2 comments about Virtually.

1. I love Soft Machine. This live recording from 1971 is one of the last gigs with Robert Wyatt in the band, and it is a beauty. It is especially interesting to me because this CD has the only live recording(s) of Teeth (SM4), All White (SM5 and Pigling Bland (I believe SM5), Kings and Queens (SM4, 5 or 6). plus several songs that were never recorded in the studio [ Neo-Caliban Grides, Eammon Andrews]. The playing in general shows The Soft Machine at the top of their game.
   Robert does more of his vocal improv on this recording than on Noisette. He does this in two sections: one is a really very different scat style for him and really plays well into the mood of the recording.
   
   But the most notable piece for me on this CD is actually the opening cut of Hugh Hopper's Facelift.
   The previous reviewer is correct on how Robert's departure from the band made them less extraordinary, however I personally do not think they ever sounded like the typical fusion band of the 1970's era. Heck, they created it in a way! They have always maintained the Soft Machine signature sound. This is the quartet version of the band; I personally like Cuneiform's making of Noisette better because there were 7 band members with the addition of the horn & reed players and the septet was Ratledge's dream band. But they are different records. Both are superb spins!



2. This CD is without a doubt the best live album ever released featuring The "original" 4-man line-up of The Softs. Collectors and afficienados know all too well that the available live recorded output from this legendary unit - while seemingly endless - suffers greatly from everything from bad hall acoustics to poor instrument miking onstage. Even the "live" version of "Facelift" included on their stunning release "Third" is actually a pieced together (hence the name) amalgamation from two different shows. THIS CD contains the live material that should have been used on "Third" to make the live side equal to the brilliant studio compostions contained therein. And last but not least, this CD features the multi-talented Mr Wyatt on drums - always the Heart and Soul of this truely great and innovative band. And unlike the live side on "Third", Roberts drums are beautifully recorded as are the other instruments. Elton Deans saxello sounds like a sax *not* a hamster being set on fire. Once they lost Wyatt and aquired Marshall on drums they becasme just another fusion band albeit one with *great* melodies. . .

1 comments about Past Times with Good Company.

1. The live album captures the spirit of the band at its best: Colourful and vivid. Beautiful orchestrations, great vocals, and amazing atmosphere. The band shines on all tracks but my favorite is the title track played at the two versions. If you must find a fault on this live is that they should be using some 15 horns instead of synths but you cannot have everything in life! I beleive that with this release and Fires At midnight the band is really expanding, writing and playing beautiful music, and (i think that all of us Ritchie fans agree) my favourite guitar player is cleary shining again playing music in a way he only knows instead of repetitions of a great past (for whom the bell tolls?). Do yourself a favor. Go by the album. Ps the greek version of Home Again (i am Greek) has wonderful lyrics and singing but the accent is somewhat greekamerican - anyway we are honoured by such an act of the band!

1 comments about Atlantis.

1. This is actually two discs and was originally released as "Donovan Rising Again" and was recorded live from several concerts from 1982 to 1986, but it was put together so beautifully that you'd never know. Initially this series of songs was released as "Donovan Rising" and was a single disc which has been released under several different names and on several different labels. But no matter what label, no matter what cover, no matter what they call it, this is still one fine recording. Listening to these CDs you can almost imagine Donovan as that eighteen-year-old teenager who burst upon the scene with "Catch the Wind" back in 1965. He sounds as young on these songs as he did then.
   
   And you can tell that whoever put this together really cared, really understood Don's music, really went for quality of not only sound, but performance as well. Boy, what I wouldn't have given to be able to spend the hundreds of hours pouring through all the songs and performances, being there through all of that must have been glorious.
   
   Below, I've listed the song breakdown on the two discs. All the songs were written by Donovan, except where I've noted.
   
   Disc 1
   
   1. "Jennifer Juniper" - 2:00
   2. "Catch The Wind" - 3:41
   3. "Josie" - 3:24
   4. "Hurdy Gurdy Man" - 6:04
   5. "Sunshine Superman" - 3:53
   6. "Colours" - 2:51
   7. "There Is a Mountain" - 3:06
   8. "Mellow Yellow" - 3:24
   9. "Sadness" - 2:49
   10. "Universal Soldier" (Buffy Sainte-Marie) - 2:44
   11. "Cosmic Wheels" - 3:42
   12. "Isle of Islay" - 2:27
   13. "Trucking Your Blues Away" (Blind Boy Fuller) - 2:22
   14. "Wear Your Love Like Heaven" - 2:17
   15. "Love Will Find a Way" - 2:44
   16. "The Pee Song" - 1:43
   
   Disc 2
   
   1. "Sailing Homeward" - 3:27
   2. "Mr. Flute Man" - 2:11
   3. "Laleña" - 3:13
   4. "Young Girl Blues" - 5:05
   5. "Young But Growing" (traditional; arranged by Donovan) - 3:42
   6. "Stealing" (traditional; arranged by Donovan) - 4:17
   7. "Season of the Witch" - 3:39
   8. "Atlantis" - 3:05
   9. "Colours" - 2:21
   10. "To Susan On The West Coast Waiting" - 1:39
   11. "Catch the Wind" - 2:40
   12. "Make Up Your Mind to Be Happy" - 5:27
   13. "Happiness Runs" - 5:33
   
   Donovan's recording of "Catch the Wind" here sends chills up your spine. His rendition of "Hurdy Gurdy Man" with George Harrison's missing verse is equally chilling. The acoustic versions of "Sunshine Superman" and "Cosmic Wheels" are stunning. The version of "Young Girl Blues" takes me right back to the "Mellow Yellow" period. It has always been one of my favorite songs. I could go on, keep gushing about this fine live record, but I'll stop now. Oh wait! I forget to tell you that this is a must own Donovan disc for anybody who is even remotely interested in his music. You gotta get this one, you really do!

5 comments about A Long Day's Night.

1. B.O.C. NEVER QUITS. I WAS OF THE MINORITY THAT BELIEVED THAT THEIR LIVE C.D.s WERE LACKING SOMEWHAT ( WITH THE NOTABLE EXEPTION OF "ON YOUR FEET OR ON YOUR KNEES"). BUT THIS ONE TOTES SUPERIOR LIVE SONGS, WITH A REFRESHING LIVE VERSION OF "MISTRESS OF THE SALMON SALT (QUICKLIME GIRL)".
   I KIND OF IMAGINE THAT THESE GUYS WILL NEVER RETIRE. PROBABLY SELLING OUT ASSISTED LIVING HOMES CONCERTS WHEN THEY APPROACH THEIR 70s.



2. There was a time when Blue Oyster Cult scarred people. During the band's first albums, there was considerable mystery surrounding the band's subject matter. As time went by one could be bewildered by all this talk of secret treaties, flaming telepaths, harvester of eyes, dominance, submission, workshops, astronomy, advanced Messerschmitts and some sort of fascination with the night. Along with the band's chosen symbol which was a hybrid of a Celtic cross and a fishing hook, around 1972 some began to perceive some sort of crypto-nazism and a few popular music magazines called for a boycott of Blue Oyster Cult albums. Of course, the band rode all this notoriety of all it was worth.

   BOC hit it big in 1975 with "Don't Fear The Reaper": a love song that was about...what? Suicide? Disappearing into the mysterious darkness? Vampires? "We can become like they are" Who was "they"?

   As it came out, BOC was writing songs loosely based on a sprawling science fiction story. All this was supposed to be revealed with their "last" album. "Imaginos". Unfortunately, even having it spelled out for us the subject matter was obscure as ever. BOC, however, had passed from being sinister to romantic to goofy to a joke. This "thinking man's" heavy metal became sidelined as newer and heavier bands arrived and took over the countryside.

   After all these years, BOC still has an intense, faithful following. In spite of all the missteps and loss of original members, BOC can still put on a great show. "A Long Day's Night" puts the band back in the arena of "live" shows where they are at their best. BOC has put out three other "live" albums in the past and each is superior to the lot of other "live" albums in the rock world. This one is probably the best in production values with each instrument sounding crisp and the vocals are up front rather than buried behind the wall of noise.

   The set list spans BOC's entire career. Somewhat heavy on the early material with only a few songs from their recent albums. BOC still lingers in the phantasmagoria subject matter but the main aim is to have fun and rock. In this post-grunge age, most kids will find the lyrics interesting but the musical licks dated.

   Be that as it may, if your taste runs toward Justin Timberlake and Britney Spears there is nothing here for you. However, if you tend to like the Foo Fighters you might be surprised to find this is "roots" music for you.




3. I've been a big boc fan for over 20 years,but haven't had the pleasure of seeing them live until 2 years ago.Since that 1st show I have been to 2 other shows. I got to go backstage and meet the guys,who even signed autographs and took time out for pics as well. I think this band is underappreciated for how good that they really are. I was not at this show in Chicago,but I have the dvd and cd.I have to say that this version of The last days of May is one of my favorite live tracks on any of their live cd's.This is a good addition for anyone into the cult,or if your just a fan of classic rock,check it out.You will not be disaappointed.



4. I enjoy music. I love music. And while I am not a diehard BOC fan, this recording is absolutely horrid. I've got a keen ear for things, and with today's technology of digital, I would only expect to hear clean, crisp recordings. Even for live events. But this live piece of tripe is a major chore to try to sit through. This does not sound good turned way up, let alone at normal level. There should be no excuse for this.

   Technically the boys can play. But they cannot sing and they obviously cannot hear. Regarding the dreadful singing talents of Eric Bloom, he should stop...Now.

   But this recording really blows. The mix is completely off. Sometimes the drums overpower even the guitars, let alone the voice. I think the boys have playing concerts so loud through the years, they cannot tell how they themselves sound.

   Such a shame. They should just let the recording sessions do their magic.




5. LONG DAYS NIGHT, Blue Oyster Cult's fourth live CD, is yet another great one, featuring the three core members (Eric Bloom Donald "Buck Dharma" Roeser, and Allen Lanier) and the band's new rhythm section performing material from the band's entire 30-year history. Of particular note is "Harvest Moon", the one great song from 1998's disappointing HEAVEN FORBID. This is a CD that you should own.

4 comments about Greatest Hits Live.

1. GTR was a one shot group featuring guitarists Steve Howe and Steve Hackett. This CD is a recording of a show on their tour, orignally released as "King Biscuit Flower Hour Live" and now given a dopey new title. After all, with only one studio album and one Top 40 single to their credit, how could this be a "Greatest Hits Live?"
   
   How you feel about this album depends on how you feel about the studio album. A lot of prog fans were dismayed by the group's overeliance on standard 80's hard rock/heavy metal guitar tones (especially from Steve Ha. -- check out "Hackett to Bits"); underwritten songs with lyrics that were sketchy ("Imagining", "When the Heart Rules the Mind") or cliched ("Jekyll and Hyde", "Reach Out", "You Can Still Get Through"); and the shrill, Dennis DeYoung-esque vocals of lead singer Max Bacon.
   
   All but one of the songs from the studio album are included here. Unfortunately, they left out one of the better ones (the nice ballad "Toe the Line") and replaced it with a previously unreleased mediocrity, "Prizefighters". The group fares much better when Howe and Hackett reach back into their pasts. Howe, surprisingly, delivers a fine, Yes-like rocker called "Pennants" (from "The Steve Howe Album"), while Hackett performs the ethereal title track from his "Spectral Mornings" album. Of course, they also give us the biggest hits from their old bands -- Yes's "Roundabout" and Genesis's "I Know What I Like." Amazingly, Bacon sounds a lot better singing these songs than he does GTR's orignals. Of the latter, the best are Howe's solo "Sketches in the Sun" (still part of his live repetoire) and their aforementioned hit single, "When The Heart Rules the Mind", with some interesting guitar interplay and a catchy melody.
   
   The live sound quality is excellent -- very clear audio. The songs, arguably, sound better than the studio versions, without Geoff Downes's echoey, Asia-type production. Since the studio album has gone out of print again and is now sporting collector or Japanese import prices, this is a much more economical way of getting this music. But although there are a few nuggets here for Howe and Hackett fans, most folks would be better off searching for their better works with Yes, Genesis or solo rather than settle for this rather dated 80's affair.



2. GTR debut cd, GTR, was a great cd, that showcased the musical powers of axemen, Steve Howe (Yes/Asia) and Steve Hackett (Genesis). But to me frontman vocalist Max Bacon, steals the show. While both Steve's can play a mean solo, Max can sing around them, and keep going. Just about the whole GTR cd is here, so are some Yes, and Genesis songs. But has much as like the songs, for the most part, the players, seem to be walking thru there parts. Instead of working their butts off, beacause there are some great songs on this cd.



3. The Steve Howe and Steve Hackett short-lived supergroup "GTR" released one disc and this live King Biscuit Flower Hour performance in the summer of 1986.
   The former Yes and Genesis axeman perform along side lead vocalist Max Bacon, bass player Phil Spalding and drummer John Mover. The newly formed band play well together.
   They cover most of the tracks from their sole studio release "GTR", including the radio hit "When the Heart Rules the Mind". Hackett and Howe each take turns playing solo tracks from their solo work; Howe doing "Pennants" and Hackett doing "Spectural Mornings".
   They also cover songs from their former bands; Genesis' "I Know What I Like" and Yes' "Roundabout". Both well done as with all their guitar work on this CD.
   Although briefly together they left their mark with this disc.



4. Alright, I'm a little bias. I happen to like the one and
   only GTR album. This is just that, but more. Not
   only is it live (a King Biscuit Flower Hour recording),
   but you've got an unreleased song, and some
   fine ealier material from Howe's Yes days, and
   Hackett's Genesis days. I must admit that I
   didn't know a whole lot of Hackett's material,
   but listening to this has made me get a
   little Steve Hackett want-list started.
   Too bad this band couldn't stay together.
   I think they only would've gotten better,
   but that's par for the course as far as
   "supergroups" go.

   By the way, Max Bacon is an outstanding
   vocalist, and the rhythm section of
   Jonathan Mover and Phil Spalding is tight!
   Great job on the remastered mix.

3 comments about Salvation...The Spirit of '74.

1. Ok, here's where the rubber meets the road. The good, bad, and ugly. Ok, not THAT bad or ugly.
   
   According to Mick Skidmore (Spirit compiler and friend) all of the 3cds contained herein are " first generation sound board tapes, cassettes, acetates, copies of copies of early album projects, a few 2-track masters and an odd multi-track or two." Not perfect sound by any means as you can see (think 1974 technology also), but then the compilers never intended it so.
   
   CD#1 Live, Total time= 70:40 15 tracks
   CD#2 Live Total time= 70:40 16 yracks
   CD#3 Studio Total time= 72:14 25 tracks
   
   The 2 live cds taken as a whole:
   
   18 tracks from Ebbetts Field, Denver Colorado, 10/30-31/1974
   8 tracks from Agora Ballroom, Cleveland Ohio, 06/30/1975
   3 tracks from Armadillo World Headquarters, Austin Texas 06/19/1975
   3 tracks from unknown locations
   
   On the live cds...Randy California, Ed Cassidy, Mark Andes on 25 tracks, Mark Andes replaced by Barry Keene on 6 tracks.
   The live stuff is of varied quality (see Skidmore's liner comments in begining of this review) BUT, for the fan it's decent enough with plenty of fascinating small venue performances of material Spirit played while on-the-road after Kaptain Kopter (72) and before 'Spirit of '76'. As prior reviewers infered this is like the discovery of King Tut's tomb for fans.
   
   This is not necessarily a "die-hard fans only" release, though arguably fans might appreciate this OVER the formal releases which brackett this period in the band's history. It turns out to be quite amazing that a band with a limited timespan (1968-70 for the classic yrs,patchy after that) still can reveal itself in fetching posthumous packages such as this. With terrific liner notes putting it all in perspective (kudos Skidmore!). I am more into Spirit and Randy California now than I was back in 1968 at the age of 16.
   
   CD#3, Studio recordings between Aug,1974 and March,1975:
   
   The majority of studio recordings here have a raw edge to them. Some are proto-types of material found on future releases 'Spirit of '76', 'Son of Spirit' and 'Farther Along'. Also, some seem under-produced and/or incomplete.
   All though are fascinating examples of behind-the-scenes work which best articulates a Spirit in transition, and a group that was constantly honing its artistic vision through sheer perserverence. Even with Randy California's solo stuff I always hear some semblance of the Spirit of yore too. Randy and Ed Cassidy were/are the backbone of Spirit, period.
   
   In California's later years he manages his vocals better but in alot of these early studio takes his vox comes across unfiltered (light or unnecessarily in high range). I am reminded of a undisciplined Curtis Mayfield or Jon Anderson (Yes).The lyrical telling of a song must compete with the musical presentation in much of Spirit's studio stuff here (as well as most post 1972 Spirit for that matter), not always a smooth ride. But hey, when it does?....WOW!
   
   This is another great offering of posthumous Spirit/California. Everything in this box set has never been released before though several versions have appeared elsewhere. About 3 1/2 hours of excellent music, really.
   If you want to explore this band from a safer perspective start with the first 4 classic line-up from 1968-70. If that does'nt hook you I don't know what to say. After that, still in the safe zone, go for 'The Mercury Years' (a 2cd collection which is essentially California & Cassidy, a grouping which becomes the core of all remaining releases). The posthumous material is just that, "warts'n all" unofficial stuff not exactly essential to everyone but necessary (and perhaps essential) which also includes most of the remaining Spirit albums in developing guises, live AND studio.
   
   Recommended for those really "under-the-influence" of this awesome band and its incredible visionary guitarist.



2. randy california never got his due. the man not only was a great guitarist but also a great composer. this disc has it all. lots of live material and quiet studio cuts. this set is a steal!!! you should get it asap!!!



3. Released last October (well a little earlier in the UK)Salvation- Spirit of 74, is a new collection of music by Spirit, which is one of the best ever retrospective releases of live songs by the band.As Spin over in the UK notes: " From the same label (Acadia) that brought you 'The Euro-American Years', this is a 3 CD set made up of live and studio material all taken from the archives of Randy California. CDs One and Two are made up of tracks recorded in the Agora Ballroom, Cleveland, Ebbetts Field, Denver, Colorado and the Armadillo World Headquarters, Austin, Texas. CD three is all unreleased studio material."
   
   From looking at the track listing from discs 1 and 2 what you are getting is live versions of most of the songs found on Spirit of 76, only these are from live performances in 1974, with a Spirit line up consisting of mainly Randy California, Ed Cassidy, and Mark Andes.
   
   For Spirit fans, it is as if the temple has finally opened to treasures we didn't even know existed.
   Look at the listing for Disc 1:
   1 Veruska
   2 Storm In The Night
   3 Like A Rolling Stone
   4 I've Got To Use My Imagination
   5 Fresh Garbage
   6 Devil
   7 Kristee
   8 My Road
   9 Old Blue
   10 Joker On The Run
   11 So Little Time To Fly
   12 All Along The Watchtower
   13 I Can't Get No (Satisfaction)
   14 Same Old Thing Urantia
   
   Some of these songs, I don't believe 'live' versions have been available before. Veruska has to be one of the more powerful pure pyschedelic songs ever recorded .Highlights for me from Disc 2 are :'Electro Jam/Mr Skin ', On The Road Again ,Happy , Guide Me , It's All The Same , Goin Down, and Hey Joe. Disc 3 are studio recordings and has a Spirit cover of Dylan's 'Positively Fourth Street', something I had no idea they had ever done.Other cuts that intrigue me are: Maybe You'll Find , Looking Into Darkness , Circle , It's Time Now , So Happy Now , Miss Lani , and You're So Beautiful .
   
   On Disc 2 I have found that on Randy California's version of the old Freddie King number "Goin Down", he lets loose with his Stratocaster, and it is one of the hottest numbers of the set. It smokes. So also does both versions of Sunrise.
   
   I have now been listening to Disc 3 on my car stereo for some time and I notice from So Happy Now on, it is like a Hawaiian suite of songs. Likely highly influenced by Randy California having lived on Maui in 1973. Very mellow tunes, but heartfelt, and with nice arrangements. Listening to Sparkling Sands makes you feel like you are on a Hawaiian beach. Also both Future in My Hands and Salvation are enjoyable rockers on this disc.
   
   For me personally, I am discovering songs I have never heard before, and had no idea Spirit had ever done them. In a way it's a shame such Spirit releases didn't come out earlier, say in the late 70's or early 80's. One can speculate about a live version of Veruska being played on radio, and I believe if this had been released by the mid-80s it would have sparked a lot of interest in Spirit as it was in its Tent of Miracles phase.
   
   For hard core Spirit fans it has to be a must have , and for others who might be interested in how this unique band sounded at live concerts in 1974, this could be a revelation, if not salvation. I have found that getting this 3 disc set is worth it just for Disc 3 alone. It also comes with a nice booklet written by Mike Skidmore that goes into detail about how this set was arranged and remastered for sound, plus information about the concerts. All in all a major plus for Spirit fans.

1 comments about Extended Versions.

1. I am not a huge fan of Pat's but I do love some of her hits. This cd was a hit & miss for me, but the songs I bought it for were great and the "live" element made them even more enjoyable.
   I wish we could get another female like Pat Benetar in our music world, but the original will be the best.

2 comments about Now & Live.

1. this is a very good work from Paul Rodgers. this pack is one cd whith new song ( very good songs ) and one live cd (wath a live cd !! ).
   BUY IT....



2. As a long time Paul Rodgers fan, this CD exceeded even my expectations. From the crisp studio side to probably the best live recording of Paul Rodgers I have ever heard, this CD was outstanding. His vocals were the best of any CD I have and I am always impressed that he surrounds himself with such talented musicians. I highly recommend this to any fan and couldn't think of a better CD to get a new one on the Paul Rodgers road.

4 comments about Noisette.

1. Another Soft Machine record outside of their official releases, but a very interesting Soft Machine record, as was the band. According to the liner notes, they are on this release a five piece with Lyn Dobson playing soprano sax, flute & vox. No matter, but for if any Soft Machine hedz reading this, there are no duds. What these guys were doing back then is still cool. Check it out, especially if you can somehow hear some tracks for free. Robert Wyatt's drums are (or should be) an inspiration...



2. The Soft Machine catalogue used to be a simple & straightforward affair: 7 albums imaginatively entitled Volume One through Seven - only the completely inumerate could go wrong. The flood of archive releases on a variety of labels over the last few years has muddied the waters considerably. There's a lot of lo-fi recordings & recycling going on that reeks of exploitation. Fortunately there is a reliable rule of thumb: if it is on the Cuneiform label get it, if it is on any other label (especially Voiceprint) approach with caution. "Noisette" is the third from Cuneiform & up to the standard of its predecessor "Virtually" in terms of sound quality & performance. Being from 1970 it features the 'classic' quartet of Wyatt, Ratledge, Hopper & Dean but with some striking additional reeds & flute from Lyn Dobson. And Wyatt gets to sing in his inimitable fashion. The set list is quite interesting: "Esthers Nose Job" as expected, but everything else is relatively rare, looking back to "Volume Two" or back even further in the case of the wild "We Did It Again" encore. Overall the show has a slightly edgy, 'you are there' real time sense of tension & spontaneity. Nice presentation on this release too. For those interested in archive Softs releases I'd recommend this alongside Peel Sessions, Live At Proms, BBC In Concert 1 & 2, & Virtually.



3. Of the three Cuneiform Soft Machine archival releases, this is my favorite. It would serve as a good intro to the band, it has a bit more "life" than the studio albums. The encore of "We Did It Again" is wonderful.



4. This is an extraordinary concert of this non comercial enterprise as I call Soft Machine. The material is mostly from the "Third" era ("Moon in June", "Mause Trap", "12/8 Theme") but there are also some older numbers like "Esther's Nose Job" and my favourite "We Did It Again" with Wyatt's drum solo and his specyfic moaning. Great connection of jazz and progressive music, excelent performance from the best Soft Machine's period.

   If you liked other early seventies live albums ("BBC Peel Sessions", "Live at the Proms 1970") you won't be dissapointed. They are all the same high - Soft Machine standard.

5 comments about Live.

1. Not as good as the accoustic concert of some note, but still good. I was let down because I was expecting way more power from such a powerfull band but still I will recommend it to anyone who likes Golden Earring. A nice, long version of Radar Love was about the only saving grace this disc had to offer, and some equally long, very hypnotic cuts from the Moontan album were a nice touch too.



2. Golden Earring Live is not for everyone. If you are a die hard Earring fan, you will definitly enjoy this album. It is a honest, on the spot live recording, despite the fact that there is a extra guitar part all the way thru the recording that is not Barry Hay. Whomever did the job, however, was very capable. Barry's vocals get a bit lost in some parts of the recording, but there are many moments of sheer rock-n-roll magic that make it worth while. George Kooymans does a wonderful job of reproducing some very difficult harmony vocals with Barry. All in all, I would have to recommend it to all earring fans EXCEPT those who expect a perfect and polished product. This is a kick ass live rock-n-roll recording, warts and all.



3. LIVE is a great concert recording from Golden Earring from right about the time when they were starting to merge Outlaws-style guitar jamming with Zeppelin heaviness and Floyd-like space rock. I have had a cassette of this album since 1994, and I love it. Get this, THE CONTINUING STORY OF RADAR LOVE, and SOMETHING HEAVY GOING DOWN all at once.



4. 25 years have passed since this double live performance from the Netherlands premier rock band, still going strong today. Great guitar & bass soloing with my favorite Radar Love version. Remaster sounds fine, except for 2 serious glitches in the recording process: a 1 second "drop-out" at 1:06 on track 2 and a "scratch" in the mix at 8:45 on track 8.

   Overall, my favorite live Golden Earring ahead of "Something Heavy Going Down" and "Last Blast Of The Century".




5. I have owned this album since 1977. One of the best live recordings ever! The best version of "Eight Miles High" since The Byrds. Worth every penny!