2 comments about A Cappella Tour.

1. Why is this guy not venerated by our society as one of its greatest artists? Todd is singular, an irrepressible force of nature, a creative font of musical expression. Buy this album. His a cappella work is astounding, taking the form in a new, vital, direction. The live work matches, if not exceeds, the careful, precise brilliance of the album A Cappella.



2. The studio album that inspired the tour (Acapella) was a very rewarding trip for all Todd fans. Todd's voice has always been one of his biggest assets, and an album based purely around this god given gift was well overdue. This live 2 cd set is a mixture of half Todd on his own, with either a piano or guitar (not too disimilar to the 1982 tour) and reworkings of old songs using an eleven voice choir. The choice of songs aren't too predictable, and there are a few surprises thrown in. The real standout tracks for me are, "It Wouldn't have Made Any Difference" and "Love Is The Answer". It's really great to hear "Real Man" treated in the Acapella style. The only downside is Todd's voice isn't always loud enough, and sometimes sounds a little strained. But, if you love Todd and his amazing voice, you'll love this live outing. There's plenty of Todd just talking to the audience, and even an audience participation number! I'm not a collector, I just want to hear the stuff he's done, but this is a real must have for anyone with even a passing interest in the missing link of modern musical culture. I understand there are plans to release 'Deface The Music' live and 'Oops Wrong Planet' tour cds. Get the Acapella cd first.

2 comments about In the Beginning.

1. Very raw and gritty... once you listen to this the studio songs will never sound the same again !! The songs on this album are full of spirit and really get you going - absolutely worth buying.



2. Purported to be the earliest recording ever released by The Animals, this live CD displays the roots of this roots band, ever gritty and raw. The Animals were so-named because of their wildness on stage and earthy music by the crowds whom they always worked up at Newcastle's Downbeat Club in England, where this set was recorded in late 1963. All of the songs except "C-Jam Blues" are covers of R&B legends: three by Chuck Berry, two by John Lee Hooker, and the other will not be hard to figure out, not just by the title but the trademark "Who Do You Love" signature. The best track is the opener, "Let It Rock," fittingly chosen as such, in which Alan Price's organ leads the charge into an evening's solid performance. Sonny Boy Williamson, the evening's headliner, played drums with the group on "C-Jam Blues." This CD is worthwhile as a collector's item for sure, but these classic roots songs will always to some degree be timeless and enjoyable as performed by this great band.

3 comments about Live at Hammersmith 1984.

1. ...then again, like Tomich93, I saw this tour in Chicago, so this CD is a kind of souvenir.
   
   No, it's probably not the best Tull performance ever, but those probably never got recorded.
   
   I would say that "Bursting Out Live" is a better performance than this, but this is from a different era, so it depends what you like. "Bursting" is the classic Tull period, "Hammersmith" is more on the modernizing side or whatever you want to call it.



2. This comes from the tour to support the album Under Wraps in 1984. In the middle of the tour, Anderson would develop serious throat problems. The rest of the tour was cancelled and Jethro Tull was sidelined for almost 3 years. Contrary to what someone has said, you can hear that his problems were starting by the time this was recorded.

   When this BBC show was originally played in the US, it was an hour and a half long (including commericials). There was 65 minutes of just music. From the track listing shown here, it appears that a number of the tracks are missing from the original BBC show, including, Heavy Horses, Dharma For One, Aqualung and an excerpt from Thick As A Brick (not just the 20 seconds found at the end of Too Old to Rock and Roll).

   This is not one of Jethro Tull's better live performances. The songs are muddled and muffled, and there is very little energy or innovation in many of the tracks. This is one case where the studio versions are actually better than the live versions. You would be better off finding any of Jethro Tull's live albums. In addition, the best songs from the show were left off of this album. The version of Aqualung was one of the best, with a searing guitar solo.

   John Evans was no longer with the band at this time and he is sorely missed. Most of the songs are overdone with synthesizers, as was the style of music in mid-eighties. There is nothing wrong with adding synthesizers to the music, as long as it is done right. Evans heavy use of synthesizers during live versions of Passion Play was appropriate and amazing. On this show, they are played poorly and override the music. It was the sign of the times...one of worst periods in the history of Rock and Roll.

   Usually, Jethro Tull is fantastic in concert. Their Thick As A Brick tour is a gold standard for concerts. They opened with Thick As A Brick, stretching it out to an hour and twenty minutes (after which, Anderson would say, "...and now for our next number"). The whole thing was wildly entertaining, with innovative solos and a bunch of theatrical bits. Anderson's flute solos were very wild. They then ran off a blazing series of songs from Aqualung. The energy and jamming was amazing.

   The following Paasion Play tour was also very innovative. With heavy emphasis on saxophones and synthesizers, the sound was different from anything Jethro Tull has ever done. Passion Play live was much better than the album.

   Up until the eighties, Jethro Tull would always play around with the songs, changing them drastically from the studio versions. There would be blazing solos from Anderson, Barre and Evans. They would run songs to together or overlap them.

   On this ablum, Jethro Tull does play around with some of the older songs like Locomotive Breath and Living In the Past. But the newer material is played much like the studio versions, only not as well. This album is a total disappointment. Fortunately, the group would return to form when they started touring again in 1987.




3. Jethro Tull were getting bashed in the early 80s because of their 'synthisized-progressive rock-new wave' style. I, for one, NEVER gave up on Ian Anderson & co. His willing to try something different on all Tull albums never comes up short! He's the master of lyricism!

   As for this recording, it's the best live album I have ever heard ! It has a wonderful mix of what Tull sounded like in 1984: Electronic keyboards, fast flute solos, and a screaming guitar by Martin Barre. Ian's voice never sounded better, unfortunately because of THIS tour, his voice/throat problems began.

   This is a fantastic CD and I would hope the person reading this review can locate a copy. I found mine at a used CD store. With any luck, this will be reissued sometime soon. I'm afraid MY copy is going to wear out.

1 comments about On a Mardi Gras Day.

1. I've been a fan of the good Doctor's for years, and I *still* think this is the best recording he has ever made. Great piano, backed up by a good traditional jazz band, plus a decent electric guitar.

1 comments about Extended Versions.

1. For me, Peter Frampton is one of those artists whose in concert performances surpass his studio work. Frampton's classic mid-1970s "Frampton Comes Alive" remains one of the greatest live rock albums ever made. To this day, Frampton continues to tour, performing with as much energy and emotion of his superstar days.

   "Extended Versions" is a stripped down and resequenced version of Frampton's "Live in Detroit" CD, released in 2000. Instead of 14 tracks you get 10, with the "Introduction," "Oh for Another Day," "Nassau," and "Can't Take That Away" being dropped for purposes of this "budget" CD. Frampton and his bandmates sound terrific here and this CD is well worth your consideration if you do not already own "Live in Detroit."

2 comments about Unplugged.

1. The debate whether, when learning to play the guitar, you should begin with an acoustic or an electric instrument, is probably as old as the history of the electric guitar itself; regardless which event you associate most strongly with its invention, and which of the enterprising souls who began experimenting with the amplification of the six-string sound way back in the 1930s you most credit therewith. Many find the sound of an electric guitar more impressive than that of an acoustic; and I'll freely admit that few pieces of music make my inner membranes resonate as instinctively as those featuring a really well-played e-guitar solo. Purists, however, argue passionately in favor of the acoustic guitar, and maintain that you're simply not going to learn to play "cleanly" if you don't start out that way. And there is definitely something to be said for that, because it is much easier to conceal a sloppily-played chord behind an electric guitar's amplified volume or a clever-sounding solo (or behind both) than in the unadulterated sound of an acoustic guitar. The discussion about the early 1990s' trend towards "unplugged" recordings centers around similar arguments. Some pieces of music are of course simply not meant to ever be played on an acoustic guitar. Others, however, live from their amplified soundeffects more than from their intrinsic musical values, and they simply fizzle when reduced to their core and performed acoustically.
   
   And then there is that rare category of pieces which sound equally fantastic both ways, and that rare category of players who manage to dazzle you regardless what type of instrument they're playing. Eric Clapton is such a musician, and some of the songs on the playlist of his "Unplugged" album are such pieces of music. Most notable among those, of course, is "Layla," Clapton's intensely personal dedication to one-time wife Patty Boyd; written in 1970 and at a time when he saw no chance of ever winning her for himself. From the memorable opening riff of the song's original recording to its guitar solos, screaming with despair, it is extremely hard to imagine how this song could ever work in an acoustic version. Yet on a whim and at the last minute, Clapton decided to include it in the "Unplugged" playlist. And transposed by a full octave, reduced to a languid and almost upbeat, somewhat jazzy blues rhythm, it works out wonderfully; and Layla/ Patty finds herself miraculously transformed from an object of desire to one of reflection instead. In fact, that track alone, which won the 1992 Grammy as Best Rock Song, turned out to be responsible for a good share of the enormous popularity of this album which (together with 1989's "Journeyman") reestablished Clapton as an artist to reckon with, after his career had threatened to slump over the course of much of the previous decade. And similarly responsible for the success of "Unplugged" was the inclusion of another and more recent piece performed from the bottom of Clapton's soul, the triple Grammy winning "Tears in Heaven;" dedicated to his son Conor who had tragically died after falling from the open window of a 53rd floor apartment in New York City the preceding year. (The studio version of that song is contained on the soundtrack of the movie "Rush," likewise released in 1992.)
   
   But "Unplugged" is to large extents a classic blues album, from the twelve-bar rhythm of Bo Diddley's "Before You Accuse Me" (featuring only Eric Clapton himself and one of the most modest and supremely talented living guitarists, Clapton's trusted friend and touring partner Andy Fairweather Low) to Jimmy Cox's "Nobody Knows You When You're Down and Out" (the second cut besides "Layla" from the famous album recorded under the name Derek and the Dominos), Delta Blues king Robert Johnson's "Walkin' Blues" and "Malted Milk," Jesse Fuller's upbeat "San Francisco Bay Blues," and the traditionals "Alberta" and "Rollin' and Tumblin'" (the latter, here attributed to the great Chess blues man M[cKinley] Morganfield a/k/a Muddy Waters, who made it famous). Three more of Eric Clapton's own compositions stand out among the songs which round up the album's playlist: the introductory lighthearted "Signe," which reflects his love of Brazilian music, the melancholic "Lonely Stranger" and finally "Old Love," a cut from 1989's "Journeyman."
   
   Few white artists understand as well as Eric Clapton that the blues thrives, first and foremost, on a live atmosphere - preferably in a smaller setting like the one used for this recording, which allows for plenty of spontaneous interaction between stage and audience. And few artists are as unafraid of the gaffes that are almost invariably associated with a live appearance, even in the case of Clapton and his outstanding backup band; and manage, time and again, to turn them into a light moment. The garbled beginning of "Alberta" is an excellent example here; you can almost hear Clapton grinning when he says "Hang on, hang on, hang on" and simply starts over. Similarly, "Layla" is merely introduced with the words "See if you can spot this one" - and instantly greeted with the enthusiastic cheers of an audience which doesn't even need to hear the famous five notes of the song's introductory riff to recognize it.
   
   Asked whether he, too, would ever consider an "unplugged" appearance, e-guitar legend Jeff Beck, who with Eric Clapton and Led Zeppelin's Jimmy Page forms the trinity of "guitar gods" that emerged from Great Britain's famous Yardbirds, reportedly once responded that he couldn't imagine such a thing because it would make him feel "naked." And listening to Eric Clapton's "Unplugged" album, you can't shake the impression that Beck does have a point. These are pure, naked blues songs, supremely performed - and a pure joy to listen to.
   
   Also recommended:
   Layla and Other Assorted Love Songs
   Eric Clapton's Rainbow Concert
   Crossroads
   One More Car: One More Rider (CD & DVD Set)
   Riding with the King



2. You'll notice that Amazon has TWO listings for this Audio CD: the one you are looking at (2002 edition), and the seemingly older Unplugged [LIVE} (August 25, 1992 edition).
   
   I went to my local Border's store to look at the differences. It appears that the 2002 edition is just a reprint of the 1992 Warner/Reprise edition. The CD's on the inside look identical! Also, at Borders they are the same price (as of this writing, about $17). So if you are shopping through Amazon, I suggest the 1992 edition.
   
   All the songs on this CD have received extensive radio play. It is a live performance, and both the music and the recording are excellent. If you are just looking for screaming, high-pitched guitar -- forget it. This music has soul, expression, and skill worth savoring again and again.

5 comments about Bruce Springsteen & the E Street Band Live - 1975-85.

1. Live albums. Some artists shine. The live recordings show why they are so popular when they hit the road. Others should run screaming when their record label or their manager suggests a live project! Springsteen is one of the former. He and his band have always had a reputation as a killer live act. Live 1975-1985 shows that their reputation is well deserved.
   
   By the time these cds were released just before Xmas, 1986, Springsteen had made seven records, including one double. This is sixteen sides of music. Each was a classic. There are about forty songs on this live collection. If you subtract five non-Springsteen songs we are left with thirty-five live songs. That would be about two songs for each LP side! Thus, these three discs should contain la crème de la crème. Discs one and two certainly get us off to a great start. The cuts are primarily from concerts heard between 1975 and 1980. Unfortunately, thereafter, for me at least, the set runs out of steam a little as we are given seven songs from Born in the USA - my least favourite of his first seven records. However, all in all, I shouldn't quibble with the song selection. After all, my favourites are not necessarily yours.
   
   The singing and the playing are, as one would expect, first class throughout. Bruce is always in good voice. The E Street Band is as tight as it is in the studio. The balance between vocals and instruments is mixed perfectly. The base and drums rumble deeply, the piano tinkles brightly, the vocals are clear, the guitar solos are crisp. All is in balance. The pacing of the songs, often so screwed up in live performances - too damned fast - is right on. Several songs are actually slowed down to great effect (e.g. Thunder Road).
   
   Live albums are often only for the diehard fans. This set is an exception. If you own no other Springsteen records and you are looking for an introduction this would be a great start. I cannot honestly say that I am a huge Springsteen fan. Although I have nearly all of his releases I do not think about him the way I think about, for instance, Van Morrison or Elvis Costello. Having admitted this, I must also admit that every time I spin a Springsteen record I am surprised by my reaction. I start to listen and expect to enjoy the experience. I end up believing that he is one of the great talents of all time.



2. This album has taken all the best live performances and put them into one album... since they are all live the have woven the tracks from one to the other seamlessly so this album seems like a live concert...
   great album.



3. The BOSS is the best in the BIZ. I love his music and I finally wore out the cassette copy of this music I recieved from my sister back in the early 90's. I am sure I will listen to this CD for decades to come.



4. 
   I ordered the boxed set of Springsteen Live: 1975-85. I had this set on casette years ago when it came out. I literally wore it out.
   This item was delivered to me promptly and I am well on my way to wearing it out....Thank you .....Velma



5. The product arrived in good time and was exactly as described. I wouldn't hesitate to buy again from this vendor.

1 comments about Live at Wembley '86.

1. Originally released 1992. This concert was held a year after Live Aid, from The Magic Tour. Nobody thought then that it'd be the last. Recommended over "Live Magic". I have the U.S. version, though.

1 comments about Live Breakdown.

1. The front-cover says "Live".
   The back-cover says "Live".
   Even on the cd it says "Live".
   But the fact is that this is no Live album.
   It is simply the original and alternate studio tracks
   overdubbed with live sound (clapping,screaming etc.)
   I think this is a very disappointing release,because
   of the false statement and the fact that there is
   no concert.

1 comments about Great - Live.

1. This is one of the first ever live recordings of Fleetwood Mac, back when they were mainly the blues, along with Cream, Alexis Korner, early Black Sabbath, and John Mayall (Mac is basically a Bluesbreakers spinoff). It was a different animal from the lineup you can now hear on the oldies station. This album is mainly blues covers, including one of Elmore James, an early influence on Peter Green. Some of these were never done in the studio by the band, so this is one for the hardcore fans.
   The sound quality is not all that great, like the others said, but this was forty years ago, and they also probably didn't have a large budget for what would be hi-tech for that day. Maybe this was recorded for release but maybe Blue Horizon didn't think they were ready for their own live release (though they shared a couple with other blues acts).
   The cover is from 1970 with Danny Kirwan, but he didn't join the band until a few months after this show.
   This album has been reissued a number of times, with different covers and names, and is usually a budget item like this. This is more of a gray area release. It's not a bootleg, yet it's apparently not an official release either approved by the band.