5 comments about Mad Dogs & Englishmen.

1. This is one of the best live albums ever recorded. The first track which is called 'Introduction' and lasts 41 seconds tells you a lot. A punchy brass section, and a great drummer (either Jim Gordon or Jim Keltner) who drives everything along. Straight into track 2 which is a stonking cover of the Stones 'Honky Tonk Woman'. Joe Cocker sounds like he's singing through broken glass, and the band rock in way that few bands can these days.
   
   Another reason why this album was such a success was the appearance of Leon Russell whose presence is felt throughout the album on Piano and Guitar. If you've ever seen the film of this tour you'll know that he virtually stole the show from everybody with his Top Hat and huge white beard (not so out of place in 1970!). You can hear his distinctive Piano on the intro to another superb cover; 'Cry me River'. This track like all the uptempo tracks on this album has that gospel feel because of the backing choir and Joe Cocker's broken singing voice.
   
   The other well known members of the band are:
   Chris Stainton - frequently Claptons regular keyboard player
   Bobby Keys - Tenor Sax
   Rita Coolidge - Vocals
   
   When listening to the band introductions and the interludes between the songs it becomes rather obvious that a lot of the band were either very stoned or had drunk a huge quantity of alcohol! Its also worth saying that this was recorded 37 years ago now, so for those used to crystaline modern recording techniques this probably sound horrible. However if you prefer your music carved from Rock rather than made in the studio by a computer, you want some soul, a big gospel influence and some driving rock 'n' roll this can't be beaten.



2. This was the first album I had ever purchased at age 15. I bought it because "She Came in Through The Bathroom Window" was popular at the time. I listened and loved the whole album at the time. As a 50 something now, I just purchased the cd and have listened with new ears. The thing that I never knew or appreciated was that Leon Russell not only performed on the album, but he arranged all the music, and conducted this group of musicians. To one whose eyes have only recently been opened to the musical genius of Russell, it was a true epiphany. It was not only Joe Cocker I loved as a teen...it was Leon Russell!



3. This album brings back alot of memories of my days in Syracuse after returning home from Vietnam. To think of all the artist on the CD are now 35 plus years older, and Joe, Leon, Rita are still out there making music.I still rate this as one of my all time favorites.



4. I remember seeing MD&E when it was first in the movie theaters. I became a fan of Cocker from his Woodstock appearance. Growing up in Memphis, I know Blues, I know R&B, and I have to admit a Brit Blues singer does not sound quite right. BUT Cocker is tuly a Blues talent.
   
   The buyer of this CD should be prepared to become a fan of Cocker, But it is just as much a Leon Russell CD with all the arrangement and leading the troupe as the bandleader. In fact Russell in my opinion overshadowed Cocker. Many of the musicians (sans Cocker) are also on Leon Russell and the shelter people. In fact the CD over whelams Cocker with too tight production and showcases Russell musical talent.
   
   Why get this CD? Well for one each song is strong (all killers with no fillers). whether a singer and a piano/organ or a band of 30 something peformers...it is still a great CD from song to song. Who ever listens to all of Woodstock or all of Bangladesh, because you listen to specific songs on both concert LP's. BUT with MD&E, you will listen to all of the songs.
   
   Keep in mind this was all recorded at Fillmore East and the Movie was a road show. In a way both are different creative projects.



5. cualquier atisbo de sensatez que uno podria esperar queda desfigurado desde el primer surco.....actitud circense, promiscuidad de versiones, vejacion al legado beatle, exageracion y crudeza en estereo, esta grabacion te deja el laser alcoholizado!!!!!!!!! dificilmente se pueda hallar tanta locura, ingenuidad, salvajismo y arrogancia en un recital de casi cuarenta años atras....... despues de todo, el rocknroll NO ES ESO?????????????

5 comments about Different Stages: Live.

1. THE BAND: Geddy Lee (vocals, bass, keyboards), Alex Lifeson (guitars), Neil Peart (drums & percussion).
   
   THE DISCS: (1998) 39 tracks on 3 discs totaling 200+ minutes (Disc-1 at approximately 70 minutes, Disc-2 at 69 minutes, and Disc-3 at 62 minutes). Included with the discs is a 7-page foldout containing band pictures, a collage of various tour paraphernalia, a list of crew members, and what songs were recorded where and when. Discs 1 and 2 capture the band somewhere between 1994 and 1997 (25 of the 28 songs are recorded in 1997 in support of the "Test For Echo" tour... cities included Chicago, Dallas, Detroit, Toronto, Miami, Philly and Mansfield, MA). Disc 3 is a bonus disc of older material - recorded at the Hammersmith Odeon - London 1978. Disc 1 is enhanced - showing cluster artwork from Japanese artist Hisashi Hoda. The tri-fold case is a medium thick cardboard. Label - Atlantic / Anthem.
   
   ALBUM REPRESENTATION (1st two discs only): 2112 (1 song - though divided into 7 sections - the complete 2112 Overture), A Farewell To Kings (1), Hemispheres (1), Permanent Waves (3), Moving Pictures (4), Signals (1), Presto (1), Roll The Bones (3), Counterparts (4), Test For Echo (3).
   
   COMMENTS: Behind Rush's raw 1st powerful live album "All The World's A Stage" (1976), I like this "Different Stages" best. It seems we are treated to a live Rush release every 5-7 years... so after such a long and prosperous career, there are several live albums to consider (among others - "Exit... Stage Left", "A Show Of Hands", "Rush In Rio", "R30", "Snakes & Arrows"). For me, the song selection on "Exit... Stage Left" (1981) might be near perfect - capturing the band truly in their prime - but the sound production is sub par. THE GOOD: In a nut shell - "Different Stages" delivers lots of music, great song selection, a nice foldout CD package, and stellar sound production. Highlights include: the entire "2112 Overture" (worth the price of the disc by itself), a great rendition of "Natural Science", a nice inclusion of "Analog Kid", rocking versions of "Animate" and "Stick It Out", and the 2 instrumentals - the closer "YYZ" and the ultra smooth "Leave That Thing Alone" (leading into Peart's 8-minute drum solo on "The Rhythm Method"). Disc-3 is a treat - throws you back to the "Hemispheres" tour featuring classic tunes live - "Bastille Day", "By-Tor & The Snow Dog", a shortened version of "Cygnus X-1", "Fly By Night", "Xanadu", "A Farewell To Kings", etc. THE NOT SO GOOD: Two things stick out to me. One - as you'll notice on later Rush live albums, Geddy Lee's bass really takes over (drowning out Lifeson's guitar in spots). In some songs here, you can really notice the volume on Lee's bass. Two - several classic songs are missing. As stated above, Rush has so many live albums, you're bound to be able to find your favorite Rush tune live somewhere... but this "Different Stages" (discs 1 and 2) release sounds so good... I wish ALL the best songs were here. Absent is anything from "Caress Of Steel", "Grace Under Pressure", "Power Windows", or "Hold Your Fire". Classic tunes missing - "Red Barchetta", "Subdivisions", "Distant Early Warning", "New World Man", "La Ville Strangiato", "Force Ten", "Lakeside Park", etc. OVERALL: Nice package with lots of music covering old and new material - 1974 through 1996 (5 stars).



2. A little history, I grew up in the 70's and have always been a big music fan and listener. I have heard Rush, respected rush but never have seen them live or purchased any of thier music. So, in December I'm driving home from work and an independent radio station cranking and heard this killer guitar and drums. It sounded familiar but I had never heard it before. I was blown away. Turns out to be live Rush cygnus and anthem.
   Well I had to get some live Rush and this was the one.
   It's a powerhouse of a set and it just drives home that Rush is very underrated by the masses.
   This is rock solid.



3. Rush's fourth live album Different Stages was released in November of 1998.
   The album was released after the deaths of drummer Neil Peart's daughter Selena in August of 1997 and wife Jackie in July of 1998 to a car crash and cancer respectively. As a result, bass player and singer Geddy Lee and guitarist Alex Lifeson decided to put Rush on indefinite hiatus and left the choice to Neil to either come back when recovered or call it a career.
   As a result, Geddy and producer Paul Northfield sifted through the concert tapes that the band had recorded on their 1994 and 1997 sold out tours to come up with initially a double live album with most of the tracks recorded in Chicago in June of 1997.
   Discs one and two have the best versions of "Dreamline", "The Trees", "Nobody's Hero", "Stick it Out", "Closer to the Heart", "Test for Echo", "The Analog Kid", "Resist", "Leave That Thing Alone" and "Natural Science" I ever heard. The highlight though on the first two discs is the entire "2112" suite. The reason I say this was I was at the show they recorded this and Leave That Thing in Mansfield, Mass in June of 1997. Hearing the whole 2112 piece live was spellbinding.
   The other tracks on the first two discs of this live album which are "Limelight", "Driven", "Bravado", "Animate", "Show Don't Tell", "Freewill", Neil's killer drum solo "The Rhythm Method", "The Spirit of Radio", "Tom Sawyer" and "YYZ" are all superb as well.
   The double live disc changed to three when Geddy found an unused multi-track tape of a Rush performance from 1978 in London on the Farewell to Kings tour. Originally, it was to go to radio but Geddy didn't like the way his voice sounded so they scrapped it. Then 20 years later, they decided to give the fans an added bonus live disc to Different Stages making the triple live album the price of a double (if that isn't bang for your buck I don't know what is).
   The performances of "Bastille Day", "Something for Nothing", "Anthem", "Working Man", "Fly by Night", "In the Mood" rival the versions on All the World's a Stage. "By-Tor and the Snow Dog" is short but still good and the Farewell to Kings material, especially "Cygnus X-1" and "Xanadu" are excellent as is the title cut and the closing "Cinderella Man".
   Like always, Different Stages went Gold immediately confirming Rush's place in history as the most successful rock band ever to come from Canada. Sales notwithstanding, this is the best Rush live album as you get Rush live from 1978 to 1997.
   Highly recommended!



4. RUSH - Different Stages "Live" 3 Discs (2hrs 20 mins)
   
   This is part four of a comprehensive four part series of Music Reviews of the Progressive Rock band Rush. This is a band that has been around now for over 30 years, and has gone though many musical phases. I consider the bands 1990 releases as their "Contemporary period". Albums included are Presto (1989), Roll the Bones (1991), Counterparts (1993), Test for Echo (1996), and Different Stages "Live" (1998).
   
   With the prospect of working on the next new Rush album put on an indefinate hold by the personal tragedies that fell upon Rush's drummer, Neil Peart during 1997, Geddy Lee, the band's bassist, took it upon himself to go ahead and work on getting something out to the fans.
   
   Different Stages is Rush's fourth Live album up to that point, and in my opinion, the best of them all. It's the most comprehensive live set ever offered. Basically it's a live "greatest hits" package with live versions of some songs presented for the first and possibly last time. Different Stages comes mostly from Rush's Test for Echo Tour in 1996. That was the first time they played to fans with no opening act. It was billed as "An Evening with Rush" and what an evening it was! Awesome long shows running 2 1/2 to 3 hours long. They even played "2112" in it's entirety! Awesome. I saw the show at Lakefront Arena in New Orleans on December 6th 1996.
   
   There are two discs filled with Live Rush from that tour, and then, as a bonus, you get a vintage 1978 show recorded in London from the Farewell to Kings tour. This was originally recorded to be a radio show that was never broadcast. It's nice to here them play some of these songs from back in the day. A real treat for long-time fans like myself.
   
   This is a bargain set for around $22.00 filled with lots of great music.



5. You know it! Take it from this fan too, I saw them quite a few times back then and have heard every note on every release many times - THIS ROCKS! The version of each song is selected nicely and very strong, each disk is fantastic to me. None of the enthusiasm or talent is missing, you could even say they have just gotten better over the years. By the way, Alex Lifeson is one of the longest-standing and best arena-rock guitarists on the planet (have to leave room for other talented galactic string benders I may not be aware of). Neil & Geddy are still spoken of with that same regard as well. This bands impact is huge! Who said you slow down when you get older??? Just watch the Rush In Rio dvd if you need further proof ... the Vapor Trails material (the whole darned concert actually) on there shows a band just finding its higher self. They rocked Rio's world those two nights. The psychedelic connection has been strengthened lately too it appears, maybe a great new stage is about to present itself? One can hope. That Hammersmith disk from 78 is especially sweet, maybe my favorite single cd offered. I do have to say that this is a five-star release if there ever was one (in my opinion, I love it!). Enjoy on a BIG POWERFUL SYSTEM for full effect ~ ~ ~

5 comments about Royal Albert Hall: London May 2-3-5-6 2005.

1. The HD DVD arrived within several days in perfect condition. The quality of video and sound are superb! You can choose between Dolby 5.1 or Stereo for playback. I chose Dolby and felt like I was at the live concert. The attention to detail with the multiple camera angles is also amazing. This concert really brought me back. I have played it several times with friends (including musicians) and they're impressed with its live feel.



2. Anyone who appreciates classic iconic rock should NOT let this one pass them by. Defintitely the BEST purchase I have made on HD DVD to date. Clapton, Bruce, and Baker are still superb and are yet as good or better than 95% of the bands playing today. These 3 play so tight together you'd think they'd never broke up almost 40 years ago.
   
   The audio (dts 5.1) is icing on the cake along with the extremely sharp video. I was glad to see the video showcases each musician's talent instead of the odd psychedelic crap from the vintage tapes. The interview also provides an interesting inside look at how this reunion came together.
   
   I don't know if Rhino will ever release this on Blu-Ray, but if they don't, that will be their loss.
   
   Pick this one up and if you even slightly like Cream, you won't be disappointed.



3. I love this recording. I like the song selection and the photography is great. This comes out clear and crisp in HD. If you like Cream, you need to get this DVD!



4. Second attempt at ordering, also received a blank disk. Problem exists with the DVD production.



5. very nice case all sealed up but there is nothing on the dsc.. will not play in any of my dvd players.. very upset about this purchase so i probably will never shop amazon again.. also took about 9 days to receive product

5 comments about No Nukes.

1. Pretty boring stuff, except for the Springsteen track, which saves the day. Most of the artist featured on this album have concert albums that are far superior to the material found on this album.
   
   If you believe in the cause, are looking at this album as a historical document, or dig Springsteen's version of the Ryder medley, buy this album. If not, save your money.



2. Thank you, I got my item on time & I love it, it brought back many memories!!!!



3. Given the state of the Earth today, the sentiments of many of these songs are still current. This is an amazing collection of artists and songs - no matter how old you are!



4. I really liked this when it came ut on vinyl, but in retrospect, it was the cause, not the music. B. Raitt is grand, G Nash with an excellant Cathedral, J C Young, and the highlight to me We Almost Lost Detroit by the great Gil Scott-Heron. But the second disc is second rate. Edit the filler and it rates higher.



5. As a child of the 70's who grew up in a very "no nukes" home this album was on the turn table every night. What a great find for me all these years later as I start my own family. "Power" is one of the nicest, smoothest, most heartwarming songs every performed.
   
   The geniune love, care and respect these artists had for each other and mostly the earth and it's future generations pours through on every note.

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 For Earth Below/Live.

1. Robin Trower's albums reflect two things: great band but the singer Jimmy Dewar is VERY one dimensional and this gives that SAMENESS that plagued all their records and eventually destroyed them in the end. Instrumentally, the band is terrific - if you listen to them when Jimmy is NOT singing, well, it's fantastic. But - I don't know what it is - but he has this "voice wrapped in cotton" sound that never varies. Mick Jagger, Robert Plant, Steve Tyler,Sting, Jimi Hendrix, even Eric Clapton have a singing voice that gives them added dimensions, i.e. falsetto, low to high range, tenderness, agressiveness, etc. that gives the overall effect a great listening experience. Soulful singing is fine but without a melody you just have "soulful" and that's it - and that is boring. I do believe it may be the way he was recorded - close miked or something that did it. If you listen to their "live" album you get more variation with him but in the studio, it is a muffled soul voice that really goes nowhere and actually annoys me. Robin was at his best with Procol Harum. VERY emotional and well placed solos. You know - sometimes if you are a great guitar player - well, that's what you are. Like Mick Taylor. Leave it at that and don't pretend you are a band leader and a songwriter. This wrecked both of them. They should have both stayed where they were. Am I wrong? I mean - am I? Where did they wind up? In clubs? They both went from stadiums to--clubs. That's not progress. So - there you are.



2. I really rate "For Earth" at 5 but "Live" disappoints me. "Bridge of Sighs" one of the great albums and "For Earth" is a continuation of a very good thing.



3. By 1975 after the Success of his first two Albums, Robin Trower was either Loved or Dissed. If you were Lucky enough to attend one of his Shows, there is no way you could admit that anyone on the Planet was going to play with more emotion and fire than this Man with the bangs, that always dressed in white. If you were Thick, you would write-off the Amazing Talents of this Artist as an: "Hendrix Clone".
   
   I was in attendence in San Francisco at the Winterland Arena when Bill Graham made a Blunder. He placed Robin Trower, second on the Bill to Fifties Parody Rockers: Sha Na Na. Robin's Set lasted well over an hour, and almost all of the contents of: "Twice Removed From Yesterday" and "Bridge Of Sighs" were Performed. With Jaws dropped and still Gasping, over half the Audience left and headed Home. It was the Greatest Guitar playing, I have ever witnessed on any Stage, nobody had a Right to Headline over Robin Trower in 1974...Nobody.
   
   How do you Top, "Bridge Of Sighs"? Only Robin, himself could answer that Question. He simply continued writing Music and Playing Guitar, and in 1975, He released his Third Album: "For Earth Below". It is a worthy successor to the Greatness of his First Two Recordings. Except for the addition of a New Drummer; Bill Lordan, this is what we were all expecting from Robin, more Great Songs and more of his Incredible Playing.
   "Shame The Devil" sets the tone as a solid Rock/Funk Opener. "It's Only Money", is slow and spacey, and Robin uses his Effect Pedals to fly over you to find Notes that exist only out in those Galaxies that he is able to soar to. James Dewar with that gruff Voice is a counterpoint to Robin's Guitar, he has never been given his Due as a Great Vocalist, he gives each Number on: "For Earth Below", 150 Per Cent of his Talents. And the New Man; Bill Lordan, does an execellent Job as well with his Solid Playing and accents to everything featured here.
   
   Faster Numbers: "Gonna Be Suspicous" and "Alethea" melt together with the Slower Tunes: "Fine Day" and the dreamlike Title Track to make this a Well-Rounded Record. "For Earth Below" does not Top: "Bridge Of Sighs", but it is that Record's Equal, in every way.
   
   "Live" was brought out in 1976 and DOES show what Robin's music becomes when he Plays Live. It is my Favorite of his 70's Records. To hear "Daydream" alone will leave you Gasping, It is a Wonder to hear Robin and what he plays here is Haunting, and it is so full of Fury at the same time. When he held that One Note, {For Days} everybody at the Concert, I attended, was right there with him for the Journey and we could not believe this was happening. "Too Rolling Stoned" goes so much beyond it's Studio Cousin, as does "I Can't Wait Much Longer", that had Grown Wings since it's first appearance in 1973. The Studio Recordings are Fine, but they only HINT at what Robin plays in Concert. "Live" is a Must-Own, for anyone who likes Rock and Rock Guitar. And when you think about what is not included, it is indeed a Shame that the Full Concert has never been brought forth.
   
   This BGO Two-Fer Disc, is a Bargain. This is One, not to be Missed!



4. Reissued double set with post Bridge of Sighs studio album For Earth Below and unforgettable Robin Trower Live, now out of print with the exception of this double set. The CD format is not standard for the USA and would not play in my car's CD player. The set can be duped with Windows Media Player and you can burn a custom CD with only the songs you want to hear, which has become my preferred method for music on the go.
   
   The showstopper here is "Rock Me Baby" on the Live album. As good as Trowers original songs are, it's always a treat to hear the blues played full force with inspiring tone and authority. Having heard most if not all of Robin's material, including the concert clips from Youtube, this ranks as my all time favorite Trower cut. It's a rare event when a performance like this is captured on tape. It was one of those nights when everything came together in spectacular fashion.



5. robin trower for earth below. its a good, if not above average robin trower recording. a very even effort building upon the foundation laid on twice removed from yesterday and adding new guitar textures to a good blues rock sound all in all a very good record!!!!!!!!!!!!!!!!!!!!!! robin trower live! this is the one that put robin in heavy rotation on the a.o.r. f.m. radio. a great quick shot of robins live set up until the mid 70's. i wish they could find complete concerts from this era of robins career because he was on fire during this time.

5 comments about Reckoning.

1. the guys really tapped into something special during these sets. The music comes alive and the sound quality is phenomenal.This is One album I return to again and again, and i always come away with a deeper appreciation of the talent and genius of all the guys in the band. Cassidy is one of the best, but then all the songs on here have a little something extra that makes it so listenable and truly enjoyable on many levels. One album I would have in my stranded on an island survival pack.



2. Whenever you think of what your "favorite" album is, it's always a very tough, or basically impossible, decision. This album consistantly tops my list. Every track shows the Dead at their best; heartfelt vocals, beautiful solos and instrumental work, a set list that seamlessly blends original and traditional material.
   
   Critics of the Dead will often complain of miscues due to the live performance, excessive "diddling", or sub-par recording quality. You'll have to stop complaining with this album. Was it edited? Who cares.
   
   If you're a fan of acoustic, folk, country, or classic rock and roll, you owe it to yourself to pick up this phenomenal work.



3. I dont know what you are but dont put swastikas on light shows. It offends my sensibilties. Microsoft had its' head exmained. Their video light show that plays when you listen to the music is a real outrage!
   
   Viva Toledo!



4. This was my first Dead album (live or studio), and I still enjoy it. I love American folk/old country music, and the Dead were great practioners of this music (check out their studio work on American Beauty and Workingman's Dead). Their live stuff usually concentrated on long jams (some of which were wonderful, others not so good), but here (and on Dead Set, a companion piece to this album), they concentrated on great arrangements and singing with soul and depth. There are a lot of wonderful songs here, such as Dire Wolf (better than the studio version), George Jones's The Race Is On, Dark Hollow, the hilarious, wonderful Monkey and the Engineer, and a fine version of Ripple that concluded the original album. For those who don't really dig the Dead's long jamming (there are a lot of people who fall into this category), I suggest buying this album. I don't have the CD reissue, just the original LP, but the original LP is wonderful.



5. I had an album recording of this on cassette tape years ago. Then in the early nineties I bought a CD version, and was a little (just a little) dissapointed to discover that "oh, babe it ain't no lie" wasn't on it.
   Not only does this double CD have it, but it also has an alternate take.
   In addition to all that, I found the second disc a great addition, particulary tunes like "sage & spirit," and "heaven help the fool." This is a great buy!

5 comments about MTV Unplugged.

1. 1st things 1st..In the Past MTV Uplugged has brought in the best musicians and combined them with there own flavor..Bryan Adams has proved himself as a creative musician by putting a new kick to his songs. What I realli love about this Unplugged is that bryan didn't sing all of his hits. "Summer of 69", "Heaven", "Cuts like a Knife".were the popular songs there. The other songs were from his other cd's..There was one song that I can remember that he wrote specificly for unplugged and that was "I'm Ready"..what a song..so even if your not a bryan adams fan..but a mtv Unplugged fan..I say get this on DVD and CD..the instrumental are terrific..so i hope u all like my review



2. I'm a big Bryan Adams fan, but this is the first time I've bought his music. None of the songs I knew were on this CD, but I like just about everything.



3. I am please with this cd, it offers a different sound of many very well known songs, Bryan Adams and friends offer a top notch perfermance.
   The sound is very good and the choice of track is perfect for this kind of performance, it helps us discover a different side of Bryan Adams.



4. Acoustically, this is a gorgeous album. I didn't think it was possible, but it is. "When You Love Someone" is my most favorite song from Bryan Adams and the only one I have ever actually purchased. I love that song because I have lived the lyrics far too many times, and keep hoping that one day I will "learn to do things better." But at least, after hearing Brian's take on "when you love someone" I realize that I'm not the "only one out there" (stupid or not). For that I am eternally gratefully and forever in his debt!
   
   
   [ BRYAN ADAMS Lyrics ]
   
   "When you love someone"
   
   When you love someone - you'll do anything
   you'll do all the crazy things that you can't explain
   you'll shoot the moon - put out the sun
   when you love someone
   
   you'll deny the truth - believe a lie
   there'll be times that you'll believe you can really fly
   but your lonely nights - have just begun
   when you love someone
   
   when you love someone - you'll feel it deep inside
   and nothin else can ever change your mind
   when you want someone - when you need someone
   when you need someone...
   
   when you love someone - you'll sacrifice
   you'd give it everything you got and you won't think twice
   you'd risk it all - no matter what may come
   when you love someone
   you'll shoot the moon - put out the sun
   when you love someone



5. I enjoy high end home audio, so while auditioning a set of $20k+ speakers the owner of the store popped in this CD. I'm super familiar with Adams and have heard him on great systems in the past, BUT this particular CD has some exceptional tracks in terms of separation, imaging and soundstage that are extremely uncommon on live recordings.
   
   Even though I'm not a big fan of Brian Adams this cd has some "high end" qualities that I couldn't pass up, I had to buy it!
   One of the best recordings of "Heaven" that I've heard.

5 comments about Last Exit.

1. I am a devoted Traffic fan and my love for their incredible music seems to grow stronger as time goes on. I saw the original Traffic trio perform in 1968 and still count it as one of the greatest of my live concert experiences ever. I have devoured all of the fantastic Traffic Remasters previously and Last Exit sounds as good or better than the others. I cranked up Shanghai in my car and was completely blown away by the perfection of writing, playing, singing and sound of this masterpiece. I wish there was more "hidden treasure" Traffic in the vault for future release but the fact that there probably isnt only makes the available jewels even that more precious.



2. As the author of the Jefferson Airplane book "Take Me To A Circus Tent" and a former radio disc-jockey, I am often asked to write and or discuss various recordings from the 60's and 70's.
   
   The record company's decision to release "Last Exit" a collection of previously unearthed Traffic studio and live tunes turned out to be an unexpected gift for all degrees of fans.
   
   The collector that must have every note could never be disappointed with the assortment of sounds that seem all over the globe and cohesive at the same time. Those that are somewhat into the band or looking for songs they heard on the radio will be happy with the inclusion of Shanghai Noodle Factory and Medicated Goo.
   
   The album opens with a wonderful bit of psychedelia called "Just For You." The vocals pay homage to the fantastic British Invasion sound circa 64-67.
   
   Shanghai Noodle Factory is one of the finest tunes that the band would leave us. Complex and catchy at the same time. There is a certain intensity in the delivery by Steve Winwood.
   
   Something's Got A Hold Of My Toe lets the music do the talking. A clever riff and perfect improvisation makes this worthy of a repeat listen.
   
   Withering Tree has Winwood using the vocal style that would be synonymous with Blind Faith. The words come from the heart and the instrumentation provides the perfect backdrop.
   
   Medicated Goo complete with a bit of funk and lyrics that remain with you was a Album Rock radio song for numerous years (Well deserved).
   
   Taking a page from Cream's playbook the record company mixed live and studio tracks for our pleasure. Recording at the Fillmore West in San Francisco you can feel part of the festivities with Feelin' Good and Blind Man. An opportunity to understand Traffic's gift to shine in and out of the recording studio.
   
   If you missed the exit the first time around the present is as good as any to make up for lost time.
   
   Enjoy the music and be well,
   Craig Fenton
   Author of the Jefferson Airplane book "Take Me To A Circus Tent"



3. Dispite some of the negitive press it gets for being thrown together by the record company, this is actually pretty good. The opening song hasn't aged well but everything else is pretty great.Shanghai Noodle Factory, Withering Tree and Medicated Goo shows Traffic as about as good as they get. Now about the live performances, these get ragged on quite a bit, however the new remastered version they've never sounded cleaner. The quality stems for how they were recorded-basic 2 track with no being able to fix it in the mix. The performances are all top notch and of songs that are not currently available elsewhere. Sure I wish Chris Wood was louder in the mix and Stevie Winwood's organ wasn't turned up quite so loud. Feelin' Good is wonderful and full of emotion. Blind Man shows how great they were at taking a blues tune and turning it into something special. You'd never guess that they didn't write these two tunes.



4. Let's begin at the beginning. Steve Winwood is a total talent and a prodigy. You can rate him as a composer, bandleader, musical innovator, guitarist, organist, and especially singer and he comes out on top in every category. In rock that's almost unknown. This blather about Traffic's second album being their best because of the dynamic tension between Dave Mason and Winwood is eyewash. Mason is a folky annoyance.
   
   When Winwood, still a teen back then, stepped up with Spencer Davis it was clear there was a new sheriff in town. The first Traffic album is amazing. When Last Exit came out, the third, nobody knew it wasn't their last. What about the complaints that Last Exit is a dog's breakfast, odds and ends tossed together? So what? On the LP, one side was live, the other was studio. Big deal, not exactly uncommon.
   
   Now, the songs. Just For You - throwaway fluff from Dave Mason, fortunately the only one of the disk. Shanghai Noodle Factory - excellent funk, great to sing along, love those lyrics. Something's Got A Hold Of My Toe - this is the one every reviewer gets wrong. Rather than being some random snippet of tape lying around the studio it is 2:14 of driving rock guitar and back beat that really doesn't let go of your toe. Withering Tree - classic Winwood doing pretty as only he can. Medicated Goo - man, if you can't feel this one in your funky sneakers somebody gave you a soul-ectomy.
   
   Then the big finish, Feelin' Good and Blind Man, 18-minutes of Traffic live at the Fillmore West. Sound quality is admittedly low but this shortcoming is vastly overshadowed by the performance, absolutely the best live Traffic ever. What Winwood does to Feelin' Good is simply beyond belief, he turns it inside out and puts a brand on it. As to Blind Man, that's the blues, big, bad, and beautiful. Just a fantastic CD. That's it from the Traffic-copter, now back to the studio.



5. Traffic's third album, "Last Exit," was originally intended to be the group's final album (hence the title), as Traffic leaders Dave Mason & Steve Winwood were splitting up over creative differences at the time, and because of it, both men decided to put Traffic out to pasture. Thankfully, this did not happen, as Winwood, flautist/saxophonist Chris Wood and drummer Jim Capaldi unexpectedly revived Traffic with their 1970 classic, "John Barleycorn Must Die" (but that's another review). In the meantime, "Last Exit" is a great odds-and-sods Traffic album, containing several rare singles like the lighthearted "Shanghai Noodle Factory" and the groovy "Medicated Goo," and a pair of barnburning, jamming live tracks (recorded at the Fillmore West) in the form of "Feelin' Good" and "Blind Man." "Last Exit" is an excellent album that no Traffic fan should do without.

5 comments about Crossroads 2: Live In The Seventies.

1. Oh My God... the cd is excellent. Eric Clapton is with out a doubt the best guitarist of all time. this cd, which takes you back- let me tell you I thought I was sitting in the audience smoking weed - shows how absolutely wonderful he is, and how we miss that style of rock, GET THIS CD- it's great.
   You won't be disappointed. I also bought his new autobiography, but I can't stop playing the CD. Side 2, in the late 70's,the original Layla, etc., great. I can't say that enough- GREAT.
   I saw Eric in the 70's -live- and I cannot forget it- the best concert of all times, and I have seen everybody.



2. Being a long time Clapton fan, I can say with subjective certainty that the Tusla backup band, as heard on this retrospective, was the best that ever stood behind the man. In many cases, he stands in the background while the rhythym section just cooks- "Little Wing" and "Badge" serving as notable examples. Terry is superb both as a rhythym and lead guitarist...never again, not with Albert Lee, not even with Mark Knopfler, would the interplay be THIS smooth, THIS breathtaking, THIS raw. Oldaker is reminiscent of Levon Helm or Gene Parsons, and leads that band charging through numbers with his perfect touch. Dick Sims, on organ, sounds incredible, with his playing hovering between the background and foreground, much like Clarence White's guitar playing in the Byrds. It's there, and it's perfect in every case. Same for Radle- by this time, Radle had been Eric's longest standing bassist and knew Clapton's habbits. Listen to how spotlessly he counters them. And Elliman and Levy provide perfect harmony.
   In sum, Eric's best band and Eric's rawest and BEST playing. Never again would he reach these heights. Ever.



3. Being a long time Clapton fan, I can say with subjective certainty that the Tusla backup band, as heard on this retrospective, was the best that ever stood behind the man. In many cases, he stands in the background while the rhythym section just cooks- "Little Wing" and "Badge" serving as notable examples. Terry is superb both as a rhythym and lead guitarist...never again, not with Albert Lee, not even with Mark Knopfler, would the interplay be THIS smooth, THIS breathtaking, THIS raw. Oldaker is reminiscent of Levon Helm or Gene Parsons, and leads that band charging through numbers with his perfect touch. Dick Sims, on organ, sounds incredible, with his playing hovering between the background and foreground, much like Clarence White's guitar playing in the Byrds. It's there, and it's perfect in every case. Same for Radle- by this time, Radle had been Eric's longest standing bassist and knew Clapton's habbits. Listen to how spotlessly he counters them. And Elliman and Levy provide perfect harmony.
   In sum, Eric's best band and Eric's rawest and BEST playing. Never again would he reach these heights. Ever.



4. This collection shows Eric at his best and his worst. These were days fueled by a lot of alcohol...and on some songs it shows. But for the most part this is a great collection of some of his live work in that era. Some of the jams are wonderful, "Badge" and "Eyesight." He's simply magic with the guitar. However, some, like "Crossroads," sound like he doesn't know which of the twelve blues bars he's supposed to be singing in (that was an unintentional pun.) Juxtapose this with "24 Nights" - this collection is a gritty, loose sound, while the latter is more of a clean, polished performance (that was an intentional pun). I love EC and hope he continues to release his live vault...no matter which of his phases it come from.



5. Someone once told me that Eric is best listened to live and this set proves the point!
   Of course there are a few dodgy tracks and yes, I agree, there should have been other tracks added and others omitted.
   But!
   This is the master at his best, it doesn't get any better than this.
   Favourite tracks, too hard to say which are my favourites but there is some wonderful guitar playing on all tracks.
   I have been an Eric fan since the Yardbirds and this CD set takes pride of place in my collection