2 comments about Masada First Live 1993.

1. In 1993, John Zorn celebrated his fortieth birthday with a month long series of performances at the Knitting Factory. During these shows, he debuted a new project featuring a group he used to record a soundtrack for a movie called "Thieves Quartet"-- that music was in the style of Miles Davis' "Escalator to the Scaffold" soundtrack, sort of smokey jazz (and released by Zorn on "Filmworks III"). But he had bigger plans for the group, himself on alto, Dave Douglas on trumpet, Greg Cohen on bass, and Joey Baron on drums, and he debuted those plans at this celebration at the Knit under the title of Masada-- a band in the form of Ornette Coleman's classic quartet improvising on themes written in the "Jewish scales", that sort of eastern European meets Middle Eastern sound. What's funny is that while Zorn talks about this being very embryonic and rough, its really quite an accomplished record-- already, the legendary near-psychic playing is starting to take shape. Nowhere is this more obvious than on the superb "Zipham" (later recorded on Masada 3-- in fact, all the tunes played on this were recorded during the session that would result in the first three albums), where the band slinks into their groove and really figures it out (and check Douglas' propulsive quote on "Dancing in Your Head").
   
   Admittedly, there's a few goofy moments, "Zebdi" falls apart a bit in its syncopation, and the band sounds somewhat clueless on "Piram", but the slower and groove-oriented pieces ("Hadasha" for example) seem to universally work fantastically. Its a lot looser, a lot less refined, and as good as they play together, they'd do a lot better even nine months later when they went into the studio. I rate this relative to the band's other material, if you're a fan, you're not likely to be disappointed, but its not a great starting place to begin exploring the band's catalog-- for that I'd go with "50th Birthday Celebration Volume 7", recorded during Zorn's month long celebration of his fiftieth birthday (notice a trend here?) at Tonic. And certainly, the two make nice companions for each other. But if you're a fan, you'll want this, its essential.



2. Holy ...! What a spectacular recording of Masada at the Knitting Factory in New York City, from 1993. This band had never performed these tunes before in front of a live audience. As you will hear on the CD, the crowd is completely blown away, and continues to ask for more. John Zorn and company continue to deliver throughout the entire CD. What's more, the incomparable drums of Joey Baron, do more than keep the rhythm of this dynamic quartet together, his playing is flawless and deliciously overwhelming at times. This is some of the best LIVE Masada stuff I have ever come across, and the quality in the production of CD will have you forget they were recording this live. It won't be until the end of a track, when you hear the crowd breakout into applause, that you are reminded the crowd witnessed something very special on that evening in 1993, in New York City. Whether you're a Zorn or Masada fan, this is a MUST have for your collection. This quartet goes unmatched, and will continue to astound you each time you listen to this tasty little gem.

5 comments about Live...With a Little Help from Our Friends, Vol. 2.

1. Rather than review a 4 disc set , I'll give my review of this item. It's further live material with special guests and the music on here is very good. A lengthy version of Little Feat's "Spanish Moon" is a highlight here and fans of Warren Haynes work with Mule and the Allman Brothers will enjoy this disc. I don't see how some reviewers will give this a bad review based on the fact that this material can be purchased as part of a boxed set. This disc is sold as a stand alone disc and it is very enjoyable however you purchase it.



2. I own LWALHFOF, The Collectors Edition as well as the two CD version. For my money this product is a waste. Gov't Mule with the late great Allen Woody(bass) was a spectacular band. Mixing equal parts blues, funk, jazz, country, and space jamming this band in some ways even surpassed its parent band, the 1990's ABB.

   Warren Haynes felt that he had to release the four CD set because the concert was great. I concur with that assessment.
   Do yourself a favor, lay down the extra $$ for the expanded edition I promise you won't be disappointed!




3. There is some good music here, but this not the thing to buy. It is not a good value, and it does not contain the best of the concert. You should buy the Limited Edition instead. If you already have the 2 CD "vol 1", then you have a hard choice to make.

   Live With A Little Help From Our Friends comes from a New Years Eve concert in 1998. It was released as a standard 2 disc set and a Limited Edition 4 disc set. The 2 CD set contained about 150 minutes of music. The Limited Edition contained the complete concert, was 100 minutes longer and had some extras. The Limited Edition, was originally a limited edition, but now it is readily available and not too expensive.

   This CD, vol 2, contains 5 tracks that were on the Limited Edition, but not on the standard 2 CD set. It is only 50 minutes long. I don't know why they didn't bother to include more songs, especially since there was enough room on the CD. Left off is the 17 minute version of Hendrix's Third Stone from the Sun. It is the second best track on the Limited Edition. Instead they include Spanish Moon, with the silly chipmunk solo in the middle.

   Note that the last track, Frank Zappa's Pygmy Twilight is actually a studio recording.

   In summary, I don't think this CD is worth buying. It is only 50 minutes long. If you already have vol 1, buying this does not give you the complete concert. It doesn't contain the best tracks from the concert. And it is priced at about the same price as the 2 CD vol 1, with 3 times more music.




4. More great music from one of the best jam bands in America. Get this if you have the 2 CD version of LWALHFOF 1. Otherwise you might want to go for the 4 CD box set.

   In any case, it's great and Warren Haynes' scope and talent is incredible.




5. At a time when so much great live music remains in the vaults, Warren Haynes continues to record and release amazing performances. The "Wintertime Blues" live double CD of an annual Christmas Jam with major guests, is also a prime example.
   
   Live With A Little Help From Our Friends 2, along with Part 1 released earlier, was recorded at Atlanta's Roxy Theatre New Year's Eve '98/'99. Amazing music with Gov't Mule's Haynes, Allen Woody, Matt Abts, and with guests Chuck Leavell, Derek Trucks, Jimmy Herring, Randall Bramblett, Bernie Worrell, Marc Ford and others. How fortunate there were tapes rolling.
   
   ***The 4 CD Collector's Limited Edition of this is highly recommended, which includes CD-ROM Enhanced Bonus Material.
   
   Quality rock music is alive and well.

5 comments about A Sign of the Times.

1. Buy this CD if you want to collect all of Petula Clark's recordings. Otherwise it would be wiser to invest your money in any of her nine French Anthologie CD's for some of the most beautiful music of the twentieth century.

   The standards sung by Petula (Downtown, Don't Give Up, and A Sign Of The Times) were jazzed up and very dramatic which took away from the elegance of the original 60's versions. She is now a much more dramatic performer, but in the 50's, 60's, and 70's, it was her unique ability to combine simplicity, elegance, and crystal clear vocals which made her one of the greatest female vocalists. Pet sounds much different than she used to as her vocals are now much heavier, dramatic, and serious, but she still sounds good; great for a 68 year old singer. However, most of her interpretations on this album are over done and of uneven quality.

   I'm not afraid is a good song. I Need To Be In Love and With One Look are excellent tracks, and Pet's version of I Dreamed A Dream is beautiful.




2. As another reviewer of this CD stated, I've been a die-hard fan of Petula Clark since I first heard the opening notes of "Downtown" in late 1964 - but I'm also one to listen to her latest output with an open mind, and be honest in my criticism of it. Any flaws I felt this "live" recording had on first hearing have only been magnified by my recent attendance at a concert Clark performed in Long Beach, looking and sounding very much like she did in the early 70s. "A Sign of the Times", alas, is a far cry from Clark at her best, and is an odd representation of her PBS special in that it includes songs not heard in it and versions of others different from those heard in the program, a sort of cut-and-paste of two concerts filmed on the closing nights of the Virginia Arts Festival last spring. Given what material was excluded from this Varese Sarabande release, one wonders why those credited with "preparing" the album for release selected such lackluster tunes as "The Wedding Song," "Celebrate," "Look for the Silver Lining," and "Vivre" to remain. Too often, Clark's voice is stretched thin by an effort to reach a note or sustain it in her inimitable way, and while these problems are not as noticeable in the broadcast version of the concert, they seem emphasized here by their frequency. How unfortunate that Clark's January 11, 2002 concert in Long Beach wasn't the one captured on film - greatly trimmed down, her mass of unruly curls replaced by the straight hairstyle she wore in the early to mid-70s, her voice was strong and confident and crystal-clear as she ran through her string of mid-60s hits intermingled with material from her film and stage work. Petula Clark definitely still has "it" - it's just not evident on this disappointing CD.



3. I drove 200 miles from home to attend this concert in Norfolk, Virginia on May 20, 2001, and let me tell you, I was not disappointed. At 69 years young, Petula Clark still has one of the best voices I have ever heard. The concert was a delightful cornucopia of her classic 1960s hits, recent songs, and Broadway standards.

   Like any great singer, she knows how to convey the feelings of a particular song; she alternates between easygoing and serious whenever the song demands it. In concert, she is one of those performers (all too few today) who can generate a true feeling of warmth towards her audience, and we, the audience, love her for it.

   While nothing can compare with my memory of the live performance, this CD is a joy.




4. Recorded in June 2001 at the Virginia Arts Festival in Norfolk, USA, Pet's new album finds her in excellent voice on a career overview, underlined with humour, and a varied collection of songs which reach a peak with I'M NOT AFRAID, destined with its mix of reflective and powerful lyrics to become her own personal anthem in the way MY WAY or THIS IS MY LIFE allude to Sinatra and Bassey.
   Included is LES MISERABLES hit, I DREAMED A DREAM, and WITH ONE LOOK, referring to her own celebrated SUNSET BOULEVARD starring role. CELEBRATE is a catchy new song for Pet and, of course, the old favourites, DOWNTOWN (with some audience participation), DON'T GIVE UP and I COULDN'T LIVE WITHOUT YOUR LOVE, plus the lesser hit THE WEDDING SONG,are well-sung and applauded. I cared less for her duet of AT LAST with Lou Rawls, but I NEED TO BE IN LOVE with Richard Carpenter is an appropriate tribute to her friend, the late Karen. The self-penned, touching and well-regarded, HERE FOR YOU is appropriately followed by her piano-accompanied LOOK FOR THE SILVER LINING before the French sung VIVRE, from NOTRE DAME DE PARIS reaches a strong climax and closes the concert which had a PBS(USA) broadcast and will eventually reach DVD and video release. This is Petula at her very best and will be enjoyed by all.



5. First off - I need to say I adore this woman. I've been collecting her recordings for nearly 40 years. I've seen her "live" (Waldorf Astoria-NYC; "Sunset Blvd."-Baltimore, MD). I find this woman vocally amazing.

   My "review" of this CD is in no way a "slam" on Ms. Clark - nor is it a "slam" on her ability to still put over a song.

   I am, however, disappointed in this recording.

   "Live" recordings can almost always be counted on as being "cruel" - even to those who are in their 20's(!) - and I find this "live" recording especially cruel to Ms. Clark.

   Don't get me wrong - I can still hear the youth in her voice (and that alone - at age 69 - is quite a feat!), but (with the exception of "Vivre" - which is truly a stunning performance) these moments come & go within each song... I was surprised to hear her pitch start to fall in a few places, for instance... I was surprised to hear her voice sounding as tight as it did in "Sign of the Times"...

   I kept thinking: Why didn't she do another studio recording - where you can walk out of the studio with definitive performances, you know?

   Unlike Judy Garland (who actually became greater in "live" performance), Petula (for me, anyway) is a RECORDING artist - someone who totally understands the medium, and has continually been able to crank out BEAUTIFUL recordings, one after the other, for decades. She is amazing - nothing short of amazing - when it comes to studio work.

   This "live" performance may have been terrific "in person" - but as a CD? It's worth getting for the recording of "Vivre" - but I don't think this is a collection to win over any new fans for her.

   I'd rather play "HERE FOR YOU" - a far, superior STUDIO recording, with Petula in exquisite form.

2 comments about Reckoning.

1. Yes, ...is no chump change to shell out for two cd's. But the sound quality is so vastly improved over the original pressing, it is well worth it. If you think "To Lay Me Down" is emotional on the original pressing, well, prepare yourself for one heck of an emotional wallop when you hear this new improved version. The sound quality really is THAT improved! You also get the added advantage of getting the "Oh, Babe It Ain't No Lie" which was inexplicably dropped from the original cd (well, they now have the technology to put the whole thing on on cd; oh well . . .).

   So if you like "Reckoning" already (and I know you do, or you wouldn't be reading this), then you will toast this review when you put this improved cd on your system. As always, the better your syste, the better this sounds -- although fortunately in this case, you don't need golden ears to hear the improvement. Enjoy!




2. the only cd with all songs from this wonderful concert, maybe the best i have ever heard from Grateful Dead. If you never heard something from this unique band, listen to this concert and you feel that something was missing in your life. This music is beauty!! To lay me down was never played so tender again.

3 comments about All We Need (Is Another Chance).

1. I already know this group and their entire album, from front to back. Believe me they are the BOMB! I have their album put away with my other collections, and from time to time I hear their classics on the radio, "Look Over Your Shoulder", and then memories come flowing back. These brothers can definately flow, their tight, and I give them props for making it in those days from a Prison, mind you. Anyway, I'd love to hear a little history on where are they now, and from given their one more chance, how did things go? PS-I haven't recieved this CD yet but when I do, I'll share again! Peace, Irene WSL



2. The Escorts can really sing.this set showcases some madd chops.they made mistake's but given a 2nd chance they showcased how talented they were on this set.the vocals are solid all the way through.a Group worth listening to.



3. This CD is excellent for anyone that has an ear for nostalgic R&B from the '70s. It shows what can be accomplished even though mistakes have been made. Everyone has the ability to be a productive part of this world and this CD is an example of that.

5 comments about Cirkus.

1. Total rubbish. mostly a poor mans Zappa, and not a very good one at that



2. Wow! This is some insane music! I'm a relatively new Crimhead, although I've been listening to/playing prog rock for over 30 years. I don't know why it took me so long to re-discover King Crimson. If you enjoy the more popular "prog" bands like Rush, Yes, Genesis, Kansas, ELP, etc., this is the heavyweight champion of the genre. The musicianship (and musicality) here is top-notch, and that's what prog is all about for me. Combine that with groundbreaking songwriting and earth-shatteringly original experimentation/improvisation, and it's indeed a heady, mind-altering brew.

   This release really showcases the band to maximum effect. The tempos (actually tempi) are much increased from the studio releases, especially the double-trio stuff with Trey Gunn and Pat Mastelotto. This alone gives the songs new energy and urgency; when you listen to VROOOM VROOOM or THRAK on the studio album after listening to this, the studio version sounds downright sluggish. And it's not just mindless speed--the furious tempo is augmented by instrumental tones even more over-the-top than before, and playfully jaw-dropping riffing from all the players.

   For the musicians in the crowd, this is the one to have. Guitarists and bassists are all familiar with the mystical "Quest for Tone" that consumes most of our lives. No matter how much you spend on equipment, that perfect tone is always elusive. On this CD, these guys are getting pretty close to those "perfect tones." Everything from the most gore-dripping metallic mayhem to shimmering ethereal washes of notes, and everything in between, is brought home with sonic power and impact. The first notes of THRAK literally snarl right out of your speakers, reaching out to rip your head off. Even the mighty Red achieves a new level of musical brilliance that, dare I say it, pales the original version to pink. That may sound blasphemous, but just listen to Tony Levin kick that song's ass. And the tones are light years better than the studio version. Even Fripp's little squealy fills between lines in the "verse" are cooler. This is the best version I've yet heard of that song.

   I bought this shortly after I got the awesome "Deja VROOOM" DVD, and I'd say most of the performances are better on this CD. Bob Fripp obviously culled some of the very best versions of each song offered, and the results are amazing. It's perfect as a sampler of the various eras of the band for anyone new to Crimson. I must say I gravitated toward the double trio, and you may want to get the DVD first if you prefer that lineup. For those of us late-bloomers unfortunate enough to have missed KC live in that incarnation, the DVD is 100% mind-blowing. Even though the CD has some better-sounding performances, it's awe-inspiring actually getting to watch these guys shred. It literally turned my world on its ear! Get them both!




3. The only thing better than King Crimson in the studio is King Crimson on the stage. Despite their notorious trademark of awe-inspiring complexity, these legendary progressive pioneers have always been perfectors of the live transition, unleashing a musical spectacle that still has yet to be topped--or even matched--by anyone else.
   It may be true that the Crims have released a wealth of live collections in their day, mostly due to founder Robert Fripp's heavy archiving over the years. And, it may be true that just about any of these releases can serve as proof of their live talents, but "Cirkus" is one that spans King Crimson's entire career (or at least up to the end of the 1990s). The tracks here are gathered from several live performances from 1969-99, ranging in venues from Fillmore West to Montreal to Mexico City. Every era in the band's existence is observed; an invigorating overview of King Crimson's history, "Cirkus" captures the heavy prog symphonics of their beginnings ('In the Court Of the Crimson King'), their amazing transition in the mid-70s ('Easy Money,' 'Starless'), the accessible complexity of their 80s stint ('Indiscipline,' 'Three Of A Perfect Pair'), and the exhausting territory of the 90s ('Thrak,' 'Dinosaur').
   Totalling twenty-five tracks in all, each is a quintessential view of the sonic spectacle that is King Crimson, and is one of the few collections that approaches the term "definitive."



4. In one respect, you could file this under shameless self-indulgence (a collected scattering of live performances from across the band's career disingenuously organized as if two complete concerts), but on the other hand, King Crimson has always been a live band par excellence and there are always joys to be found in yet another rendition of familiar Crimson songs.

   The first disc consists entirely of post-80 band(s) material, except for "Red", which hails from the last 70s Crimson album. For those familiar with this music, the songs largely comprise a kind of greatest hits for the era, but they also serve well as introductions for newcomers.

   The second disc features pre-80s band(s) material, though not always performed by members from that era. Fripp gets the concert-obligatory "21st Century Schizoid Man" (performed by the 1972 lineup) out of the way immediately with the first track, with saxophone included to put a new spin on it. "Ladies of the Road" (from 1972 also), and from 1969 "A Man, A City" and "In the Court of the Crimson King" survey some of the earliest aspects of King Crimson (not my favorite stuff really, but solid enough anyway).

   The next four songs showcase what is often regarded as the best King Crimson lineup (of Fripp, Wetton and Bruford, with David Cross on violin and Jamie Muir on percussion). "Easy Money", a concert staple of the time, is hammered out with typical authority, and "Fracture" (perhaps Fripp's best composition ever) is always a treat to hear live. If you are interested in getting this disk for the lone improvisation on it, don't. It is only 1'33" long, and is simply a (not entirely uninteresting) maunder to introduce "The Talking Drum."

   Fans of the 74 lineup know that there are many performances of "The Talking Drum" (which on the original album and in concerts live) immediately segues into "Larks' Tongues in Aspic II". There is no exception here, except that the version of Larks' into which "The Talking Drum" segues is performed 22 years later by an entirely different lineup. It is Fripp's way, I think, of indicating conceptual continuity in the band. It seems equally likely that, ever since the unexpected popularity of "21st Century Schizoid Man," that Robert Fripp has been trying to shake that song as the band's defining one. In its place he'd rather have the diptych of "The Talking Drum" and "Larks' Tongues in Aspic II," considering how many live versions of it he's released.

   After the studio trickery of knitting together two songs across two decades of time, "Cirkus" closes with that other epic from the 1974 era, "Starless". Were it not for the too-stuntlike octuple speed repetition of my favorite Robert Fripp riff ever (the moody slow section of the song), as well as the horrible saxophone solo on the studio version (that is mercifully absent from all live versions), this song might well be King Crimson's finest moment. As it is, it is way up there, not the least of which for featuring John Wetton at his vocal best. Detailmongers may get a kick out of the variant lyrics here (that were later revised for the studio version). Overall the song makes a fittingly epic end to the side and the album.

   Personally, I'd rather have full concerts than selections from many, hence my giving this a 4, but as collections go, it is very solid for what it is. Another minor annoyance is the fact that 10 of the songs here have been released in other King Crimson compilations (specifically "Absent Lovers", ProjeKct One and Two, "Epitaph", "The Night Watch" and "The Great Deceiver"). Acquiring all these songs individually would require more ..., so it's a deal to get them here (albeit as teasers for spending more money), but considering the amount of archival material Fripp must still have, it'd've been even cooler had he pulled out some true, not-destined-to-be-released rarities for inclusion.




5. For those of you that need an introduction to the world of King Crimson, here is a perfect place to start. For those of you familiar with Robert Fripp and his many assorted cohorts, this has everything you could possibly want from the live beast that is King Crimson. The years from 1969-1996 are covered, spread over 8 different line-ups, all seamlessly put together to sound like one 2 ½ hour concert. One of progressive rock's founding bands, King Crimson pioneered the use of extended song format with many instruments not often used in the standard rock format, mellotron, violin, clarinet, oboe, bass stick, touch guitar, etc. King Crimson said it was alright to create music that didn't have an instantly hummable melody. This made them sometimes difficult to listen to, but a little patience will reveal many musical pleasures. The great thing about listening to King Crimson live is that they strike a perfect balance between tightly written well-structured songs and improvisational looseness. It is a marriage made in heaven, introducing an element of danger that is a true test of musicianship. Every King Crimson classic is here, but the closing of disc two with the absurdly titled "Larks Tongue In Aspic" (part two, naturally) by the 1996 Double Trio King Crimson, of Robert Fripp, Adrian Below, Trey Gunn, Tony Levon, Pat Mastelotto & Bill Bruford, followed by "Starless" from 1974 with John Wetton, David Cross, plus the ever present Robert Fripp & Bill Bruford is simply Jaw Dropping. It all comes in a nice little 2 C.D Digi-Pak with informative liner notes and a brightly coloured booklet with a full Crimson family tree, and lots of pictures to look at, of all the different line ups over the years. Give the dog a bone, what more could you want. Mott the Dog.

4 comments about The Doors Box Set, Vol. 1.

1. What ca you say about the doors? Im not a hardcore doors fan but i do like them. I always like peace frog the best.



2. The Doors Box Set is a great collection of music, but the 4th disc is sadly a waste of money for most hardcore Doors fans. Part 1 on the other hand is the import which only contains the first two discs which were the best parts of the box sets. Featuring rare studio out takes and odd live performences on disc one and a great compilation of songs from the Doors four shows at the Felt forum in NYC on disc two this set is a must have for Doors fans. Be warned that Disc two is not all songs from the Felt Forum, "Gloria" is an amazingly dirty version that was done at a sound check in LA, but really it is a nitpick as the song is great as it is. This is an uncensored presentation of the Doors and new fans may be surprised to hear Jim Morrison like this, we all knew the stories but when you hear him cursing at the fans from the Miami performence for the first time it is a new experience.



3. This half of the Doors box set is the only part worth having.
   The first disc includes some interesting songs: "Five To One"
   is a Doors' staple at concerts but the sound quality here
   is terrible. The only reason it was included (this is
   just my guess) is that it was from the "Miami concert".
   Next is a jazz rendition of "Queen Of the Highway" which
   may be as good as the original, but it wouldn't take much
   effort to better that one. Then comes "Hyacinth House", one
   of the better demos on the whole set, as it sounds like
   they actually wanted to sing this one.

   "My Eyes Have Seen You" is pretty bad but it has a decent
   excuse to stink, it was one of the original '65 demos, but
   the sound is terrible as is the preformance. "Who Scared You"
   we all owned allready since it was released on "Weird Scenes
   Inside the Gold Mine" in '72. The next song, "Black Train Song",
   a combination of "Mystery Train" and "Away In India" is the
   best song on the first disc and is almost worth the price
   of admission in itself. "End Of the Night" was another '65
   demo that the Doors' should have saved for their own personal
   nostalgia or given to their kids. It is, however better than
   "My Eyes Have Seen You".

   "Whiskey,Mystics,and Men" is one of this disc's highlights and
   would have been a good adition to "Morrison Hotel/Hard Rock
   Cafe". "I Will Never Be Untrue" was o.k. but not a classic.
   The first "Moonlight Drive" is another one of those annoying
   '65 demos. The next one wasn't too bad since it had Robby
   Kreiger playing guitar. "Rock Is Dead" would be better
   if they had edited it down to about 3 or 4 minutes, because
   the same thing for 17 minutes is really boring. The last
   cut on the first disc is not too bad, but it's instrumental
   however, "Albinoni's Adagio In G Minor" is an interesting
   take on classical music.

   Disc 2 is really the best part of the whole box set. However,
   contrary to popular assumption it isn't a complete concert,
   it's the highlights of four concerts played at Madison
   Square Garden. The opening number "Roadhouse Blues" was
   included on "The Very Best of the Doors" except that version
   was edited. "Ship Of Fools", a concert rarity is really
   a good inclusion.

   Then is a live version of "Peace Frog" which has the lyrics
   with it. Following that is "Blue Sunday", which is well,
   you know, "Blue Sunday". The next cut "Celebration Of the
   Lizard" is the best song on the whole set. It even surpasses
   the version on "In Concert". The next track, the un-edited
   version of "Gloria" actually wasn't from any NY concert,but
   was actually recorded at a concert in Hollywood. "Crawling
   King Snake" should have just stayed on the shelf but,it's
   an interesting addition. "Money" is allright too but not
   the Doors' best.

   For the sake of getting my review published I'll call the
   next cut "Build Me A Woman",and let you read the actual
   title on the track listing. This song was also included
   on "In Concert" but was called simply "Build Me A Woman" and,
   thankfully, the "Sunday Trucker" part was taken out, however
   it is included here. The last cut "The End" is probably the
   best live version of this song, or at least the most similar
   to the studio version.

   This set is definatly better than the second half of the set
   so just get this one and forget about the other half!




4. In the US, the Doors Box Set was released as a 4 CD set in one of those standard 4 x 8 inch boxes. Each CD comes in it's own jewel case with a small booklet. In addition, there is a nice 50 page booklet with details about each of the songs and a history of the band.

   The European version of the box set was broken up into two volumes and released in the standard double CD jewel cases. I don't know how complete the booklets are.

   This volume 1 set contains the best two CD's. The first CD is a mixture of absolutely fantastic live material and demos and outtakes. Not all of it is perfect, the sound quality on one of the live tracks is horrible, and some of the outtakes aren't worth listening to more than once. Black Train Song is almost worth the price of the whole set, and although Rock Is Dead is very sloppy, it is also a must have. The second CD is a complete concert from New York. It came just after the release of Morrison Hotel. The performance is excellent, and the sound quality is good.

   Volume II has some good material on the first CD, but it isn't as strong as Volume I. The second CD in Volume II is all previously released material, and of no value to anyone who already has the complete Doors collection.

   At half the cost of the whole Box Set, it might be a better deal just to buy this volume I and forget about volume II.

2 comments about BBC Radio 1 Live in Concert.

1. This 1973 BBC broadcast captures Nazareth right before their star rose with the release of their 3rd album, Razamanaz. The sound quality is pretty good for a 30+ year old recording and it shows the band in good shape. This was long before they added extra musicians to flesh out their sound onstage, so it features the classic, original four piece line-up. While it's true there are moments when Dan McAfferty's voice is a little raw, it's a great document of a great band. One really for fans only though. Other should stick to their later live albums, with more hits and a little more overall polish.



2. This is a live BBC 1 radio broadcast from 1973. It has 10 songs and is about 55 minutes. Most of the songs are around 4 to 5 minutes, except the first and last track that are 9 minutes each. The sound quality is OK but not great. It has that head banger live quaility to it. There is only a little audience clapping at the beginning and end of each track.

   Nazareth is a heavy metal band from Scotland. They had a couple of hit songs when heavy metal was big in the seventies, but they never really made it big. They always did a very nice version of Morning Dew.

   This album doesn't really contain any hits. I found the playing to be mediocre. There are a couple of ballads that are nice (every heavy album has to have one or two ballads). But the only track I really liked was Morning Dew.

   To calibrate, I am not a huge heavy metal fan. The hardest I get is Deep Purple or Led Zeppelin. So, someone with a better appreciation for the heavy metal art form may like this better than I do.

5 comments about Usa: 30th Anniversary Edition.

1. 
   As of January 2006, KC collectors should be aware there are now two mini-sleeve versions of this title.
   
   The 30th Anniversary version, the first release, was a non-glossy, gatefold mini-sleeve CD.
   
   The 2nd version, released 1/06 in Japan, is a single jacket, glossy cover which more closely replicates the original UK cover.
   
   The 2006 OBI: Catalog # IECP-10011
   
   30th Anniversary version: Catalog # CDVKCX12
   
   WHAT IS A JAPAN "MINI-LP-SLEEVE" CD?
   
   Have you ever lamented the loss of one of the 20th Century's great art forms, the 12" vinyl LP jacket? Then "mini-LP-sleeve" CD's may be for you.
   
   Mini-sleeve CDs are manufactured in Japan under license. The disc is packaged inside a 13.5MM X 13.5MM cardboard-sleeve, precision-miniature replica of the original classic vinyl-LP album. Also, everything else packaged with the original LP is precisely replicated and included, such as gatefolds, booklets, lyric sheets, posters, printed LP sleeves, stickers, embosses, special LP cover paper/inks/textures and die cuts. An English-language lyric sheet is also included, even if the original LP did not have printed lyrics.
   
   Then, there's the sonic quality: Often (but not always), mini-sleeves have Japan-dedicated remastering (20-Bit, 24-Bit, DSD, K2 or K2HD, and/or HDCD), and can often (but not always) be superior to the audio on the same title anywhere else in the world. There also may be bonus tracks unavailable elsewhere.
   
   Each Japan mini-sleeve has an "OBI" ("oh-bee"), a Japan-language promotional strip. The OBI often also lists the original album's release date, the Japan street date of that particular disc, the catalog number, and mastering info. Bonus tracks are always only listed on the OBI, maintaining the integrity of the original LP artwork.
   
   The enthusiasm of mini-sleeve collecting must be tempered, however, with avoiding fake copies of Japan `sleeves manufactured in Russia and distributed throughout the world, primarily on eBay. They are inferior in quality, worthless in collectable value, a total waste of money, and should be avoided at all costs.
   
   Also, there are older Japan mini-sleeve releases that have been supplanted with newer ones, usually with updated audio (such as JVC-Japan replacing older K2-mastered titles with new K2HD mastered releases).
   
   All mini-sleeve releases are limited edition, but re-pressings/re-issues are becoming more common with some of the Japanese companies (but, again, not always). Mini-sleeve collecting can get expensive quickly, so, if you're a novice, it is highly advisable to seek the advice of an experienced `sleeve collector!



2. This is a high fidelity, butt-kicking record, so my reservations are based on fine points and on my view that there are other, better representations of the 1973-74 Crimson. What's odd about this record are the violin overdubs by Eddie Jobson. As others here point out, David Cross, the violinist on site, was dialed out of the mix (perhaps because he wasn't loud enough in the original), and Jobson brought in. Jobson is an excellent player, mind you, and he sounds great on a record like Roxy Music's live "Viva." But overdubbing a live record is tricky business at best, and the ambiance of the violin is rather obviously not that of Crimson's locale: it sounds mailed-in. The best live set from this period remains "The Great Deceiver;" in second place I'd put the double set "Night Watch." The production of the "Great Deceiver" performances, many also made in America, is drier and "realer" sounding overall (there's either ambient echo or a tad added to "USA"), and the violinist Cross is fine on those records. Still, "USA" remains the only single-disc live Crimson from this period.



3. To make things clear --
   
   Most of this concert is from the June 28 1974 Asbury Park NJ show; 21st Schizoid Man is from Providence, June 30.
   
   The original LP had Jobson's overdubbed violin/piano, and the fadeout on Easy Money. The CD retains both these curiosities.
   
   David Cross had not yet left KC when these performances were recorded. So why the overdubs? Ask Fripp...
   
   Walk On/No Pussyfooting isn't just a 'hum', it's a segment from the then-new Fripp/Eno album that KC played over the PA before making their entrance. It was on the LP too, so it's not a bonus track.
   
   The CD has either been remixed or rather heavily re-eq'ed compared to the LP; notably the bass breaks on "Larks' Tongues II" are far less raucous than on the LP. This is true even though overall the CD's mastered a lot louder and somewhat bassier than the LP. Too bad, because Wetton's bass sounds great on the LP -- huge fuzzbox/wah action. Curiously, the bonus tracks sound better to me than the original tracks -- less processed, more hissy, more like the sound of the LP
   
   This is KC's best live album (unless you count 'Starless & Bible Black', much of which was recorded live), but the CD alas doesn't sound *quite* as killer as the LP did. Still nice to finally have on CD. And normally I prefer CDs to LPs, believe me. 'Asbury Park' is certainly one of the finest sustained free improvs prog rock (and KC) ever produced, and all by itself would make USA worth owning.



4. Anyone who owned the original vinyl album is in for a treat here, as the reissue features terrific versions of "Fracture" and "Starless" making this an almost complete concert. Almost, because like the original album, this CD's biggest flaw is the missing improvisation awkwardly snipped from "Easy Money." I'm going to give Robert Fripp, who oversees all these reissues, the benefit of the doubt and assume that the original tapes are missing, since putting a fade-out on a live album is a cardinal sin in my book.
   
   But that's all the bad there is with this CD. The 1972-1974 lineup was made for playing live, and the performances here are flawless. "Exiles" and "Lark's Tongue's II" are some of the better live versions you'll find. KC used to play a new improvisation at each show, usually "named" after the city they were playing in. On this CD it's "Asbury Park," and it's one of their better ones.
   
   Live songs from the Red album are rare, so the bonus track of "Starless" is a great inclusion. I loved hearing it with David Cross's violin at the beginning instead of the familiar guitar from the album version.
   
   The original sound engineer apparently couldn't get the levels right for the violin, and since Cross had quit the band by then, Eddie Jobson was brought on to do overdubs, which are pretty seamlessly inserted. Jobson would later work with singer/bassist John Wetton and drummer extraordinaire Bill Bruford in UK.
   
   This is a great album by a great band at the height of their powers. The double live CD "The Nightwatch" is essential too.



5. Oh, those wacky Crims. Each new lineup started practically from scratch, they built their way to the top, and inevitably seemed to split up right when they'd produced their most incredible work. So, come 1974 the group was ready to split up for good (or at least for the next seven years). As monstrous as their studio recordings were (and are), KC's ultimate energy always comes out onstage. So before the calm of the group's first hiatus, there was the storm.. and this one was a doozy. Wild guitar crunch; thunderous yet really tricky drum work. "Lament," full of easy groove and fierce energy. "21st Century Schizoid Man," a deranged composition complex enough to leave lesser musicians with their heads spinning. In the middle of it all was classically trained violinist David Cross, becoming more and more overwhelmed by the band's firepower every night (which partly contributed to the breakup). He adds some nice texture here and there, particularly the darkly sweet "Exiles," but he was quite out of place.
   
   USA's song selection is essentially a normal setlist of the time, though shortened. The ubiquitous "Larks' Tongues in Aspic II" blazes and roars. The one improv included is seven minutes of the most visceral, dynamic improvising that's been released from this group. Robert Fripp's guitar sears with crazed metallic fury. John Wetton's bass thrums with a primal fuzzy distortion worthy of Hendrix. Bill Bruford propels everyone from behind the drumkit with an ease that's almost unnatural considering all the crazily-timed rhythmic work that goes into everything he plays.
   
   This CD issue adds two tracks from the same concerts the original album came from; Fripp's evil instrumental "Fracture" and the ultimate KC song of the era, "Starless." This actually outdoes the version from the Red album, which I hadn't thought was possible - the quiet verses are even more haunting and bleak, the tension-building bridge is even more high-strung and unnerving than the later studio recording (no easy feat when you're jamming in 13/8), and the final mad-blowing assault is enough to make me forget whatever I'm doing and stand captivated by its sheer stunning grandiosity. It's a finish that's just about impossible to follow. That's probably why the obligatory "Schizoid Man," their traditional encore, wasn't placed at the end as it was on the original LP. Anything else would be anticlimactic. I leave off a star for a couple small snags: the small violin & piano overdubs which keep it from being strictly a live album, the obviously looped applause at the end, the inexplicable fadeout of "Easy Money" (it fades because they went directly into an improv they didn't have room to include on the LP). But all Crimson is good Crimson, and I can't focus on the negatives for long when there's so much richness to listen for.
   
   USA is a powerful recording of this lineup at the top of their game, and the remastering treatment only makes everything sound fuller and crisper than ever. It's a worthy compilation for those new to the group, or anyone who likes Crimson at all and wants to experience how powerful they could really be. And if all other reasons fail.. there's still "Starless." I can't stress enough what a phenomenal performance that track is. KC disappeared for several years and sounded completely different once it came out of hiding, but they left behind some music in a league its own that hasn't been equalled. Give it a try and hear what you've been missing.

5 comments about Donovan in Concert.

1. Donovan was often described as the British Bob Dylan. This was, of course, a ludicrous comparison. Although each had folk roots and each moved to other fields - Donovan to gentle transcendental ditties and then to psychedelia, Dylan to an electric and unique form of rock - there is really no reason, save for the alphabetical similarity, to mention them in the same sentence! When they are, poor Donovan always comes off as a lightweight, unworthy of Dylan's company. I thought this unfair in 1965. My view hasn't changed. Donovan deserves to be considered for what he was, without any reference to Bob. This live recording from the summer of love is a terrific representation of Donovan at the peak of his powers during his "middle" period - after Catch the Wind - before Season of the Witch.
   
   As I write I am listening to side one. The sound is so clean, crisp and pure that I find myself imagining that I am sitting in the front row of a small club with Donovan and the supporting musicians just a few feet away. Aside from the silly introduction there isn't a weak moment on the record. Amongst the high points are lovely and heartfelt versions of Young Girl Blues and Celeste. Each features a jazzy flute undercurrent that complements perfectly the mood created by Donovan's somewhat melancholy vocals. Then there are Poor Cow (introduced as Poor Love), Widow with Shawl, Lullaby of Spring and Genevieve, traditional sounding songs that could just as easily been composed in 1750 as in the mid sixties. Donovan has the unique gift of interspersing there songs with jazzy tunes such as Preachin' Love and with light-hearted pieces such as Mellow Yellow without causing a break in the flow and mood of the music.
   
   Donovan in Concert is a thoroughly charming and unassuming record. Every Donovan fan should have it. However, it is very much a product of 1967. Those who did not grow up in the 60's or who are not Donovan fans night find it overly precious and sometimes silly. I've been a fan for well over forty years. I make no claim of objectivity!



2. Possibly, possibly, can you reach back to a time when you were a flower child, or could at least see one without snickering? Idealism, the act of putting a flower stem down the barrel of a national guardsman's rifle at a peace rally?
   
   So out of this zeitgeist, it is painful to remember. This music is more gentle, slower at times, and more uplifting than anything today could be. Even when Jewel sings that we are God's hands, God's eyes, it sounds like she is crying.
   
   So go there, if you dare, and bring back something to remember when the news reports that war is peace, slavery is freedom, and free enterprise is the panacea.
   
   Donovan in a nehru shirt, with love beads. McNair so very skilled, foreshadowing Ian Anderson. Celtic ballads that would be so niche market today, hits then. Meditative lyrics. I hadn't listened in 30 years, the LP scratched beyond listenability, but with the CD could sing along by heart:
   
   Happiness flows in a circular motion
   Thought is like a little boat upon the sea
   All our souls are bigger than you can see
   You can have everything if you let yourself be.



3. I've always been a fan of Donovan's late 1960's psychedelic music as well as his more expressive acoustic classics like Young Girl Blues & House of Jansch. I purchased this live album on vinyl 6 months back, gave it a listen, but was extremely disappointed. Most hit rock songs (or classics) are usually reworked for the stage in a way in order to present something that wasn't initially developed in the studio or to have a little enjoyment altering it live for pure entertainment. For the most part the tune is kept recognizable to the point that the artist doesn't butcher it or go overboard embellishing it. In my opinion Donovan has done it both ways for this concert. For example most of hits (There is a Mountain, Mellow Yellow) have been redone in a pleasingly energetic manner. They may not be similar to the original LP tracks but they are fun and done well. Writer in the Sun is kept pretty much the same, with some melodic variations & intricate string arrangements. This song never did it for me even in its studio incarnation. Some of the acoustic ballads have not been improved nor degraded at all. Almost similar to those xeroxed folk hits Dylan played in the film Don't Look Back, lifted off the LPs with their original identity intact. There are some tracks I've never heard before (considering I've only listened to his more acid-inspired tunes) & I cannot judge them one way or another. And now it comes to Young Girl Blues, a classic which has been completely embellished that it loses its originally spare low-fi quality. I understand the work it took transcribing the score for this composition but Donovan couldn't you be a little more subtle & less heavy-handed. In short, some songs work & some don't but as a whole this album makes a very unsatisfying listen.



4. I've heard plenty of "Live! In Concert!" albums throughout the years, and from this fanboy's amateur viewpoint, many of them are mediocre, some are good, and a scant few are excellent!

   This particular live recording of a Donovan concert in Anaheim, California, is one that I hope never disappears into obscurity; it's already "just barely in view" on the Internet and in the CD stores, which is a shame, because this album is solid from the beginning silly introduction (I believe by a local DJ with Station KRLA) addressing the "Donovan Phenomenon" to the final "Mellow Yellow."

   There are actually several songs on this CD which I would go so far to say are superior to his better known studio versions. The first is "Young Girl Blues" which comes off with much more emotion than the studio take, and "Guinevere."

   Like many good younger brothers, I inherited the great collection of LPs in the early 70s that my big bro left behind when he went off to college. This was one of his albums that I got hooked on, and when I finally found it here on CD after an absence of nearly 20 years, I was--- sounds corny--- overwhelmed with joy! Hmmm, even after years of listening to The Ramones, Iron Maiden, Tex & The Horseheads, and The Pugz, guess that "Happy Donovan Vibe" has rubbed off on me. What can I say?

   If you're a fan of live albums in general, my other personal picks include Tom Waits' "Nighthawks At the Diner," Sylvester's "Living Proof," "10,000 Maniacs "MTV Unplugged," and Nirvana "MTV Unplugged."




5. If you've never heard this album, don't be put off by the lengthy introductions to the show (even Don's father gets into the act), which become very tedious on repeated listenings. Once the music starts this is wonderful stuff, surely Donovan's finest album. Made with a small group of excellent sympathetic musicians including the late Harold McNair on flute, just about every song here is better than the studio version. The standout track is an emotional rendition of "Young Girl Blues" (covered by Marianne Faithfull and possibly inspired by her), while "Rules and Regulations" brings in a dose of humour. Highly recommended.