No comments about The Last Waltz.

5 comments about Madison Blues Live.

1. I could not disagree more with the reviewer who said that "The Purple Dancer" is the worst song Danny Kirwan wrote. In point of fact, I think it is the stand-out track of the entire boxed set. The lyrics are dream-like and sort of trippy with striking imagery, and Danny's guitar work throughout is stellar and breathtaking. Both versions are fantastic, but the longer one with the jam is truly amazing. I'd give anything to have been at that concert! In addition, there is "Open the Door," another of Danny's very poignant songs, beautifully rendered, and "Down at the Crown," a great rocker of Danny's that can only be found here. On top of all that, there are really great extended, live versions of his "Station Man" and "Tell Me All the Things You Do," which must have been fantastic to watch in concert.
   
   I definitely could do without Jeremy Spencer's derivative '50s stuff, and Christine McVie is in irritatingly bad voice on some of the tracks, which is why I was astounded to see that the liner notes portray this set as a sort of "Christine McVie show." These CDs are really at heart all about Danny Kirwan and his remarkable talent, and just as important, his tremendous influence on the direction the Mac took at a critical period in their musical evolution, extending many years into the future of the band.



2. I completely disagree with the previous review on this album , especially the part of Purple Dancer being the worst song Kirwan ever wrote. Purple Dancer is one of the most sought after songs of the early FM era,and even though it is not the original release,it's available only on this set. And maybe it's not perfect,but this release is solid and raw and it captures fleetwood Mac during the Kiln house tour which was short lived , due to Jeremy Spencer's dissapearance from the band to join the children of god. Also I would like to add that it is rare to find any fleetwood mac live recordings between the eras of the band that was after the Peter Green days, and Before the Buckingham , Nicks era. So in my opinion if you are a FM fan of all the eras, you will be glad this is available. Let's just hope it stays available , and maybe there will so some recordings released during the "Future Games" or "Bare Trees" era.



3. This originally came as a three disc set: 2CD's and 1 interview DVD. The discs come in sealed paper enevelopes that you have to rip open. There is an 8 page booklet that gives some background what the group was up to and some history of the recordings. It comes in a cardboard box, the size of the CD's.
   
   The original version was much more expensive than this. So, I don't know if it still comes with the interview DVD.
   
   Note that there is also a different live CD called Madison Blues that features Fleetwood Mac in the earlier days with Peter Green.
   
   The DVD is an hour and 20 minute interview of Jeremy Spencer from 2002. It basically covers his whole life and isn't that interesting. There are a few notable insights (like Peter Green wanted to stick to basic blues and Spencer wasn't on Then Play On).
   
   The CD's come from the Fleetwood Mac era of Christine McVie, Danny Kirwan and Jeremy Spencer.
   
   The first CD is 72 minutes long and is a collection of studio and live tracks. The first 4 tracks are studio recordings of Christine McVie's band when she was a solo artist going under her maiden name Christine Perfect. They are pretty good and might be the best thing on this whole boxset. However, they don't sound complete, like they were not quite finished for release on a album. The songs were not included on her solo album.
   
   The next set of songs are "live studio" recordings of Fleetwood Mac, when Christine McVie was not quite an official member of the band. They are basically studio outtakes from Kiln House. There are alternative versions of Tell Me All the Things You Do and other songs. The sound quality is fairly good.
   
   The remainder of the first disc is various live performances from Fleetwood Mac. There are some very good and interesting live tracks on the last half of this CD. There is a 6 minute Tell Me and an 8 minute Station Man. The sound quality is good on these live tracks.
   
   The second CD is a complete 56 minute live performance. The sound quality is borderline. It is not horrible like some live CD's (Black Sabbath, Live at Last; INXS, Live Baby Live; Simple Minds, City of Light; Hawkwind, Early Daze; King Crimson, Epitath; or Yes, Beyond and Before). But, the sound quality is bad enough that you wouldn't want to listen to this repeatedly.
   
   The performance on the second CD has some very good sections, and some not so good. There is some good jamming. There are some bad songs. There is a section where Jeremy Spencer imitates Elvis Presley and then goes into a Presley monolog.
   
   Danny Kirwan could be a good song writer, but he could also writes some horrible pop tunes. Purple Dancer, which is on both the first and second CD is probably the worst song he ever wrote. On the second CD, they do an 8 minute version of the song. It is excrutiating getting through the singing part of the song, but then the group breaks out into some of the best jamming the band has ever done.



4. Part of this CD was once released on LP as "Live In Boston," however, the whole CD is great. I do not know what this other reviewer is talking about with his terrible sound quality comment, but this CD has great sound quality! Listen to Green's playing on "Green Manalishi," "Only You," and "Oh Well." You can easily pick out his guitar over Spencer and Kirwan. Note: Legendary rocker Gary Moore now owns and plays the guitar which Green uses on this CD. Lots of blues and lots of talent on this CD. Too bad it is now out of print!



5. This import sounds like a poor bootleg tape. Even if you enjoy the blues sound of early Fleetwood Mac, this one is pure misery. Stick with the legitimate labels

No comments about Live.

5 comments about The Best of Eric Burdon & the Animals, 1966-1968.

1. I was a little disappointed that "House of the Rising Sun" was omitted from the included tracks, since that was probably their biggest hit, but I guess that is my fault for not paying closer attention to the song list.
   
   Other than that, I am satisfied, and was surpised at how fast I received the shipment.



2. I'm glad to see that the world's music can still be available at the click of a mouse. Eric Burton's music was by far outstanding back in the day. This CD was reproduced perfectly and probably better than what we listened to on the radio. Don't hesitate to purchased this CD. It "Won't Let You Down".



3. Many people have written to your reknown Seer and have asked me to abnegate my reviews because, as they say, I am old and brittle and the stress is just too much. What, with wayward guides, a sea serpent and a dragon (not to mention random entities making an appearance), they feel that my well-being is at risk. Well, they are right (that, or jealous), but my writing goes on even despite the dubious situations in my life. I will continue. After all, I have my honor and integrity on the line here. Besides, everyone must know the great sacrifice I make in order to bring you more reviewing treats. The public is always first and foremost in my mind. (!!). That said-I will proceed. No No, thank me later --please?
   
   This selection is a follow-up to my Animals review that I just published. This is what came after for Eric Burdon. He revised the Animal personnel and put his name up front. I think I would have done the same thing at the time. How does Metamorpho and the Animals sound to you? O.K., O.K., come back into the room. Can't a Seer kid anymore? Anyway, this c.d. explores his recordings from 1966-1968. And you can see an evolution here. Mind you, evolution and progress are two different things. Don't misquote me. I have future primaries to consider, after all.
   
   This, quite frankly, is a hit or miss collection for me. I think Eric Burdon is at his best when he sticks to gritty songs that make his gruff vocals shine through. For the first six songs on this c.d., Eric sticks to his strengths and, in some ways, some of these songs more than measure up to what he had done earlier. Three of the six are stand-outs in my opinion; "Don't Bring Me Down" (a rockin' plea to his love to respond to him in kind. Pay attention to that subliminal Stones "Satisfaction" riff within), "Inside Looking Out" (a concentrated, sharp, elevation of vocals to total intensity- amazingly raw),and "When I Was Young" ( a perfect picture of bad boy Eric done with incredible composition - you can hear the badness- the sexual tension created. A prime cut).
   
   From that point on, sad to say, we tread lightly on the ice. Somewhere, along the line, Eric got involved in the hippie, free love syndrome and it shows. These are snippets from an era long gone and, as such, feel very stilted and dated today. Then again, you could look at it with curiosity and marvel at it's time capsule qualities. It's your choice entirely.
   
   "Sandoz" is horrible. His voice croaks and the band tries to be relevent and exhibit opium den, meditation excess. It's embarassing but don't rest - there is more! "San Franciscan Nights" is not too bad once you get past the hokey speak/intro. The tune itself is not bad. But Eric, giving homage to the Hell's Angels in San Francisco simply because love abounds is a little risky, don't you think? O.K., this was before Mick and Altamont- so you get a pass. This time!
   
   "Good Times" has Eric regretting his bad habits. You know this is definitely downsliding now. "Anything" is Eric's heartfelt Sinatra ballad. Please Eric- stop! I am feeling ill. Just when you thought you were safe, he brings out the echo, the sitar, and embarasses you, me and Ravi Shankar with "Winds of Change". My tears are staining this page as we speak.
   
   All is not lost because, even though he has faux sitar on "Monterey" it at least moves. He sets the mood well and mentions alot of people who performed there that most people alive today do not remember. It doesn't matter. Alot of major groups and, at least, an event worth reminiscenting about. (No! I'm not getting into Woodstock here - and you can't make me!).
   
   You can easily forget the rest except for "Sky Pilot", which is still an interesting piece today. Eric's anti-war statement was so long that they had to divide it up as part A and part B when released as a single. Yet, the experiment of extensive war plane sounds in the middle still serve as a sonically brave venture (with marching sounds of bagpipes too boot!). A one of a kind cut for sure.
   
   My natural tendency is to always be kind and give a 5 star review if I can. With this one there were issues I had to consider. The musical content - in and of itself- wasn't up to high standards for the reasons I explained. The other issue is that, in a day and age where digital technology can clean up the most glaring imperfections in the past, you have little or no effort towards that degree in this release. Sound quality- abysmal. Still listenable? Yes. But abysmal.
   
   Now, let me go dry my tears in a river of salt. This review was most heart wrentching for me and maybe they are right. Maybe I should walk away from reviewing because of the stress. I was going to retire some time ago (remember the picture of me in the headlines being rushed into a waiting cab?). You don't? Hmmmmmm..... maybe my fame needs more spruceing up. Well..........o.k., you convinced me to still write reviews. See you on the next one!
   
   was that a scream I heard? ---- Metamorpho



4. I was expecting a re-master collection of songs. The recording of this CD sounds like how I first listened to this music, thru a 2 inch speaker on a portable transistor AM radio. There is some attempt to create stereo sound on a few of the songs. Too bad, the music is great! Eric Burdon was great with the Animals. Almost makes me miss the sixties and all that went with it!



5. eric burdon is often overlooked for his contributions to 60's music. this is your opportunity to experience some of that magic!

No comments about Blue Wild Angel.

5 comments about BBC Radio 1967-1971.

1. This is an essential masterpiece of progressive rock. The beginning of this document finds the band coming to grips with their potential, and the session derived from the first two albums are performed with a minimum of elaboration. Without the impetus of Elton Dean and the polish of the recording in several takes, the trio doesn't quite refine the improvisational potential of the first two albums, sticking strictly to the compositional framework. However with the arrival of Dean and Hopper, sparks begin to fly. Without going into a detailed analysis or session by session breakdown, the essence of the bands performance evolves into a fusion powerhouse; revealed by the band left to their own devices, devoid of production values. Robert Wyatt's value as a percussionist of the highest caliber fires the band into escalating momentum, regardless of his dwindling influence on the band. Elton Dean's conception of breaking musical boundaries with his inspired technical angularity and grasp of atonality gives spellbinding breadth to the accentuated and angular compositions of Hugh Hopper and Dean himself . Mike Ratledge assumes the central figure in the band, of course, and his mix of fuzz organ and grooving comp give the band it's identity. I would probably pick this as one of the best places to start with this band. It provides the range of the bands growth and serves as an introduction to the leader of the improvisational side of the Canterbury scene.



2. Even six sessions for John Peel's legendary Top Gear programme in three and a half years is not enough to demonstrate the speed of the musical developments of this band, who seem by contrast to have been falling into a black hole in subsequent years. Already, by the time of their first session in December 1967 they had changed labels and lost two guitarists (Larry Nolan and Daevid Allen) and become the classic line up of Kevin Ayers, Mike Ratledge and Robert Wyatt.
   That first session, produced by Bernie Andrews, caught them at a magic time when they were still song-based and psychedelic, and captured A Certain Kind, Hope For Happiness and Lullaby Letter in very different versions from the officially released counterparts on the LP The Soft Machine, plus two songs unrecorded by the band but later revived by Kevin Ayers and the Whole World: Clarence In Wonderland and We Know What You Mean (aka Soon Soon Soon).
   Sadly the group recorded no session during the life of The Soft Machine Vol. 2 and by the time they did return to record for John Walters in November 1969, Kevin Ayers had left, and long, dazzling and intense instrumentals had become the order of the day, interspersed with Robert Wyatt's self-deprecating but pithy vocal interjections. The line-up expanded to include a brass section borrowed from Keith Tippett's band and the result was a jazz-rock fusion unlike any other.
   Pieces like Mousetrap (here in two versions) and Esther's Nose Job still invigorate, but shortly after the last session here, from June 1971, Robert Wyatt left, and when Mike Ratledge too left in 1976 there was no original member left. All the more reason to have these alternative readings of some of their best loved works



3. The Soft Machine, when their star had risen the highest and for one brief perfect period of time, were one of the most exciting, imaginative progressive-fushion bands anywhere on any continent. This two-disc set, for the most part captures the Softs in their ascention and at the peak of their creativity. The first disc is pretty much flawless material for any Soft Machine fan. The first five tracks feature Kevin Ayers; I love the version of Clarence in Wonderland, which would later figure as part of a suite on Kevin Ayers's second solo album. The version of Moon In June here is nearly identical (it probably is the same version) as that on the Peel Sessions. The only tough lemon to swallow for me ws Fletcher's Blemish (which is exactly what that song is!) as it goes nowhere and recalls the worst moments of pointless jazz noodling; for avante garde enthusiasts only. But the best song, hands down, is the 20 minute plus workout of Mousetrap-Esther's Nose Job suite. It's simply amazing, and as Hugh Hopper said in his liner notes, the best jazz they ever recorded. Elton Dean's saxophone on this song, and throughout the rest of this collection, comes across like an ongoing whip-crack, especially on Virtually, the opener for the second disc. The BBC Radio sessions represents the Soft Machine in all their experimental and inventive glory. This, and not the successive albums of banality that came after Third, is how they should be remembered and appreciated.



4. I've got a lot of Soft Machine. A lot. And I was thinking this CD would just be another brick in the wall. But the first four tracks alone of this 2-cd set make the price well worth it. Here are Ayers and Wyatt going at it with amazing pop weirdness with Lowry guru Mike Ratledge just laying back. Disk 2 features more of the classic quartet with Elton Dean and the band mostly performing from their "classic" 1970 period. Insert book from Hux Records is first rate with excellent color reproduction of a number of hard-to-find promo shots. If you like the Softs, this is a must have CD.



5. i was a little leary about buying this as there is a glut of early live material out there, some of it not good. this is a fantastic 2cd set. it covers the early softs with wyatt/ratledge/ayers and ends with charig/dean/dobson/hopper, etc. first five tracks are the rockin' side of the softs, the rest is from mostly second and third. the sound quality is excellent and the performances are top. wyatts vocals, especially on Dedicated to You... are superior. great liner notes and photos accompany this cd. this is a must have recording.

5 comments about The Very Best Live.

1. A nice collection of live songs, with two distinct vocalistis. Chris Thompson has a grittier rock voice, while my preference is Garu Howard, who sings the melodic, soft ballads. What must be noted is the three bonus tracks. 'When' is a cathy soft verse, rockier riff laden chorus, sung by Chris. 'Your'e the voice' is a great track to do live. 'Take the money and run' is written by Stuart Eliott and unusual, as it has him on lead vocal. He has a good voice and the song is laden with a memorable verse and an anthemic climax building to a rousing chorus. It is clear he is a great songwriter, and this is complex progressive rock at its best. Why this song is not on a studio album and is merely a bonus track on a live album is beyond me. Fantastic song.



2. To hear AP live and well recorded is the reason to have it.
   
   I saw AP last year in a superb concert here in Caracas. I must admit it was superior to the live album but in some parts very much the same (which is to say great at least).
   
   What is missing is touch of jamming manifestation that comes from a true live performance.



3. Who would guess that Alan Parson, a studio band that never toured, would record one of the best live records of all time years after their prime. A big accomplishment considering Alan Parson would have to find singers that would compliment the original performances. His gamble payed off on this record and the results are incredible. Both singers turn in an excellent performance. Songs such as "Psychobabble" and "Eye in the Sky" completely blow the originals out of the water. The musicianship is also spectacular. The saxophone solo on "Old and Wise" is so poweful it brings tears to your eyes. One thing I really enjoy about this record is you can hear that the band is really having fun on stage and it shows. As a bonus there are three additional studio tracks. The first song "When" is mediocre but the next two songs "Take the Money and Run" and "Your'e the Voice" are powerful. I definitely recommend this to any Alan Parson fan. I have worn out my cassette to the point that it is so faded I have to turn it all the way up to hear it.



4. For the longest time, studio wizard Alan Parsons said that he would never tour because he didn't think the technology was there to bring his studio-perfected, progressive pop/rock to the live concert stage. Of course, this was back in the 70's & 80's, when Alan fronted his studio group, the Alan Parsons Project. But come 1993, with the release of Alan's first solo album, "Try Anything Once" (his first album without the "Project" name), and Alan finally felt that he had the necessary equipment to take his music out on the road. "The Very Best Live" documents Alan's very first live concert tour, recorded in Europe in 1994. In his live band are longtime Project veterans Ian Bairnson on guitar, Stuart Elliott on drums and Andrew Powell on keyboards, as well as singers Gary Howard and Chris Thompson of Manfred Mann. Parsons & company deliver brilliant live renditions of such Project favorites as "Eye In The Sky," "Psychobabble," "Time," "Prime Time" and "Don't Answer Me." The band also go back to the very first Project album, "Tales Of Mystery And Imagination," for a burnburning double-header of "A Dream Within A Dream" and "The Raven." There's even a marvelous melding of the Project instrumentals, "Lucifer" and "Mammagamma," called "Luciferama." Alan & the band sound SO good live in concert: crisp, lean, and sharp, with the fantastic musicianship that Parsons' albums are known for, and singers Howard & Thompson both do an excellent job at the microphone. Only gripe: no live version of "Games People Play"! Oh well, I guess there just wasn't room for it.And as an added bonus, "The Very Best Live" concludes with three exclusive studio tracks, and they're all winners: "When" and "You're The Voice," both sung by Thompson, and "Take The Money And Run," featuring drummer Stuart Elliott's debut lead vocal on a Parsons album, and he does a great job. Quite simply, "The Very Best Live" is a terrific document of Alan Parsons and his superb live band, plus you get a wonderful trio of studio songs, t'boot. As a longtime fan, I'm thrilled that Alan is performing his outstanding music live for his fans at long last. May he play gigs for many years to come!



5. In consideration that APP is so heavily produced to think they could pull off a alive gig and make it sound close would be a stretch. Frankly it is and Eric W. is absent too. Over all not bad, but honestly....don't get rid of the studio Cd,s quite yet.

5 comments about Live at Hammersmith '79.

1. I'm not sure if the reviewers giving this anything over a single star have the same CD that I do, but the sound quality sucks. Was Ted going deaf by the time he approved this? Intensities, Double-Live Gonzo and Full Bluntal Nugity are all worthy recordings of this great musician, but this dreck? No way! I was really pissed when I bought this, and have only listened to it once. Save your money. This thing sounds like it was recorded from out on the sidewalk maybe a block or two from the venue. Yuk!!! (Yep, even though I've owned this since it came out, my wallet still smarts from the money I wasted)



2. Early Ted just as crazy as the later Ted! Bought the CD also bought his DVD, both outstanding! Great entertainment by far...



3. I am a huge Ted Nugent fan, and even I will say that this is not worth buying. It almost seems like the band isn't even trying on half of the songs. The commentary in between songs is not good either, as Ted just rambles non sensical words, cussing when he can't think of anything better to say. This concert was after Derek St. Holmes was replaced as lead singer, and the band obviously suffered without his vocals. On the songs that Ted sings, he does a half-hearted job. This is not him at his best no matter what any of the other reviews say. Buy Double Live Gonzo to truly appreciate a Ted Nugent live show and forget about this one.



4. i have not heard double live gonzos or intencites in ten cities
   ihave full bluntal nugity. but ithink live at hammer smith is the best one yet do not get me wrong but full buntal nugity was good but i prefer live at hammersmith



5. Nugent is an amazing talent and a true Metal God. That said, this is far from his best live work. The sound quality is average (Hammersmith is an infamously difficult venue for recording engineers), the band was tired after a grueling tour, band members were not getting along, Nugent's handlers were pushing him in musical directions he did not want to travel ... and all of this comes through in this very strained live performance.

   Avid Nugent fans may enjoy this snapshot of musical history, but most others will not. Between songs Nugent babbles like an auctioneer on uppers, talking down to his audience and being annoyingly and childishly profane. He also makes it clear that he is superior to his band ("I TOLD the boys tonight that ...") and there is a noticeable lack of cohesion between Nugent and his fellow musicians, all of whom had reached their limit with Nugent by May of 1979.

   The stops are not tight; the solos are sloppy and unstructured; and Charlie Huhn, who is an excellent vocalist, reaches to deliver his lines on cue with the minimum of effort. One easily imagines a time clock at the edge of the stage that band members use to clock in and out of this minimum wage performance.

   At Hammersmith, Nugent was alone in his enthusiasm -- or rather what was left of it at this stage in his career arc. By agreeing to perform three shows in one day to stuff a promoter's cash register at the end of their European tour, Nugent stretched an angry, tired band past it limit.

   Nugent's own frustration is evident in his histrionic screeches, dissonant vocals, missed cues and late lead-ins on some of the best songs in his catalog. This is a guy who wants to bash his guitar over the heads of his band mates, not produce the platinum-quality stadium rock he perfected in the mid-1970's!

   For those who remember Nugent at his best, you may want to preserve your warm memories of this great artist by skipping this recording.

5 comments about Infrared Roses.

1. As a dead head, I don't know how you could dump on this album. If you don't like hearing these guys getting far out on their instruments, then what do you like about the dead? Their beautiful vocals? (hahaha) Sure they definitely play some of the greatest songs ever, but it's their unique jams as well that also serve to set them apart from anybody else. Nobody does it like them!



2. SPACE JAM EXCERPTS FROM VARIOUS 1989/90 CONCERTS
   
   This CD was originally released in 1991. It is concert excerpts from the 1989 and 1990 tours (with and without Brent Mydland). It comes from the same tours as the wonderful live CD, Without A Net (one of the Dead's best). It is 58 minutes long and the sound quality is excellent. It originally came in a nice cardboard foldout case. There are good liner notes and credits explaining what the CD is about.
   
   I think this is an excellent concept. The same style of music is taken from different concerts and consolidated on one CD. What you get is a very cohesive package. If you want to hear some good space jamming, here you have it with no interruptions. It is the perfect use of a compact disc. (It is also what made Without A Net so good....a 2 CD set of mellow, but excellent peformances).
   
   For buying music on CD's, I think this concept is much better than getting a full concert on a CD, with all of the ups and downs. Here you get a CD that is great throughout with only the best performances. If you want a full concert, then you should get a DVD where you can better appreciate the full experience.
   
   So how is the music on this CD? There are many great moments, but it is a little uneven. Some of the pieces are a little too short, so they come off as little snippets, and sometimes the editing isn't that great, and pieces sound like they were yanked out of longer songs. Also, I find it hard to beleive that they could only find 58 minutes of great space jamming from two years of Dead concerts.
   
   But, might complaints are minor, and this is mostly a very satisfying CD (if you like Dead space jams). The last 8 minutes are sensational and make it worth getting this CD.
   
   There are different kinds of pieces on this CD. There are some drum solos. There are some great keyboard solos (with Bruce Hornsby). There is a lot of guitar. And the final 8 minutes features some manic synthesizers and some great sax from Branford Marsalis.
   
   If you are a complete concert junky, than you might not like this CD. I don't really like complete concert CD's because you get a lot of junk in them. I like when someone can go through and pick out the best performances during a tour and consolidate that into a single package. I just don't have the time or money to listen to every single concert that is out there.
   
   
   --The sound quality is excellent, but not as good as some of the later Dead CD's. This was recorded before the Dead started using HDCD technology. With HDCD, some unused bits were now being used to record with a 20 bit resolution instead of the standard 16 bits. This would sound better on a standard CD player, and would sound fantastic on a CD player with an HDCD decoder. Many Grateful Dead, Roger Waters and other CD's were recorded with HDCD. But then Microsoft bought it and killed it.



3. SPACE JAM EXCERPTS FROM VARIOUS 1989/90 CONCERTS
   
   This CD was originally released in 1991. It is concert excerpts from the 1989 and 1990 tours (with and without Brent Mydland). It comes from the same tours as the wonderful live CD, Without A Net (one of the Dead's best). It is 58 minutes long and the sound quality is excellent. It originally came in a nice cardboard foldout case. There are good liner notes and credits explaining what the CD is about.
   
   I think this is an excellent concept. The same style of music is taken from different concerts and consolidated on one CD. What you get is a very cohesive package. If you want to hear some good space jamming, here you have it with no interruptions. It is the perfect use of a compact disc. (It is also what made Without A Net so good....a 2 CD set of mellow, but excellent peformances).
   
   For buying music on CD's, I think this concept is much better than getting a full concert on a CD, with all of the ups and downs. Here you get a CD that is great throughout with only the best performances. If you want a full concert, then you should get a DVD where you can better appreciate the full experience.
   
   So how is the music on this CD? There are many great moments, but it is a little uneven. Some of the pieces are a little too short, so they come off as little snippets, and sometimes the editing isn't that great, and pieces sound like they were yanked out of longer songs. Also, I find it hard to beleive that they could only find 58 minutes of great space jamming from two years of Dead concerts.
   
   But, might complaints are minor, and this is mostly a very satisfying CD (if you like Dead space jams). The last 8 minutes are sensational and make it worth getting this CD.
   
   There are different kinds of pieces on this CD. There are some drum solos. There are some great keyboard solos (with Bruce Hornsby). There is a lot of guitar. And the final 8 minutes features some manic synthesizers and some great sax from Branford Marsalis.
   
   If you are a complete concert junky, than you might not like this CD. I don't really like complete concert CD's because you get a lot of junk in them. I like when someone can go through and pick out the best performances during a tour and consolidate that into a single package. I just don't have the time or money to listen to every single concert that is out there.



4. This review is about 15 years overdue but I write it nonetheless. By the time this record was released, I had already been to quite a few Dead performances and loved every aspect of their shows, from the people to the atmosphere to the music, especially the recurring centerpiece that dominated every concert, a long improvisational better known as 'Space.'
   
   Space set the Dead apart from everyone else. It was a groundbreaking concept for a live rock performance, one that led you into some dark places both musically and spiritually, later delivering you from the shadows with an upbeat denouement that closed every show.
   
   On this record, however, you are deposited smack dab in the middle of that forest with no breadcrumbs to lead you out again and that, my friends, is not the easiest thing for a Dead fan to handle.
   
   What's more, these pieces are not even linked musically (let alone thematically), they are spliced together by an editing technique that somehow seems to ignore the musical progression interwoven into the shows from which they were taken. What you have, as a result, is a recurring nightmare, one from which there is no exit. You remain locked into the darker side of the Dead's musical explorations and there you stay, for almost an hour.
   
   I won't deny that there will be some that would enjoy this type of record but, frankly speaking, I use it at Halloween as a soundtrack to accompany the stuff I decorate my house with. I would strongly advise anyone new to the Dead to avoid this recording. Stick with the complete shows that have been released. This record doesn't do the band, or even you, justice.



5. Most casual listeners would think this album is a compilation of useless noise. Think of how much creativity these fellas put into making this confusion. Sit back and listen to the space take you away...classic...uh..noise record.

5 comments about On the Road.

1. I have bought 'On The Road' at least three times in vinyl, and again now on CD. Since I first heard it back in 1973 to this day, it never fails to move me. The emotion and passion in '(Sometimes I feel so)Uninspired', which peaks with Winwood's great vocals and guitar work, underpinned by a kick-ass rhythym section, says it all for me...whenever I feel a little sorry for myself, that track puts it all back together.

   I liked this music so much, I sold my first hi-fi set up, hired a car, and drove down to Glasgow from Aberdeen, just to see Traffic play in 1974. Winwood was magnificent, playing keyboards, with a guitar on his lap, supplying pedal bass and singing all at the same time!

   This is a live album; unlike most bands, Traffic actually play better live. It's as if they have re-worked and moulded all the songs through constant practice until the improvised, live versions sound far more mature and natural than the at times over-controlled studio versions. The Muscle Shoals session men are classy and professional, and must really have gotten a kick out of touring live, showcasing and blending in with such a greatly musically talented band. All in all, listening to the crowd cheering and whistling, and being given such a great show of live musicianship and raw emotion, makes me wish I had become a roadie and seen it all live for myself! Does anybody have a video of any of this tour?

   If you like live albums, this is one of the great exponents of the genre - live and alive with some truly magical musical moments!




2. It's simply not fair! How can one person write such great songs, play piano, sing with such a soulful voice and play such a mean lead guitar? Steve Winwood was an exceptionally talented musician of the 60s, 70s and 80s -- almost a Mozart of his genre -- and he provided the keyboards on the extended 'Voodoo Chile' on Hendrix's 'Electric Ladyland'.

   This album showcases his voice and guitar-playing at their best. (His voice has a higher, less mellow pitch on the earlier studio versions of some of these songs.) There are some great extended versions here, particularly 'Low Spark'.

   The recording quality is variable. The drums and tom-toms, for instance, are miked up very differently on 'Low Spark' compared to 'Glad', where they are much further down in the mix. Such are the vagaries of the live tour.

   There ought to be a video of this German concert tour. I certainly remember seeing a video of 'Light Up' on 'The Old Grey Whistle Test' when this album was released back in 73.




3. It seems like there was an endless supply of good to great live albums in the 70s (Stones-Get your Ya Yas, J. Giels-Full House, Allman Bros Live at the Filmore, Who-Live at Leeds, ELP-Welcome Back etc. etc.) this is another good one. Kind of sloppy (in a good way) jazzy jams (Chris Wood was a really easy listen as a saxaphonist) from Traffic's matured phase (Low Spark, John Barleycorn, Shoot Out). Start with the studio stuff and if you like those, this is a great addition.



4. The album's highlight is the free flowing improvisation in all the tracks as well as the choice of numbers for a live performance. Especially exciting is "Light Up or leave Me Alone" . Great guitar, keyboards, percussion ..



5. I picked this one up, my first Traffic album, just by chance. Having heard some of their material, I was excited to hear some live material. Rockin' jazzy jams prevail with fantastic musicianship and a very tight ship overall. You won't be disappointed, promise.