/67, "Somebody To Love" (W/"Leave You Alone" which was not listed) 3/10/67, "The Other Side Of This Life" 3/11/67, "Thing" (Fades-out) 3/11/67, "Tobacco Road" 3/10/67, "Today" 3/11/67, "White Rabbit" 3/12/67, "Bringing Me Down" (Listed as "You're Bring Me Down") 3/11/67, and "My Best Friend" (Listed as "You're My Best Friend").
   
   Thanks and be well,
   Craig Fenton
   Author "Take Me To A Circus Tent"



3. Just purchased this item and was disappointed to find that it contains the same tracks as a previious release
   Cleared for Take Off. Same tracks spread over 2 discs instead of 1 and in a different order. If you don't own Cleared for Take Off, this is a worthy purchase with pretty decent sound of a great band coming into it's own with songs recorded live in 1966 - 67,

5 comments about Tripping The Live Fantastic (Highlights).

1. The songs are great new and old a good mix. If you like to rock this is for you.



2. What can I say.
   
   Paul at his best.
   
   He is the best, no one can touch him on stage.



3. Tripping is a 2 hour plus double live CD that documents Sir Paul's huge 1989 Flowers In The Dirt world tour. It was the first time he had done a tour since the mid-70's Wings Over America shows (also documented on disc), and he was in high demand playing sold out shows everywhere. Any live McCartney album is always going to be compared to the excellent Wings Over America album and this one holds up really well. There was a lot more Beatle material on this one as McCartney delved much deeper into his past than on the previous tour. The band knows when to rock and when to play it soft and McCartney is in fine voice throughout. The highlight for me is the live version of Golden Slumbers, Carry That Weight, and The End that closed out the shows on that tour. On the down side the album contains a couple of new songs that are nothing spectacular, and Paul's in between song banter comes off as quite corny at times, but fans of McCartney usually eat that up. There are also some of Paul's dud songs here (Ebony and Ivory comes to mind), but overall the material is strong and a nice trip through his career. The album is also recorded quite well. Fans of McCartney and / or The Beatles should really enjoy this live set.



4. Good choice of songs, of course, some are missing but it is just normal, The Beatles have had some many hits ! You'll find some great version of some well known songs of the Fab Four and Paul's song as a solo artist.
   A great double live album from one of the greatest musical creator of the 20th century. Highly recommanded.



5. At first, when I saw this at Barnes and Nobles, I thought it would be exactly like Paul is Live, only lengthier. Now, Paul is Live, is OKay, but it wasn't his best. But I saw the phenomenal Get Back DVD and was convinced to listen to the audio only, so I went ahead and purchased this 32 dollar album.
   To my amazement, everyone in the band, and even the audience seemed more energized than in the Get Back video and Paul is Live. I felt "naturally high" listening to Ebony and Ivory with Paul's great voice along with the almighty Hamish Stuart's voice.
   Sgt. Pepper was a blast, very rock'n'roll and just pure fun, it's not oversaturated with synthesizing crap like the original. This One is an underrated gem from McCartney's Flowers in the Dirt, and so is My Brave Face. I especially liked the new "heavier" arrangement to the acoustic Things We Said Today. And The Abbey Road Medley was probably the standout performance of the tour (well, maybe Sgt. Pepper was with that lenghty guitar solo duel between McIntosh and McCartney)
   All in all, everybody who's anybody would go out and get this album. Beatle fan, McCartney fan, or just music fan will enjoy the sophistication of the album and also the wild fun it gives.

5 comments about Thirty Seconds Over Winterland.

1. This CD is now obsolete, since the "Last Flight" remaster of 2007 includes all of this material and more songs from the same concert with better sound.



2. By the time the SF concert recorded here took place in 1972 Airplane had gone through a lot of problems and personnel changes. The band was on it's last legs and this would be their last show under the Airplane name. But what a show it was! Drummer Spencer Dryden was out and vocalist Marty Balin had left to become a pop crooner. Balin and Dryden were replaced by David Frieberg and John Barbata and the late Papa John Creach had come aboard and added his soaring violin to the mix. All the changes made this the most musically accomplished and confident of all the Airplane and Starship lineups. From the opening of 'Have You Seen the Saucers' there's a thundering wall of sound that this band never had before or afterward. It's not just the musicianship of Barbata and Creach, Jorma Kaukonen was at his peak as a guitarist and songwriter at this moment and his songs like 'Feel So Good' and 'Trial by Fire' absolutely smoke. Since they're doing Kantner\Slick\Kaukonen\Creach material, Marty Balin's absence is actually a blessing. Frieberg does a better job of harmonizing with Paul and Grace and the spot on harmonies complement the wall of sound perfectly. It took the Airplane 5 or 6 years to evolve into a musically tight and powerful unit. It's a shame that when that finally happened Jorma left to continue his evolution in Hot Tuna and Airplane devolved into the generic arena rock of Jefferson Starship. This is how I'd prefer to remember them. If you're a connoisseur of great live rock n' roll you should own this.



3. I actually bought the cassette of this music in spring of 1973 when I was in Air Force basic training. Great music, not a clinker on it. If you love Jefferson Airplane, then you have to get this one. MEXICO is wonderful, I dont know of another source for this tune. Feel so good, classic, many others. BUY THIS ONE! You sure wont be sorry!



4. we're all waiting for the remastered version with bonus cuts.
   this is the only airplane cd yet to receive this treatment.
   whats the record co. waiting for. lets go while we're young!



5. This would not be the place to be introduced to the Jefferson Airplane. Good in places, bad in others this album sounds like the spirit is gone & Jack and Jorma couldn't wait to get back to Hot Tuna. It starts off well with an awsome version of Have You Seen The Saucers that by it's self makes this album worthwhile, but declines rapidly. A really awful version of Crown Of Creation. Milk Train is good but adds nothing to the original. The rest is played by a band of professionals in a workmanlike but uninspired performance. If you like the Airplane don't skip this one, but get Bless It's Pointed Little Head and Live at The Fillmore first & don't listen to Thirty Seconds Over Winterland next to them.

5 comments about The Wall: Live in Berlin, 1990.

1. I agree with those who find some of the guest stars to be a bit dated (Bryan Adams, The Hooters) but can you argue with their performances?
   
   To me, not having heard some of these songs since the heady days of high school, this is a revelation. Kudos especially to Garth Hudson, of The Band, who delivers a great sax and accordian solo. Joni sounds amazing, Van The Man rocks it, and while I can do without Jerry Hall, in context it really doesn't sound too bad.
   
   But the songwriting, and arrangements, sound as great as ever.
   
   If you like the original, you really should pick this up for a second look at these timeless classics.



2. I agree with many reviewers, this was one of the greatest album of all time, but if you want to hear it "Live", get "Is there anybody out there?" and hear the real live version of "The Wall". Many guests artist are making a real bad job on this cd, it all begin with Ute Lepter making a bad job on "The thin ice", we really miss David Gilmour voice here. Sinead O'Connor is bad also (Roger was there, so why asking somebody else to sing his part ?) and "The Band" ruins one of the best chorus of this double cd. Horrible ! Joni Mitchel is a real joke on "Goodbye blue sky", again, we're missing David Gilmour here, I don't know what Mrs Mitchell was on, but it doesn't seems to give a good effect ! Bryan Adams is doin' really great in my mind, his voice is the perfect choice for "Young Lust"
   Jerry Hall is also a real joke in the opening of "One of my turns"
   Paul Carrack is just OK on "Hey you". We have a great version of "Nobody Home", even better that the original, with a drum beat and a good guitar solo, good addition in my mind.
   Here we get to the really bad moment of the album, which should have been the highlight, I am talking about "Confortably Numb" Van Morrisson and "The Band" should be sewed for such a disaster. Roger should have asked Paul Carrack to sing David Gilmour's part, it would have been better. This is a total disaster....it is really bad. The Australian Pink Floyd show is doin' a lot better that this ! The closing song has been replaced by "The Tide is turning", I am not sure it was a good idea, again, some guest are doin' great (Bryan Adams) but some are miserable, like Van Morrisson, yes him again ! Overall, the album is a deception for me, and I am a huge fan. Try "Is there anybody out there ?! instead.



3. I was never a huge Pink Floyd fan--which is not to say I didn't like their music or respect their talent. But, I dunno, maybe it was just ALL those annoying sound effects and voiceovers. Even good music can seem a little gimmicky when tarted up with too much extraneous noise. Yeah, I admit I liked the ringing cash registers drawer in "Money," but so much of the other stuff was, well, just a drag.
   
   Literally, all that clutter dragged the music down. How often do I really need to hear that little kid prattle "Look mommy, there's an airplane in the sky" anyway?
   
   But the real reason I never became a such a huge Floydfan was simply their ubiquity. Back in the late 60s and early 70s, it seemed like everybody I knew had every single one of their albums. And they had already become FM rock staples by then. You could escape the Pinks if you wanted to. Resultantly, I think maybe the last actual album of theirs that I even bothered to buy was UMMAGUMMA--or maybe ATOM HEART MOTHER. Can't recall which.
   
   So when THE WALL came out, well, I heard it and as I recall my first reaction was something like, "Oh, are they still doing 'concept albums'?" OK, OK, I'm kidding--I did like it well enough, but it wasn't a life changing experience exactly either. The lyrics were intelligent enough, and as a "song cycle," it hung together very well. But it was actually hard to discern any real overarching themes and even the metaphoric "wall" itself seemed, if not "mixed," then perhaps a bit overextended. Was "the wall" a psychological construct, i.e. the protective "walls" we all build up around ourselves to protect ourselves from the vicissitudes of life ("All in all, it was all just bricks in the wall." OR was it a social one, i.e. the pernicious socialization of a rigid educational and, by extension, political system that crushed individuality and turned individual human beings into "bricks" in society's wall.
   
   Well, the answer was obviously BOTH. And that extended metaphor never seemed to bother the fans overly much. There are, as it turns out, all kinds of walls. And so it was that in 1990, THE WALL's main composer--former Floydster Roger Waters--extended the metaphor even further, this time into the political realm. By staging an all-star concert revival of his 70s magnum opus in "post-Wall" Berlin. A brilliant ploy, to be sure, but certainly the "wall" being evoked was not a purely pychological or sociological phenomenon. The "wall" German fans (and they were legion as I recall from my own days in Deutschland) related to was a painful historical reality and legacy.
   
   So the concert added on another layer of meaning to an already ambiguous (but really not overly subtle) work of art. Including local talent like Scorpions and Ute Lemper was then virtually de riguer--or should I say, "notwendig." And of course, Berlin was an international city for so long that adding other British, American AND even Russian acts to the roster was certainly appropriate. (Wait a minute, where are the French?) It's an "open city," and it's now torn down wall is open to new interpretation.
   
   It's not surprising that die-hard Floyd fans see the guest vocalists' interpretations here as something akin to sacrilege. Imagine having a popster like Cyndi Lauper sing "The Wall, Pt. 2." Who'd a thunk it? Well, it's not a song that provides much room for Lauper's patented multi-octave wailing, but hey, the former Blue Angel has deeper rock roots than classic rock fanatics would ever acknowledge. And who better to sing the lines "We don't need no education" than one of popular musics most famous high school drop-outs? Of course, the repressiveness of the British school system is of a somewhat different order than that of the Catholic and public school system of Queens. But the business of churning out more bricks in and for the wall. And that's true whether you pronounce it "classroom" a la Lauper or "clahsroom," as does the chorus.
   
   And there is a certain delicious irony in having a mother-complexed female artist like Sinead O'Connor take on Floyd's "Mother" and give it a delicate, thoughtful reading--while still expressing fears about them breaking, in this case, HER (metaphorical?) balls. And as conflicted as I often am about Joni Mitchell's work, her interpretion of "Goodbye, Blue Sky" is elegant. Her voice was getting a bit smoky by the early 90s, and it was just right for this somber reflection on war in the (post)modern world.
   
   And that's just the women--and only disc one. But it was downright smart of Waters (whom, I gather, has sometimes been accused of misogyny) to fill up the first half of the program with heavyweight women artists (and to throw in a comic turn by Jerry Hall to boot: yes, the album is rife with former flames of Mick Jagger, since Marianne Faithfull shows up on Disc 2,as who else, "Mother").
   
   As for the men, Van Morrison and Paul Carrack offer subtle, distinctive shadings on "Comfortably Numb" and "Hey You" respectively. Roger Waters voice seems, for the most part, shot, but actually that can be a just the right coloration for some of the grimmer, more desperate tracks. Again the hardcore contingent will mourn David Gilmour's absence. The rest of us will find the newer interpretations at the very least interesting, if not quite revelatory.
   
   There are all kinds of ways of becoming "comfortably numb." Refusing to accept any alternate takes on your own personal classic rock canon is likely one of them. Take it from a non-fan, this project is at least worth the attention of you die-hards. Open your ears--and tear down the walls.



4. I rented this concert on VHS one day. I love it.
   
   The goods
   ) Bryan Adams singing Young Lust
   Bryan Adams did this song good. He is one of my favorite singers today.
   ) Sinad o' conner singing mother
   I loved this version of the song
   
   Bads
   ) Cyndi Lauper singing Another Brick in the wall Pt. 2
   It wasn't that good
   ) Hey you
   I miss David Gilmore and Roger singing this song
   
   All and All this was an ok cd.



5. Although many people gave this live concert a low rating due to Roger Waters' choice of substitute singers/musicians for some of the songs from the original Wall recording, after seeing it on video for the first time, it became easier to listen to the recording alone afterward.
   
   What really blew me away at that time was Roger having a "communist" orchestra accompany the music of a rock and roll album!! This was the highlight of the entire event, and their performance was excellent!!!

5 comments about Studio Sessions.

1. Another collection for all you Iggy/Stooges die hards.Ten power house cuts from rehearsal tapes that were recorded sometime in 1972.Sound is acceptable.Tunes that made me want to smash stuff up in the street were "Death Trip","I Got A Right","Rubber Legs" and a track that I don't remember,"Pin Point Eyes".Wait...a minute.That song is on the 'Wild Love' disc(see my review).



2. There are a ton of albums out there documenting the unreleased tracks that the Stooges rehearsed & toured with live but never officially recorded for an album. There's no one disc that covers these tracks definitively so it's up to the hardcore fans to wade through the glut of releases and pick the good from the bad.

   This is definitely one of the better releases out there. The versions of Head On & Rubber Legs here are awesome - the band is tight and the performance is excellent. You get a studio cut of 'Open Up and Bleed' which is great, and an 8-minute plus version of 'Johanna' which is definitely the definitive version of the song before Iggy toned it down severely for his solo release. Another highlight is the only known proper studio version of 'Cock in my Pocket' (demos are seen elsewhere though), and the version of 'Raw Power' with backing vocals (it sounds like the finished version before it was mastered, and was probably the version submitted to the label). 'Pin Point Eyes' is a really interesting track, as you can hear for yourself the control Iggy had within the group - throughout the album he controls the tempo of the songs, slows it down, makes calls for solos, etc. Other's have dismissed it as a direction-less jam, but it stands on its own as a good tune, and certainly sounds like a master compared some of the stuff on the Wild Love cd (to prove it, in the middle of the song Iggy is heard commenting "This better be on tape or I'll kill somebody!").

   The quality of the tracks is fairly consistent throughout, a couple of tracks are taped off the radio (you can hear the tape clicking at the start and the radio announcer talking) although they don't really dip in quality too much. As far as semi-official Stooges releases go, the sound quality is decent.

   This cd is one of your only chances to hear decent studio versions of Cock in my Pocket & Pin Point Eyes, and there's lots more to entice newer fans. If you haven't heard the blistering, longer version of 'Johanna' or the awesome 'Open Up and Bleed' in a studio setting then check this out.




3. A nicely packaged CD with good sound quality. The highlight is the overwhelmingly fierce "Open Up & Bleed."

   The downside, for me, is the inclusion of alternate takes of songs which appear (in superior form, in my opinion) on Kill City, Raw Power, and "I Got A Right." I wish BOMP! or someone else would compile all the non-LP studio tracks on a single disc. As it is, they have studio outtakes, live versions, and everything else spread over a bunch of CDs, which seems done more for profit than comprehensiveness.

   Incidentally, I have a CD on the French Revenge label ('Kill City/I'm Sick of You,' not sold on Amazon) which compiles "I Got a Right," "Gimme Some Skin," the studio tracks from "I'm Sick of You," the *entire* Kill City album, and "Jesus Loves the Stooges." Unfortunately, though the material is licensed from BOMP!, it's all mastered from vinyl, so the sound isn't great. But they've got the right idea.

   That said (grouse, grouse), "Studio Sessions" is a fine initiation into the seamy Stooges underworld. I'd recommend it as a first step beyond "Raw Power" et al.




4. Finally! The Rubber Legs tracks off the master tapes, without all the hiss and crackle heard on BOMP!'s Open Up And Bleed! and the aforementioned french bootleg. If there was ever any evidence that the Stooges were artistically deserving of a second Columbia album it is found in all its glory right here. While the Rubber Legs portion of this CD are studio rehearsals, Iggy and band give all. The addition of a piano player (Bob Sheff, I believe) was a stroke of genius. He brings a new dimension of swing to the Stooges and his electric-piano playing on "Open Up And Bleed" adds a touch of the mystic to the band's sound. That he can more than hold his own amidst James Williamson's relentless rhythm guitar and blistering solos is no small feat. And Iggy's off hand calls to band members for solos and what not has the strange effect of enhancing these recordings. This CD also features a rare version of "I Got A Right" not found on any of the BOMP! releases.

   A couple of other outtakes from these sessions can be heard on various BOMP! releases, and they are off the master tapes, but if you want to hear the shorter, more intense version of "Johanna" off the master, you'll have to seek out Open Up And Bleed on the french label Revenge.




5. This is one of the many Stooges outtake albums. If you've heard one, you've heard all. I'm a true Stooges junkie and I own everything, although, Iggy and the boys recorded several versions of "Funhouse" songs and they are all stashed away somewhere. The unreleased "Funhouse" recordings will make this sound like a lounge album. I'm not sure when Iggy plans on releasing the tracks but, for now, buy this record for the songs that you can't find on the Bomp label and wait for the Stooges to reconcile their differences. Perhaps the lost album will turn up on the rumored box set.

5 comments about Plays Live (Highlights).

1. "Plays Live" was my first experience with Peter Gabriel back in 1983. And I loved it. Since then I have bought all his records (I beleive...) but have never forgotten the unique musical experience "Plays Live" gave me. I haven't listened to it since mid 80's when my tape wore out. Today - in Sept. 2008, I finally got hold of a Plays Live CD. It's amazing! Even better than I remembered. Listen to the version of San Jacinto! I own app. 500 cd's - and this album (2CD version) is probably the one I rank highest.



2. This is a great cd but I only rec'vd one of the two discs. I'm still waiting on the second.



3. I've had the vinyl version for over 20 years. I'm glad I re-discovered Peter Gabriel.



4. This is a grate concert from Peter Gabriel. In my opinion his best live record so far. I recommended it to anyone who if familiar with and like Peter Gabriel early recordings.



5. The sound of this double live cd is amazing, of course, it has been enhanced in studio but the "live" feeling of beeing there is preserved.
   Many songs are far better in their live version on this cd when compared to the studio ones. To name a few, "The Family Snapshot", "D.I.Y", "The Family and the fishing net", "San Jacinto", "Solsbury Hill" and "Hundrum"
   The voice is incredible and the sound just shake everything in the house.
   Great live performance to remember this magic concert for the Security Tour.

5 comments about Live in Hollywood: Highlights from the Aquarius Theater Performances.

1. ook I love the doors but do they need to have higlight cd just i mean just first off 34$ for a cd that is not really that good they just took a few songs off the real cd and made a little show out of it i mean they nee to make 36 cds from bright midnight of concerts and they go off and do this plz spend youre monmey on both the full show aquarius 1 and 2 and then if u are a hard core fan gt the backstage show to dont by this worthless cd



2. "Live in Hollywood" features the absolute best of The Doors' Aquarius Theatre concerts from July 1969. The performances of "Back Door Man," "Break On Through," "When the Music's Over" and "Light My Fire" are superb. A few tracks were previously released on "Absolutely Live," but this CD compilation remains far superior. The professional sound quality surpasses the plethora of Doors bootlegs on the market.



3. contains amazing version of 'Gloria', john sebastian joins doors on harmonica, on 'little red rooster' - you are tranported..wonderful.
   Jim talks...that's all you really need...



4. This single disc takes highlights from the two separate double disc Aquarius sets released by Bright Midnight Records (through the Doors' website) in the past few years.

   Die hard fans who want everything will go out and buy the two, complete concerts from Bright Midnight. If you don't want to spend, then this would be a good pickup. Just keep in mind you're hearing selections, not a complete show.

   Of course, when it comes to releasing the same material in various forms as different products, the Doors have few rivals. (The Who come to mind). They release boxsets and then selection discs from boxsets, single and double disc best ofs and greatest hits.

   Great music, just decide how much of it you want.




5. I'm a hard-core fan so i didn't spent my money on this cd, i bought the two complete concerts and the rehearsal. 3 double cds that contains all that's on this one and much more. Of course, if you're just a moderate fan, this is a great deal but for a hard-core fans who wants everything and more, buy the complete concerts direct from bright midnight records, otherwise, you would be greatly disppointed to find out that there are complete concerts available and that you just buy some excerpts of the concerts. A hard-core fans buys anything, to be one of them, you must have at least 10 bootlegs like i do.

5 comments about The Alice Cooper Show.

1. This might be one of the more unusual reviews you'll read. I don't have this CD, but a friend of mine let me borrow it because he was impressed by the guitar work. Well, it wasn't anything that great to me--not bad--but not something you would purchase the CD for. The sound quality, for one, isn't that good at all. What's especially annoying, though, is that half of these songs are, well, half of these songs!
   
   I mean, the medley of I Love the Dead/Go to Hell/Wish You Were Here clocks in at 6:31, as opposed to playing all three songs in full, which would be about 15 minutes. Fine, lots of bands do medleys on live albums this way, but what about "I Never Cry" chopped down to under three minutes?
   
   Or, even worse, "School's Out" missing a verse and chorus, bringing a 3:30 song to 2:19! "You and Me", a five minute song in its entirety, also 2:19.
   
   Again, this is probably something you won't see in many reviews, but it's significant, because it makes it seem like he's just trying to rush through these songs and just get them overwith. It's like those K-Tel albums from the mid 70s where all the songs were edited into bite-size 2-minute bits.
   
   The other problem is that the album as a whole is only about 40 minutes. Come on, even if you don't want to put a double live out there, you could at least release something that's 45-50 minutes and, even on vinyl, the sound quality would not really suffer. I think most fans would have preferred a double album, though. Who goes to a concert that's 40 minutes long? And how many classics are missing from this album, too?
   
   This reeks of contractual obligation.



2. If you're like me, this album appeals to you because of The twin lead guitars of Dick Wagner and Steve Hunter. The standout number is EIGHTEEN, the definitive version thanks to the soaring, dramatic guitar solos of the previously mentioned virtuosos. If you really want to experience Alice Cooper with this, his best band, buy the DVD of WELCOME TO MY NIGHTMARE recorded live in England back in '75. Hunter and Wagner get to stretch their legs more plus you get the whole visual aspect of Alice's theatrical performance.



3. This is the most important live of Alice, is great, the sound is good, the band is great.



4. This is horrible and easily demonstrates that classic 70's Alice Cooper was a band effort. Without his original rocking band, this is a lame, Vegas style revue of the songs. His songs were good songs but needing a band effort. The guitars here sound real lame. This production mix stinks too.



5. "THE ALICE COOPER SHOW"
   
   REVIEW:
   
   This may not be as classic as KISS' "Alive" or The Who's "Live At Leeds," but it is an entertaining live album nonetheless. Produced by Brian Christian and Bob Ezrin, "The Alice Cooper Show," which was recorded live at the Aladdin Hotel in Las Vegas, Nevada, suffers mainly from being too short. Many songs compiled for this live release are actually shorter than there studio versions. Unfortuantely, there are far too many classic Cooper tunes that are NOT featured here; such as; "Ballad of Dwight Fry," "Elected," "Hello Hooray," "No More Mr. Nice Guy," "Welcome To My Nightmare," among others. However, the album does boast some solid live renditions of "Under My Wheels," "Only Women Bleed," "Sick Things," "Is It My Body," and "School's Out".
   
   MUSICIANS:
   
   Dick Wagner ... Guitars/Vocals
   Prakash John ... Bass/Vocals
   Steve Hunter ... Guitars
   Pentti (Whitey) Glan ... Drums
   Fred Mandel ... Keyboards
   
   INTERESTING FACTS:
   
   1. Released in November of 1977, the album would peak on the Billboard Top 200 at #131.
   
   2. The album was recorded during The King of the Silver Screen Tour which was a tour in support of his 1977 studio album, "Lace & Whiskey."
   
   3. Alice, who was contractually obligated to deliver the studio a live album, has publicly expressed his displeasure with this release.
   
   PACKAGING:
   
   Nothing fancy. It features a very underwhelming cover and the booklet features only three live shots of Alice along with song credits, musician credits and the typical "NOTES" page that accompanies most Warner Bros. 1970s releases.
   
   APPROX. RUNNING TIME:
   
   Only a disappointing total of 38 minutes and 5 seconds.
   
   FINAL ANALYSIS:
   
   While it is far too short and not very representive of the true enery and gothic spectacle of his live shows, "The Alice Cooper Show" is an entertaining enough live album. I'd give it ***1/2 out of 5.

5 comments about Live in France.

1. This is a double Cd recorded in early 1972.The line-up consists of Elton Dean,Mike Ratledge,John Marshall,and Hugh Hopper.The tracks are all instrumental and have a subdued,abstract feal to them.If your into jazzy prog this might appeal to you.The sound is quite good and if your a Soft Machine fan I would by this Cd,since now especially it is easy to find(and cheap!)At this time they would have been working on Soft Machine 6 but Dean would soon depart and be replaced by Karl Jenkins on keys and sax.The best live Soft Machine is from late 1971 when they had Phil Howard on drums which you can hear some live studio workd on "Soft Machine Turns On:Peel Sessions"It's also a double CD and probably their best work,easily a five star CD with BBC recordings from 1969-1971.Back to LIve in France,the best tune is Facelift,which has two keyboards,bass,and drums.The best live version of Facelift is on a CD called,Virtually recorded in Bremen in March 1971,must have for Machine fans.All in all this CD is worth getting for all fans of Soft Machine and for most of the genre of spacey jazz prog.



2. Beware because this very same CD has been issued by CUNIEFORM in stereo like 9 years later than this one in mono with the title "Live in Paris". Notice the title of this is "Live in France". The CUNIEFORM issue has the same cover art but a slightly different title "Live in Paris" as opposed to "Live in France" & is a superior stereo recording of it so BEWARE. A great CD nonetheless.



3. I have a problem with Elton Dean on this one... he seems disconnected from the rest of the band. He ends up leaving the band by the end of the month too. He wasnt the most consistant player either. Missing his parts on various tracks and such. Anyway... this is a mono recording but it's moot because the sound quality is most excellent. The performances are a little uninspired at times but overall a great document for this period. A bit of a rare recording I say so worth buy for Softs fans. I am a fan of the Wyatt era and this is a transition period to better stuff. In my opinion the next incarnation of the band made for more energy with Karl Jenkins. OH! Yah... sort of a sin to say from a Wyatt era fan.



4. I've never quite understood what the 'big yahoo' about Soft Machine is all about.The only CD reissues of theirs that I like is 'Jet Propelled Photographs'(see my review),'Fourth' and maybe their 'Fifth' effort.With a total of twelve songs clocking in at one-hour-and-forty-five minutes,Soft Machine proves to their fans that they're fully capable of playing their own style of 'Canterbury Jazz Rock'.Actually,more jazz than anything else.Line-up here is:Elton Dean-sax&piano,Hugh Hopper-bass,John Marshall-drums and Mike Ratledge-electric piano&organ.Should appeal to fans of National Health,Caravan and Tortoise.



5. A great mid career Soft Machine concert!!! This being a great performance in France!!! 12 great live trax in all!!! Lots of improvisation here!!! Lot's of the Soft's signature works are here including: Facelift,All White,Slightly All The Time,M.C,Drop,Out Bloody Rageous,but the real highlight of this concert is the triple whammy of As If, LBO(one of the coolest drum solos on the face of the Earth,and much,much longer and better than the version on "5", which is no slouch either)and Pigling Bland!!! Hugh Hopper,John Marshall,Mike Ratledge,and Elton Dean definately in peak form on this recording!!! A truly top notch package!!! Two thumbs up!!! A+

3 comments about One More Time: Live in Utrecht.

1. There is a question about Procol Harum regarding the band's later years that has often been posed both by amazon reviewers AND by participants in the popular Procol Harum online forum, The Beanstalk. That question regards the legitimacy of the band calling itself Procol Harum when today, in 2007, only one original member remains.
   Well, to me, that would depend on which member. However, since the member in question is founder Gary Brooker, who together with the still-collaborating poet-in-residence Keith Reid form the heart and soul of the group, I'd have to say that there is no reason at all not to continue calling the band Procol Harum. Yes, oldtimers miss BJ Wilson, Robin Trower, and Matthew Fisher but there have been other shifts of personnel in the past without the question of legitimacy arising.
   One More Time finds a band in transition doing a live album with a crop of relative rookies backing Brooker and the returning Fisher on thirteen songs that span the band's career. And that forces me to address another frequent complaint, that is, that the band doesn't sound exactly like it used to. Of course it doesn't. They are playing the same songs, but since each musician has his own idiosyncracies, they either add to your enjoyment or lessen it according to your taste. Guitarist Geoff Whitehorn comes in for much criticism I guess for not sounding like Trower. I'd say that though that is true, over time he has grown into his role quite well. It is the distinctive voice and piano of Gary Brooker, however, that does remain the same and is the touchstone of the band's continuing popularity.
   Like another reviewer, I'll give this more stars than it deserves just because its Procol Harum. There is a lot to like though at times you will feel cognitive dissonance due to missed or added notes. But then a live album has never been about sounding exactly like a studio record. What would be the point?
   My favorites here are a nicely done Grand Hotel, a pounding The Devil Came From Kansas, A Salty Dog, and the epic Repent Walpurgis which here features some nice added flourishes which sort of make up for the lack of Trower's stinging chops and Fisher's stately solemnity.
   I have known for some time that One More Time was on the market, but the first time I ever saw it in a store was when I bought it the other day. This is one for the completeists. Other fans of Procol Harum who do not yet own all of their studio albums are encouraged to buy and digest those first (especially the fairly recent The Well's On Fire which features a much-improved Geoff Whitehorn on guitar) before tackling this.



2. With all due respect, this is the best live Procol we have available. Most fans came away with mixed feelings after Prodigal Stranger, with its strange FM radio sound. In essence, the album was over-baked in production. When we hear these same tracks stripped-down and live, they take on a whole new feel. They rock! We should be greatful that this gig is now widely available. It provides us with a snapshot of the band on a good night from an under-represented period. A fine effort by one of rock's greats. Thanks to Friday Music.



3. ...............or 40% of it anyway; when PH reunited in 1990 for the somewhat less-than-stellar "Prodigal Stranger," it did give us renewed faith that we'd be seeing snd hearing Procol Harum again. But no, the band quickly developed into something for a franchise for Gary Brooker: himself, an organist, a guitarist, a bassist, and a drummer. And true, Procol's original organist, Matthew Fisher DID both play on the cd and "mix" it. But please don't sully your memories of hearing that great live version of "Conquistador" on AM - yes, AM - radio in 1972 by comparing the 1972 Procol Harum by this 2002..."edition" of them. The guitarist on this thing might be..."good" if he didn't insist on playing parts on songs that weren't necessary or even pleasant to listen to. For instance, the opening track, "Bringing Home The Bacon": when the piano and drums do that great - original - "dah-DAH-da" riff, Whitehorn places a kind of Keith Richards-esque "5th resolving to first" riff right after it, making it sound absolutely comical. The rest of the cd sounds like, in all honesty, a "reunion-for-the-bucks" kind of thing. I know this cd was originally available thru Gary Brooker's own private "Gazza" label (I bought MY copy from there), but I'm just wondering why he chose to release this tired-sounding thing, instead of a sort of two-cd set of the GREAT reunion gig at Redhill in 1997, when the original members of Procol Harum sounded and played with the exuberance of almost being timewarped directly from the seventies. I've seen and heard it, and it's a JOY to behold. But until Gary Brooker decides to release IT, you might as well be a "Procol Harum Completionist," and purchase this cd. Despite my less than glowing opinion of it, it's still infinitely superior to any of the "J LO/synthesizer" dreck that radio inflicts on you right now...