5 comments about The Rolling Stones Rock and Roll Circus.

1. I was in college when this came out. I guess it was only released in the UK and probably on TV. Still it brought back memories of the time - 1968. Everyone looked so young in the video, still the music was great especially if you want to see the Who and the Stones and what they looked like 40 years ago. The production was perhaps a little amaeturish but still a fun watch.



2. This is a great CD, I really enjoy The Who's performace of 'A Quick one While He's Away' Taj Mahal's 'Aint That A Lot Of Love.' I play this CD over and over again.



3. The Stones, John Lennon, Eric Clapton, The Who: A snapshot in Rock and Roll History, (before everyone grew to hate Yoko). I think one of the last live Stones shows with Brian. The Who are at their carnival best. Clapton does Yer' Blues better on the Live Peace in Toronto album, (when everyone started to hate Yoko). The rest of the players are just OK.



4. this video is a classic. jethro tull starts the concert out with a very real performance. the who, Marianne faithful, and especially taj mahal give great performances. then mick sits down w/john lennon to introduce the band john plays w/quite a performance w/clapton on lead guitar , mitch mitchells from experience on drums and keith richards on guitar. then yoko joins them.
   the finale is by the stones who give incredible perfomances on every cut. they follow sympathy of the devil, which easily could have been the finale w/salt of the earth. its a very touching number. buy this dvd, you will be gald you did enjoy dharma



5. I was so looking forward to seeing the "young" English cats, but the product was just a CD of the Circus, not a DVD ! Don't even know if I got credit when I returned it !!

5 comments about Still Life.

1. Stones live albums will always bug longtime fans because very few of them are memorable yet fans have to have them all! `Still Life' is no exception, run of the mill per usual, just as `Love You Live' was five years previous. What these albums should do is only spotlight new songs from that tour to at least give them some variety. "Going to a Go-Go" and "Twenty Flight Rock" are decent but were they really necessary to have on album? "Black Limousines" or "She's So Cold" would've been better alternatives. Also, do we really need TWO Motown songs? "Just My Imagination" sounds nothing like the blood and thunder version from `Some Girls". "Start Me Up" is included here of course but it already sounds tired here, with a sped up tempo - not much different then the one from `Flashpoint". I really hate the concept of stadium rock anyway...small arenas always sound better, but the Stones were already too big (though they still do arenas from time to time). As I said before ` Ya-Ya's' is still the only great live record from these guys so if you are not a serious Stones addict, don't bother with `Still Life', lame title too.



2. The Rolling Stones-Still Life ****
   
   Wile it isn't as widely popular as the 'great' Get Yer Ya-Ya's Out!; Still Life is still an exciting live record, and superior to Ya-Ya's in many ways, and for me personally I think I might like it more.
   
   While I can't for the life of me understand why if this was the Tattoo You tour of 1981, in touring support of the album of the same name, why only one out of the ten songs on the album are from that album, those being 'Start Me Up' of course being the choice for the record. The rest is made up mostly of old rock and r&b tunes the band grew up admiring, and early Stones hits.
   
   So with this is superior to Ya-ya's is well, it's a hell of a lot more fun, and isn't that what a concert is supposed to be is fun. While Ya-Ya's is a classic, the energy isn't as in your face as here. That is also why I prefer to listen to this one as well. Ya-ya's had a better selection of songs, and some classic versions of them, and truly is superior over all but for a good fun listen from a time that was other wise lame for The Stones, Still Life is a nice addition to a live Rolling Stones collection.



3. I love Still Life, recorded on the Rolling Stones 1981 American tour. The album has a great summertime vibe, high energy, and takes me right back to the Tattoo You era and 1981-82. My only complaint about Still Life is there aren't enough songs - and with a band like the Stones they can't include everything, but there's nothing from the Sticky Fingers/Let It Bleed period. Still Life focuses on, understandably, Ronnie Wood material and some standard classics. I'd love to have Hang Fire, Waiting on a Friend, or Little T&A on this album though. Still Life for me is a must have, and a Stones album I listen to over and over year after year. Classic. Standout tracks include: Under My Thumb, Going to a Go Go, Just My Imagination.



4. Another Stones live album. This one has some tracks not included on any of the others on that long list, but it's still a mediocre live LP at best. Keith, Charlie, and Ronnie Wood are in good form throughout. Shattered really rocks and has that punk feel to it that was the inspiration for the song to begin with. The one thing that makes this album mediocre is the vocals. Listening to it, you can't get over the fact that Mick Jagger's voice sounds so God awful bad. It reminds me of The Allman Brothers "Second Set", in which an obviously liquored up Greg Allman sounds unrecognizable throughout.



5. From my view, this presents the Stones as the height of their musical power (albeit at the height of tensions between the Glimmer Twins). I know that reformed Stones purists think that the band ended with Tattoo You (orthodox Stone purists believed the band ended with Mick Taylor), and zealot purists still buy the new albums that the band puts out. Without taking any of those positions, this is simply the band when the guys were still young (and Jagger didn't look like Barney Fife yet) and one dude in football pants could hold an entire stadium of people in the palm of his hand. Some wouldn't like the arena music here as much as the early 'raw' stuff (like the Get Your Ya Ya's Out album), but I like this era: Mick is mastering his choppy and almost flippant delivery of lyrics, and Keith is sufficiently backed up and is allowed to just deal out the chords that make every song sound like a Stones song. The gems here are Twenty Flight Rock, Under My Thumb, Let Me Go, Just My Imagination and the frenetic rendition of Satisfaction. Sit back, pretend that Reagan is still in his first term, and enjoy.

5 comments about Aftermath.

1. Jonesing for some Brian Jones? Good, because he's all over this record the way ineptitude is all over the McCain-Palin ticket. He doesn't just play guitar. He also plays dulcimer, sitar, marimbas, bells, sax, harmonica, piano, organ, and trumpet. Not only is that a lot of instruments, that's also a bunch of weird instruments. I mean, how do you go from dulcimer to sitar to marimba to saxophone? Not that I'm complaining, though. I love the weird instruments on this record!
   
   As you'd probably expect, this one's pretty screwy. There are a lot of fun country-folk hick hops that I absolutely adore. They're so much fun! "High and Dry," "Flight 505" and "It's Not Easy" are all maximum fun! Then there's the really old stuff. I mean, "High and Dry" is old-school enough - I can easily see a bunch of hillbillies getting together and playing it, one with an acoustic guitar, one with a banjo, one with a washtub bass, one of them slapping a chair with a shotgun, and one of them blowing into a jug labeled "XXX" - but "Lady Jane" and "I Am Waiting" sound like they're from the Renaissance Festival. They have a dulcimer on them! And I like them both "Lady Jane" especially has that Ren Fest sound to it, since Mick's talking about pledging his troth to Lady Jane and being all courtly and gentlemanly. It's weird to hear Mick Jagger as a gentleman, but he pulls it off somehow. "I Am Waiting" is also great. It's the dulcimer ballad! And you know what? It's cool. Very, very cool.
   
   If you're looking for the "ROCK!" Stones... bad news. They're not really here. A couple of these songs have the bluesy bent of the earlier records, but even they have weird but awesome arrangement touches. Dig the saxes on "Think" and "Doncha Bother Me!" I know I do. Do you? They also have sweet guitar parts, of course, but the real attraction is the saxes. "Stupid Girl" is the closest thing to a normal rocker you get here, but in truth it's nothing special. If it weren't for the song's catchiness, it would be a total loser - immature lyrics, grating organ - but at least it's got a really good melody.
   
   And it amazes me the group could include something as, well... stupid as "Stupid Girl" and something as psychologically frightening as "Paint it, Black" on the same album. "Paint It, Black" is probably the album's best-known song, and it's one of the group's best and most original songs ever. Sure, the Beatles had used sitar a year beforehand on "Norwegian Wood," but this is something completely different than "Norwegian Wood." It's a raga, albeit a depressing raga. Brian's sitar part is awesome, and let's hear it for Charlie's beat, huh?
   
   The other song you might know is "Under My Thumb." Again, what a song! I wonder... had anyone mixed fuzz guitar and marimba before that? Would anyone ever do so again? And the sexual, sadistic leer in Mick's vocals is classic. The song is often interpreted as misogynistic, but I think the theme runs a bit deeper than that. To me, the song's about one part of a dysfunctional relationship - you'll note that the narrator openly declares that he was under the woman's thumb once. Pretty smart look at sexual politics, if you're askin' me.
   
   This record had the potential to be perfect, so it's a shame about two things. The presence of "Goin' Home" and the absence of both "Mother's Little Helper" and "Out of Time." "Mother's Little Helper" and "Out of Time" are both undisputable classics - the former is a brilliant pop song, and the latter is a song about pill-popping fortified by a brilliant twelve-string guitar riff that I always thought was a sitar until wikipedia told me I was wrong just a few minutes ago. Both of those songs are on the British version, not the American version. Unfortunately, so is the epic fail "Goin' Home." It's true that the song was ahead of its time -no rock band was doing eleven-minute songs in 1966 - but other than Mick's leering vocals, it just gets old.
   
   And unfortunately, you can't get around this problem by buying the British version, since the British version doesn't include "Paint It Black" - it was customary in Britain to separate albums and singles at the time, for reasons I don't really understand. To further the confusion, the UK version offers "What to Do," which isn't available on either the U.S. version of Aftermath or Flowers (a compilation which has some odds and ends from the period, including "Out of Time" and "Mother's Little Helper," which almost fixes our problem). Of course, both "Paint it Black" and "Mother's Little Helper" are on Forty Licks and Hot Rocks, but "Out of Time" isn't on either! Argh...
   
   My solution? ABCKO does what the Beatles did: retires the UK versions of the early Stones albums and packages whatever tracks might be left over in a Past Masters-esque compilation. This does not mean we pull a Flowers, which means "gathering most of those songs, adding a couple tunes you already had on the original albums in the first place (`Lady Jane' shows up on both versions of Aftermath, and Americans already had `Let's Spend the Night Together' and `Ruby Tuesday' on Between the Buttons), and calling it a day." It means "taking all the stray tracks, and nothing but the stray tracks, including `What to Do' and anything else that may have missed the boat, and releasing them."
   
   But yeah, cool album.



2. Even in its truncated U.S. version with its blurry cover shot, 1966's "Aftermath," the first Stones album of all-original material, is indispensible. The record is the dividing line between the group as scruffy young Brit blues-and-R&B cover artists, and what would eventually become the most powerful and significant rock band in the world. A large portion of the credit for this is due to Brian Jones, who is at his artistic peak here. Jones' strength was his uncanny skill on all sorts of instruments besides guitar, and his marimba on "Under My Thumb," and sitar on "Paint It, Black" give those two signature Stones tunes, in their original versions, their unique flavor. The material ("Flight 505," "Stupid Girl") was getting dark and misogynistic; it would get much, much darker in the next few years. The U.K. version (which this isn't, by the way) puts good songs like "Out of Time," "What To Do," and the single "Mother's Little Helper" (an anti-drug message from a band which later became synonymous with drug excess) in their proper context as far as the group's history is concerned.



3. "Aftermath," was the stones first album of all original material, and it has a vibe that's a bit different from their previous recordings. Brian Jones plays a mean sitar on the great opening track, "paint it, black," which is a classic piece of psychedelic rock. "Lady Jane," is a divine acoustic ballad, with a heavy english folk sound about it (trivia bit: on neil young's masterpiece "tonight's the night" he sings a song about borrowing a tune from the rolling stones for one of his songs, because he's too wasted to come up with his own tune. The melody which he borrowed from the stones for that tune is the melody from "Lady Jane."). The blues, as always, are a big part of the stones sound. "Doncha bother me," boasts a fine display of slide guitar wizardry, and "High and Dry," is an excellent acoustic blues piece with a strong sense of melody. "It's not easy," is another standout, with its splendid rhythmic drive. All in all, another fine stones album which i highly recommend. but please do yourself a favor: the original cd version of this thing has terrible sound. if you buy this album, make sure that you get a copy of the 2002 ABKCO records remastered version. the upgraded sound on that version is heavenly compared to the inferior quality of the 1st cd release.



4. I have to admit that I'm not wild about the songs "Think" and "Lady Jane," especially "Lady Jane." I don't know, maybe there is just a bit too much top sixty like production on "Jane" for me. However, the rest of the record is a knock your socks off, get up and dance type record. Plus, these songs really show off the Jagger/Richards song writing talents. Like my friend Tiffany, I really like "Goin' Home." It's a long and soulful song that moves me. But my favorite on "Aftermath" is "Under My Thumb." I know, as a woman, I shouldn't like that song, but I can't help it, maybe it's because of the kind of revenge aspect of the song. Anyway, I just like it, even though there is no way on God's green earth that I'll ever be under any man's thumb. Five stars for this record, because it's so good, even though I think a couple of the songs are a bit weak.



5. I like the rocking flavor of "Doncha Bother Me." It has me up and dancing, moving to the beat, shaking my shoulders. Other song's on the record, especially "Think" and "Stupid Girl" have me up and dancing around the living room too. Then there are the songs you just want to sit back and listen to with the headphones on. I'm talking about "I am waiting" and "Goin' Home." You can really see the range of Mick and Keith's song writing on this record. Fast songs, slow songs, rockers and the blues, they can do it all.

5 comments about The Dark Side of the Moon.

1. This recording speaks for itself in terms of production quality; this is a long-standing reference recording. The MFSL Gold CD version of this CD is EXCELLENT. I have been a part of the ultra high-end audio industry for over 30 years and only listen to reference quality systems; this transfer is incredibly well done. There are no gain (volume issues) or any lack of resolution in any area. I don't think the performance advantages over the standard and SACD versions are subtle. This is well worth the investment, and becoming rare. Buy it while its available ~



2. I recently purchased the Japanese version with the obi strip $200.00. Please save your money and buy this Mo-Fi version. I have both now. The Japanese (so called collectors issue) is slightly and I mean slightly better. The only way to tell the difference is if you have a high end system as I do. So again please save your $$$$$$$$ and buy the Mo-Fi cd which I rate as a 3 and the Japanese version as a 3.1 for sound quality.



3. This is a wonderful version of a wonderful album. One of the best things about the Mobile Fidelity CDs is that they allow a far better dynamic range in the music. Most CDs are engineered for maximum volume, at the price of music quality. There is a limit to how loud any sound on a CD can be. To make it sound louder the engineer compresses the sound, making more of the middle level sounds reach this maximum, causing a muddiness that can't be EQ'd out. MFSL Ultradisks will not sound as loud or blown out as a normal CD, and some people can't hear the difference in quality this allows because they're used to listening to garbage. Loudness is not quality, neither is the artificial emphasis that some engineers put on the highs to compensate for the horrible compression that has to be used to make a CD sound louder. The tremendous improvement in imaging this version has is instantly obvious to me. If it isn't loud enough invest in a better pre-amp. Your system isn't as good as you thought it was - just loud.



4. I had many issues of this album. I had it on LP, on ordinary CD, on CD from the Box Set and Japan LP version. I also listen and compared MOFI CD with SACD version. In the end MOFI Gold disc sounds the best. For those who have difficulty hearing I recommend syringing their ears first.



5. Thank goodness this was a gift from a friend although after listening to the disc, I'm beginning to wonder if I know the reason why he gave it to me so freely!
   
   DSOTM is a unique sonic experience and should be something you listen to uninterrupted with the best system that you have and preferably with your eyes closed and reclining in a somewhat horizontal plane. As a guitarist myself, I'm a big fan of David Gilmour and some of his best solos are on this album as well.
   
   Too bad the sound quality is so poor. I've already missed the boat on the first issue of the Japanese mini-lp sleeve remastered version so I guess I'll have to hope for either a re-issue or if the powers that be would stop being stubborn about it and let Alan Parsons (the original sound engineer on the album) to be in charge of a new project to remaster and bring this album back to the majesty that it must have sounded like in the studio or die trying! : )
   
   As for me, I'll just wait, wish and hope for either scenario to eventuate while trying to sell this dud gold cd version that I'm stuck with for now.

5 comments about Live at the Isle of Wight Festival 1970.

1. Everything about this release is wrong, except for the content. Maybe if the sound was recompressed, remixed and washed out a couple of times it might be tolerable. It seems most of The Who's punch from "Live at Leeds" was lost in the open air of this festival. I've heard better bootlegs, but not to say that this recording is "dirty", because it's not. If anything is too quiet, clean and tired. I'd pass.



2. this is by far the worst live disc I have heard. I was at this show and it was nothing like this muffed miss mix they so shamelessly put out here. Townsend owes me and every other fan a personal apology



3. This is a heavily acclaimed live album, at times compared favorably to Live at Leeds. And there's a good reason for that: this is the Who, a legendary live act, at their prime, playing a really good show. Sure, you could complain about all the overlap with the one-disc Leeds reissue - "Young Man's Blues", "Heaven and Hell", "Summertime Blues", and a multitude of the early hits ("I Can't Explain", "Substitute", "My Generation", "Happy Jack", "Magic Bus") appear on both discs - but that doesn't matter much, and I'll tell you why: those songs, both originals and covers, represent the Who at their absolute prime. Other than those, most the album is devoted to one of two things. There are a lot of Lifehouse outtakes: "I Don't Even Know Myself" (a fun little rocker that switches to jaunty ragtime), "Water" (an awesome epic rocker with Pete packing more guitar heroics into eleven minutes than most guitarists can fit into an album - it obliterates the version found as a bonus track on Who's Next), and "Naked Eye", which only rules slightly less than "Water"; or, the reason you probably bought this in the first place, a performance on Tommy that's more or less in its entirety, though "Underture", "Welcome", "Cousin Kevin" and "Sally Simpson" are absent, and the order is a bit off - "Tommy Can You Hear Me" is for whatever reason placed before "Go to the Mirror?", even though it makes no sense when placed there. The Tommy performance is as good as if not better than the original version, since Townshend plays a lot of guitar, and there aren't many better guitarists than Pete. It's loaded with energy, too. Okay, so the piano part on "1921" is missed, as are all the French horn parts. The "Amazing Journey"/"Sparks" medley is always classic (Especially "Sparks", where Townshend gets in more of those guitar heroics you heard on "Water" - it's enough to rival Jimi Hendrix, and Entwistle plays another genius bassline, the kind he could knock off without even thinking too hard about it - Keith Moon goes crazier than usual, and it's too bad they never gave him a drum solo. That would be amusing), "The Acid Queen" is graced with one of Pete's most distinctive vocals; "Pinball Wizard" is "Pinball Wizard" (need I say anymore? By the way, how did he manage to play the intro with only one guitar? Does Roger do double-duty or something?), they rampage their way through "Go to the Mirror!", not like that's a bad thing; "We're Not Gonna Take It" is still the same desperate prayer. And even some of the "minor" songs have their good points - "Christmas" and "Eyesight to the Blind" aren't favorites of mine, but they are performed quite well. Sadly, an ear-bursting "I'm Free" doesn't at all fit the subtlety required for that song, and it ends up being the only real disappointment on the album, along with "Substitute", which they seemingly can't get right live. The rambling "My Generation" is much better, though, and an easy highlight. Great guitar solos, and I like the random quote from "Water". So no, this album can't match Live at Leeds, but what can?



4. The Who's performance at the 1970 Isle of Wight festival was phenominal. In my opinion, it is better than their "Live At Leeds" concert. Leeds seemed to be more polished, but Isle of Wight shows more of the authenticity of The Who's early-day live performances. The music is played with much energy, and the banter between songs gives it more of an actual concert flavor, unlike Leeds. The Leeds concert sounds like a studo album that just happened to have an audience.
   
   Not only is this a superior performance to Leeds, it is also a better CD release. Leeds omitted songs, chopped up other songs, was presented out of order, and was re-released with inferior sound quality. Isle of Wight has none of those qualities, and is a perfect release in every way. Of course, die hard fans will want both this and Leeds, but if you are trying to choose, this is easily the better buy.



5. Many people say you need to get "Live At The Leeds" to experiece The Who in all their glory. Personally, if you ask this fan, I completely disagree. Now, I greatly enjoy "Live At The Leeds", but I feel at many times it lacks energy and feels very incohesive and as a whole, yes, I'm going to say it, it's a tad overrated.
   
   To truly experience The Who at their zenith, look no further than the two disc "Live At The Isle Of Wight Festival 1970". Now this is classic Who. As one reviewer pointed out, Roger and Pete are much more focused and energetic than they are on "Live At The Leeds". Pete's guitar work is nothing short of astounding, and vocally Roger has never been better. The Ox as always plays bass than anyone who has or ever will touch the instrument, and Moon is his wild, over the top self throughout the whole running time, never missing a beat.
   
   Every song, including a terrific "Tommy" set, is full of life and is a sheer joy to listen to. The sound quality is overall terrific, and the liner notes and packing are very well done. This is a highly worthwhile purchase.

5 comments about Bananas.

1. Ok I love Deep Purple if you're talking about classic Purple 60s, 70s and 80s but this is just embarrasing. I went out and bought this hearing all the great reviews about it. People ranked it with classics such as Machine Head so I caved in and bought it. Once I opened the package I saw the band members names and the only original member left was Ian Paice. I didn't realize that John Lord had left. But I played the cd anyway. I have listened to it and the songs are just cheesy and bland and not very Purpleish. I mean if Blackmore was still in the band there is no way he would have let them call an album Bananas but this album sounds exactly like Bananas. The lyrics are bad and the music is terrible. I won't even bother to go by a track by track review because there is nothing on here worth mentioning. Deep Purple really need to hang it up. They get much worse on their next album Rapture Of The Deep. If you're a huge Purple fan and have not heard this then my advice to you is Don't. You will wish you never had. Stick with the great albums, In Rock, Machine Head, Fireball, Burn, Perfect Strangers and hell I eben liked House Of Blue Light. This cd is pure garbage.



2. Deep Purple has had some high moments in their career, followed by peaks and valleys in between. The classic Machine Head was their first truly great album followed by Made in Japan the following year which became one of the best live classic albums of all time. But fueding between band members constantly causing line up changes and members leaving and coming back into the band split them up at their commercial PEAK! But they came back with David Coverdale for the FABULOUS Burn album and Deep Purple's second high level was reached. Nobody would have ever expected Perfect Strangers to bring the band back fully commercially, but Purple hit their third peak in the 90's and unfortunatly, internal conflicts caused them to split yet again. By the 2000's, the commercial and hit making days of a hard Metal group like Deep Purple were OVER. But that didnt stop them from putting out Bananas, the FOURTH peak of their career and what an album this is! It should have been the followup to Perfect Strangers and had it been, it would have surely went Gold or Platinum and yielded hit singles on the charts! The songs are so catchy here and the musicianship is outstanding! There isnt hardly a bad songs on the entire album. It easily blows away anything Deep Purple did from House Of The Blue Light on! Part of the style reminds one of their earlier albums, with the vocals of Gillan a bit more refined and the guitar style different with Morse being on board. But the album is no less than suberb anyway. Great drum work, guitar solos, signature organ, and most of all to go with it EXCELLENT songs musically! Who knows if Purple will ever reach another peak like this, but for me I am still enjoying this one! Awesome!



3. Like most people, I was surprised Deep Purple were going to call their new album "Bananas". That has to be the funniest name of an album for a hard rock band of all time!
   
   Luckily, the quality of the music is up to par with what we've come to expect from the band, so it's quite okay to call the album whatever the heck ya want!
   
   Of course, I can't honestly say the songwriting and the raw energetic power that made Deep Purple so popular and influential in the 70's has returned to full force. No WAY mister! Many of the tunes fall victim of being generic mid tempo hard rock, and while that's not really a bad thing, it's certainly not why we remember the band all these years later.
   
   Every so often the album will throw in some neat guitar tricks and other unordinary musical ideas (slightly unordinary I mean). But it's really not anywhere near the level that classic Deep Purple can offer for enjoyment. Pick up a mid 70's live album to see what the band can really deliver to the world of heavy rock.



4. Very good album from Deep Purple. Amazing to see how good they still are.
   I won't comment every songs, simply said, they are all very good.
   A very good cd from the first to the last drops ! Recommanded.



5. This is relly a great cd. It is definatly the best of the post blackmore era purple,They really show there versatility and don't just rest on there name for this cd.I have almost all of there albums and this one stands right up there with some of the classic purple albums.I thought there better days were behind them but maybe not , You can tell Gillian is getting older but he can still outsing most of todays vocalists KEEP ON SPACE TRUCKIN

5 comments about Queen on Fire: Live at the Bowl.

1. For most die-hard Queen fans this CD & DVD is a must have. Unfortunately for the rest, it's a take it or leave it proposition. First the sound quality is excellent. Same for the DVD visual. The band sounds great and enthusiastic. The set list is less than to be desired though. They were promoting one of their weakest albums "Hot Space" I must give credit though. The songs from that album sound much better live than their studio counterparts.
   There are some great performances "Save me", Fat bottom girls", "Play the game" & "Under pressure"
   Don't know why they keep insisting on adding yet another extended Brian May guitar solo? That part really gets boring fast.
   Over all it's a good live CD & DVD, but for the causal Queen fan, I recommend either "Live killers" or "Rocks Montreal" Better song lists.



2. In November of 2004, Queen released its fourth live album Queen On Fire Live at the Bowl.
   This live recording and its off-shoot DVD was recorded and filmed at The Milton Keynes Bowl outside London, England on June 5, 1982.
   Not officially released on video or CD, Queen On Fire Live At The Bowl marked the first time a recording of this concert has been LEGITIMATELY available to own as a 70 or 80 minute edit had been available on the bootleg recording circuit.
   Audio producers Justin Shirley-Smith and Kris Fredriksson returned to the original 24 track analog tapes recorded by 80s Queen co-producer Mack and Mick McKenna with The Rolling Stones Mobile Truck and created brand new regular stereo (for this CD and one of the two DVD mixes)) and DTS 5.1 surround sound mixes (found on the DVD).
   We kick off as the band hits the stage with the entrance music of Flash before the band dives into a spirited version of The Hero. Next is a killer We Will Rock You (fast version) complete with Brian May popping a guitar string and the music was left alone. Next is Action This Daywith drummer Roger Taylor and Freddie Mercury duetting on this rocker and John Deacon adding some bass which was muted on the studio recording and Brian playing his Red Special backup as his Red Special had to get a new string and Morgan Fisher did a great synthesizer solo substituting for the saxophone solo. Then Freddie does a nice piano intro which goes into an excellent Play the Game. Next is another Hot Space track Staying Power which is transformed into a rocker with Deaky and May playing guitars plus Roger bashing live drums and Freddie being on fire here. Next is arguably this live set's best track Somebody To Love which buries its studio counterpart by a longshot. Next is Now I'm Here which is excellent with a Freddie/audience vocal duel before segueing into Dragon Attack which rocks although Brian blew yet another string on his Red Special guitar and had to use his Red Special back up for the finale solo and the reprise to Now I'm Here. Next is a nice version of Love of My Life with Brian playing an impromptu teaser of Las Palabras De Amor before starting the track. Save Me is next and is done with more power than the studio counterpart. Deaky's Back Chat ends the first CD as the funk track is turned into a full-on rocker with Roger playing the drums like a man possessed, Brian's guitar dominating, John playing his Music Man Stingray bass and Freddie singing his heart out.
   The second CD begins with Get Down Make Love which is a great short version which then segues from its middle section into Brian's Guitar Solo which is amazing despite the fact his guitar cord came undone (you can see this on DVD unedited) and Brian finishes with some help from Roger's drumming. Roger does an uncredited 30 second Drum Solo at the end of the guitar solo track as a lead in to Under Pressure which is an excellent version of the track. Next is Fat Bottomed Girls which rocks and Freddie's voice was electronically fixed on the part where he says LOCALITY which his voice cracked on the original Milton Keynes BBC airing. We then have a rocking Crazy Little Thing Called Love which is great. Then we have Freddie play a nice piano solo leading into possibly the best live version of Bohemian Rhapsody ever. We then rock out with the set closing Tie Your Mother Down which rocks. The first encore of Another One Bites the Dust is a great spirited version. Sheer Heart Attack follows and is more aggresive than either the News of the World version or the Live Killers version. We then have the second encore of the traditional We Will Rock You with audience participating and a stellar We Are the Champions. We then have the band say farewell as God Save the Queen plays over the PA.
   Despite the fact this album didn't chart upon its late 2004 release here in the States, this live album is a FANTASTIC snapshot of Queen reigning their natural habitat, the concert stage and is one of my favorite live albums EVER!
   HIGHLY RECOMMENDED!



3. This is excellent. This is real offical Queen stuff by Roger and Brian. To me that says it all. It has the best version of Play the Game I have ever seen. Somebody to Love is great too. The quality here is unbelievable. It would be awfully hard to be disappointed with this one in my opinion. This just may be Freddie Mercury's finest hour, well one of many. Long live Queen!!!!



4. Compre este Cd y para que suena bien y la voz de mercury impecable yo recomiendo a los fanáticos de Queen que compren este disco doble es de coelcción



5. It's a great CD, but make sure to pick up the DVD. One of the best ever.

5 comments about Live at the Aquarius Theatre: The Second Performance.

1. In spite of the "roughness," you really hear The Doors. "Must have" for the dedicated fan. Great that these are being made available. Looking for more. A little pricey, but worth it for the dedicated fan. Shipping and handling very fair. A+



2. Another Bright Midnight Records release, the label responsible for (finally) putting out some of the Doors shows recorded for the Absolutely Live tour, and then some. This is the second Aquarius '69 show.
   
   The sound quality is just as good as the other Bright Midnight releases, recorded with the same set-up, and then remastered years later by Doors engineer Bruce Botnick. So if you only get one Aquarius show, check out the setlist and order and see what you prefer--both nights are similar. Both shows feature a complete Celebration of the Lizard, as well as the excellent Mystery Train/Crossroads jam. This show has Touch Me and Gloria, while the first show has Who Do You Love. The completist will just buy both sets, others may want to ponder. Most importantly, aside from the excellent sound, is thast the shows are uncut and complete. They even separate the in-between chatter and crowd noise into separate tracks like 'The Crowd Humbly Requests'. I'm not aware of any overdubs on this album, either.
   
   Recorded as part of the material that would be sewed into the Absolutely Live album, this is a complete source where as AB was a collection from many shows. Many tracks were, in fact, cut-ups of various takes of the same song from different shows. Guess the band is finally content to let people see them warts and all. AB and In Concert are excellent live albums, but purists wished for complete and uncut concerts tapes, and Bright Midnight is delivering all of the stops, starts, miscues, mistakes, drunken Jim, and chatter in between some amazing versions.
   
   Highly recommended to Doors fans, and if you're really obsessed you'll want to pick up all of the Bright Midnight releases. They seem to be trickling them out, unlike The Grateful Dead or Pearl Jam who bombarded fans with 'official bootlegs' over the years. Thankfully, in addition to the band, Botnick is involved with all releases for continuity and completeness over the decades.



3. Contrary to many reports already Documented this Was not the First Concert Performed since Miami {Chicago, June 14th & Minneapolis, June 15th} Had come and gone without incident.
   
   The Aquarius Theater Shows (2 Performed on July 21st & 1 Show from the 22nd of July) are regarded as The Door's definate "Comeback" performances. 1969 was a Year of Revolution in the US Culture, and to some on the Right, The Doors (Like John Lennon) were considered "Public Enemy Number One". It was Us against Them, in all the Best & Worst Ways that can be imagined.
   
   These Shows were recorded on Multi-Track Tapes for a Live Album. There were no riots or arrests over the course of these Shows. Just very Good Playing by The Band and Some of Jim's Finest recorded Vocals. And because of that many have said that Jim was on a "Tight-Leash" here and played a Good Boy for these Shows. Well, according to Ray Manzarek, that did NOT happen, and Ray went on to say that if Someone had told Jim to watch what he said and did on the Aquarius Stage, it would have triggered him behave badly. We will never know Jim's take on this Story, BUT, he DID sing a bunch during these Shows and now we have 4 CD's as proof.
   
   These two CD's are The Doors performining as a Band, with the Music coming first, and that for the listener is a very Good Thing. "Universal Mind" features Jim really singing well. A great "Gloria" is over 10 Minutes in length, and it's almost like 1966 all over again, this is a Band of Four Men and this is well give you a glimse into what the fuss was all about. When Jim takes a Left turn into Improv, Robby, John and Ray are right there with him {The Music plays The Band}.
   
   There are a few Blues Numbers in the Set: "Little Red Rooster","Close To You" and "You Make Me Real" that on some Nights the Band just Cranks out without much life, but on these CD's they really shine. "Peace Frog" is a real treat, and not easy to find as a live version. "The Lizard" was not a big Favorite of mine when I first heard it on the Double Live LP, back in 1970, but it has grown on me as now I really think it's Cool.
   
   Because, it's 2007 and we now are lucky enough to have Many Doors Concerts released on CD there is a lot to chose from. This Show will not be the Favorite for many, because it wasn't Front-Page news in all the Newspapers the next morning. Nobody died, nobody rioted, nobody got arrested. But at The Aquarius Theater, The Doors, PLAYED! There is 138 Minutes of their best Music on these Two CD's, it's not sedate or boring, but it sure is GREAT!
   FOUR STARS !!!



4. OK, I'm starting out this review because I can't stand to read all of the Doors apologists out there who can't admit when a Doors show was substandard. Now you might have a legitimate gripe with the recent release of the doors live at Boston (where Jim is drunk as a skunk and sings atrociously) but here at Aquarius, while he doesn't sing badly, he's not terribly inspired nor is the band. They make some noticeable mistakes which is a reason why only a couple of tracks were used to be included on the Absolutely Live album. Jim is NOT at the top of his game. The only exception is the band's rendition of Celebration of the Lizard from the first show which is excellent. But the late show just isn't that interesting. Yeah, an embryonic version of Peace Frog sounds entertaining at first but the finished version is much better and this instrumental is lame. With the exception of COTL there is no improvisational poetry from Jim and the band doesn't jam on any of the tunes. They play very carefully (almost too carefully) and they are a bit nervous because they are being professionally recorded. What makes this a good release is the excellent sound coming from the soundboard. But it's not the Doors at their best. By '69 we have a bearded Jim who's already become disenchanted with the rock music scene and frankly has begun is downward spiral into the abyss. The Doors peaked with their January '69 performance at Madison Square Garden in New York. Then Miami in March 1 hit and the band did a slow downward trend from which it never really recovered, although Roadhouse Blues and LA Woman has some great Doors songs on them. But Aquarius is not what it should have been. Really, if you want great Doors music you have to go to 1967 and 1968 when the Doors were at their peak of greatness. Jim was at the top of his game before his downfall. The Aquarius gigs are OK but that's it. Anyone who tells you differently is only wishing the gigs could have been more. When Paul Rothchild and the band heard their Aquarius performance on tape they realized it wasn't a great performance which is why the band recorded more shows to eventually get a better performance down on tape. Absolutely Live was the end result which is made up of a number of different cuts from different concerts. Aquarius is the show that "shoulda,woulda, coulda"



5. As usual with Doors' records, the performance is superb, the music excellent, the emotion is high. BUT there is something wrong with the caption on the cover, which can be seen when you enlarge the 2nd picture in the images, which says that this is the 'FIRST" performance, when all the other titles label this as the "SECOND".

5 comments about The Long Run.

1. This is one of my favorite Eagles albums. I appreciate what they achieved here: a hard rock, R&B, soul, blues fusion. I'm glad they took chances. It's an excellent outcome.



2. This album was great in the 80's....... and still retains its appeal. If you love listening to the Eagles... you'll love this one also.



3. The Eagles' sixth studio album (and last album until 2007's Long road Out of Eden) entitled The Long Run was released in September of 1979.
   Many fans of the band had, or still have for that matter, mixed feelings about this album.
   The year 1979 was a strange year for them when they released this album mainly there was lots of pressure to at least duplicate the major success of Hotel California. The Long Run was placed in the same vein of In Through the Out Door by Led Zeppelin, Tusk by Fleetwood Mac, The Wall by Pink Floyd and Cornerstone by Styx. All of those aforementioned bands were all having similar problems with either topping the previous hit or inner band turmoil or both.
   The Eagles went into Bayshore Studios outside of Miami, Fla with producer Bill Szymczyk and new bass player Timothy B. Schmit and recorded The Long Run which took over a year and a half to record (the album was originally going to be a double album but was denoted to a single album).
   The album begins with the Top 10 charting title cut, which was a great rocking way to begin the album with dual slide playing from Joe Walsh and Don Felder, rhythm guitar from Glenn Frey and vocal from drummer Don Henley. Next was Timothy's vocal debut, the soulful ballad "I Can't Tell You Why" which went Top 10 and is a great song. The rocking "In the City" follows and is a remake of a solo Joe Walsh song from the movie The Warriors, released earlier in 1979 with a stellar Walsh vocal and slide work. Another rocker comes in "The Disco Strangler" with a superb Felder riff. "King of Hollywood" ends the first half with Frey, Felder and Walsh trading leads at the beginning, middle and end of the song and Henley and frey sharing vocals with Frey singing falsetto whilst henley sang in his deepest range yet.
   The chart-topping rocker "Heartache Tonight" (co-written by Bob Seger) kicked off the second half and featured a great Frey vocal and stellar guitar work from Walsh. Another rocker called "Those Shows" follows and had dual talk-box guitars from Joe Walsh and Don Felder and a great Henley vocal. Yet another rocker "Teenage Jail" follows and has Henley and Frey on vocals and superb guitar work from Felder. "The Greeks Don't Want No Freaks" follows and is a great rock song. The album closes with the ballad "The Sad Cafe" featuring a great acoustic guitar solo from Felder and superb alto sax work from David Sanborn and a superb Henley vocal.
   When The Long Run was released, the album quickly shot to #1 where it stayed for the rest of the year and although it sold well (7 million in the US to date), fans complained it was a disappointment compared to its predecessor.
   I still love the album to this day, especially with its remastered version.
   Highly recommended!



4. I can't come down too hard on the Eagles for not living up to Hotel California on their next album - that was probably impossible. And The Long Run is not bad by any stretch. But it does pale in comparison to their other albums, and you can see why it was the last before what Glen Frey called their "fourteen year vacation."
   
   It does start off well. The title track is yet another paean to '70s hedonism, but that's what they did best. This time around, at least it's about a guy who sounds like he wants to clean up his act - all too appropriate for 1979, I suppose. Elsewhere, "In the City" proves they weren't too starry eyed about the urban lifestyle after all. "Heartache Tonight," their fifth and last #1 single, is slight but catchy. "King of Hollywood" is a good preview of Don Henley's solo work, although he proved to be better at this sort of thing when he was on his own. "The Sad Cafe" was the perfect choice for the last song on the last album.
   
   But there's more filler here than on the first five albums combined. "The Greeks Don't Want No Freaks" is surely the dumbest song they ever recorded (admittedly, that was probably intentional, but still...) "I Can't Tell You Why" remains a radio staple to this day, but it's nothing they hadn't done more convincingly before. Most of the other songs are simply forgettable. That should not stop you from getting this album if you're already an Eagles fan, since there are strong points. But if you're debating between The Long Run and any of the other five, I'd say you can't go wrong with the other option.



5. Despite what some say, this album represents the pinnacle of songwriting for The Eagles. "I Can't Tell You Why" is easily in the running for the greatest slow rock recording of all time. I absolutely love the overall tone they came up with in the studio for this one. Get over yourself and your musical prejudices, listen to the music, and let yourself enjoy it.

5 comments about Dirty Work.

1. `Dirty Work' is my least favorite Stones album ever and it's not even close. And I actually like it better then when it first came out! The whole thing just sounds forced which when you read the history of the recording that seems to be the case exactly. Mick Jagger sounds like he couldn't be bothered and his lyrics and vocals just plain suck. Keith and Ronnie soldiered on and in the past that seemed to work but the songs just aren't good enough. One good decision that Mick made was not to tour behind the album which in hindsight was genius. There are good songs and after a couple of plays you can get into them but then you have to brainwash yourself into forgetting the band's immense legacy which of course is impossible. "One Hit" is a good song; probably the best but wouldn't be filler on `Some Girls'. "Harlem Shuffle" is a joke and an embarrassment as a single release. I like "Too Rude" and "Sleep Tonight" both sung by Keith who begins to sing on more than one cut per album which would continue into the present. "Dirty Work" and "Had It with You" aren't terrible but God....again Mick is the problem! Avoid `Dirty Work' unless you are a Stones completist, even `Emotional Rescue' is classic compared to the album that almost broke up the band.



2. This is one of the weakest Stones' albums. SLEEP TONIGHT & DIRTY WORK are classic Stones songs, but the rest is mediocre at best. ONE HIT (TO THE BODY) and HARLEM SHUFFLE are memorable.



3. This was one of my most eagerly anticipated album releases of my lifetime. Like all 8 studio albums that came out after `78's Some Girls, the critics called it "the best album since Some Girls". Not only that, it was to be "Keith's album" which supposedly infers there would be no off the track failed trendy Pop experiments by Jagger. I also loved the album cover with the classic, too cool posing and showing off their wealth, aloof image of the band.
   
   Then I played the album and it opens with the thunderous monster `One Hit to the Body', the best opening Stones song in 14 years since Exile's `Rocks Off' and what would be the best Stones song of the entire `80s. It also has a (too short) solo by guitar legend Jimmy Page. I was blown away by this track! This was going to be one of the greatest Stones albums ever!
   
   Unfortunately, from there it was all down hill. Don't get me wrong, the rest of the songs are good songs, but not by Stones standards. Not only that, the dreaded filler creeps into the album. This was not one of the great Stones albums and in fact is barely better than the disappointing 1983 album, Undercover, that preceded it. I should have known better. Jagger and Richards were openly feuding and stooping to name calling in the press, there would be no tour, Jagger said Wood was "in no condition to tour", Jagger was going through a mid-life crisis in which he needed to prove to himself that he could be just as big as a solo artist without Richards. As it turns out, Jagger showed up with only 1 song - `Winning Ugly' and was holding out the best songs (Shoot Off Your Mouth, Party Doll, and Primitive Cool) for his next solo record. To his credit, when he was in the studio, Jagger did "sing his bleep off" according to Richards. But his singing was almost too over the top, too angry and forced sounding. Just listen to songs such as `Fight' and `Hold back' and feel the rage. It sounds like Jagger is trying too hard to make up for the guilt he felt for not contributing to the song writing. Harlem Shuffle is great cover but face it, it was already a good song and guys with the talent of the Stones can make it even better in their sleep. Jagger's one song Winning Ugly is good, but then you run into filler in the second half of the album with the pretentious "Back to Zero" and the overrated monotone "Had it with You".
   
   The album reached number 4 in the charts, tied with Undercover for the Stones worst chart showing since Beggar's Banquet topped out at number 5 in '68. The single "Harlem Shuffle" was a top 5 hit and "One Hit" was a top 30 song with a great video that Jagger calls the "fight video" in which the director asked the Glimmer Twins to put some of that anger towards each other into the video. The 4 albums that followed all fared much better. Years latter Jagger would accept blame for the band's failure by saying "The lyrics were just not good enough and the guitar riffs just weren't there". In summary, a good album, albeit weak by Stones standards and with one all time classic song "One Hit to the Body". Overall Grade: B-
   
   Other Stones album ratings
   
   1) Some Girls (1978) A+
   2) Let It Bleed (1969) A+
   3) Sticky Fingers (1971) A+
   4) Exile on Main Street (1972) A+
   5) Voodoo Lounge (1994) A
   6) Beggar's Banquet (1968) A
   7) Black and Blue (1976) A
   8) It's Only Rock `N Roll (1974) A
   9) Bridges to Babylon (1997) A-
   10) Out of Their Heads (1965) A-
   11) Goat's Head Soup (1973) A-
   12) Aftermath (1966) A-
   13) A Bigger Bang B+ (2005)
   14) Between the Buttons (1967) B+
   15) Tattoo You (1981) B+
   16) Now! (1964) B+
   17) Emotional Rescue (1980) B
   18) Steel Wheels (1989) B
   19) Dirty Work (1986) B-
   20) Undercover (1983) B-
   21) England's Newest Hit Makers (1963)B-
   22) December's Children (1965) B-
   23) 12 X 5 (1964) B-
   24) Their Satanic Majesties Request (1967) C



4. One of the best CDS'I own by This Group! They still have what it takes to get people of all ages to rock, get up and move! Their music is timeless!



5. "Dirty Work" has become a rather maligned item in the Rolling Stones' great, long career. Interestingly it received mostly positive reviews when it was released - weeks after the Stones collected a Lifetime Achievement Award at the Grammys - in 1986 (cf Robert Christgau in "Creem", NME's Charles Shaar Murray, "Rolling Stone", Robert Palmer, John Rockwell in the "New York Times", etc). The Stones had reached # 1 with every studio album after "Let It Bleed" until the bleak "Undercover" stalled at # 4, but "Dirty Work" sold pretty well considering the Stones hadn't played live since 1982, again reaching # 4 during a six-month run on the "Billboard" Top LP chart. This album also contains a # 5 national hit ('Harlem Suffle', their biggest since 'Start Me Up' reached # 2 five years earlier) as well as a respectable followup ('One Hit' reached # 28). Yet one can discern pretty easily how it has fallen from grace in the past twenty years. The Stones have rarely played much of it live - both singles were performed during the 1989 - 90 tour, though only 'Harlem Shuffle' (which would have been right at home on "Out Of Our Heads" more than twenty years earlier) was kept in the set after the tour's first few weeks, and even that one has not been performed, as far as I can determine, since 1990. (Keith Richards did include a dub-inflected version of 'Too Rude' on his first solo tour). Despite the fact that it was a bigger hit than, say, 'Wild Horses' (# 28), 'Waiting On A Friend' (# 13), and 'Mother's Little Helper' (# 8), to name three classics, 'Harlem Shuffle' is rarely played on the radio anymore.
   After a quarter century together the Stones were deep in the midst of yet another near fatal series of crises in 1986. 'Sixth Stone' Ian Stewart, who'd cofounded the band with Brian Jones early in 1962 and played piano, booked studios, and been a stabilizing force ever since, died of a heart attact at 47, in December 1985. Charlie Watts had, in his mid-forties, become seriously addicted to heroin and amphetimines and appears - perhaps for the only time in his career - disheveled, eyes averted from the camera, on the front cover photograph that adorns DW. Ron Wood had been struggling with his own debilitating addiction to freebase cocaine. Mick Jagger, encouraged by CBS president Walter Yetnikoff, had released his solo debut in 1985, and that was but one issue that contributed to strained period in his relationship with Richards (note that in the aforementioned cover portrait Keith appears to be kneeing Mick in the groin). Bill Wyman, having taken up with 13 year old Mandy Smith a couple years earlier, certainly felt alienated from Richards and the substance abuse and sense of gloom enveloping the band, and in typically passive aggressive fashion, responded by appearing on only three or four of the album's tracks. Another sign of the state of the Jagger/Richards relationship is that there are only three songs credited to the pair. Four others give Ron Wood songwriting credit, and it's clear Richards and Wood worked closely on developing material before Mick came in and sharpened the thematic focus. Yet, somehow the Stones turned out a flawed but raw and uncompromising work, both an eviscerating reflection of the state of the culture in the mid '80s (remember, this was the era of Reagan and Thatcher) and a no-holds-barred look at the fractious state of the Stones. If "Undercover" had been an almost nihilistic, gory, and brutal record both sonically and lyrically, only occasionally leavened by humor, sex had still been the catalyst for its harsh, violent songs of mumbness and dislocation. On the more sharply focused "Dirty Work" women and sex (forget romance) are very much in the background, and the lyrics are more direct in their anger, specific in their portrayal of human relationships as conflict and power, even war. Jagger drops the irony, distance, and feline assumption of personae that made his vocals so rich through the most of the Stones' previous recordings, and instead assumes a 'sincere' posture, meaning here he's as direct as he'd ever be, and throughout this ascerbic, fleet and cohesive album shouts, blusters, accuses, and implicates both listener and self, abusers of power in romance, friendship, business, or politics. This is one of the Stones' most furious collections of songs. Yet thematically there is none of the struggle with ennui of "Goats Head Soup" or "Exile", and the violence of 'Winning Ugly', 'One Hit', 'or 'Fight' isn't meant to cut through the world-weary numbness of "Undercover". The light - the fire - that illuminates "Dirty Work" results from Jaggers' desperate need to communicate, to connect, stare down, and make sense of the Stones' and his world circa 1986. Musically much of the heat is generated by Richards, Ron Wood, and Charlie Watts, and they more than match Jagger's intensity. The grime and grunge of 'When The Whip Comes Down' is sped up like Chuck Berry's aeromobile on the furious 'Dirty Work' title track, where you hear the guitars soar and Jagger implicate '80s greed while never sounding self-righteous since he's always implicating himself as well. 'Hold Back' is an excercise in hard rock funk (guitars courtesy Wood, Richards, and Bobby Womack, bass by Ivan Neville) with smart and unusually direct lyrics that invoke historical perspective and warn against inaction (compare the desperation and drive here to the watered down pablum 'Let's Work' from Jagger's second solo album, an utterly banal thematic variation). And on 'Back To Zero' with its throbbing basslines and sputtering guitars, the Stones evoke the apocalyptic anxieties of the Reagan era as Mick's narrator - countering Neil Young on Johnny Rotten - insists "I prefer to rot / I don't want to pop".
   "Dirty Work" is not without flaws. Producer Steve Lillywhite, who would not work on another Stones album, sometimes adds unnecessary keyboard gloss to tough tracks, and the album's claustrophobic mood is darkened by an airless mix. But the Stones still manage to soar most of the time. Closing on an autumnal note with Keith's 'Sleep' (Sam & Dave could have taken this one to heaven) and a mournful coda, a snippet of Ian Stewart playing 'Key To The Highway' unaccompanied, "Dirty Work" is no more dated than, say, "Sign 'o the Times" or "Tim". And there's a lot more real feeling here than on the more calculated "Steel Wheels". Don't dismiss this one; it's unrepentant Stones thru & thru...