5 comments about Eric Clapton's Rainbow Concert.

1. I picked this disc up on a whim, with a preconceived mind set that it would be a nostalgic, one time listen. Wrong. Very wrong.
   I don't know how this one slipped through the cracks, and was impressed enough to write my first review.
   The original release had only six tracks (vinyl limitations ?), and included all three Winwood led tunes. At the time, this only served to lead listeners to believe that Clapton was not up to form at the time (physical and emotional addictions), and that the concert was only a mercy deal on Townshend's part.
   The entire set, released 22 years later, reveals that this could indeed be Clapton's strongest live release. One only has to listen to the range and accuracy of his vocals on the first two tracks, Layla and Badge, as compared to countless later releases, to realize that he was more than capable of showing a confidence in his lead voice that he always denied having, and sadly to say, affirm that he has been on cruise control ever since. His currently predictable guitar lines and hook riffs are absent, and although most of these tunes were only several years old at the time, he switches them up a notch (Blues Power, Let it Rain and even Bell Bottom Blues)and seems to be taking chances that only someone genuinely into their playing and developement would have. Nothing feels scripted. He had something to prove, maybe to us, maybe to other players, but most likely to himself. It is hard to believe that this set was followed up with "greatest hits" such as "I Shot the Sheriff", "Lay Down Sally", etc., and countless other covers and "re-interpretaions" of the blues masters. Don't even get me started on the unplugged deal. Meanwhile, back to the disc at hand:
   Most "star" line ups of this caliber don't live up to expectations, but this one does for all involved (OK, maybe not ReBop). The late Grech's bass lines and tone are more varied than on any other recordings, Winwood's keys and vocal support are subtle but essential, and it also pains me to say that Wood's slide work is also more out front and impressive than anything he has done in the Stones. Both drummers can be heard locking down a unit that probably wasn't rehearsed too much on changes, making everything flow. I'm not 100% sure, but I think that it's even Townshend himself taking a rock a billy lead on Bottle of Red Wine ! It doesn't have a feel like either of the other guitarists, and I think even die hard Who freaks would be hard pressed to find him doing a comparable break anywhere else to compare it to. Let me know if I'm wrong.
   
   In all, maybe it's time for Clapton to take another break from recording and performing, although this time for healthier reasons, and regroup. Let him rediscover HIS passion, hang up the Armanis, stop the endless "I've got to pay to tribute and remind you of my blues influences" (we know...we know), make a new generation of believers, and remember why we started to pay attention to him in the first place...maybe...just maybe.



2. I know the history of this concert, but just the pairing of this group is so fun and exciting for the listener.the remastered cd from 95 is the one I own. The only other thing I hope for is this entire concert on dvd-hopefully the artists will agree to release it some day



3. I was really surprised by this cd it is a very good recording especially being a live concert I really like the version of Laya. The artists were the best of the time so that is why it is so good, you do not get top artists getting together like that any more.



4. I an a huge Clapton fan, who had this album in the 70's. Needless to say I misplaced it somewhere along the line, I was so happy to purchase this CD it is better than I remember, one of my favorite CD of all time. Everyone needs to own this CD.



5. This is one of the many reasons I continue to invest in CD's after their early 80's
   Inception. Firstly sound-quality has leaped in dynamics, and of course "expanded" and "remastered" certainly IS a benefit to the longer play format.
   
   And this along with titles like "Live at Leads", and Dylan's "Bootleg" series makes these releases even more valuable for everyone not just collectors and
   rarity-philes.
   
   I remember first finding this in the LP Vinyl cutout bin 35 odd years ago (along with the Blind Faith album) and immediately spotting Jesus/God playing a Strat. But the songs seemed a bit scattered and I couldn't't see the "flow" potential. And of course where was "Layla"?
   
   But just like "Live at Leads" we are certainly blessed by the re-representation of the "Big Picture". And see what and hear what didn't make the grade at the time. This is Clapton's saving grace album and cheers for Pete Townsend for piecing Eric's puzzle back together. 461 Ocean Boulevard was yet conceived and we all were still yet to absorb fully Derek's Dominoes.
   
   In retrospect reading the recent reviews of Led Zeppelin '07, this concert started off a bit ragged. "Layla" does turn out to be a tragedy... But the building momentum and surety comes on as the concert develops. Cheers to Townsend for NOT sounding "WHOish" and bless his heart for putting the show on in the first place. But Ronnie Wood, contrary to his entertaining bio, does NOT at all mirror even closely the fluid "slide" of Duane Allman. But still certainly a great document of Eric's resurrection.

5 comments about 24 Nights.

1. The premise of Eric Clapton's live double compact disc, `24 Nights,' to quote Derek Taylor's liner notes, was an undertaking "to celebrate his (Clapton's) music at the Royal Albert Hall over 24 nights with first a four-piece band and then a nine-piece and then a batch of blues giants and finally a mighty orchestra..." For any fan of rock, but especially for fans of Eric Clapton, there is lot to like about `24 Nights.'
   
   Recorded live in 1990 and 1991 at about the same time as Clapton's studio release, `Journeyman,' `24 Nights' includes classics such as `Badge,' `White Room,' and `Sunshine of Your Love' recorded with the four-piece band, blues standards `Have You Ever Loved A Woman' and `Hoodoo Man' with the blues band, `Pretending' and `Bad Love' with the more contemporary nine-piece band, and `Bell Bottom Blues' with the National Philharmonic Orchestra.
   
   As one would expect, many of the musicians with whom Clapton surrounds himself are legends in their own right. The various line-ups feature such Phil Collins, Buddy Guy, Robert Cray, Jimmy Vaughn, and Johnnie Johnson. There are quite a few names familiar to the fans of "Eric Clapton and His Band" releases and tours, including Greg Phillinganes, Nathan East, and Ray Cooper. Even Jamie Oldaker, who was a part of Clapton's bands during the 1970's and early 1980's on the studio release `Backless,' among others, is the percussionist for the `24 Nights' blues band.
   
   Each of the bands produce a sound that combines both Clapton's blues and "Cream-y" roots as well as Clapton's mature and confident style reminiscent of the more recent Clapton releases. The `Sunshine of Your Love' track is the Clapton/Bruce/Baker edition on steroids. The energetic `Pretending' and `Bad Love' jump right through the speakers, while the version of `Wonderful Tonight' featuring vocalist Kitty Kissoon is literally erotic.
   
   The only criticism for `24 Nights' is relates to the collaboration with the orchestra. While other rock band/orchestra associations really seemed to have clicked, Clapton's effort just misses the mark. On the `Bell Bottom Blues' track, in particular, the band and the orchestra seem to be about a half or quarter note off, although `Edge of Darkness' is fairly powerful and quite a bit more on. Maybe it just took a while for the band and the symphony to warm to one another.
   
   In all, `24 Nights' is bottled lightning. Clapton's guitar riffs shoot right out from the tracks and, with the exception of the symphony tracks, the music and the musicians are tight. `24 Nights' provides just about any music fan with a great listen, while dedicated Clapton fans will appreciate both the classic style as well as the experience and the maturity of a true rock legend.



2. 24 Nights is a concert that was recorded over the period of 9 evenings at the Royal Albert Hall in London.
   During the couse of the 24 evenings he uses essentially 2 bands and a band with an orchestra.
   The fist installment is his current band at the time.
   They do songs from his latest CD. The songs include, Pretending, Bad Love, Old Love, and Wonderful Tonight.
   The second phase is a blues phase with Robert Cray and Buddy Guy playing guitar with Chuck Berrys piano player Johnny Johnson.
   The Blues tracks in my mind are the best on the CD.
   Clapton does Watch Yourself, Worried Life Blues and Voodoo Man, as well as Have You Ever Loved A Woman.
   The third phase is with an orchestra that includes Bell Bottom Blues, Hard Times and Edge of Darkness.
   The version of Wonderful Tonight is haunting. He slows the song down and with Katie Kasssons vocals the song is outstanding.
   If you like Blues or if you like EC you need to get this one.



3. Solid and powerful music. The live recording quality is A+. A reminder that EC still has it. Make it part of your collection.



4. I love live Clapton releases. This is a good release but I feel the songs are rushed and bland compared to other "live" versions. I cannot stomach the end of "Wonderful Tonight", especially if you ever seen the video of it, sounds like a cat in heat...but there are highlights including the songs released during this time period "Pretending", "Bad Love", and a nice version of "Bell Bottom Blues"....maybe this was the 24th night, I just feel the energy had left the building.



5. This is an excellent compilation taken from 24 night run at London's Royal Albert Hall in 1990. This is a great CD for hardcore Clapton fans or for the unfamiliar music lover. The sound quality is top notch and the whole band is in fine form.

   Disc one- Badge is a great opener with a cathcy little piano riff that will bring a smile to your face and get your head boppin. White Room and Sunshine kick as usual although a little more soloing from Clapton and few other insturments would of been appreciated. A fun Watch Yourself and interesting Edge round out an overall solid disc that you will leave in your player for a long while

   Disc two- Pretending is my favorite song on the whole album and this song prooves that Clapton hasn't lost contrary to what some of his fans think. He still has the ability and the drive/energy, he just displays less often which is a little unfortuante. Both Bad and Old Love are good follow ups and the rest finish suit nicely.

   Bottom Line: a great two disc set. If you are new to Clapton than go with Crossroads 2 instead but if you don't want shell out a 50 than you might want to consider 24 nights although there are decent Clapton offerings for the rookies that might be better.

5 comments about Bring It Back Alive.

1. By far this is one of the top 5 live albums. The Outlaws were simple the best southern rock band. Skynyrd was raw and gritty, the outlaws were precice, had "Eagle" type harmonies, and the double and triple guitar work is unbelievable. If you like rock, southern rock and a small bit of country balled up into one band, the Outlaws are for you. This live album has all of their great hits from their fantastic 1st 3 albums. The audio recording makes you feel like the you are in the 1st row of the show. The live "Green Grass & High Tides" blows any version of "Freebird " away.



2. This album puts on display the energy and power of the Outlaws live to wonderful effect.



3. One of the best live albums of all time. The Outlaws always were a better live band then their cds made them sound like. Much heavier and harder sounding live. Not that Im complaining they are one of my favorite all time bands live or album....



4. A good CD with a later incarnation of the band but, with 3 original members. I say farewell to Hughie and Billy by listening to this great CD.It 's a testimony to their talent.



5. This is the Outlaws best album! The more I listen to it, to more I enjoy it- from the great percusion to the truly amazing guitars. I have a hard time with some of the folksy, California country music vibe of some of the studio albums- but thats not a problem with this live recording. If you only buy one Outlaw album- this is the one to get!

5 comments about Live and Dangerous.

1. Live and Dangerous is one of the best live albums ever made IMO at least. This album perfectly captures Thin Lizzy`s powerful live show during their heyday with the classic lineup of the late great Philip Lynott, Brian Downey, Brian Robertson and Scott Gorman, who absolutely delivers their unbelievably great brand of hard rock from start to finish on this album.
   
   Top songs: Still In Love With You(greatest live Lizzy song ever), Johnny The Fox Meets Jimmy The Weed, Dancing In The Moonlight, Jailbreak, Sha-La-La and Warrior.
   
   I highly recommend Live And Dangerous to everyone, especially fans of great classic rock from the 70`s. I guarantee that you most likely will be very addicted listening to this great album.



2. Simply, Thin Lizzy remains a vastly underrated band & Live and Dangerous - when the title was originally issued on a double live album - is one of the best live sets from the 1970s, when such releases became very popular.
   
   And this package highlights the band in all its glory, on stage and delivering high-octane music to an appreciative audience. The DVD portion features a 1978 concert from the Rainbow Theatre, which is not the venue where the double live album was recorded. Phil Lynott (vocals, bass) keeps the joint rocking by seemingly feeding off the crowd's energy from the opening note to the closing chord.
   
   There is also the highly-acclaimed 1983 "Farewell" concert from the Regal Theatre, selections from appearances on Top of the Pops and interviews with band members Scott Gorham (guitar), Brian Robertson (guitar), Brian Downey (drums and percussion). The bonus CD is a treat, a 1975 concert from Derby College.
   
   This is a fantastic collection of outstanding performances from a band that defined the golden era of arena rock.



3. This album goes beyond being another great album. There are lots of "great" albums that pale in comparison to L&D. This album documents more than any other Thin Lizzy work the phenomonally great songwriting and musicianhship of Thin Lizzy. The guitar tandem here is arguably the best ever in recorded music. I am lucky enough to have seen them live on the Chinatown tour. I have seen multitudues of concerts and have not seen an audience slayed with such ferocity as Thin Lizzy on that night. No live recording can ever recreate the experience of being there. However, Live and Dangerous comes as close you can get.
   
   I have heard all of the other live Thin Lizzy albums available. Don't bother. They all pale badly in comparison to the original Live & Dangerous.
   
   Buy this album and revel in its innate "greatness".



4. A few years ago Classic Rock magazine did a readers and critics poll to decide on the best live album of all time. In both cases "Alive And Dangerous" came in at the top of the list. I owned this album on vinyl back in the day, and after reading all of the praise about it decided to replace it on CD. Since the time of it's release a lot been made about the significant amount of overdubbing that was done on the album. To me that does take a bit away from the "live" aspect of this whole project, but it does remain a fine slice of music, from one of the more underrated bands of the 70's. This really is a fantastic album. Lizzy never really made that much of an impact in America after "Jailbreak" and it's bit hit "The Boys Are Back In Town" . It is really too bad because they were one of the best twin guitar rock bands of their era. Lizzy was the birthplace of a bevy of guitarists move through the band over the years and this album featured Scott Gorham and Brian Robertson. They are on top of their game throughout this disc. Phil Lynott was the consument front man and drummer Brian Downey held down the bottom end. All of Lizzy's classics are here and the band show a ton of versatility going from boogie rock, to metal, to songs that are almost progressive rock without even a blink. Lizzy is an underappreciated band and this album serves as a great introduction to what they were all about.



5. THE BAND: Phil Lynott (vocals, bass... R.I.P.), Scott Gorham (guitars), Brian Robertson (guitars), Brian Downey (drums & percussion).
   
   THE DISC: (1978) 17 tracks clocking in at approximately 77 minutes. Included with the disc is a 10-page booklet containing black & white concert related photos, song titles/times/credits, and thank you's. Songs recorded during the `Johnny The Fox' (1976) and `Bad Reputation' (1977) tours. A digitally remastered version (1996) is also available. All songs written by Thin Lizzy members except "Rosalie" (by Bob Seger - taken from his "Back in `72" album). Label - Warner Bros.
   
   ALBUM REPRESENTATION: Vagabonds Of The Western World (1 song), Nightlife (2), Fighting (2), Jailbreak (5), Johnny The Fox (3), Bad Reputation (2), Unreleased (2).
   
   COMMENTS: This is a great live album. I put it on the same lofty perch as some of those other live 70's classics - Deep Purple's "Made In Japan", Frampton's "Frampton Comes Alive", The Who's "Live At Leeds", Kiss' "Alive!" and UFO's "Strangers In The Night". With that being said, there is some controversy - technical issues brought the band back into the studio to overdub and re-record some guitars and vocals - how much of this is true (?)... we listeners and fans may never really know. As for the sound - the album rocks. Lynott sounds great (as does his bass). The dueling guitars of Gorham and Robertson are in blazing form. And Brian Downey is steady on drums (and getting a chance to really cut loose on the "Sha-La-La" drum solo). The track listing here is superb (hits and deep album tracks included). So many great Thin Lizzy songs - classics rockers include "Jailbreak", "Massacre", "The Boys Are Back In Town", "Sha-La-la", "Warrior", "Emerald", "The Rocker", "Suicide", etc. And for every two bone crunching songs there's a melodic masterpiece - "Southbound", "Dancing In The Moonlight", "Johnny The Fox Meets Jimmy The Weed", "Cowboy Song", and "Still In Love With You". For me, standouts on this album were always the heavy "Emerald", Lynott's storytelling on "Johnny The Fox...", the opener "Jailbreak", and the beautifully crafted "Still In Love With You" - which I actually like 10x better than the studio version from "Nightlife" (1974). Only thing missing from this classic live album are a few songs - "Whiskey In The jar", "She Knows", "Wild One" and "Bad Reputation". I don't care about any 'controversy' - this album rocks and still sounds fantastic decades later. If you want one live album from Thin Lizzy, this is the one. "Live & Dangerous" is a great album from a truly legendary band (5 stars).

5 comments about Bongo Fury.

1. Muffin Man is certainly a Zappa classic. Though it is not as well-known as some of Zappa's other works, it certainly embodies many Zappa themes of mad scientists, conceptual continuity, and general absurdity. It also features some of Zappa's best guitar solos, and not to mention Captain Beefheart's vocals, harmonica solos and occasional saxophone and madness. This is one of the few albums (along with Hot Rats) that have both Zappa and Beefheart playing at the same time.



2. Fantastic lyrics and recitation by Captain Beefheart and lots of music reminiscent of One Size Fits All - both were release around the same time. I had this on 8 track tape back in the day! I also had the Lp. I don't recall what happened to them. This CD is worth the price just for the 3 pieces where Beefheart does his wonderfully bizarre poetry readings. Roll skreek! Roll skreek! Sam was a basket case! I just love this stuff. Sadly, this is right around where Zappa's career to a turn that I didn't care for... I think Zoot Allures was the next release. I own every single Zappa release up to Bongo Fury except for Overnight Sensation - I never really cared much for that one for some reason. I'm also a musician and have been playing for about 40 years, seriously for 20. With respect to the actual music (lyrics are very subjective by nature, aren't they?) and the performance of that music, I would not call this Zappa's best release (as one reviewer called it). I don't think it even comes close to being his best (that distinction probably belongs to The Grand Wazoo & Waka Jawaka and there are many others I find more... exciting as far as the music goes) but it is very, very good and very, very entertaining. If you like Zappa's mid 70's catalog (Roxy and Elsewhere, One Size Fits All, Apostrophe (') to name a few) you definitely want to purchase this.
   
   Anyway, this is a great CD. If you aren't familiar with Beefheart, think of Tom Waits rough voice and poetry reading a piece like Ninth and Hennipen (from Rain Dogs) and Zappa array of great guitar licks, impossible lines played in unison by the band, and an assortment of hilarious sounds made by the players on their instruments. Yes, of course Louie Louie is in here too! Bongo Fury!



3. This is one of the final Mothers' lineups, mostly live, in Austin, 1975. As usual, the musicianship is excellent, althought not as intricate as a lot of what you hear on "Roxy & Elsewhere," or "Live In New York." It opens with the raw, gritty "Debra Kadabra," a showcase for the bizarre vocal delivery of Captain Beefheart, the band playing coordinated multiple rhythms to compliment the seemingly rambling subject matter presented, although anyone in the know can tell you, there's never any rambling in a Zappa performance. It's all been rehearsed to sound the way it is. The sound smooths over with "Carolina Hardcore Ecstasy," the usual weird-story telling put to music, the voices of George Duke, Napoleon Murphy Brock, and FZ chiming together in a tight mini chorale, and the obligatory mid-70's Zappa fuzz-tone guitar solo.
   
   "Sam With The Showing Scalp Flat Top" is a Don Vliet original, Beefheart's poetic recital fronting The Mothers' imitation of Beefheart's "Magic Band," but somehow sounding better than Beefheart's usual band. "Poofter's Froth Wyoming Plans Ahead" is about the upcoming (at the time) 200th birthday of the United States and all the hoopla and marketing of said event; call it social anthropology. Beefheart was an ideal voice for a lot of this band's music, too bad there isn't much more.
   
   "200 Years Old" is a studio cut same band as the live tracks, except for the drumming. Terry Bozzio is replaced with Chester Thompson, later of Genesis fame. Once again, it's about the Bicentennial, and other things.
   "Cucamonga" is from the same sessions, typical Zappa-Brock-Duke vocals and the usual smooth production, really great sounding. "The listener is then transported back to the stage in Austin for "Advance Romance," a longtime live staple performed by every live band after, up to, and including, the 1988 Self-Destruct band... too bad Ed Mann decided to convince the whole band they hated Scott Thunes. The seedy atmosphere of this live staple is set by the first line: "No more credit from the liquor store!" It drags along, too long for some tastes, but live recordings are supposed to have extended jams, and, myself, I don't mind it.
   
   
   We then re-enter Beefheart's world with "The Man With The Woman Head," a throw-back to the beatnick days, imagine this being delivered in some smoky coffeehouse, "...as a straw fell out of the coat, and cartwheeled into the gutter; so this was a drive-in restaurant in Hollywood, so this was a drive-in restaurant in Hollywood...so this was a drive-in restaurant in Hollywood..."
   
   Seque into some studio chatter about Zappa's studio, The Utility Muffin Research Kitchen, and the vamp which became known as "Muffin Man," the Austin show's finale, and a showpiece for many fans' favorite Zappa solo. I can't pick a favorite, but he was running on all cylinders here.
   
   For the most part, this is a fun record to listen to (stuck in the '70s here, terms like "record") and if nothing else, one gets to hear what was going on with their favorite icon from the heyday of good music from almost everybody in the business.



4. It's fun to have a bit more material with the voice of the beloved Captain Beefheart on it.
   He and Zappa were childhood friends who in time grew to be more like a tired married couple.
   There's a good video out there from the 90's that tells the tale of Zappa giving Beefheart this gig out of the kindness of his heart, the flipside of course is that Beefheart also gave Zappa a vocalist Par excellence.
   
   It's a quirky mix of music and prose, but definitely more on the Zappa side of theatrical composition with electric instruments.



5. This one's a real rarity in the FZ catalog for a number of reasons, the first and most obvious one being the partnership with Donnie Van V...the Captain. More important, however, is the rare hit and miss ratio of two of Zappa's trademark styles, those being comedy and no-nonsense, end-of-the-world-as-we-know-it guitar solos. In many of Franks' releases, one style ultimately wins out over the other...the comedy is top-heavy or it's an afterthought. Not here. This is Zappa's L.A. Pachuco doo-wop humor married to some of the most talented musicians he ever assembled under one roof. In addition to Frank's own fretboard pyrotechnics, we get Denny Walley on slide guitar. Add Napoleon Murphy Brock, George Duke, and Terry Bozzio and you have one of the greatest all-time "stamina" bands. I saw the Berkeley Community Theater leg of the "Bongo Fury" tour...unfortunately, Beefheart never shared the stage with FZ, but he did perform a mighty tasty "Orange Claw Hammer." Zappa tied his hair back into a ponytail and proclaimed "this is SERIOUS music" as he launched into an extended, brutal "Black Napkins." Brock prowled and stomped and roamed the stage like a werewolf under a full moon, honking brilliant solos from his sax. The same power is found on "Bongo Fury." In "Advance Romance," Zappa invites the Armadillo World Headquarters audience to "look what she did to Denny right now," as rips a beautifully aggressive solo, which blends into a firestorm from Zappa himself. In "Muffin Man"...well, what can I say? As impossible and ridiculous as it might be to attempt a "10 best FZ solos of all time" list, if you COULD, there'd have to be room for this one. From the "Mr. Tambourine Man" reference in "Debra Kadabra" to the interspersed weirdness of Captain Beefheart, this is one of the richest, most complex, most rewarding FZ albums of all time. If you are a fan of "Guitar Frank," grab this one.

5 comments about Stripped.

1. This is the best "UNPLUGGED", album of the 90's.......Period !!! It is also the best stones cd, since the 80's.....Period !!! I wish it was longer ( ADD BROWN SUGER, HIDE YOUR LOVE -which would be great, because it's a missing gem and a blues song ). Maybe on a remaster ???? Man this album is to good not to add a few more songs ( length is a little short ), and re-sell it again................" I know I would buy 4 of them ". Thanks STONES for the best album of the 90's....." at least with ROCK-in-ROLL ".



2. The only thing wrong with this great listening cd, is it's length. I wish the STONES would have added another old hit ( like "brown sugar" ), and a old blues, hard to find song ( like "hide your love" )........TO THIS VERY WONDERFUL CD. !!! To be truthfull, it's the best of all the unplugged cd's on the market....and frankly the best stones cd of the 90's. THERE REALLY NEEDS TO BE ANOTHER ONE.....just like this- old songs, hit songs, rare songs, blues songs-------------SO LISTEN-UP MICK. "This is some good stuff ". HECK !!! Go to the same places over again and record a SECOUND STRIPPED album.It's worth every dime, I paid for it. Thanks for makeing one of my favorite CD's of my LIFE.



3. The Stones are doing small theaters on the CD, as well as recording rehearsals and just messing around a bit. Since they usually are finely produced, this cd is a little peek behind the curtain. It is great fun.



4. There are interesting facts about the released of stripped:
   - Basically it is an "unpugged album" from the Stones.
   - It was the very first interactive cd.
   
   When I first bought this cd, it was the very first interactive multimedia record ever done (booklet came with instructions, intercative material, etc...also appears the very first Rolling stones site, by 1994 whe the internet was so new, the site shows only merchandise in just a few pages, all those years ago), it is very interesting looking and hearing "hidden tracks".
   Also, during the Voodoo Lounge tour, the Stones perform some "surprise gigs" in some cities.
   In the time of the Unplugged records, this is a testimony of great tracks recorded in a different way we used to hear the Stones.
   
   It is a great album, quite diferent, and of course "Like a Rolling Stones", a classic made a classic.



5. I own three live releases by the Rolling Stones. "Got Live (if you want it)", "Get Your Ya Ya's Out!" and "Stripped". As a musician who has been playing for over 40 years in various bands from reggae to rock to jazz I can tell you that Stripped is a far better set of performances than those on Get Your Ya Ya's Out and, to state the obvious, "Got Live...". For some reason, many people think Ya Ya's is the greatest live record of all time. That's highly debatable - see my "Get Your Ya Ya's Out" review that gives the reader an objective dose of reality (and people, I AM right about Get Your Ya Ya's Out). I'm pleased to tell you that Stripped has far better musicianship and the sound, while preserving that "loose" Stones feel, is much tighter that the performances on Get Your Ya Ya's Out. These guys used THIS release to strut their musicianship and it is excellent. Better than I'd thought, that's for sure.
   
   Most of the tracks on Stripped were recorded in front of a live audience but some are taken from rehearsals. This is basically an "unplugged" release (though there is plenty of electricity). In general, this release has an acoustic flavor to it though it's by no means a couple of guys strummin' guitars with Jagger singing.
   
   Some of the tracks on Stripped are actually better performances than the originals, Shine a Light for example. The version of Street Fighting Man is by far the best live rendition I've heard though no live version will ever remotely even approximate the original from Beggar's Banquet.
   
   In summary, there are no "stinker" tracks on Stripped, they are all very good and some I dare say are truly great (and I don't tend to like the Rolling Stones' live releases)! There's even some friendly word play among the performers between tunes and a humorous false start of "Love in Vain". Stripped is far more entertaining and enjoyable than Ya Ya's in my opinion - regardless of what all those Ya Ya's die hard fans might tell you. Ya Ya's is good but this is much better.

5 comments about Secret World Live.

1. Peter's Live Performance is nothing short of a masterpiece using unique combination of different instruments,backup vocals, and being creative with many songs over seven minutes long. Gabriel's talent live creates a magical journey where you can really feel part of the show.
   Among favorites is: In Your Eyes, Secret World,Don't Give Up, and Steam.



2. I typically find it hard to enjoy a live album if I know the studio versions really well (and vice-versa if I knew the live versions first). But this one is an amazing exception (along with Wilco's 'Kicking Television')! "Secret World" and "Shaking The Tree" are OUTSTANDING! The energy is insane. Paula Cole sang on the Eurpean leg of this tour (damn, I wish she had been with him in Orlando '93). She's just brilliant! I know some may find this blasphemous, but I prefer her vocals on "Don't Give Up" over Kate Bush. And that's my .02. Buy this CD!!!!



3. Secret World Live is a must for any Peter Gabriel fan or someone who wants to become one. The live show accentuates his already masterful songs. It is heavy on songs from US his new album at the time but also includes such classics as In Your Eyes, Sledgehammer, etc.



4. I saw this concert on DVD and love it! I had to have the cd to listen to on the go. Paula Cole, Tony Levin and all the other musicians in this show are a great compliment to Peters vision and sound. I highly recommend it to anyone who is a Peter Gabriel fan! Buy this CD!



5. I've loved Peter Gabriel's inspiration and creativity since the early 'Genesis days' and really appreciate his eclectic field of diverse interests and influences.
   This is a killer CD. If you're put off buying it because you have the tracks imbeded in other CD collections etc- don't be. Gabriel does really well bringing fresh energy to his works in different seasons and this is no exception. It is just fantastic. Consider it a fresh interpretation of many classics and an exercise powerfully assisted by the energy of the perfomances, the vib of the audience and the not inconsequential collaboration with Paula Cole.
   The DVD is also great!

5 comments about Genesis Live [Definitive Edition Remaster].

1. I've had this on vinyl, then the first release on CD(in abyssmal AAD), and now have the Japanese mini-LP remaster. This is a splendid introduction to the Peter Gabriel-era Genesis. It's an entirely different beast. Kinda dark, and not at all like the pop music they churned out in the 80s-90s.
   This 1972 performance was released(at least in the US) out of sequence in order to capitalize on 1973's more successful "Selling England By the Pound". This show, taken from a radio broadcast, is amazingly pristine. My only gripe is that on the original program there is a stellar rendition of "Supper's Ready". Understandably, this 23-minute piece was way too long to fit on a vinyl LP, but CDs don't have that time constraint. A real shame.



2. English prog rockers Genesis released its fifth album Genesis Live in July of 1973 in the UK and early 1974 in the US.
   For many years this was the only live document in the Genesis catalog from the Peter Gabriel/Phil Collins/Tony Banks/Steve Hackett/Mike Rutherford era (until the release of 1998's Genesis Archive 1967-75 4-CD set).
   Genesis Live documents the group's late 1972/early 1973 tour in support of their excellent fourth album Foxtrot. Shows in England were recorded for a potential King Biscuit Flower Hour radio show broadcast but was released instead as a tie over for fans until the next Genesis album which turned out to be Selling England By the Pound.
   Although it's only a single disc live album leaving the listener hungry for more, there is enough to keep the listener gripped to their stereo systems/CD players and so forth for 45 plus minutes.
   The opening version of the Foxtrot track "Watcher Of The Skies" is possibly the best version of the track as it is more excellent than its studio counterpart (especially keyboard player Tony Banks' stellar keyboard intro). Next is a spirited version of "Get 'Em Out By Friday" which is better than the version taht appeared on Foxtrot. "The Return Of The Giant Hogweed" follows and is an excellent version which keeps one glues to its stereo for almost ten minutes.
   Next is a great version of the early Genesis masterwork from 1971's Nursery Cryme entitled "The Musical Box" which is a great version heard to be believed. The grand finale to this live album is the Trespass closer "The Knife" done with great relish and more gusto than the studio counterpart (probably thanks to addition of drummer Phil Collins and guitarist Steve Hackett in late 1970 to the band).
   Genesis Live reached #101 on the Billboard chart but aside that, Genesis Live is a great document to the early days of the band.
   One more note, Genesis Live was originally planned to be a double live album that also would've included the band's masterpiece "Supper's Ready" but the band and its label decided against it. Thank goodness for the Genesis Archives Vol. 1 box set which was released in 1998 which featured a great live version of "Supper's Ready".
   Genesis Live is still recommended anyhow!



3. Some people may not agree with me when I say that after Peter Gabriel and Steve Hackett left Genesis there was no more Genesis,just a band that tried to stay together as Genesis and succeded in giving the world mediocre renditions of a once great band.
   
   Let us not rush to the conclusion that I am saying that post-Gabriel era did not have its share of good songs.Yes, in fact the next two post-Gabriel studios albums were actually good.However,the Genesis of progressive art rock was lost forever.
   But after years of hashing over the fact that Genesis was redeemable for any effort that claimed them as good as they were is lost.Even when this Collins -Genesis era tried to do Supper's Ready,they do a mere fraction of the grandiose that Gabriel set it up to be: a tale,an acted out skit.The music fit the theme. Collins ,in his half-effort to redeem the classics ends up butchering them.
   
   No, there will never be another Genesis like this one,not even when the three ,Collins,Rutherford and Banks try,they cannot and HAVE NOT re-produced the magic that was once alive in a record of this caliber.
   
   Gabriel is also guilty of having lost the magic with his solo garbage,but so have the other guys,except Hackett,who continually pushes the boundaries of his talents.Gabriel,although not as soft as Collins had a great voice for that type of dramaesque music;it fit the atmosphere.
   
   The fact is that the chemistry has been lost after 1975,nothing sounded as good as this.



4. There has never been a shortage of live albums by Genesis. Genesis' "Genesis Live" is one of five live sets (the other four being "Seconds Out, "Three Sides Live", the two volume "The Way We Walk", and "Live Over Europe"). "Genesis Live" goes back to the very beginning days of Genesis and features the five person lineup of Peter Gabriel, Steve Hackett, Mike Rutherford, Tony Banks, and Phil Collins. "Genesis Live" also is the only Genesis live album to feature Gabriel on lead vocals. This particular live album only contains five tracks, but it showcases the progressive Rock sound the band demonstrated during this
   
   When I look at Genesis as band, I see four distinct phases the band has gone through. Phase 1 is the Peter Gabriel Era. This spans from 1969 ("From Genesis to Revelation") to 1974 ("The Lamb Lies Down on Broadway"). It was during Phase 1 that Peter Gabriel was the lead vocalist and Genesis could easily be categorized as a progressive Rock band. Phase 2 is the Early Phil Collins Era spanning from 1976 ("A Trick of the Tail") to 1982 ("Three Sides Live"). In this era, Phil Collins took over as lead singer. The band was still very much a progressive rock band, but as the progressive rock landscape would change - so would Genesis. This might indirectly have led to Phase 3 which is the Late Phil Collins Era from 1983 ("Genesis") to 1993 ("The Way We Walk Volume 2: The Longs"). This is the commercial/pop era that I referred to earlier. At this point, there would be a lot less progressive rock flavor to Genesis' music. The fourth phase, Phase 4 is the Ray Wilson Era. This was when Ray Wilson took over as lead vocalist for Phil Collins. There would only be one album in this era - 1997's "Calling All Stations" and it seemed like Genesis tried to recapture some of their progressive rock roots - but 90s style. "Genesis Live" was released in Phase 1 and draws tracks from three albums during this period "Trespass", "Nursery Cryme", and "Foxtrot". It is worth noting that while this album was released during Phase 1, there is no representation from Genesis' first album, "From Genesis to Revelation".
   
   When comparing "Genesis Live" to the other Genesis albums, you are not only getting the only Genesis live album with Peter Gabriel, but one that contains the earliest material.
   
   Normally when there is a live release, I prefer the album to be a live recording from a single concert performance. I prefer it to be delivered in the order in which the songs were actually delivered. By having things from a single night and in order - I feel there is continuity and the magic of the concert is captured perfectly. With this particular collection, the tracks were recorded at two venues. From some research, I've determined that four of the five tracks were performed on a single night in February 1973 (De Montfort Hall in Leicester) while one track ("Return of the Giant Hogweed") was performed the night before in Manchester. While all of these tracks are considered normal length by progressive Rock standards, they are still considered longer tracks from popular music standpoint. All of the tracks are over 8 minutes and the total length of the collection is 45+ minutes. It is clear from listening to this music that this performance doesn't represent a single concert. It also is clear that this is a subset of a full concert. It would have been nice to hear the whole concert, but one must remember that back in 1973, LPs held less music than CDs - and there was often pressure to release a single LP as opposed to multiple LPs.
   
   A few observations that I got from "Genesis Live":
   
   1) If you aren't as familiar with Phase 1 Genesis, this is a good place to start. You aren't going to hear this type of stuff with the radio-friendly Genesis music. The most amazing thing is Peter Gabriel's haunting voice that seems perfect suited to the progressive Rock sounds of Genesis.
   
   2) "The Musical Box" might be known to some of the more mainstream fans who purchased the "The Way We Walk Volume 2 - The Longs". On "The Longs", it contains a medley of old Genesis songs simply called "The Old Medley". One of the songs in "The Old Medley" is "The Musical Box" which contains a snippet of "The Musical Box". "Genesis Live" is going to contain a full version that will provide a full appreciation for the progressive Rock roots of the band.
   
   3) The intimate setting for this material will be in stark contrast to the stadium performances done on 2007's "Live Over Europe" set. The intimate setting works very well for this concert. The sound quality is good, but one must keep in mind this material is 35 years old.
   
   4) Tony Banks might be the real star of this performance. His use of the Mellotron on "Watcher of the Skies" is simply masterful - and truly shows progressive Rock at its best. The live version of this song will not disappoint.
   
   As with most live albums, there are no lyrics included. In the liner notes, there is a short story by Peter Gabriel. Overall, as mentioned this is going to be a sampling of the earliest days of Genesis. The only real disappointment is that you are probably are going to be wanting for more music by the band. Die-hard Genesis fans will love this album. Latter day Genesis fans still may want to check out this album and learn more fo the roots of the band.



5. Genesis were formed in early 1967 out of a couple of bands that met at Public School, Charterhouse. (In England, the posh expensive Schools are called Public Schools, which has always puzzled this dog. They certainly were not public as they all cost a fortune to attend). They recorded their first album "Genesis To Revelation" and released it in 1969. That was before the band had even played before a live audience. That by itself is an amazingly long incubation period. They also had already a change of drummers by that time, Chris Stewart left and John Silver (great name for a drummer) came in. This album hardly caused a ripple in record stores round the country, and is unrecognizable as anything Genesis were to do after this point.
   A re-think was in order. It was decided that drummer Silver was unsuitable. Out with him and in came John Mayhew. They all de-camped to a conveniently empty cottage just outside Dorking to work on their sound and a possible stage show. Eventually Tony Stratton Smith signed them to his new Charisma label, which on the strength of watching one dodgy rehearsal, and one badly recorded demo tape, must be one of the most inspired signings in the history of Rock 'n' Roll. The album "Trespass" was recorded and the band began to gig. However, before the album was released disaster stuck.
   Anthony Phillips, original lead guitarist with the band and instrumental in defining the guitar sound that stayed with the band all through their career, decided that the Rock 'n' Roll lifestyle within a band was not for him. At the same time the three remaining original members decided that John Mayhew was not the man to be sitting on the drum stool (scratch deep enough all bands have had their Spinal Tap moments). Replacing Anthony Phillips was not going to be easy, but finally Steve Hackett was found. He was a very earnest and intense young man, whose character was in keeping with his guitar playing.
   The drum stool was the next problem. After fourteen drummers had a go, a certain young chap by the name of Phil Collins answered a Melody Maker small ad and was drafted into the Genesis ranks straight away. As a child actor Phil Collins had been in several T.V. and stage shows including the part of the artful Dodger in the Londoner West End production of "Oliver". After "Oliver" he drummed in several bands, the last of which had been a group called "Flaming Youth". They were just rapping up in the aftermath of some ill advised and unsuccessful publicity, so Phil Collins was glad to get the gig with Genesis. But I am sure the other four did not realize what a useful little chap their new drummer was going to be in years to come.
   So by early 1971 the re-shaped Genesis was finally gathering some real momentum with growing approval from the press and a steadily increasing hard core fan base. Each album they released outstripped the last ("Nursery Cryme" in 1971 and British breakthrough album "Foxtrot", which followed in 1972). By now they were out on the road almost consistently wowing their fans with their unique blend of rock music, dexterous skills, and groundbreaking stage show. A quite remarkable sight on stage they were, too. Steve Hackett would play his blistering solos from a seat on the left hand of the stage, while multi-instrumentalist Mike Rutherfood would wander the stage with his twin necked guitar enabling him to play the bass and twelve string guitar at the same time.
   Tony Banks would be on the right hand side of the stage, almost invisible from the audience as he was completely surrounded by his multi collection of keyboards. But the wonderful wall of sound that became the trademark of Genesis left you in no mind that he was there.
   Then of course, out the front, was charismatic lead singer Peter Gabriel, who would often go through eight costume changes per concert in an effort to better put across the story of each song. Not for Genesis to play short sharp little songs; most clocked in at over eight minutes. The only single that Genesis had released at this point was "The Knife". To accommodate it into the single formula it had literally been cut in two with side `A' being "The Knife - part one" and Side `B' being ''The Knife - part two". That didn't exactly endear them to radio play. So Gabriel's role was crucial in "Genesis" to keep the audience's attention. His flute playing also gave the band an extra dimension.
   While the band was on the tour promoting "Foxtrot", several of the concerts were recorded to give the fans something while they came off the road to record their next album. ("Selling England By The Pound " 1973 became their worldwide breakthrough album for them.)
   Five songs were selected for "Genesis Live", which rocketed into the charts in Britain reaching # 9. What you got were five epics all clocking in at over eight minutes, in all forty five minutes. A lot for the days of vinyl. And although not a whole concert, the running order of the songs worked very well.
   First we have two songs off the "Foxtrot" album, but no problem there as the band had quickly adapted the songs for the road, beefing them up quite considerably. In the case of opener `Watcher of the Skies' Tony Banks had added an awe inspiring opening played on the Mellotrone and the Moog Syntersizer, By the time Phil Collins comes thundering in showing the chops on the drums that would soon have him rated as one of the best drummers in rock music (this was way before anybody had thought about putting him out front to sing), you are already caught up in the web Genesis set out to catch you. Tony Bank's keyboards rather dominate the opener, using the guitars to keep up a strong but slightly slower beat than on the studio album.
   Then Peter Gabriel takes over on `Get'em Out By Friday', a tirade against despicable landlords. Gabriel plays all the roles in different voices. With the amount of energy this must of taken up, it is no real surprise that two years later he stunned the rock world by leaving Genesis when they were on the crest of the wave. `The Return Of The Giant Hogweed' was always a favorite of Genesis fans and was probably as close to actual Rock 'n' Roll that Genesis would ever get to; something to actually bang your head to - heavy metal style. `The Return of the Giant Hogweed' was one of two from "Nursery Crymes", the other one being `The Musical Box'. This is the center piece of this album and shows all the light and dark that the band put into their music. The mid section features a guitar solo from Steve Hackett that would lay the template for all progressive rock guitarists to follow. The final climax to this epic as the band hammer their way home with Gabriel wailing over the top of them all, has often been imitated but never bettered.
   After `The Musical Box' has left you exhausted, the band carries on with a track from "Trespass", `The Knife'. You can tell by the audience reaction to Gabriel's announcement of what the band intended to play next that this was another crowd favorite. Expectations were running high. But the band gave an interpretation that exceeded the studio version in astonishing fashion. This must be partly due to the relative new inclusions of Phil Collins and Steve Hackett into the band. Phil Collin's drums gave the song a much crisper definition, while Hackett's guitar work reached new heights. A dramatic conclusion to a fine album.
   
   Pawed by Mott The Dog
   Remastered by Ella Crew

5 comments about Strangers in the Night.

1. Great transaction.
   
   This is the best UFO album ever made Period. Live in Chicago with lots of long metal leads by Schenker, brother of Rudolf of the Scorpians. This has been remastered for CD; they have changed the begining song and other small details from the original release in the early 1980's. That one was actually better but it was on cassette tape. You won't be disapointed in this once you listen to "Rock Bottom" and "Love to Love".



2. UFO has to be one of the most underrated rock bands ever, and has certainly been undeservedly neglected on FM stations. This is as good a live album as you will ever hear. The band is tight, and Schenker delivers some blistering guitar work. All their great tunes are on this album. I disagree with JAYMZ "Old Rocker". I like AC/DC and the Scorpions well enough but they pretty much play the same type of stuff over and over. I would say that UFO's music from this period is far more varied and creative. I would say some of it even borders on prog (Let it Roll, Love to Love). If you are a fan 70's era rock you will love this.



3. This is the greatest album ever recorded. And no, I'm not just talking in the prespective of only live albums or even hardrock albums for that matter, this is seriously the greatest work of music ever made by mankind. I don't know how to put it but "Strangers in the Night" has a certain magic, power and honesty to it that makes me wonder why rock music, or even UFO themselves, even countiued past 1978 due to the fact that NOTHING will ever be this good again. Makes me wonder how hardrock/metal bands of today can happily put out their sonic v a g i n a l execrement, knowing deep in their hearts that they will never be able to slay this F v C k I n G beast that is "Strangers in the Night". Of course it is a live album as well, I am particulary not a strong lover of live albums, however here an exception will be made. The live atmosphere allows UFO to be at their very best and unhinged to the max. The production on the studio records were less then stellar, on "Strangers.." the sound, production and preformances are not just flawless, they are superhuman, I might even say godly. Schenker's abilties with his guitar just send chills down my body. Mogg has to be the most inspiring singer too, he doesn't need a fancy costume or some stupid, trendy vocal technique, he just sings his heart out. Mogg is rock 'n' roll personified. Forget the trendy $ h ! t you've seen on T.V. about "RocK STaRz". Forget f v c k i n g wastoids like Elvis, Robert Plant or even Steve Tyler. This man, Philip Mogg, right here is the real deal, kiddies. He is by far my favorite part of the UFO machine.
   
   If you do not have this then your life has been meaningless up untill this point in time. Get this cd now, or forever be a mallcore baby,



4. Strangers in the Night is live and a favorite of mine by UFO. Of course any UFO fan would already have this cd in their collection, but if you don't, you need to get it right here at Amazon, for the service is great and I recieved mine in perfect condition with a rapid delivery. Get it now, what are you waiting for?



5. Hands down pound for pound the Best Live Cd ever recorded.Every true Rock fan should own this they just should! Just seen these guys in Seattle and I have to say UFO will never be forgotten every era has been a Rock and Rock Joy with this band. Vinnie Moore does an awesome job displaying some out of this world chops.Schenker will always be the most unique and recognizable this band has ever had but noone should ever forget Chapman in my opinion Chapmans contributions to this band were huge on those 4 early 80's albums every song was killer on all those cd's. Ok now again on Vinnie you are a shredding god in your own right and alot of fun to watch a killer addition to the current UFO lineup. CATCH THESE GUYS LIVE PEOPLE YOU WONT BE DISSAPOINTED!!

5 comments about Lotus.

1. I bought the 3xlp set used (which is why I love Amazon) around the late 80's. Lifelong Santana fan and jazz fan. The perfect mix. Really, a special album. The lp is better for one reason only, its size. The cd is better cuz there's no cracks and pops that vinyl lps inevitably get. The music is definitely not the lst 3 Santana albums but it's also none of that middle of the road fallow period music they did say 87 to 97. This stuff also transscends the Santana/McLaughlin material which can get too Indian flavored for most of us. Instead, this album comes hot on the heals of the first 3 lps (Santana, Abraxas, Santana III) and really is the only place you find a perfect blend of some of that sound mixed seamlessly with a new jazzier sound that he/they never again really captured. As close as Santana got was Moonflower and Canavansari, both noble albums but I think the difference here is this is live and on those other two albums being in the studio flattened the sound a bit, though there's still music on both that I love it's not as consistent as this album and there's something about Santana's rapport with the audience that adds a sweetness. Sure, yer gonna be disappointed if yer expecting more of the lst 3 albums. If you veer into jazz and love Santana at their best, you'll undoubtedly love this album. It was, indeed, a holy grail for Santana lovers back in the 70's and 80's. There's a reason. [...])



2. The Japanese mini LP versions of CDs has been an example of technology, craftmanship and an incredible eye to detail. Granted sometimes the printing on these releases requires a magnifying glass to read, but it is clear and legible. LP covers were an art form and many covers demanded the size of these covers to convey the art properly. Many of us who have the originals are probably not going to buy the mini LP. However, many of these discs now come with upgraded remastering and bonus tracks to entice us to buy them, anyway.
   
   This release is the epitome of the mini LP product. With the package completely unfolded, this release is an incredible sight to see. This is one that you would buy, even if you have the original LP release. It is that good.
   
   The attention to detail is also present in the CDs themselves. The sound is better than the domestic release and has been put back into the original 3 LP format. Now, this is good and bad. With three CDs, you are getting an exact replica. From an enjoyment point of view the domestic 2 CD release makes sense. Also, in the 3 CD format, Discs 2 & 3 have a fade in of the last few seconds that were on the prior CD, just like it was on the LPs. What may have been convention years ago is now an annoyance. The 2 CD version does away with this overlap.
   
   So, if you have the domestic release, don't get rid of it. Use it for your listening enjoyment and have this release for the pure visual enjoyment.
   
   5 out of 5 stars for the packaging.
   
   4 out of 5 stars for superior sound, but annoying fading of the music between discs.



3. Many folks who love the classic rock Santana just won't find anything here to appreciate. Non-the-less, Lotus is snapshot of Carlos during the middle of a phase that meant a lot to him.
   
   The playing is all top notch. The overall sound is good but not great. It's a little to high pitched sounding without a nice warm bass to push this recording over the top.
   
   I still give it 5 stars because of the excellent playing thoughout.



4. When "Lotus" was originally released as a vinyl Japanese-only import (1974), it was one of the most prized items among collectors. The packaging...nowhere near as important as the music itself...was a mind-blowing example of innovation and creativity with several fold-out posters and the sleeve that housed the three discs inside. That's one of the things that delayed the release of "Lotus" on CD for so many years...shrinking all of that wonder down into a 4.75" x 4.75" plastic box. They DID it...maybe not as spectacularly as the original 12 x 12 release...but it was magnificent packaging for what is basically Carlos Santana's "A Love Supreme." Seriously...if you like the pop stuff, more power to you. There's plenty of good stuff there. But this was the top of Santana's spiritual / fusion era. In 1973 he added "Devadip" to his name, which meant "the light of the lamp of the Supreme." That light burns brightly across "Lotus," especially on CD 2 (where most of the extended numbers reside, including the 15 minute "Incident at Neshabur"). As Santana fans know, there are "several different Santanas." This was the MILES Santana, the COLTRANE Santana. This is scary and amazing music played with so much mind-numbing passion that you have to wonder why there are people who don't "get" Santana. Get Lotus, and strap yourself in for one heck of a ride.



5. Neither those who know Santana from the original band's early rock LPs, nor those most familiar with Carlos' and Company's recent all-star pop outings, will be in any way prepared for the astonishing two hours of music which is LOTUS. Recorded at a pair of Japanese concerts in 1973, this set is certainly the most singular item in one of rock music's most singular careers.
   Having fallen under the spell of early-seventies fusion as epitomized by Miles Davis, Chick Corea and other groundbreaking jazzmen, guitarist Carlos Santana made this third version of his eponymous ensemble by far the best, concentrating on lengthy instrumental explorations which were kept nailed in place by a phenomenal three-to-four-man percussion section. While inevitable hits (and rare vocals) like "Black Magic Woman" and "Oye Como Va" are here, and wonderfully handled, they sound almost trivial next to the driving and exotic sounds which surround them. "A-1 Funk," "Gypsy Queen," "Samba de Sausalito" and "Incident at Neshabur" rank among my personal favorites; but it seems ludicrous to pinpoint specific tracks as the show is essentially one long and very remarkable suite, uninterrupted and unflagging. Guitar quotes from Miles, Stravinsky, Jimi Hendrix and the Beatles add moments of relative levity - and a reminder of just how far afield this band drew its inspiration from - before the ultratight octet tears into its next workout, leaving the listener to marvel at how they possibly could've kept it up. LOTUS is a stunning album, a marvelous experience and one of the peak moments from the heyday of jazz/rock fusion. Indispensable!