5 comments about It's Only Rock 'N Roll.

1. Honestly, I don't see why this album is so disagreed upon whether it is a good one or a bad one. To me, all the tracks on this album are superbly done. It's like the Stones were on a full winning streak with each song.
   
   I believe it's Mick's last go with the Stones, and he definitely left quite a mark with this album.
   
   Loved listening to it.



2. I don't care how old you get, you're still hot.
   
   I used to compartmentalize my life ~ blog here; reviews there ~ but I now understand they are the same. Or, better put, the latter are more honest. You see, I have much stronger emotions for records than people. (Does Mick Jagger get aroused when he looks in the mirror? I know I do.) When loving is life, that sure happens, then, as I see it, people are best considered, remembered, honored and expressed through records. Does any of this make sense, or do I just tell Mark Prindle the news? Anyway. Back in the summer of '74 or so, there I was, loser teeniebopper, my girlfriend dropped me and, holed up in my room, my parents wanted me to "see" a shrink 'cause I didn't play sports or something or the other. Dour as it all seemed, I heard "It's Only Rock 'n Roll" over my 6-inch radio speaker and it saved my skin. Same thing now, I'm almost 50, failed career, failed marriage, in a New Age rehabilitation camp, can't relate to anyone, holed up in my room. But, late at night, hopped up on coffee & lollipops while I do my silly piecework, I'm all air guitar and microphone posing. My inscribed ipod has kept me sane. Still immature, still self-centered, still insolent, still alive. Which is more than anyone can say about Terry Knight but, you know, I believe he woulda understood. So, there it is, this is my first love poem to my ex-wife since, what, 12 years ago. Not that she would care but, hey, neither do I.
   
   And, yes, I am sober right now.



3. This is one of the better Stones' albums after there long winning streak, culminating with "Exile on Main Street" and "Sticky Fingers." The Stones, then, included Charlie Watts, Bill Wyman, Mick Taylor, Keith Richards and Mick Jagger. Lots of their friends joined in this work, too, including Billy Preston, Nicky Hopkins, Blue Magic, and the 6th Stone, Ian Stewart (among others).
   
   The first three songs are all wonderfully played and sung. The CD starts off with a hidden gem, "If You Can't Rock Me." This is followed by a nice cover version of the Temptations' "Ain't Too Proud to Beg." Then, the eponymous "It's Only Rock n' Roll." One interesting sidebar: I just saw from the notes included with the CD that the inspiration for that song was none other than Ronnie Woods, later to play lead guitar with the Stones after Taylor's departure.
   
   There are really no duds on this CD. Other songs that I had forgotten over the years sound pretty good to me! "Till the Next Goodbye," "Time Waits for No One," "Luxury," "Dance Little Sister," and "If You Really Want to Be My Friend." The raucous and rude "Short and Curlies." The final cut is a raggedy and provocative tune, "Fingerprint File."
   
   Anyhow, listening to the whole work again after a long hiatus suggests to me that this was an awfully good work, better than I had remembered. So, for Rolling Stones' fans, a good addition to their catalog.



4. Following the trippy decadence of "Goat's Head Soup" the Stones tried to come up with new material that had that classic Rolling Stones sound for 1974's "It's Only Rock and Roll." Although an uneven attempt, IORR is still a far cry from a bad album. In fact, most of it is as good as what any other rock band was releasing in 1974. Sensing that perhaps "Goat's Head" was a tad too murky and 'drugged out' to penetrate, the Stones kick off the album with 3 songs that were of upbeat tempo so as to rekindle the fire that was mostly absent from the year before. Let us not forget that this was the time when artists kept up a frantic pace of writing, recording, touring and releasing an album of all new material just about every year and if you take into account that "Exile" was a double album, this is the 5th record of new material from the Stones in 4 years. Today, it takes bands over a decade to accomplish that. In retrospect it's not hard to see that the Stones may have been a little run down by the mid seventies.
   
   "If You Can't Rock Me" is a great opener, "Ain't Too Proud to Beg" is a good cover of the temptations song (not as good as "Imagination" 4 years later), and the title track is a Stones classic. Some of the problems that began rearing their ugly heads on "Goat's Head" are present on here as well..and that's the fact that the songs are quite excellent, but sound like songs the Stones have already done better somewhere else. The record as a whole has a sound of the Stones trying to sound like the Stones.
   
   The next song, "Till the Next Goodbye" is a slow acoustic ballad reminiscent of "Wild Horses" without any of the magic that made that track so good. In fact, I happen to prefer the B side to the single version of IORR titled "Through the Lonely Nights" over this song. After that we are treated with the achingly beautiful "Time Waits for No One", the Stones' best attempt at a reggae song in "Luxury" and a good Chuck Berry styled rocker in "Dance Little Sister".
   
   "If You Really Want to be My Friend" continues in the vein of the soul ballads that were present on "Exile" ("Shine a Light", "Let it Loose") but never reaches the climax that those songs had and "Short and Curlies", as the title suggests, is a complete throwaway. The record does conclude on a strong note with "Fingerprint File" which is a funky wah wahed masterpiece played by Richards. It really closes out the record on a strong note.
   
   This would be the swan song for Mick Taylor and a classic period in the Stones' history would come to a close. In many ways the Stones have become victims of their own success in that everything they release is compared to something from their classic period of 1968-1972 and that's just not reasonable. No one can run a marathon forever. Time waits for no one. "IORR" like it's predecessor "Goat's Head Soup" have been unfairly criticized for this reason. As they are, taken individually, they are GREAT rock and roll albums but they lack that extra something that makes a record classic. Somehow we've been trained to believe that, with the Stones at least, if it's not a classic it's not worth the time and nothing could be further from the truth. If you're a fan of their sound there is always something worth hearing on all of their records.
   
   And "It's Only Rock and Roll" IS worth hearing if you're willing to forget the comparisons and just LISTEN to it based on it's own merit.



5. Just another brilliant album from the greatest band in rock history. Not a weak track on the album. Like Goat's Head, Mick's vocals are adventuresome. Like rediscovering an old friend these 70s Stones albums are just a fantastic treat!

5 comments about December's Children (And Everybody's).

1. The first thing that strikes me as I look at the cover is how young the Stones looked back in the mid-1960s! It's amazing how well they have maintained their level of performance even as their faces now show their age. The second thing is that the center of this work is "Get Off of My Cloud." It was playing so widely that, in the middle of my first year living in a dorm at Bradley University, all sorts of variations on the song took place. I remember one of my floor mates, for example, telling someone "Hey, hey, you, you, Get out of my room." And everyone chuckled, knowing that Jim was riffing from this song.
   
   This CD/album has no thematic coherence. It is a set of songs, most recorded in the studio plus a bit of live music, some covers, and some original Stones' tunes. Still, it's nice to revisit the raw energy and raw playing of the young Rolling Stones.
   
   The CD starts off with a cover of Chuck Berry's "Talkin' about You." They do a good job here, and display a strong blues flavor to their playing and to Mick Jagger's singing. A nice start to this CD.
   
   The Stones began their career as a group focusing on the blues. One of the most important bluesmen of that (or any other) time was, of course, Muddy Waters. "Look What You're Done" shows the Stones up to playing a song by one of the masters of the genre.
   
   And then, "Route 66," a live version. Sound quality muddies what I hear when I listen; the sometimes shouting by the audience drowns things out. But I can tell that the Stones are playing energetically and Jagger's singing is fine.
   
   And, of course, "Get Off of My Cloud," one of their great songs. One characteristic is a whole series of interesting lines with some cool wording. One illustration: "In flies a guy all dressed up just like a Union Jack." The song begins with a great riff; the drumming chugs right along.
   
   Another classic, "I'm Free." A pair of lines speak to me.
   
   "I'm free to do what I want any old time. . .
   I'm free to sing my song though it gets out of time."
   
   The latter line reminds one that sometimes in their early works, the playing gets a little ragged. But that somehow worked, showing off their energy and even some spontaneity.
   
   There are some other interesting works, too, although I have never much enjoyed "As Tears Go By."
   
   Anyhow, not a cohesive album, but I don't really care. There are some top-notch early Rolling Stones' moments throughout this CD, with lots of raw energy.



2. December's Children (December 1965) is for Stones fans who want to witness a crucial turning point in the Stones' artistic development (moving away somewhat from the pure urban-blues/roots-rock sounds that they started with). With the powerful new hard-rocking sound of Get Off My Cloud and the smartly orchestrated As Tears Go By, the Stones gave notice that their artistic growth was in full flower and not likely to ebb any time soon. The other original, I'm Free, is also very good -- hinting at future Stones classics about independence and rebellion against a conformist society. Most of the other "non-classic" songs (the excellent cover songs that tended to not end up on greatest-hits albums) are terrific performances in their own right, and especially worth the listen if you've gotten a little tired of the big hits. Just don't forget that the really signature songs from December's Children (Get Off My Cloud and As Tears Go By) can be found on both Big Hits and Hot Rocks (the two greatest hits collections that both cover the 1963 to 1966 period) -- so don't buy this album just to get those 2 songs. In short, for serious Stones fans who want to review the early efforts, and to witness the LP where the band markedly "took off" with their original song-writing.



3. This was my favorite Stone's Album when it came out in the 60's in the 33 and a third vinyl record format. I was a teen and a Stones fanatic. This was when Brian Jones was still alive. In my humble opinion, the best Stones material was created when Brian was still alive. I don't much care for the stuff that came after. I still listen to the remastered CD and get a very pleasant nostalgia rush when I listen:):)



4. Most of the people really underrates this Stones album,for me December's Children is one of the great albums of their 1964-65 Rn'B years along with the debut album and The Rolling Stones Now!. In fact,this one is less bluesy than the debut and The Rolling Stones Now! but it's really more successful than Out of our heads and 12*5 ,even if they're fine albums. With this album songwriting of Jagger/Richards starts to evolve and it creates a basis for their masterpiece, Aftermath(1966). Album starts with the short and fast rocker She Said Yeah. The loud and fast rhythm guitar of Brian Jones and crazy guitar solo of Keith Richards makes it a proto-hard rock song. Talkin'About You is another Chuck Berry cover from the boys which is really successful with Richards' terrific Chuck Berry guitar licks. You Better Move on is another cover on the album which is acoustic and it's mostly similar to British beat sound. Look What You've Done is a Muddy Waters cover and one of my favorites on the album. Jagger's dirty blues vocals, Jones' harmonica and Richards' riffing creates a cool blues song. The Singer Not the Song, Blue Turns To Grey and Gotta Get Away are somehow far from the Stones' blues roots and they're closer to British beat sound or to The Beatles but they're still wonderful songs and they show the evolution of the songwriting within the band and creates an idea that the classic Jagger/Richards songwriting takes its clue in the upcoming album,Aftermath. Get off of My Cloud is the second rock classic that the Stones made in 1965 after Satisfaction and it's the most well-known song of the album. Charlie's thunderous drumming and the dual guitars between Richards and Jones makes it really groovy. As Tears Go By is an attempt by the Stones to create their own "Yesterday". It starts with an acoustic guitar like The Beatles' Yesterday and the strings join after the second verse(it's really strange for a die hard blues band in '65!!). Well, it's not successful as the Fab Four's classic song but it still shows the songwriting becomes more mature and also shows that the Stones can also play and write great songs beside the blues. I'm Free is the third classic in the album. This song was played in the memorable Hyde Park concert in 1969 after Brian Jones death and it was in the setlist of the band's famous North American Tour of 1969. It is a great Jagger/Richards composition and sometimes it reminds me a kind of electric folk-rock, especially with its guitar solo, that The Byrds did in 1965. There are also two live tracks that are recorded during the British tour. Route 66, is also on the debut album. In the beginning, as Jagger screams "let me hear you say yeah!!", Keith starts to play that fantastic riff and the crowd goes totally insane. Second live track, I'm Moving On starts with the fast rhythm section of Bill Wyman and Charlie Watts. Wyman's heavy bass lines makes it a proto-hard rock song just like She Said Yeah. Slide guitar playing of Brian Jones proves that he is one of the great slide players of the genre. However, these two live tracks sounds really poor because of the live recording technology of that time but you can still hear a great rock n' roll band playing. And if you listen closely, you can notice that the band quickly passes to the riff of I'm Alright(which you can hear in Out Our Heads) after they finished I'm Moving On.



5. "December's Children" is thoroughly enjoyable. I'm aware that all but a couple of these songs are on other CDs, but I'm glad to have this disc anyway, even if just to have the songs in this order. I am also pleased to have the later (2002) DSD/SACD releases, which are sonically miles ahead of the older versions.
   
   My review, however, centers on the fact that Abkco seems to want to hide the SACD nature of the Stones' releases. Nowhere on the outer packaging is there any indication, and having the same title, displaying the same number, barcode, and year, in regular CD format adds further complication. When I ordered "December's Children," as previously with the 3-disc collection of singles, the first thing I received was the regular CD. You have to know that the 2002 DSD releases are in a standard jewel case, while the 2002 DSD/SACDs are in a cardboard folding case with a plastic holder attached inside.
   
   Since all the Stones' SACDs are hybrids anyway, you have to wonder why Abkco would release the regular CD versions at all. You also have to wonder, with the SACD available, why someone would buy any of the several recent non-SACD versions for two to three times the money.

5 comments about Innuendo.

1. I remember when this album was released, a friend of mine told me he saw a TV special about Queen. He said that Freddie, in particular, looked very unhealthy in the videos for "I'm Going Slightly Mad" and "These Are the Days of Our Lives." Well, I think we all know what happened to Freddie Mercury just months after this release. Although he was a fairly private person, the performance and the lyrics are Freddie's most personal. "Innuendo" features Steve Howe of Yes on the acoustic middle 8th. Freddie sings "Don't take offence at my innuendo (probably more in reference to his playful side than anything else). Some people have compared this to the middle 8th in "Bohemian Rhapsody." "I'm Going Slightly Mad" is a more humourous song, with hilarious lines "I think I'm a banana tree" and "I'm riding only 3 wheels these days, my dear, how about you?" John Deacon closes with a fast bassline. "Headlong" is more like the oldschool Queen as is "I Can't Live without You," both featuring some great guitar work from Brian May. "Don't Try So Hard" is a more personal song, warning people to do their best but not kill themselves in the process. "Ride the Wild Wind" is reminiscent of "Don't Lose Your Head," with Roger Taylor's fast and furious drums and opening narration "Push the envelope, don't sit on the fence!" "All God's People" sounds a little like "Somebody to Love," with its waltzy tempo and Gospel flavour. "Rule with your heart and lead with your conscience," Freddie preaches in the song. This song also features the operatic harmonies that graced earlier albums like A Night at the Opera. "These Are the Days of Our Lives" is a sensitive ballad about growing old with the one you love. "No use wondering what you did when you can sit back and enjoy it through your kids." "Delilah" is a humourous song about Freddie's cat and Brian makes cat sounds with his Red Special guitar. "Hitman" is almost a heavy metal rewrite of "Another One Bites the Dust." This song is probably meant to be tongue in cheek, as it seems uncharacteristic with the rest of the album. Brian plays a lovely romantic solo at the beginning of "Bjou" (which means "sacred jewel"). Finally, we come to the closing track, the ultimate farewell song "The Show Must Go On." Freddie probably knew his days were numbered but stayed strong, as you can hear with lyrics "Empty places, what are we living for?... I'll face it with a grin, I'm never giving in, on with the show!" On this no one can argue- Queen's legacy will go on.



2. The music CD was in top condition. It was sent out to me before the alloted time. I would purchase a CD from these folks again.



3. I know a lot of Queen fans consider this CD to be a classic. I disagree. Although it's not a bad or average CD, it certainly is solid. I am sure most of you are well aware of the circumstances surrounding the making of this CD (Freddie Mercury's last). With that in mind it tends to push this offering into the special category, but it doesn't necessarily make this a "classic" or put in line with their best work. There are some great moments here (Don't try so hard, Headlong, Show must go on & I'm going slightly mad) but there is low points too (Bijou, Ride the wild wind & Delilah) absolute rubbish.
   What really stands out about this CD is the production. They managed to recreate the element that was sorely missing through out their 80's releases. The CD sounds grand, open & sonically lush. Also it's not covered in cold, soulless sounding synthesizers either.
   You get the feeling Freddie and the others wanted to go out on top and to some degree they achieved it. Most of the songs have much more meaning and depth, especially "Show must go on" that song alone is worth owning this CD.
   I was deeply sadden when Freddie past away. I had always hoped he and his cohorts would some day revert to their roots and rock n' roll us like they used to and only could. They just missed the mark, but what is presented here is lovely nonetheless.



4. Much like Warren Zevon's "The Wind" album, "Innuendo" is the final portrait of a dying man. At the time of it's recording, Freddie Mercury was in the last months of dying from AIDs. Incredibly he threw himself into the recording process on days when he was physically able, and he and the band came up with what in my opinion is one of their best albums. One would really have to go all the way back to "A Day At The Races" in 1976 to find an album that is even close to this one. The majority of this disc deals with death, but incredibly it is not really a downbeat album and in fact finds Freddie and the boys in a reflective yet hopeful mood. The album did not make too much of a splash in the U.S. although the single "Headlong" did get some AOR airplay. It is a great rocker and one of the best singles the band ever release in my opinion. Just about every song on this disc is great. The one exception being "Delilah", a song about Freddie's cat. Yea, it is pretty horrible, but I am guessing that the band let Fred indulge a bit on this one due to his condition. Other than that the tracks are all strong. The title track "Innuendo" is as loud and bombastic Queen at it's best with a nice Spanish guitar interlude provided by special guest Steve Howe (Yes, Asia). Other highlights include "I'm Going Slightly Mad", "I Can't Live With You", "Don't Try So Hard", "Ride The Wild Wind", "The Hitman" and "Bijou". Probably two of the most effective songs on the album are "These Are The Days Of Our Lives" which finds Freddie looking back on his life and forward to his demise. The final track, "The Show Must Go On" is the high point of the album and really sums up Freddie and his love of the stage. Even to this day when I listen to him belting out this tour de force it brings a bit of a lump to my throat. When the Beatles ended their career the final statement on "Abby Road" of "and in the end, the love you make, is equal to the love you make", was the perfect coda for the end of the band. To me "The Show Must Go On" has the same impact in its message. With Freddie's final words "on with the show" he summed up the entire career of one of the most innovative bands in the history of rock n roll. If you are a Queen fan and don't own this one you need to pick it up.



5. This album is true treasure. The best of Queen. A timeless master piece. Queen has turned Rock'N' Roll Pop music into the finest art form.
   
   Since I recently discovered Queen I Lost interest in other bands. I can listen to Queen forever. When Freddie Mercury starting to sing, all other stars faint away. Freddie is the Sun. He has no equal. There always thousand great singers around but there is only one Freddie Mercury. Brian's truly a guitar prince. The sexiest hottest the most seductive sounds ever played. Roger Taylor's drum beats all. I love love Queen

5 comments about Who's Next (Deluxe Edition).

1. I like the Deluxe Edition packaging in general, and the remix on the original album tracks is superb. I do have one complaint: MCA needs to release one CD of all of The Who's 1971 Olympic recordings. The Who cut 17 songs (that were eventually released) as part of the Who's Next sessions at Olympic Studios for an intended double album, and they all sound fantastic. The Who never sounded better than they did on these tracks, with Glyn Johns producing and giving the excellent band performances a remarkably clean sound (compare Quadrophenia, where the band's sound tended to be washed out by the brass arrangements), and with the great Nicky Hopkins providing brilliant piano work which makes several songs by itself . In fact, it is difficult for me to say that the tracks that made it on to the album are much better than the ones left off-- Pure and Easy is a masterpiece, and the others aren't far behind. These tracks are, in short, the Holy Grail for anyone who appreciates the Who; the band simply never sounded better.
   
   Townshend has said that, with the Lifehouse concept scrapped, he wanted to avoid making an unfocused double album ala the White Album. In hindsight, however, the 16 tracks collectively would have constituted the Who's most consistent and listenable double album musically, if not their most conceptually ambitious (both Tommy with its instrumentals and Quadrophenia with its overblown arrangements are sometimes difficult to listen to end-to-end). The songs from the Olympic Sessions each have a depth, power, and subtlety not found on other Who tracks or indeed really anywhere else.
   
   For the record, here are the eight "lost" Who's Next tracks to which I am referring. They are not all easily available, by the way, and the obscurity into which they've fallen annoys me because had they been on the original album they'd have become fan favorites if not AOR radio hits:
   
   1. Pure and Easy (on the Ultimate Collection; released originally on the 1974 Odds & Sods album, which is unfortunate because it is neither an odd nor a sod but rather one of Townshend's finest songs)
   2. Let's See Action (the Ultimate Collection) (not released in the U.S. until it was included on the cash-in Hooligans compilation album in 1981)
   3. Naked Eye (Odds & Sods) (Good live version on the Deluxe Edition bonus CD, although I like the studio version better for the reasons I generally prefer the studio versions of these tracks: Johns's production and the piano part).
   4. Too Much of Anything (Odds & Sods) (the live version on the Deluxe Edition bonus CD is not good at all and put me off of the song until I heard the studio version, which is far, far superior.)
   5. Water (bonus track on the Odds & Sods CD reissue; first released in 1973 as the b-side of the "5:15" single. There is a passable live version on the Deluxe Edition bonus CD which goes on too long).
   6. I Don't Even Know Myself (bonus track on the 1995 Who's Next CD reissue; first released in 1971 as the b-side of the "Won't Get Fooled Again" single. The Deluxe Edition bonus CD has an excellent live version of this song, but the studio version is slightly better.)
   7. When I Was a Boy (a fine Entwistle song: it doesn't rock as hard as "My Wife", but is a nice song reminiscent of the later "905" on "Who Are You", and it brings to bear the trademark Entwistle dark perspective which was so important in leavening Townshend's sometime tendency towards pretentiousness. I don't think When I Was a Boy is available anywhere now besides some out-of-print compilation CDs and LPs; it was first released in the U.S. on the now out-of-print Join Together compilation album in the early 1980s.)
   8. There is also an Olympic Studio version of Time Is Passing, available as a bonus track on Odds & Sods. This studio version is the only one which lags behind the live version on the Deluxe Edition bonus CD in quality; the studio version has a goofy synth part appended to the end of the track, and the performance on the live version is tougher-sounding).



2. If I had but one album choice, it would be this one. Their finest work.



3. Others have done a great job summarizing the band and the music. Let me just add that I bought this for the sound quality (already having the album on vinyl and the standard issue CD). This was worth the money. The sound is fantastic and I have encouraged anyone I know who is a WHO fan to invest in this reissue.
   
   Definitely an example of "if they improve the product enough - you are not getting ripped off to buy it again."



4. A classic album that has only been made better with it's re-release as a deluce edition. The best part about this reissue is disc two--we already know what is great about the original album. The April 1971 show in which many of the Who's Next songs were played live for the first time is a breathtaking performance. This is saying alot when you consider that this concert comes in an era of truly great Who live performances. A great addition to the Who remastered re-releases.



5. If you love The Who then this disc set is a must own.
   
   If you love Rock & Roll then this disc set is a must own.
   
   If you have a pulse then this disc set is a must own.

5 comments about One of These Nights.

1. I bought this just to get the full length Journey of the Sorcerer, but ended up liking the whole album. I approve, though Lebowski does not.



2. Another great album from the Eagles. I strongly suggest that if you like the Eagles, this is one of their better Albums



3. ONE OF THOSE ALBUMS THAT BRINGS YOU BACK FOR MORE. FROM THE MOMENT YOU HEAR "ONE OF THESE NIGHTS" YOU REALIZE YOUR LISTENING TO A DIFFERENT EAGLES ALBUM FROM THE PREVIOUS THREE. THAT IS GOOD BECAUSE THIS ALBUM BEGAN TO SHOW HOW TALENTED THESE GUYS REALLY WERE. THEIR WORDS & MUSIC DEFINE THAT. "TAKE IT TO THE LIMIT" IS MY FAVORITE SONG FROM THE ALBUM. CAN'T HELP BUT LIKE THE VOCAL RANGE OF RANDY MEISNER ON THIS ONE. THE OTHER TWO HITS OFF THIS ALBUM-WELL WHAT CAN I SAY--"LOVE TO HAVE HAD THE ROYALTIES ON THOSE SONGS". IF YOUR AN EAGLES FAN, THIS ONE IS A MUST FOR YOUR COLLECTION. BY THE WAY-A FRIEND OF MINE COMMENTED TO ME THE OTHER DAY ABOUT THE NEWLY RELEASED EAGLES ALBUM AND HOW IT SOUNDED SO MUCH LIKE TODAYS COUNTRY MUSIC LIKE SUCH GROUPS AS KIETH URBAN. I REMINDED HIM THAT IT WAS THE EAGLES WHO PUT THAT SOUND OUT SOME THIRTY YEARS AGO.



4. The Eagles' fourth album One Of These Nights was released in June of 1975.
   Like its predecessor, was produced by Bill Szymczyk and has the same band lineup as the previous album.
   The opening title track, which was a #1 hit for the band, is a rock song with a funk/soul feel which was described as disco-like but it's not a disco number and featured a dynamic vocal from Don Henley whom sang normal in the first two verses and at the end goes into Barry Gibb mode with the falsetto at the end of the track. Next is bass player Randy Meisner's "Too Many Hands", written by himself along with guitarist Don Felder (a bit of an odd couple, but it's a superb mid-tempo rocker with killer guitar solos from Felder and guitarist/keyboardist Glenn Frey). The countryish "Hollywood Waltz", which was the only song written by Frey, Henley and guitarist Bernie Leadon and was, bless them, a real waltz. Don's vocal was great and has more superb falsetto work from Henley at the end of the track and the song was the first Eagles track to have a synthesizer. The first half ends with Bernie's first of two contributions, the wild but stately 7-minute instrumental "Journey Of The Sorcerer" which was a superb piece of music.
   The second half of the album starts with the second single "Lyin' Eyes", which was one of Glenn's best songs and one of few 6 minute tracks to top the charts and is a great country-rocker. Next was "Take It To The Limit", a grand and melodious stop-and-go ballad, sung by Meisner whom gave his best vocal performance on this track. The album's hardest rock song "Visions" had guitarist Felder's sole lead vocal which was co-written with Henley. Next, was "After the Thrill is Gone" which was sung by Frey and Henley and was a superb ballad about breaking up. The album closes with Leadon's second of two contributions, the ballad "I Wish You Peace", which ironically was his last song with the band as he would leave in late 1975.
   This album was the band's first #1 album here in the States.
   I first got this classic on cassette when I was nine and have the remastered CD and this remastered CD buries the original album!
   Highly recommended!



5. This is the album I cut my Eagles teeth on, and by force of habit I still think of it as the definitive Eagles album. But it's also where they took a decidedly commercial turn, and on my first run through it in several years, I didn't find it nearly as enjoyable as some of their other work.
   
   No question, though, that it has its moments. The mellow rock of "Take It to the Limit" and "Lyin' Eyes" never gets stale no matter how many times I hear them on classic rock radio. The beautiful "Hollywood Waltz" (which, as a country waltz, will never make it onto the radio!) rounds out the trio of five-star songs found here. Most of the other songs are not bad: "Too Many Hands" and "Visions" are characteristic Eagles rockers. The well-known title track is nearly as good, though the not-quite-disco beat dates it a bit too much. The instrumental "Journey of the Sorcerer" is a fitting last stand for original member Bernie Leadon, who took the last of the Eagles' country influence with him when he left.
   
   Overall, it's just a slight step down from their two previous albums. If you like the hits from here, you'll probably like at least some of the other songs as well.

5 comments about Emotional Rescue.

1. After all these years I played this and it was as much fun as it was the first time I had heard it.
   
   I love the rough lazy casual feel about the songs. I imagined them playing, without much effort, cigarette smoke, booze lying around and just the songs pouring out. Indian girl was my least favourite. Where The Boys Go and She's So Cold as the best tracks. I liked the way they took Disco and made it theirs.
   
   Years later I read reviews really giving this album bad ratings......dont know why......
   
   Anyway, it's playing right now, and Where the Boys Go is about to begin....LOL this is going to be fun...again!



2. People - and mea culpa, I'm certainly one - tend to vilify this album because it incorporates all the elements that came pretty damn close to rendering the Stones null and void during the eighties. VERY lame "funk": "Dance Pt. 1," lame reggae, the title song, dreary blues, "Down In The Hole," and sad attempts at "new wave" or "punk," whatever you want to call that crap, "She's So Cold" and "Let Me Go." Um...well, THAT said, after getting over the initial horror of hearing "Miss You, part 2" regurgitated - TWICE - I kind of began to...DIG the album. In truth, it was released in the summer of 1980, just as I was weathering an acrimonious divorce, and embarrassing as this admission is, the album did indeed slowly become "an emotional rescue." And when you stop to consider that, post Mick Taylor, the Stones were only good for about 2, maybe 3, songs per album, "Let Me Go," "She's So Cold," "Emotional Rescue," and especially "Send It To Me" are - again, excuse the pun - a GAS GAS GAS! (and I shan't implicate myself nor bore the reader by explaining how "Emotional Rescue" changed my life forever, October, 1980...)



3. It is quite clear that by the 80s, the Stones had lost some of what had made them great. With 1980s Emotional Rescue, the Stones should that they could rock, just not as well as on Some Girls. Some of the better tracks would be the title track, which is a fairly decent dance number. Not too far behinnd this number is 'She's So Cold' which is a typical Stones rocker. 'Let Me Go' and 'Where the Boys Go' seem a bit tossed off and are on the light side but can still be enjoyable. Also on the dance siide is 'Dance Pt. 1' which is a bit overdone but is still enjoyable. 'Down in the Hole' os a fine bluesy nimber as well.
   
   On tje downside would be the country-tinged 'Indian Girl' and 'Summer Romance.' 'Send it to Me' isn't terrible but it still seems a bit tossed off and isn't as interesting as some of the other numbers. Overall, the record is enjoyable but just isn't that good, which is not what Stones fans would obviously like to hear.



4. Perhaps not one the "most classic" Stones albums, but the 1980 release is another outstanding album. The title track is one of my all time favorites. Other highlights include Let Me Go and She's So Cold.



5. This is the best of the Rolling Stones. Its the kind of music you and I grew up on.

5 comments about Odds & Sods.

1. Any Who fan will delight in this rich mix of songwriting and odd tid bits and not so odd music, A must for a Who fan's library!



2. This was a purchase of a CD to replace the cassette version of this album that I had enjoyed. I obviously knew then that I would like it from a musical standpoint. As an added extra, it contained many more songs that were not on the cassette version. Although there were no songs I had never heard, there were different versions of some of them that I had not heard (studio v.s. live or just a different version). Overall I am extemely satisfied, Shipping was fast and CD was received in excellent condition. Overall, an excellent transaction.



3. John came up with this album out of sheer boredom - Roger was heading law suits against MCA for back record royalitys they didn't get - Pete was totally ingrosed in the production of the Tommy movie sound track - and keith was just partying in every pub in England - this period was the start of the downfall of the tight playing live act up to this point - John had to do something being the band was not touring which he lived for at that point - so he dug up out takes old singles and compiled this album Odd & Sods - also they owed MCA a record for 1974 - Its a die hard fans album - better then boots but not as good as a regular alblum - Most songs on Odd's & Sod's are Who's Next outtakes or special recordings like Little Billy made for the cancer society about the dangers of smoking - they use to play that live from 1968 to about 1970 usually about the third or fourth song in the gig - Pete still thinks it's a real gem that never went anywhere - This version is the 1967 studio version not as good as it was live - they played it a Woodstock in 1969 too - like I said John was bored - This would have been a good time for the Who to release a Live Tommy - Who's Next or Quadraphinia album - what a loss - oh well - This was a lame Who period - You have to remmember the boys where really on a holiday after a grueling touring and recording schedule that burned out everybody - There is a picture of the Who in this period at Keith's house outside together sitting on the grass - I swear they all look burned out - you know like when peoples faces look a little puffy and bags under there eye's - stressed out I guess - Kieth played with the Beach Boys for about a hour at a concert that had Elton John there too( he was a big fan of theirs - knew every drum part of their surf music - It was the highlight of his life - he used to play Beachboys music 24 seven at his house) John also toured as a solo act over here the states with his own new band for the first time around this period that he lost 100 grand on to support his new solo release Rigamortis - like I said he was bored - There are many classic songs on here too the they played live also like Naked Eye a great live song - I like Pure and Easy myself - Their use to be a poster of a stage scene from the 1973 Quadraphinia Tour include in the old Vinyl alblum - like I said it's not Who's next but it's interesting just the same - 1974 was a good year for Rock - Hit songs everywhere - Elton John Ruled the Radio - Zepplin was still touring - there where a million classic rock hits in this year of 1974 - Eagles - Linda Ronstad you name it - so maybe they felt there wasn't more room for them on the radio then for pushing new songs or studio album of new songs - Like I said pete was working on the Tommy Movie etc.. and other Tommy projects like the Rainbow gig and the Clapton Comeback gig at the Raibow theater too just before this period - which took up a lot of time - He is credited for saving Eric Clapton from drugs and getting him back on his feet - There was a Electric Tommy album I think he was in volved in that had like a moog style sound to it - anyway it's pure and easy - there are Who gems on here a must have for any fan or should I say Hooligan



4. Originally conceived and compiled by John Entwistle in 1974, this was an 11-track collection looking back at some tracks which were, for some reason or another, never released. They weren't in chronological order, and it was sort of like looking at someone elses' old photographs, despite the good quality of said tracks. Everything in it was good, and one felt priveleged to get an inside look.
   
   So much reissued material nowadays, seems to sacrifice quality for the sake of quantity. You often get many different versions of a song, which for obvious reasons, didn't get released. It usually just adds clutter; do I really need to hear a poorly recorded demo of a song without half the arrangements, just because someone found it last year? Maybe, in some rare cases, but not really. The new version of "Odds And Sods" does what any expanded reissue should do. It takes the original 11 tracks, adds 12 more, then rearranges them into chronological order. You then get the first decade of The Who's music, from earliest available, a song they recorded when they were known as "The High Numbers, (Peter Meaden's "I'm The Face")" up through to the long-time stage staple "Naked Eye," in it's polished form. Live, it is always missing verses, or the performance just goes all chaotic.
   
   One trait of note here, apart from displaying how the band relied less on covered material as the years wore on, would be the way this collection depicts Roger Daltrey's emergence as one of rock's most respected vocalists. It is even more obvious in the video from the "Thirty Years Of Maximum R&B" gift box; the video is also available separately, but as one can see, very plainly, Roger Daltrey wasn't a very good singer early on. In the "Odds & Sods" disc, it isn't quite as glaring, given the advent of outtakes, as the best possible version of a song is the one to be released to the public, but even here, with careful listening, one can tell, he just wasn't all that good. But something happened sometime in 1968; toward the end of the year, his stage presence, vocal delivery, and basic charisma exploded. His transformation was complete by 1972. And the whole band, as well, simply grew into one of the most powerful spectacles in rock. They didn't have the props and lights like one finds with Pink Floyd, or the blood and pyrotechnics of a KISS show, nothing of the sort. Just four tough men from London putting it all out there, warts and all. Technical glitches didn't seem to matter to the fans, and after a while, even the band didn't seem to mind. It's amazing, though, how they had stayed together as long as they did. The infighting wasn't just disagreements and such, it often got physical. Bruce Johnson of The Beach Boys once said he was in the audience at a performance by The Who in 1968, and an on-stage brawl took place during the show; he claims it was the worst fight he had ever seen. It seems Pete Townshend accidentally knocked one of Keith Moon's cymbal stands over, causing Moon a minor injury. He responded by hitting Townshend with one of his drums or something. And in seconds, the entire band were involved in the biggest, most vicious fight many people had ever witnessed, and it continued until long after one of the stage hands brought the curtain down.
   
   Listening to the band play their softer, more introspective material here, numbers like "Too Much Of Anything," belies this image. But the main ingredient on "Odds & Sods," is GROWTH. You witness the band, via, recordings, growing, as musicians, and as people. Pete Townshend used to cover up shortcomings in his guitar skills with volume, feedback, pick-scrapes, and on-stage dynamics, and when you listen to any "High Numbers" recordings, the guitar solos were actually by a session player. This continued into the early career of The Who, as the guitar solo in "I Can't Explain" is reputedly Jimmy Page's. Daltrey's development is aforementioned, but one consistency in this disc, would be the rhythm section. People who discuss Keith Moon fall into two distinct camps; those who say he was the best drummer ever, and those who say he was an enthusiatic amatuer. Realistically, he was not a very good technical drummer, but nobody before him or since, has ever, ever done anything like that. I enjoy listening to him, I am one of his biggest fans, but I honestly see what his detractors say. Sometimes, he just couldn't do it. The percussion track in 1978's "Music Must Change" is actually a recording of Pete Townshend's footsteps; Moon couldn't make himself play 3/4 at the time. He played strictly by instinct, and many of his peers, people like Ginger Baker, could run laps around him. But, get him on a good night, when he's on top of his game, and you won't find better.
   
   And John Entwistle, I have to say, personally, I think he was the best bassist in contemporary music. And a total consummate musician as well. It's sad, rock's most interesting rhythm section is now dead. But they have made their mark. John Entwistle, Roger Daltrey, Keith Moon, and Pete Townshend, a four headed monster that forever changed the music world, will live forever, dead OR alive.
   
   And "Odds And Sods" is a record of the first ten years of the phenomenon known as "The Who."



5. 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 music supplies and recordings from the 60's and 70's.
   
   Originally a terrific vinyl treat from 1974, the 1988 remastered "Odds & Sods" includes twelve bonus tracks that completely changes where the previously released songs appear.
   
   I recall very vividly having conversations with a plethora of Who collectors when the improved "Odds & Sods" hit the CD shelves. The majority clearly wanted the running order from the album to be maintained and the bonus tracks to follow. This doesn't detract in any way the sheer brilliance that awaits.
   
   Although "Odds & Sods" put together a myriad of previously unreleased tracks, it was never intended to be a replacement for a studio record. To the surprise of many, the material was strong and consistent, including some of the most underrated tunes the band would pen.
   
   The studio "Summertime Blues" didn't lose any of the raw in your face rock and roll from the live version. There aren't too many better three minute numbers.
   
   "Under My Thumb" sees the Who playing the Rolling Stones. The version well constructed and Pete's background to Roger's lead vocal gives us a terrific rendition.
   
   "My Way" often mislabeled as "Easy Going Guy" pays homage to the earlier days of rock and roll (After all it was composed by Eddie Cochran) but the Who has put the definitive stamp all over the song. Townshend's guitar and Daltrey's vocals have the intensity and quality needed to push this over the top. Keith's drums and John's bass are mixed well so the tasty playing is very much in the front.
   
   "Young Man Blues" written by Mose Allison could have easily lost its way in the recording studio. Then again when the Who were at their peak the studio wasn't off limits to high energy and raw passion.
   
   "Love Ain't For Keeping" is double the length of the "Who's Next" masterpiece. The version used here isn't any less impressive!
   
   John Entwhistle's "Postcard" is not only a standout track on the album but one of the finest period. The song is a living letter home to his wife with complete tails of the difficulties of being on tour. You can play this one hundred times in a row and it wouldn't lose any of its eternal shine.
   
   With twenty-three tracks and almost seventy-seven minutes of Who rock and roll, the only question left is what are you waiting for?

5 comments about Eagles.

1. Their first album; a few of the songs don't do much for me, but there are some really great ones, and some of the lyrics are just incredible. I was in my mid 20s when this was released on vinyl, and it was a prelude to what was to become my all-time favorite rock anthology.



2. It was in June of 1972 that classic rock legends The Eagles released their self-titled debut album, which was a great blend of pop, rock and country.
   Drummer Don Henley, bass player Randy Meisner, guitarist Bernie Leadon and guitarist/keyboard player Glenn Frey would finally have the chance to prove to the world that they were musical geniuses whom not only could play well but sing so well with harmonies that were flawless after first playing together in legendary country/rock/pop singer Linda Ronstadt's backing band and after they finished the tour with Linda she blessed the guys to break out on their own and the band didn't forget her and she subsequently signed to Asylum thanks to The Eagles' success.
   The band has since this debut became the best-selling American band of all time, and is also one of the Top 4 ahead of Pink Floyd and behind only Led Zeppelin and The Beatles.
   This debut album was produced and engineered by Glyn Johns, the same man responsible for engineering albums by The Who, Led Zeppelin, The Rolling Stones, The Faces and The Beatles among others.
   The heavily country-influenced "Take It Easy" opens this stellar album and was a great intro to The Eagles. The rock classic "Witchy Woman" follows and was the world's intro to Henley's voice which would become more dominant in later albums (he would also sing the rocking Nightingale). The rocking "Chug All Night" follows and has superb vocals from Glenn. Randy steps out in front for the ballad "Most of Us Are Sad" which is a great song. The aforementioned "Nightingale" follows and is a great rocker.
   The second half kicks off with guitarist Bernie's country tinged "Train Leaves Here This Morning" and is a great song. The countryish-rocker "Take The Devil" is chilling with a great Meisner vocal. The country-ish "Earlybird" follows and has Bernie on vocals and just is a great number. The slower but still excellent tune "Peaceful Easy Feeling" follows and was the album's other hit single. The album closes with the rocker "Tryin'" which was one of Randy's best vocal performances.
   This album has held up well and this was the last Eagles album I bought in 1991 when I was 15 on cassette and regretted not acquiring it earlier as I thought the album would stink aside from the three singles which are on the various best ofs (Take it Easy, Witchy Woman and Peaceful Easy Feeling).
   This album is a classic and is highly recommended!



3. For starters, I consider myself just a casual fan of the Eagles. I, like many other millions of Americans, grew up listening to the famous Eagles Greatest Hits 1971-75 album. Everybody had it. All the songs were played on the radio too. Because of this, I never bought the early Eagles albums, and I did not know the other songs that were on them.
   
   Since the remastered versions of the Eagles cd's came out around 2000, I decided to buy them and skip the greatest hits version this time. Wow, what a pleasent surprise. The Eagles debut is a very enjoyable listen. Of course we're all familiar with the hits Witchy Woman, Peaceful Easy Feeling, and Take It Easy, but some of the other tracks are just as good. I especially like Take the Devil. If you were like me, and did not ever own or listen to the early Eagles albums, do yourself a favor and check them out. You won't be sorry. Even if you only consider yourself a casual fan.
   
   Desperado, One of These Nights, and On the Border are also recommended.



4. As rumors abound of the first all-new Eagles album since 1979, I got to wondering if the original six albums by one of my favorite bands from high school are still as good as I remember them. After listening to the debut album again, I am reminded that it wasn't among my favorites back then, but if anything, I appreciate it more now.
   
   I have always heard Glen Frey and Don Henley were not very fond of this album, due to its being "too mellow." To my ear, though, it's only a bit more mellow than most of the other albums. "Chug All Night," "Tryin'," and "Nightingale" rock just as assuredly as anything else in their catalog, and they also lack the polish that rubbed a lot of critics the wrong way on some of their more famous songs. "Take the Devil" also has its moments.
   
   It is true that there are several mellower moments here as well, most notably "Train Leaves Here This Morning," but that is true to varying degrees of all their albums. If there is a fundamental difference from the later albums, it is that their brand of country-rock is heavier on the country than the rock here. "Earlybird" is one of their most countrified tracks ever. That one might be a bit much if you only like their last couple of albums, but fans of "Lyin' Eyes" and "Already Gone" will love it. Last but not least, this set includes their first three hits, "Take it Easy," "Witchy Woman," and "Peaceful Easy Feeling." I don't address these only because odds are you've heard them all on the radio hundreds of times. They do fit in well with the less famous songs here.
   
   Not a bad first effort at all.



5. If the Eagles never won a Best New Artist Grammy,I'm sure they were at least a nominee. Here is their 1972 self-titled debut featuring three Top 10 hits:TAKE IT EASY which begins this album,WITCHY WOMAN and the soft-rock PEACEFUL EASY FEELING. This is followed by five more non-compilation albums on the Asylum label.

5 comments about Machine Head.

1. This is one of the top recordings of the day and the sound quality of this release is excellent. I am very pleased with it.



2. I always thought the original album was far too short on vinyl. I even have the quad version of the album but this expanded version is the ticket. Don't waste your time getting the original version and get this one, you won't be sorry. Anyway, most reviewers have already said pretty much what I would have said so what are you waiting for? If you like this one, get the rest of their catalog. Also stop by my small website, google "judemac Forever" and say hello.



3. When I pulled out my old vinyl LP of Machine Head and noticed that the sound quality was worse than a transistor radio, I knew it was time to look for this remastered edition on CD. The sound is pretty amazing, like hearing it for the first time. The intros on "Maybe I'm a Leo", "Never Before" and "Space Truckin'" jump with great clarity and bass, with good punch from the drums as well. Disc 2 is pretty cool, with some alternate takes that make you feel like you're there in the studio. Definitely worth a listen. Extensive liner notes too. One minor detraction from the packaging. I've never liked the 2-CD jewel cases with the little hinges that crack and break so often. Getting the second disc out can be somewhat of a pain. I've never really considered myself a big Deep Purple fan, but this set did it for me. CRANK IT UP!



4. Good value with two mixes of all the songs recorded at Montreux. I really appreciated disc 2 re-mixed by Roger Glover, more complete and exciting even than the original. Well worth the extra bucks for this 25th anniversary edition.



5. Easily one of the defining rock albums of the 70's, Deep Purple's "Machine Head" went a long way towards codifying the sound of British Rock at the time. Hell, just Ritchie Blackmore's iconic riff that kicks off "Smoke On The Water" would set "Machine Head" into the history books. Yet to many die-hards, both Fireball and In Rock were the harder albums. What, then, makes this album the landmark it is revered as today?
   
   For one thing, the original side one roared from the drop of the needle to the final spiral of its inner groove. "Highway Star" to this day conjures up a rebellious freedom that whips the wind through your helmetless motorcycle ride, the naked air slamming your face while speeding in your topless roadster. "Never Before" grinds with undeniable power. "Maybe I'm A Leo" ("...but I ain't a lion...") rocks the blues as only The Purple could. That was only side one.
   
   The old days had you flip that vinyl over for the multiple punches of "Smoke On The Water," "Lazy" and "Space Trucking." These three alone would put "machine Head" into the heavy metal hall of fame. Every teen from 1972 on who picked up their first guitar has probably practiced that riff at least twice. "Lazy" has the terrific Jon Lord organ workout, and "Space Trucking" is the last word in intergalactic rock songs.
   
   The remaster here is stunning, almost digital in its precise sound. It's almost as good as the DVD-A from 2001 (and with that item fetching $50 these days, this double CD is a bargain). The real treat, however, is the bonus CD. Roger Glover exhumes those 25 year old master tapes and gives us a slightly re-imagined entire new version of this classic album. While it won't make you snap the original CD is half, it is a striking curio. There are alternate guitar solos, a little bit of band banter (love the 'whoop!' at the end of "Lazy"), and some alternate endings. There are no 'rough sketches' or goof-offs; this is a working band's triumph against bad odds and they were making the most of it. It is exactly the kind of re-issue package that Rhino made their original reputation on, and they do "Machine Head" proud.

5 comments about Is There Anybody Out There? / The Wall Live Pink Floyd 1980-81 (Deluxe Limited Edition).

1. While this might be a great collection of live songs comprising "The Wall" from Earl's Court, there is an unofficial video of one of the Earl's Court shows that is, IMHO, much more pleasing. Though imperfect, I have to believe that this show could be restored and officially released. It's clear that it was professionally filmed for some reason. Incidentally, though i don't know if they're credited on this CD, the Floyd had a complete backing band on this tour- a second guitar, bass player, drummer, and keyboard player. The power of some of the live songs is a result, in part, of the fact that there are, essentially, two bands playing the same song at the same time. Obviously, they've got the audio cleaned up well, if they would just clean up the video, we'd have a fantastic DVD release.



2. I you are a fan of Pink Floyd and/or "The Wall", then you will love this CD! It is really interesting to hear The Wall played live in its entirety. It's an incredible record to begin with, but the live version adds another element to it. I wish I had been there to see it! Get the deluxe version for the book that comes with it. The book tells the story of "The Wall" from each band member's perspective. Great buy!



3. Drop dead gorgeously clear live Pink Floyd doing "The Wall Live" and "Is There Anybody Out There". Definitely one of the top live albums of all time.



4. this is the best limited edition album i ever bought. great sound and well made cover.



5. Pink Floyd's Is There Anybody Out There?: The Wall Live was released in April of 2000 in a standard version and this the deluxe packaging/slipcase hard covered book.
   The album was released to commemorate the 20th anniversary of The Wall. The album was originally slated for release in late 1999 but producer James Guthrie(who co-produced the original album) had to bake the master tapes to get the sticky glue off after sitting in storage for years. Also, the band had problems with their US record companies. The band had just inked a new distribution deal with Capitol/EMI worldwide and were set to release but Columbia/Sony in the US and Canada were initially against the album but reluctantly agreed to release the album as the band's final album with Sony in the US and Canada after the band switched labels which were licensed the music(the band have the final say on what gets released and not released).
   Is There Anybody Out There? was recorded at London's Earls Court Arena during the band's performances of The Wall in August of 1980 and June of 1981, the shows were a bona fide spectacle. More than anything, Is There Anybody Out There? captures the volume, the bombast and the grandeur of these famed performances with remarkable accuracy.
   These performances are astonishingly faithful to the band's studio versions although the band does get to stretch out on In the Flesh(pt. 1), The Thin Ice, Another Brick in the Wall(pt.1), Another Brick in the Wall(pt. 2), Mother, Goodbye Blue Sky, Young Lust, Hey You, Comfortably Numb, The Show Must Go On, In the Flesh(pt.2), Run Like Hell and Outside the Wall with either extra guitar solos from David Gilmour showing why he is one of rock's greatest guitarists or extra keyboard solos from Rick Wright or extra verses or extended musical pieces.
   The other tracks Empty Spaces, One of My Turns, Don't Leave Me Now, Another Brick in the Wall(pt. 3), Is There Anybody Out There?, Nobody Home, Vera, Bring the Boys Back Home, Waiting For the Worms, Stop! and The Trial were arguably better than its studio counterparts although remained faithful to them.
   Although they were kicked out in 1979 and 1982 respectively by Roger Waters due to his uncontrollable ego, co-founders keyboardist Rick Wright and drummer Nick Mason played better than on the studio version of The Wall, especially Rick whose Hammond Organ work buries that of its studio counterpart. Roger Waters didn't play much bass on this live album as he perfectly recreated the role of Pink and left Andy Bown to play bass in his place. David Gilmour's musical arrangements and guitar and vocals were superb as well.
   Run Like Hell is classic with Roger Waters' classic intro.
   This live Wall album also includes two unreleased tracks. What Shall We Do Now was left off the original release due to space constraints and The Last Few Bricks was a reprise of Happiest Days, Young Lust and Empty Spaces as an instrumental for wall builders to catch up to the band.
   Also, Storm Thorgerson's artwork of the four Floyd member face masks is striking and the book has recollections from the four Floyd members plus road crew and stage designers with some cool pictures.
   This live album did well for a from the vault release hitting #19 on the album charts and #1 on the Internet Album Sales chart and went Platinum in a month of its release. This live album has zero overdubs and is one of the best live albums I ever heard next to Pink Floyd's Pulse, Led Zeppelin's How the West Was Won and The Song Remains the Same 2-CD reissue, Rush's Different Stages, Queen's Queen Rock Montreal, Genesis' Seconds Out, The Who's Live at Leeds and Supertramp's Paris among many others.
   Highly recommended!