Amazon.com

Recorded at New York's Bottom Line in 1978 following the release of the acclaimed Street Hassle, this live document probably isn't for the casual Lou Reed fan. But if you appreciate pre-New York Lou, Take No Prisoners demonstrates, perhaps more than any other Reed artifact, the importance of major attitude and myth to classic punk. Often called "the Lou Reed comedy album," Prisoners has the totally revved-up artist coming on like a rock & roll Lenny Bruce as he delivers often hilarious monologues: Sweet Jane" and "Walk on the Wild Side" are nothing but that, with the band vamping behind him. Reed's targeted subjects include Barbra Streisand, Robert Christgau, Patti Smith, politics, the music biz, members of the audience, and, most importantly, himself. It's terrific if you like that kind of thing. The band's terrific, too, especially on "Coney Island Baby" and "Street Hassle." But as live rock albums go, this one is best viewed as the funniest of the genre, and it's reportedly one of Lou's faves. --Bill Holdship ... Read more

Reviews (7)

"Give me an issue and I'll give you a tissue....."
The other reviews are pretty much on the mark. This early Binaural recording is wasted on a sloppy (and I'm being kind) performance of Lou essentially ignoring his band and venting/rapping for the duration. For completests or comedy fans only.

Classic Reed Album; A Great Perfomance; Poor CD Remastering
Every two or three years I go back and listen to my collection of Lou Reed albums repeatedly for a month or two. During such stints, I seldom listen to anything else. After his latest release (The Raven) I decided to revisit his substantial catalog in order to, for my own sake, place his current work in a broader artistic context. There has always been a tremendous thematic continuity in his work that I appreciate.

After listening to his recent releases and then to "Take No Prisoners," I was pretty shocked (in a good way, mind you) by how completely different Lou Reed was back in the late '70s. Bold, brash, arrogant, desperate-Lou Reed was all these traits in addition to being one of the greatest singer/songwriter/performers of the '70s. "Take No Prisoners" is an incredible album that features a version of Lou Reed that is just as edgy and abrasive as the crowd to which he plays. The band is tight, but often they are not given much of a chance to develop the tracks into coherent musical constructions, due to Reed's extensive monologues, which are occasionally compelling, sometimes banal, but often hilarious. When the band does find the room to break into the choruses of the songs, they charge into them with the strength and force of a runaway locomotive. This was a great band recorded on a very special night. The energy in the music is astounding.

Although the discs boast several classic Reed tracks that are all performed in a style that is somewhere between the Lou Reed we are normally used to hearing and something from the comedic repertoire of Lenny Bruce, for me the standout tracks are the versions of "Coney Island Baby" and the epic "Street Hassle" on Disc 2. Reed's singing on these tracks is stellar-he passionately captures the speech mannerisms of the downtrodden, the hustlers, and of the humanly expendable in these songs. He so convincingly becomes the characters in these songs that you feel as though you are down in the gutter with him, looking for that crumb of salvation that someone may have left behind.

The only issue I have with this recording is the poor remastering that was done for the CD release. An original LP vinyl copy will sound much better than this CD, which contains far too much tape hiss to be a genuine remaster. The poor sound quality of the CD prevents me from giving this a 5 star review.

If you have any deep interest in Lou Reed, buy "Take No Prisoners." Listening to this CD is like going to the circus, but not being able to enjoy it fully because all the clowns are just a little too dirty. It is like going to the zoo, only to walk by the Polar Bear exhibit to see that the animals have eaten the zookeepers. "Take No Prisoners" very well may be flawed in many people's eyes due to Reed's long orations, but it also brilliantly captures the punk aesthetic and a classic Lou Reed persona that we shall neither see nor hear ever again. This is essential equipment for living in a world that is clearly one big "Dirty Blvd."

Unforgettable "comedy" from a very drunk Reed
While ex-Velvet Undergroud mastermind John Cale was spilling his drunk soul and Guts on a smaller stage, a drunker VU mastermind Lou Reed found new ways to dump on his loyal fans. This is Reed at his absolute worst - musically this is a live non-show - Lou never gives his great band a chance. As a live comedy document this is unforgettable corny fun. It must be a comedy record. It HAS to be, as the music seems an afterthought. I can't imagine how the backing band felt - they probably felt "just play". And they do, quite well. Lou would rather heckle the audience. Constantly.

And it IS funny. Reed's quips and barbs are the equal of any 'Hee-Haw' episode. It's a live laff riot. I loved it when Lou Reed (being drunk and all) slurred and mentioned Groucho Marx. I didn't think he would but BAMM! classics speak for themselves. He gives Rupert Pupkin (Scorcese's "King of Comedy") a run for his money.

The cheap jokes here are funny in their bitchy and cheap way. But you wanna good one? That same year Johnny Rotten & the Sex Pistols were launching a punk revolution, inspiring countless bands to express anger/helplessnes/isolation. Very much Velvet Underground material. I just wish Lou Reed was there to see it. I guess he was already booked, playing a drunk burn-out. He performed that role exceptionally well. Betcha he doesn't listen to this blasted diary much. But I do - you haven't heard a "Walk On the Wild Side" like the version here.

You don't buy this album for the music
You buy it for Reed's Lenny Bruce styled rants. They're hilarious and you will enjoy hearing them and playing them for your friends. You won't play the album to enjoy Reed's excellent music. For that try "Rock and Roll Animal" (one of the finest live albums recorded of anyone!) or if you already have that, then the Live in Italy cd. So you buy it for the humor, Lou cursing Robert Christgau among many others, that's great, but by all reports much of that has been edited out. I wonder what Lou-then would have said about this release? I say Nuts!

Despite all the amputations
This album is an excellent snapshot of Lou's post-Street Hassle live show. Lou and the band don't even pretend to try to pull off "perfect" versions of these songs - instead they attack them and by doing so showed 1978 audiences that you didn't have to play like the Sex Pistols or the Ramones to have an attitude. My biggest complaint about this album is that the edited-down versions of songs like "Waiting for the Man" and "Walk on the Wild Side" have STILL not been restored to full-length for CD release. This has to be the fourth or fifth time this album has been put out without addressing this issue. If the Who can extend the "Live at Leeds" album, why can't TNP at least be issued with full takes? ... Read more

Reviews (16)

The Crowd was Crazy, but new bootlegs are about music
This Bootleg is a great one. If you crank it loud then you will hear the roaring crowd. The new bootlegs have much less crowd noise than previous tours. It takes getting used to, but the music and vocal quality is much better on the new bootlegs.

The setlist on this boot is only a preview. I have listened to it many times. The band jams quite bit and added extra to many songs. I have 5 PJ boots from 2003, this is by far the best as far as band energy, emotion, setlist. The crowd was crazy by the way. I was there! [...]... the place went nuts. Turn up the volume and you will hear it.

A Little Dry
I bought this album based on the set list but don't like it based on the feel. Pearl Jam just don't seem into it on this concert. I am not sure if it is location or the recording itself, but I don't feel that there is enough emotion behind the music and the audience is awfully quiet.

In retrospect, I can't imagine that Japan has a lot of Pearl Jam fans and I think it shows in all aspects. The set list is wonderful, but I like to hear more excitement and feel the excitement from the band. I am not a huge Pearl Jam fan, but I have heard some great concerts from their previous concert releases.

On this concert, Release is awesome and the concert starts out nicely, but it feels almost slow in the middle section. It isn't until the Encores that I feel their energy again. I do like that this concert leans more on their heavier music. It also includes a nice rendention of Yellow Ledbetter, which is my favorite Pearl Jam song.

I am not sure what the Perth Concert sounds like, but maybe this is only worth having if you are interested in a songs that haven't been released before or are a diehard and need every disk. Otherwise, go back to some of the previous live recordings.

Pearl Jam puts forth another fine live effort
Pearl Jam's bootleg of the March 3rd show at Tokyo's Budokan is filled with plenty of highs and lows, but at the end of the day, it's a good recording worth owning.

Pearl Jam dives into their more well known catalog with "Evenflow" following "Release" and "Can't Keep," but the band's Ten-era rocker seems to have lost its intensity -- the vocals just don't have the same edge they used to have, and its played faster than usual to boot. This results in a weak version of an otherwise powerful fan favorite.

"Save You" off of Pearl Jam's latest studio album "Riot Act" recieves the same treatment and is played faster than usual, but sounds great all the same. Vedder's more 'reserved' scream on the studio version of the song doesn't appear here -- its a no-holds barred shout that sounds superior to a concious scream worried about its tonal quality on Save You's studio counterpart.

Renditions of "Hail, Hail" and "Dissident" off of Pearl Jam's earlier works sound great, "Hail, Hail" definitely a highlight with its memorable riffs.

"Lukin" is weaker than its studio recording on "No Code," as if Eddie Vedder doesn't have the voice to sing the song anymore. However, it does roll into a fantastic version of "Not For You."

"You Are" and "I Am Mine" off of Riot Act also make appearances. While "I Am Mine" is a suitable live rendition of the song, "You Are" features somewhat weak vocals, as if Vedder were uninterested. It just sounds a bit too low and lazy for me.

"Betterman," a song from Eddie Vedder's pre-Pearl Jam days that first appeared on "Vitalogy" sounds great -- a number that starts with a lone Vedder singing the song without the rest of the band, who come out after the first few verses. Normally a more interested crowd would drown out Vedder in the singing of the first few verses of "Betterman," but no such luck with the crowd at the Budokan that night.

The real highlights of the show open up the second disc. Pearl Jam's "Corduroy" still sounds strong with its straight forward message of love.

It's followed by Pearl Jam's "Do The Evolution" which is another fine live preformance by the band. It's a bit of a letdown compared to other official bootlegs, though with no improvisation at all on the part of Vedder. Most of the other times the song is preformed, its lyrics about "I am the first man to make plans" are substituted for something more humorous. No such thing on this boot. Not to say "Do The Evolution" sounds weak at all on the Tokyo show, just that better recordings of it exist.

Vedder's vocals sound fantastic on "Blood," an angry song about the media looking for dirt on rockstars and other icons. He hasn't lost it at all in the +10 years since the song was first heard.

In my opinion, "Bushleaguer" and "Know Your Rights" see their finest renditions of all of the 2003 tour on the Tokyo, Japan bootleg. "Bushleaguer" doesn't sound calculated at all -- it just flows and sounds fantastic. While Eddie Vedder once again sounds reserved on the studio version of the song, his vocals are more laid back and fluid live. Plus, its got some great opening guitar work from Mr. Mike McCready.

"Know Your Rights" is the same way -- a Clash cover, all the other appearances of the song (notably on the Madison Square Garden two-night stand) sound too calculated and it seems as if too much care has been taken in how Vedder's voice sounds. The Budokan sees a straight preformance of the song -- once again, it just flows and doesn't sound unnatural at all.

Other highlights of the second disc are a fine preformance of "Black," a Pearl Jam b-side "Breath" that's an absolutely amazing song with a fantastic riff, "Alive," "Yellow Ledbetter" (another b-side) and the attempt at a sad song on a ukulele, "Soon Forget." Seemingly one of the rare times "Soon Forget" appears live, it's a halarious song to hear as the attempt at making it sad are completely thwarted with the first few notes from Ed's uke.

While not the best live recording released for retail put out by Pearl Jam, it's got enough highlights that make it worthwhile for purchase.

Pearl Jam
This was the first Pearl Jam C.D. that I purchased. I had only heard I am Mine and bits and peices of other songs (it's not my fault I was about 2 when they became popular). After buying it I put my headphones on and listened to the first couple of songs and I enjoyed them. But only after listening to two songs I shut it off. The next day on a long car trip I listened to the whole thing. I was impressed until... I got to track 16 (Yellow Ledbetter) I was blown away. Mike has got to be (save Jimi Hendrix and Stevie Ray Vaughn) the best guitarist ever. I sat there and listened to it about five times over. But anyway I'm getting off track. After spending the past six months with this album I'd say the highlights are... Even Flow, Yellow Ledbetter, Alive,Better Man, Breath, U, Black,Dissadent, and I am Mine.

Great Bootleg
The mixing on this CD is good. I think it is far better than the Perth bootleg. There is a bit of political activism on the CD but not much. PJ just rocks the house! ... Read more

Album Description

Never released in the U.S., this is their 1990 live album for Slash. The first eight tracks are from their April 28th,1990 show at the Brixton Academy; the last two are studio cuts. 10 tracks total, including 'From Out Of Nowhere', 'Epic', 'We Care A Lot' and a cover of Black Sabbath's 'War Pigs'. ... Read more

Reviews (3)

Glimpses of Brilliance and a Hidden Gem
Hearing Billy Gould talk about Live at Brixton it makes sound this was a heavily overdubbed, over produced "live album" typical of most of the live albums put out by arena rock bands like KISS where the live elements like audience noise are generally mixed in after wards.

Still does this mean this is a substandard CD? No. It's basically the Real Thing live with one song, "We Care a Lot" from the band's first and second records. This CD showcases the greatness of the Real Thing / Rock mode FNM very well and also gives at hint at the weirdness that was to come for the band. The ever bizarre Mike Patton dropping in bits of the New Kids on the Block "Right Stuff" and Teknotronic's "Pump up the Jam" is a perfect example of this. Of course anyone who was lucky enough to catch the band live would know that they regularly included covers from guys like Take That (Back for Good), the Bee Gees (I Started A Joke), Portishead (Glory Box) in the sets as well as renditions of standards like Green Sleeves and Spanish Eyes.

But for me the real gem on this disc is the bonus studio track "The Cowboy Song" which along with "The Perfect Crime" from the Bill & Ted's Bogus Journey CD are great missing tracks for the Real Thing era of FNM. It really showcases the talents of the band a great keyboard hook by Roddy, Billy's masterful bass thumping and the grinding geetars of Jim Martin (founder of the Faith No More spiritual and religious sect). It's another one of those tracks that really makes you wish Faith No More would release a real B-Sides collection of these tracks and stuff like Das Schutzenfest or the Patton version of As the Worm Turns.

In short if you like the Real Thing or a Faith No More completist, you really should make an effort to find this album.

I'm so happy they put this out
Altough it never was released in the US, I am very glad that the record company decided to capitalize on FNM's success at the time and put out this live record. There is never a dull moment with this band, and their live show is no different. Each song gets the "Patton touch", and although difficult to digest at first, you will find yourself liking these versions of songs off 'The Real Thing' just as much as the originals, and liking the fact that this isn't just the 1989 release with a bit of crowd noise. The songs are completely different, with Patton also giving his version of the FNM staple, 'We Care A Lot'. And if the 8 songs weren't enough for anyone drooling for an FNM live show, we are treated to two rarities, 'The Grade' and 'The Cowboy Song', the latter being one of the best songs the band wrote in that era. Definitely worth the import price, this live show rocks.

Brixton
Awesome! A classic Faith No More Album. It will blow you away. Supreme war pigs cover showing just how heavy FNM can be. Even sports a little comic relief by doing a New kids on the block tune ... Read more

Album Description

2003 live album from the German alternative rock actfeatures 20 tracks. Guns. ... Read more

Reviews (1)

SWEET AS SUGAR
Hey hey, cant go wrong w/ this cd. Fans been waiting for this & its finally has arrive. thanks so much to guano apes. its really great, no disappointment here. If you are a GA fan, this is the must for your collection. ... Read more

Amazon.com

Weird, wild, and sometimes wonderful, this live recording (deftly captured at Slim's in San Francisco on New Year's Eve 2000) is from bizarre underground "supergroup" the Fantomas, featuring Buzz Osborne of Melvins infamy and former Faith No More frontman Mike Patton, in this case, performing both Fantomas and Melvins tunes. The term "tunes" should be used loosely, as many of the album's 18 cuts are, as titles like "Musthing with the Phunts" and "Liquorton Gooksburg" suggest, exercises in musical oddity and excess. When guitarist-singer Osborne joins Patton (also of Mr. Bungle) in Fantomas, which features Slayer drummer Dave Lombardi, there's a cacophony of influences, from death metal to experimental to Black Sabbath. On Millennium Monsterwork, "Hooch" and the rumbling "Night Goat" from the Melvins album Houdini are included, as is "Mombius Hibachi" from Honky. "Cape Fear" and the gothic-into-punk-metal version of "The Omen," originally found on the Fantomas' Director's Cut album (full of bizarre reworkings of movie themes!), butt up against the painful noise of "White Men Are the Vermin of the Earth," the relatively straightahead raw rock of "Ol' Black Stooges," and the childlike spookiness of "Skin Horse." If Millennium Monsterworks is the ultimate in musical indulgence and esoterica, there's nonetheless a pleasing power and freedom to be gleaned amid the chaos. --Katherine Turman ... Read more

Reviews (7)

2 AMAZING Bands, Playing At The Same Time, Live=Decent..
This gets more of a three and a half. Mainly becuase i'm a big fan of both of these bands. But this recording isn't that great. Theres nothing wrong with the sound quality, its just that Its a medieocre album. It gets a little boring. I have a feeling it would have been better in the studio, with slightly longer songs. The versions of Cape Fear, Hooch, and Night Goat are amazing how ever! Those three tracks alone are worht the price. But I expected more from such a great concept. However, I did have the privalage of Seeing the Fantomas/Melvins Big Band live last summer, and it was an amazing experience! Don't let this album detuor you from seeing them live if you get the chance!

Better luck next time, perhaps...
I was really looking forward to this CD after having seen Fantomas live and then Melvins live a few months later. Sadly, this effort to merge the two bands is a disappointment. The sound quality is bad and the "tightness" of the Fantomas songs just doesn't come accross with such a large ensemble. Stick to the studio albums - this is for die hards only. Although hearing Patton sing Hooch was cool!

Two bands, one disc, zero reasons to buy
Nah, I can't really get into this. I have a stack of Melvins CDs, a Fantomas disc or two, some Faith No More, and all that groovy loud stuff. So I had high hopes for this live album.

But 90% of it is a noisy waste. I'm surprised that these guys decided to play weird death-metal jams while Mike Patton screams over top. I mean, they can all really play, so why just act like [that]on stage? What's the point?

Sometimes I'll listen to this when I need a caffeine jolt of mindless aggression. It's like Ministry for nerds, with an extra hit of doofus humor and none of the discipline.

Not quite perfect, but so close
The only official Melvins/Fantomas bigband release recorded live at Slims on New Years Eve is an exercise in power to say the very least. Uniting two of the underground's most inventive and unique bands as one single monolithic 8-person supergroup, the Fantomas/Melvins combined band's sheer volume and personnel are staggering. Just the prospect of hearing Dave Lombardo and Dale Crover together on the same stage, two of rock's most pummeling and ferocious drummers, should be incentive enough to buy this CD, but the rest of the extended band's veteran rockers are not too shabby either. King Buzzo growls every syllable while laying down some of the heaviest, grinding riffs that have ever oozed their way out of his guitar, Patton screeches like a madman, Stone revels in his own sonic noise montages, and Trevor Dunn and Kevin Rutmanis hold down the set's bottom end with their bombastic low frequency blasts. While Fantomas and The Melvins may all be good friends and even include one of the same members (King Buzzo), their styles are at exact opposite ends of the spectrum. The resulting clash of ideas is fascinating, forcefully combining the slow bludgeoning work of the Melvins with the frenetic fury of Fantomas to create something that is truly formidable in its violently contrasting elements. The songs themselves are an even mix of Melvins and Fantomas originals, with a few covers off The Director's Cut as well, but the additional members involved bring new individual parts to every track that give the entire show a fresh layer of complex intricacy. Unfortunately, the actual sound quality of the performance's source tapes is not that great and although Buzzo did a wonderfully comprehensive job of compiling and cleaning up this epic CD, especially the flawless transitions between tracks, the sound quality still prevents me from giving it a full five stars. Then again, Millennium Monsterworks is far from the average cassette recording by a semi drunk audience member, and still sounds quite professional; It is simply not on par with the quality of past live releases like "Your Choice Live Series Vol. 12" or "Colossus of Destiny". A brilliant idea and undoubtedly an amazing concert experience, Millennium Monsterworks falters a bit in its recorded version, but even with these minor flaws, this album should still satisfy fans of either of one of these genius bands.

sadly, this is just okay
I've had the pleasure of seeing both the Melvins and Fantomas in concert and this is not a great representation of what either band sounds like live. Okay, it's not really either band. Okay, it's done for fun but it's just sooo medicore. It's mildly entertaining but not engrossing. Most of it sounds like soundclips from longer pieces of music. Perhaps the entire concert should have been released?

I wasn't a huge fan of "Director's Cut" when it first came out and I gave it a bad review. It has since grown on me and I enjoy it quite a bit. If I was thinking of purchasing "Monsterworks" or "Director's" I'd definitely go for "Director's" and I'd also pick up the new Melvin's album, "H.A.T." It is one of the best things they've done in years. After getting both those albums then, and only then, would I buy this album. ... Read more

Album Description

European double-disc best of contains 13 tracks on disc 1 including 3 mixes plus a 9-track bonus disc called Woodstock '99 Live, featuring 'Machinehead', 'Greedy Fly', 'Warm Machine', 'Everything Zen', 'The Chemicals Between Us', 'Glycerine', 'Swallowed', 'The One I Love' & 'Little Things'. Trauma Records. 1999. ... Read more

Reviews (1)

The best of Bush?
Decent 2-disc collection. Disc one is the "hits", a bit predictable, but I guess that's what "Greatest Hits" usually are. That disc ends with a few remixes. Disc two is all live at Woodstock 1999. It's really pretty good, and not just because I was there in the 10th row either. Good song choices, decent sound, and a cool cover of REMs "The One I Love". What they need to do is drop single disc best of. One that's not an import, and hopefully a good 15+ tracks. Until then there's always "Sixteen Stone". ... Read more

Amazon.com

Lou Reed may have been a reluctant icon for the smart, art-fueled post-classic rock upheavals his efforts with the Velvet Underground and early solo albums inspired, but he's gratifyingly become one of the genre's wisest and most beloved godfathers. This two-plus hour live double-disc collection captures the 62-year-old Reed onstage in Los Angeles in 2003 on the heels of his ambitious, if commercially disappointing tribute to Poe, The Raven. Yet despite that unpromising context, the performances captured here nonetheless represent another unlikely career high-water mark. Wending his way through a body of work that seems ever more resilient and uncompromising in an increasingly disposable, marketing-mad pop landscape, Reed manages to evoke both big-rock grandeur and a surprisingly playful cabaret intimacy, cutting his too easily clichéd nihilism with bracing doses of cautious, world-weary optimism. The focus may be on Reed the troubadour/poet, but his unusual, drummer-less band (including Mike Rathke on guitar/synth, bassist Fernando Saunders and the bold, occasionally chilling cello of Joan Scarpantoni) imparts the performance with both a stunning range and dramatic edge, be they smartly rethought Velvets classics or stark, timely revisitations of "The Day John Kennedy Died" and "Men of Good Fortune." It's the rarest and best kind of live album: One that showcases a familiar artist in a compelling new light. -- Jerry McCulley ... Read more

Reviews (22)

Came for Antony; Stayed for Lou
I'd assumed that Lou's best days were long behind him; besides just how many live albums can one artist release, right?I bought this because I'm a big fan of background vocalist Antony of Antony and the Johnsons, and it was worth the price of the set alone for Antony's lead vocal performance on "Candy Says."But here's the real surprise:at 60+ Lou Reed is still fascinating!In other words, Antony is the sweet icing on a pretty grand cake.Imagine my surprise!

Better late than never
I am new to the Lou Reed party - I had heard New York back in the 80's and thought it was OK, but was never that big a fan. That all changed when I heard him last night at the ATP festival in LA. The man is AMAZING. The beauty of hearing someone who's been around for a while is that he actually has something to say, and can put it across. Vanishing Act left a huge lump in my throat - really simple and beautiful. If this is the new Lou Reed, he's definitely going in the right direction and to hell with what the crapmeisters of pop say. I had always thought his music was "yeahyeahyeah, screw the world", but I was blown away by what a consummate musician and poet he is. Give this album the time of day and listen - you will be richly rewarded.

"Rock & Roll Animal" has morphed into "Animal Serende"
Lou Reed released the "The Raven" album in 2003 to less than critical or commercial acclaim. He toured in support of the album, and this live album comes from that tour, documenting the entire concert at the Wiltern in LA in June, 2003.

"Animal Serenade" (20 tracks, 2 CDs, 128 min.) finds Lou and his band with just guitar, bass and piano or cello on most of the tracks. That's right, no drums. Lou nowadays is more a story-teller/singer, and if you can accept that this is not going to be the Lou Reed of the "Rock & Roll Animal" live album of exactly 30 years ago, this in fact turns out to be a great album, perfect for an evening with friends over or a book to read. Smartly, Reed only includes just 4 songs of the disappointing "Raven" album, and instead delves deep into the catalogue, but presenting those songs into a new light, check out for example "Venus in Furs" and "Sunday Morning".

I will gladly admit that I did not expect this album to be as good as it turned out. For the disappointed reviewers that wanted the live Lou Reed of yesteryear, please check out "Live in Italy" (1984) or "Rock & Roll Animal" (1974), but for those wondering what Lou Reed is doing nowadays, this is highly recommended.

Get Real
There seems to be a lot of argument about what instruments are played, and psuedo critics trying to pick things apart.

Let's get real from the Lou point of view.

I can NOT imaging a Lou Reed fan not loving this CD. His creativity and personality flow through this collection. The sound quality is excellant. The coverage and/or variety of songs is great.

If you're a newbie, this might not be the best representation of his history, except for the fact it's an excellant CD. And it might prepare you for some earlier bizarreness. it has a very good selection of his best, just arranged a bit different. But down right incredible.

So my suggestion is.... Screw the so called experts, they're a dime a dozen, and buy the sucker. You'll love it!

I Want My $$$$$ Back!!!!!
Sitting through a Lou performance these days is a trying exercise in patience and tolerance. It's not just the stream of mediocre material he's poured out almost indiscriminately (nearly EVERYthing since the fateful "Magic & Loss"). No, it's worse than that. It's Lou's ego. Offstage, you'd just ignore a person so full of himself, or perhaps you'd teach him a lesson and slap him a fresh one. After putting myself through "Animal Serenade" I decided to put a lid on it and publicly demand: "Lou, I want my money back. Contact me at the above address to find out how you can make amends."

For the unbelieving, let's start with the 'songs'. Smalltown, Tell It To Your Heart, Vanishing Act, Ecstasy, Revien Cherie are all downright sappy, stupefying moments begging for an idea, any idea, to lift them out of their deathly boredom. And that's only the 1st cd. Although Lou manages to inject life into How Do You Think It Feels and Men Of Good Fortune (the ONLY highlights in this DOUBLE album), he makes The Bed sound pathetic and pointless while Venus In Furs goes on forever in search of a pair of balls (in spite of an uncharacteristically spicy cello solo). And we're still on cd 1.

Let's bridge the 1st and 2nd cd's by broaching the subject of Vocalist Antony Hegarty, since he manages to stain both of them. Recruited by a 'what-were-you-thinking' Lou to sing back-up, Antony is allowed to take lead on 2 tracks, including the once-charming Candy Says (one of the reasons I bought this album!). Oh Lord, next to Antony's vocal timbre/style, sugar tastes like salt and turtles move at the speed of light. Slurpy saccharine in slow motion -- sheer torment.

Come to think of it, I won't even go into the songs on cd 2 (the highlight is a perfunctory run-through of Heroin).

Now for Lou's 'persona' throughout the affair. Lou obviously feels free to start babbling in the middle of any song, stopping the musicians in mid flow. And then, 2 minutes later, re-starting where he left off! Will I ever listen to this song again? Of course not! In fact, I won't ever again listen to this album's version of Street Hassle either (another reason for originally buying this cd). Why? Lou's intro (that goes way into the song) compares his "great monologue" (Lou's words) to the work of Burroughs, Tenesee Williams, other luminaries, and "maybe a little Raymond Chandler"! And then he tells us, "you mix it all up and you have Street Hassle". Really Lou??? If I mix all these literary geniuses I get YOU?!? How amazing, how embarrassing, how sad. Oh, but there's more. By the time Lou gets to Poe's "The Raven", he announces that it was "torture" for many us to read in high school, "BUT it's been REWRITTEN by ME," no less. Lou has SAVED "The Raven" folks -- thank you Lou!!! (As for the 'song' itself, if it can be called that, it's a shapeless swamp of background noise -- very 'avant garde', I'm sure -- with Lou RECITING the lines, quite forcefully too. NO singing, NO melody, just 10 minutes of noise and a line by line recitation. Hey Lou: I took a High School Drama class too.)

I bought this album with the fading hope that Lou would at least entertain me with new versions of old classics, since his songwriting no longer seems salvageable. It's a lost cause. Unless you're the fawning and impressionable sort (as most in this audience appeared to be), I don't see how Animal Serenade could fail to be thoroughly depressing.









... Read more

Reviews (34)

Does rock'n'roll get any purer than this?
I don't think it's a stretch to say that with better sound we would be talking about one of the great live albums ever, if not the greatest. The Quine Tapes captures an awesome band at their peak (notwithstanding the absence of John Cale) on three discs worth of classic material, recorded by an avid fan (Quine) on a hand-held cassette recorder!!
The more you listen, the less the sound seems to matter. Several tunes are given definitive performances here, including a raucous 10-minute "White Light/White Heat", versions of "New Age", and "Ride Into the Sun" that conclude with long, intense solos, and a 38-minute(!) reading of "Sister Ray".
I resent some of the comments I've read here comparing this set to bands like the Dead or the Allmans. THAT is endless, boring noodling. THIS is the purest essence of what rock'n'roll is supposed to be!
If you're new to the band, it's still a good idea to start with the four studio albums. But if you're a fan, this is an absolute must-own. While it would be wonderful to have these recordings with perfect sound, we should consider ourselves fortunate that Robert Quine had the foresight to preserve these tapes, and thankful to him for sharing them with us.

Valuable historical document
These newly released recordings -- made in 1969 by fan and future guitar virtuoso Robert Quine -- expand on the terrain mapped out on the awesome 1974 release "1969 Live." The sound quality on these recordings are not as good, but, as with "1969 Live," "The Bootleg Series Vol. 1" shows some interesting rearrangements of songs that were originally recorded featuring either Nico on vocals ("Femme Fatale") or John Cale on viola ("Venus in Furs," "Heroin" and "Black Angel's Death Song"). The obvious highlights are the three extended (if a 17 minute song can be extended!) versions of "Sister Ray." My favorite is the version on disc one, while the medley of "Sister Ray" with "Foggy Notion" on the third disc somehow seems very faithful to the studio version on "White Light/White Heat." The versions on disc one and two sound like two completely different songs. The previously unreleased cut "Follow the Leader" is also a very good addition to the officially released VU song catalog. Also, some of the performances sound very similar in arrangement to those on "1969 Live," so fans of that record might find some of these cuts redundant (particularly "I Can't Stand It," -- from the CD version of "1969 Live"-- "Rock and Roll," -- which is recorded from the same performance as the one on "1969 Live" -- "White Light/White Heat," "Heroin," "New Age" and "Over You"). But overall, I think these discs are great for all VU fans, but might not be as compelling as an introduction to first-time listeners of the Velvet Underground. For an adequate introduction, try any of their four official studio albums, and work your way from there.

A box set worth having
These are three live concerts recorded by uber fan Robert Quine at a few of the Velvet's concerts. The fact that these still exist despite the sound quality ( which isn't that bad really ) is remarkable and is probably one of those records that just has to be bought

IF YOU ARE A REAL VU FAN YOU WILL LOVE THIS .....
These recordings are simply incredible and I would say essential for anyone who considers themselves rabid VU fans. I've seen other reviews whining about lo-fi bootleg quality blah blah blah and I would contend that these "reviewers" are nothing but VU dabblers and dilettantes whose opinions mean nothing.Yes, they are live recordings, but if you've got a semi-decent stereo and play'em loud it'll blow the top of your head off. The different versions of Vu classics presented here will give you a whole new perspective on how really stupendous this line-up was. If you don't like it you're not a fan and I'll fistfight you damn it.

In case you don't know who Robert Quine is.....
I've not had the chance to listen to this yet, so pay no attention to my rating (it had to be done to get this out on the site) but to give you guys some context about the other reviews on this page: Robert Quine is/was a punk rock guitar pioneer, founding member (w/Fred Maher) of Richard Hell and the Voidoids, an avowed huge fan of Lou Reed's guitar work, and ultimately, a featured guitarist for Reed. Quine, who believe it or not is now 61 years of age, champions a beautifully distorted sound out of his instrument and is probably best known (along with Richard Lloyd) for his labors on Matthew Sweet's breakthrough work in the early '90s. In other words, Quine is not just any other Lou Reed fan.... ... Read more

Reviews (24)

EXCELLENT SET!!!!
This boxed set is definately worth the cash. I have it and I would pay it for the CD alone! The Video is an add on but seeing as how I've seen the videos before it's not too big of a push for me. The songs on the CD are all live except for the NO QUARTER cover, and I must say that TOOL is definately one of the best sounding bands in a live setting that I have ever heard. Maynard can WAIL and he sounds excellent. The hidden track, "Maynard's Dick" is an excellent one and I must say that the mixture of tracks from the three albums is a nice change from the usual. I can't wait for a live video with stage action, (like the one from Phoenix '98) from the Lateralus Tour! I've seen clips and pics and it is amazing!!!

Great visuals to go along with wonderful songs.
Salival is a great box set from one of the best bands of all time. TooL is probably one of the most influental bands, with a staying power that is not too common in bands today. There are two great "gifts" that come along with this box set, a cd, and a video/dvd (depending on which version you get).

The has about 8 songs on it, some of them live, some of them new, and others that are reconstructions of old songs. With a trademark hidden song at the end of the cd, it is definately a cd to add to your TooL collection. The songs are full of TooL's best, with great lyrics complete with Maynard's wonderful voice.

The dvd/video has 4 videos on it, two from songs on "aenima" and two from songs on "undertow". The videos are "Prison sex", and "sober" (from undertow). And "stinkfist" and "aenima" (from Aenima). The videos are complete with TooL's strange cinematic characters, complete with strange little dolls, defigured humanoids, and puppetronics that rivel Jim Henson's muppets.

This is definately a must needed addition to anyone's TooL collection. The vidoes are great, the music is great, making it well worth the money to buy it.

Salival salvation
This CD/VHS set was a stop gap between 'Aenima' and 'Lateralus', and consists of a CD featuring live and rare tracks, as well as a video containing the bands ambitious, biazzare and at times grotesque music videos (now sadly out dated due to the release of videos from the 'Lateralus' album). This is an essential live document for Tool fans, for the versions of some of the songs featured here surpass the originals in places. The live version of 'Third Eye', the 13 minute epic from 'Aenima' is imbued with far more atmosphere than the original, has a different sample at the start (Timothy Leary on freedom of thought), and is simply required listening for fans. 'Pushit' is also revamped, with a slower, more thoughtful opening, lengthy bong-drum interlude and alternative lyrics. Elsewhere on the disc, we have 'Part of Me' live, which is the discs weak point, as one feels a better song could have been selected for inclusion. Also, the song is very little changed from the studip recording: hardly a new criticism of live material, but when viewed against the quality of the other material here it is a severe defect. A version of Led Zeppelin's 'No Quarter' surfaces finally here, which is thankful, as Tool do a fine job of making the classic song their own. A cover of 'You Lied' by Peach (Justin Chancellor's previous outfit) is very welcome, as is the hidden track towards the end of the album, which I would urge the listener to discover for themselves. Overall the disc is very strong.
The VHS suffers immediately from being out of date, but this does not diminish the quality of the videos included. For those who have never seen a Tool video I am unable to explain their merits here: Adam Jones is evidently a genius in my eyes, but the nightmare imagery is unlikely to appeal to everyone.
This is an essential commodity for Tool fans, but for the casual listener there will be very little of interest here. For this reason I do recommend this set highly, but only to the initiated.

TOOL
I love tool. their songs are the best I ever heard in 10 years. the should be awarded for a grammy. my favorite song is the eulogy, H, and third eye. these guys are better than anything outthere in the world. keep an eye for these guys in the future. their next album is going to be better.

Average DVD/CD
The music videos are all great. I wish there were some live footage, because the visuals are awesome at Tool shows, but oh well. As for the album, "Push It" is the only real gem. The two other live songs taken from previous albums are great, but too much like the album versions (well, "Third Eye" has no cussing, so you can play it for grandma without feeling dirty). "You Lied" and "No Quarter" are rather boring, and "Merkaba" is just plain annoying. The filler tracks are really idiotic, although "LAMC" exctracts several laughts now and then. The hidden track is some... recording that Tool did when they were younger, but the ending is pretty hillarious. There are better CD's you could get with the same ammount of money, such as The Fragile by Nine Inch Nails, or Is There Anybody Out There? (The Wall live) by Pink Floyd, but if you want this, go ahead and buy it. Oh yeah, and the art book rocks! ... Read more

Amazon.com

America's seminal geek rockers They Might Be Giants have been outsmarting every other act on the college-radio scene since the late '80s. Severe Tire Damage is the band's first live album, and surprisingly, it manages to be whimsical without being self-indulgent. TMBG's nucleus of John Linnell and John Flansburgh up the ante of fun on old favorites like "Istanbul (Not Constantinople)," "Ana Ng," and "Birdhouse in Your Soul" while also offering us more realized versions of should've-been-hits like "XTC Vs. Adam Ant" and "She's Actual Size."The Giants' backing band adds unexpected depth to the material, which also includes five new songs (and a hidden epilogue of live improvisation themed around the Planet of the Apes films). Many of the old fans who wrote They Might Be Giants off after Apollo 18 are advised to come back to the fold and see what the boys have been up to. --Jason Josephes ... Read more

Reviews (65)

Is it worth it if you already have all the albums?
Given that this isn't a recording of a single concert and thus doesn't capture the experience of seeing TMBG live, the value of the CD lies in how different these songs are from their album versions, and how good the new stuff is.

Of the five new songs, only three are really actual songs. the other two are less than a minute long and sound like lost "Fingertips." The three songs are great, though -- Dr. Worm is up there with the best, "They got lost" is funny and danceable, and "First Kiss" is good in the vein of "New York City" from Factory Showroom.

Of the 12 live versions of previously released songs, 8 sound substantially different from the album versions, and for the better. In general, they're sped up, with more instrumentation from the live band and a higher energy level.

The other 4 are close enough to the album versions that they're not particularly exciting. For example, "Birdhouse in your Soul" differs only in that Linnel's voice sounds strained and tired.

I haven't been able to get through any of the 7 "hidden" tracks. I'm sure in concert these are hilarious, but here they're just random and amelodic.

So, basically, you get 11 solid tunes for your money. Is it worth it? It would be worth it just for the punked-up "Why does the Sun Shine?" and "Dr. Worm." And for hearing S-e-x-x-y finally realize its potential. Pick it up knowing what you're getting into, and you won't regret it.

Quite well-done, as far as live albums go
I must admit to not being the biggest fan of the live album format. "Hey! It's the same songs we've already released, but with less instruments and less polished vocals! Plus, there are screaming audience members in the background!" One thing that this kind of release is good for, however, is showing how a song can be reworked. Did this album do this? Sometimes. "She's Actual Size" and "Particle Man" have both been improved from the lethargic versions that appeared on previous albums. Other interesting contributions include a fast, rocking version of "Why Does The Sun Shine?", a trumpet-led arrangement of "Istanbul," and a minimalistic recording of "Meet James Ensor." Some of the songs just didn't seem to benefit much from the live treatment, though. In addition to the old favourites, this album also features a few new songs, including "Doctor Worm," "First Kiss," and some poorly-recorded but amusing tributes to the "Planet of the Apes" films. This isn't my favourite They Might Be Giants release, but it's definitely a worthy investment for fans.

Very good
I'am a big fan of TMBG.I first herd it when my friends step Dad was playing it when I was over at is house.It sounded pretty cool,but I had no idea what the band was called.O well.About one year later when I was at camp my councler brought a TMBG cd.He was playing a song I heard(NEW YORK CITY)and it sounded familer.Well he started geting me to listen to TMBG,well I got this cd for christmas recently and I loved it.I'am glad it had Partical Man,but my fav is They Got Lost.And one of the hidden track(Nmb 21)Escape from planet of they apes is cool.But whats up with the song spyder.So I say you should but this one.

This album fails on so many levels
As a representation of their live act, it's not even close: nevermind the lack of crowd noise and stage banter, most of it isn't even from actual shows. It's 'live in studio' and soundcheck recordings, with overdubs galore.

As a career retrospective, it doesn't work either. They seem to have attempted a 'best of' line-up here, but left off important singles like "Don't Let's Start" and "The Statue Got Me High". Who cares? Hits that are included, like "Birdhouse In Your Soul" and "Ana Ng", are slowed down and given strained vocal deliveries.

But most importantly, it's just not a very enjoyable CD. Theres no flow, and it pales in comparison to their work in the studio. People who want a good overview of their career should get the 2-disc DIAL-A-SONG anthology. People who want to hear them live should get tickets to a show - they're lots of fun. You wouldn't know that from SEVERE TIRE DAMAGE.

I'd say it's worth it for "Dr. Worm" and the rocking "Why Does The Sun Shine?", but those made it to DIAL-A-SONG. The only thing I really pull this out for is the power-pop version of "First Kiss", later transformed into a ballad for their Mink Car album.

A Deffent MUST HAVE
I think if you heard all of these songs before (except the hidden tracks and Dr.Worm, which are all new) on other albums and want to hear them a little defferently, then you should soo buy this alblum. The bonus tracks are kind of weird on the first listen but once you get used to them they are really cool.
"Why Does The Sun Shine" is a great song and the two best verisons of it are on this ablum and on TMBG's Direct From Brooklyn DVD (which has a live 2002 concert video of it).
"XTC VS. ADAM ANT" has a great beginning with the electric guitar.
"They Got Lost" sounds way cooler here than on the They Got Lost cd (you can check it out at tmbg.com).
"First Kiss" I think the Mink Car version of it is longer, but both are equally cool.
"Meet James Ensor" The trumpets make more sense on the John Henry cd, but this version makes me laugh when the Johns make the trumpet sounds.
For the other songs on this cd you will have to listen them yourself. It's not because the other songs on this cd are bad or anything because all the songs are great, in my opinion. I just want you to buy this cd and check it out for yourself.
And for the hardcore TMBG fans check out the They Got Lost cd at tmbg.com It's pretty cool once you get used to it.
But before you buy that cd you must buy this one! ... Read more

Amazon.com

Ben Folds Live is a stellar exception to the rule that live albums are contractually obliged stocking fillers. Folds is at his best on stage with only a grand piano for company. He is a compelling showman who's blessed with an unforced charm that complements the anger and melancholy that informs most of his songs: the self-lacerating "Army" loses nothing by having a hall of people bellowing the saxophone and trumpet parts as Folds conducts them. The material here spans Folds' work with the three-piece Ben Folds Five as well as 2001's excellent solo debut. The readings of "Fred Jones," "The Luckiest," and "Brick" display an immediacy and intimacy that transcend the recorded versions. A couple of worthwhile curiosities--a minor chord rearrangement of "Song for the Dumped" and a faithful, affecting version of Elton John's "Tiny Dancer" round out the offerings. This is an impeccable document of a superior performer at work. --Andrew Mueller ... Read more

Reviews (3)

"It's where religion and drugs meet back on the other side."
Ben Folds Live is easily the best live album I've ever owned, and the bonus DVD in this set is truly fabulous. For some strange reason, Amazon is not selling the "explicit" version with the bonus DVD, which I highly recommend. For the information of concerned parents everywhere, I would just like to say that Ben Folds in no way encourages stupid or illicit behavior on this album; nor does he graphically discuss sex or violence. He just uses the "F" word three or four times. If anything, he'll make your kid think that piano lessons are cool.

It's true, the bonus DVD contains the lyrics to "song for the dumped" and "army" complete with offending gerunds, and it also contains a truly flabbergasting solo at the end of "philosophy" that segues into what I think it a Lizst piece. Ben also has the audience participate in "army" (which was recorded in the studio with a full horns section), and help him make the album cover by flipping him off and yelling at him (just watch it). He also does a terrific cover of "tiny dancer" by Elton John on both the audio CD and the DVD.

The actual CD is the main attraction, of course, with rarities like "silver street" and "one down" which aren't on any of the full albums, and a pretty funny little number called "rock this [...]" which is just Ben riffing on something an audience member screamed out. The covers of "philosophy," "best imitation of myself," and "not the same" are better than any of the original recordings. Go buy this for someone interesting today.

Great, but not squeaky clean.
This is a great album, but even though it is labelled "clean", there are still some lyrics you might not want young kids to hear, ...that are not bleeped out. I suggest you listen to it by yourself first before playing it around little ones.Also be aware that the DVD has the explicit versions.

Ben Folds brings the live show to your stereo
Ben Folds has always been a man of many talents.But by only using his voice and his piano Ben takes you to a whole other level.His live show has always been a crowd drawer but now you can take it home with you.18 incredible live tracks complete the ultimate Ben Folds fan's collection. ... Read more

Reviews (4)

These polkas kick ....
I lived in Denton for several years but never got the chance to see Brave Combo. My wife and I made the 30 minute trip (from Dallas) last year on the Thursday after Thanksgiving for the annual Christmas on the Square event and finally saw them. These guys are the best. You don't have to be a polka-nerd to enjoy their music.

d-e-n t-o-n t-e-x-a-s
buy a map and come on down

D-E-N-T-O-N is the place
1. What is the text about? ...

2. What is good about it? The melodies are infectious and the lyrics often amusing.
3. What is not so good about it? Polkas are surprisingly aggressive to the ears.
4. Who might like it? Polka lovers, but also those new wavers/"alternites" who like stray a little far afield.
5. Personal bias: Have seen Brave Combo a dozen times; play the accordion.

Almost like being there!
Don't worry if you think you won't like polka. Those who have been there know that seeing Brave Combo live at every opportunity is a happy addiction. An instant pick-me-up that gets your dancing feet moving and your endorphins flowing into a polka-loving, just-like-flying physical high. If it's been a while since your last Brave Combo fix, put this CD on, turn up the volume, and you're there! This CD includes some of the band's best live numbers, done flawlessly as always. It's guaranteed to get your blood moving. In short, this album kicks ...!

Exactly What the Title Says
Imagine, if you would, a German full brass Ooom-Pa band playing polkas after each member of the band just drank a liter of Mountain Dew and a liter of Jolt Cola. Now add this twist, imagine this band was actually VERY competent and VERY influenced by good-time Tex-Mex Austin style rock and roll. Twisted up enough yet? Imagine no more! You have just conjured up the goofy but ridiculously fun 'band', "Brave Combo" and their 2001 album "We Are Not the Enemy: Kick Ass Polka". When the wine gets flowing and the party gets ready for a new twist on the Conga Line, break out Kick Ass Polka and have the joy-paramedics ready for some business! ... Read more

Reviews (10)

1/3 REAL + 1/3 UNREAL + 1/3 SURREAL
What an amazing LIVE album!

You get an entire LIVE version of Misplaced Childhood on disc 2, along with 12 LIVE tracks, mostly from Clutching At Straws, on disc 1.

This LIVE album captures the technical precision of the studio versions, with the added emotional intensity of a LIVE atmosphere. In fact, this LIVE album makes the studio versions sound contrived and cheesy by comparison. This album simply sounds too good to be LIVE, but also way too good to have been recorded in some studio!

The Thieving Magpie is Marillion's best album, period.

It's a shame that people new to Marillion most often start with the albums Misplaced Childhood, Clutching At Straws, Afraid of Sunlight, and Brave. While these are all very good albums, none of them compares to The Thieving Magpie.

It's worth the money. If you're thinking about buying it, just buy it.

Truly, a great album and a great concert experience...
As a farewell present for fans, the double CD live collection of The Thieving Magpie is perhaps the closest to a Fish-era Marillion concert you'll ever be. This is the band during their heyday (at least in their peak album selling years) just as Fish was about to leave (or be dismissed, depending on who you ask). Here's a band known for its proximity to fans back when they performed to packed arenas. It is, without a doubt, a testament to a great band who, after releasing this album, went in two different directions with two very different results.

The two CDs are divided into a full live version of Misplaced Childhood (the band's greates achievement) and a collection of tracks from their three other albums. The results can also be divided into two groups: awesome and lacking.

Being able to enjoy Misplaced Childhood in its enterity is a true gift that the lads gave to us fans. This is one of those classic albums that transcends time and taste, and that should be around forever. It is also proof of the band's musical talents, both as composers and as performers. This is a 42+ minute track if you think about it!

The first disc starts off with an intro of Rossini's 'La Gazza Ladra' that segues into one of the bands best loved tracks, Slainte Mhath and then visits a varied collection of hits that are taken from different concerts. This disc could have been somewhat better, not because of the quality of the tracks presented, but because of the tracks missing from it. Granted, the band had already released Real to Reel and Brief Encounter, so a few of the better known pieces of Marillion's music was already out in live versions, but still, a better way to say goodbye and thanks to the fans would have been to include Forgotten sons, Assassing, Garden Party and/or Market Square Heroes.

Still, this is an album that should be owned not only by Marillion fans, but also by every and anyone who loves great music.

Energizing live performance!
I have always admired Marillion's live albums because of their intensity, and among them The Thieving Magpie is probably the best. It shows how a band can transform studio music into a true expression of the human soul. It shows that it is possible to enhance perfection.
All of the bands member perform at their best, seamlessly adding strength and warmth to the music. Their level of energy and coordination is untypical of live performances. I particularly enjoy Ian Mosley's faster and unrestrained drumming, as well as Fish's voice which adds tremendous sensuality to the music. I have to admit that because the album is a compilation of several performances there are some discrepancies in the sound quality. However I don't think this is reason enough not to give this masterpiece a five star rating.
The selection of songs in the first disc contains some of Marillion's best. My personal favorites are Slainte Mhath, Fugazi and Script for a Jester's Tear. If you are already familiar with the studio songs you will undoubtedly be blown away by their emotional live versions. The second disc contains an equally intense and complete live performance of Misplaced Childhood that sounds even more natural than the original album.
The Thieving Magpie was Fish's last performance with the band. They were never the same after that and probably never will. It's a farewell to one of music's finest bands and as such is hard to listen to it and not feel that they have left and empty space that may never be filled again.

A great tribute to the Jester`s epoque!
...One of my favorites musical hobbies is buying live albums because at stage you can judge the quality of the musicians without any chance of further corrections. The Thieving Magpie is a great tribute to FISH when he was Marillion`s main vocalist. CD number one contains great performances of Slainte Mhath, Chasea Monday, Jigsaw, Punch + Judy and Sugar Mice. Script for a Jester`s tear is good but not good enough like Hogarth version included in the offcial bootleg Live in Caracas,1992. CD 2 is the live version of Misplaced Childhood that I consider suverb and uncomparable,better than the studio vertion. This CD covers one of the greatest moments of this megagroup.

Great for live Misplaced Childhood, but....
Considering this could have been the ultimate live experience (Marillion being one of my favorite bands), I think I may have set standards too high for The Thieving Magpie. La Gazza Ladra is a two-disc set featuring many fabulous songs from Fish-era Marillion, and a second disc sporting a complete, uninterrupted performance of the entire album, Misplaced Childhood.

My complaints fall squarely on the first disc. Since it was assembled from a number of different shows, there are major inconsistencies in sound quality, ambience, and musical energy from the band. Without the feel of Fish's onstage charisma and the tense chemistry between the band members, many of the songs feel like flat recitals of the studio versions. Live albums must do their best to try and preserve the experience of being at the show, but for much of disc 1 that experience is lost. However, _some_ of the songs here slay the studio originals. "Script for a Jester's Tear," which is one of my favorites, is tremendously more intense here, as is "Incommunicado," the big single from Clutching At Straws. "Chelsea Monday" feels a bit slower so the band can better explore the elaborate emotional textures of the song, and it's better as a result. "White Russian" also gains a great deal of power in the live delivery. Parts of "Fugazi" are likewise more intense, especially the ending.

Why a Marillion fan should really want to own this is to have disc 2, where Misplaced Childhood is performed. What is already an intensely emotional work of music is in some ways more so thanks to the added vivacity of the live setting. They capture the feeling of the studio version, support it with topnotch technical precision, and slightly increased power on Fish's behalf. Rothery's solos are sometimes embellished, which is good. More of Rothery's guitar playing can only be a good thing.

A good live release, but it's no replacement for the real thing. ... Read more

Reviews (21)

All hail Sterling and Moe
Lou Reed and John Cale didn't need the short-lived Velvets reunion in '93. They had already reconciled (and clashed again after) with "Songs for Drella." The VU reunion, if anything, tarnished their reputations--Cale far less than Reed, however. For the American fans who couldn't attend the brief tour, this live album is a good document of why it probably shouldn't have happened, at least as far as the two "stars" are concerned--even though no VU fan wasn't curious to hear it, and hoping beyond hope that the magic would still be there. It was in fits and starts, but the "recycle the hits" approach and Reed's inability or unwillingness to sing all but a few of the songs decently spoiled it.

However, the album is worth it for what it did for the unsung, quiet heroes of the Velvet Undergound: guitarist Sterling Morrison and drummer Maureen Tucker. Despite being the pillars of the group's rhythmic sound in the '60s, their contribution was always undervalued by their own modesty and the dismal recording quality of the VU's original albums. You could never really hear the true power of their playing, which was the bedrock that made Reed's and Cale's explosive interaction possible. Well, on "Live MCMXCIII" you can finally hear them clearly, and the primal power is still there, undiminished despite 25-plus years on the sidelines. The tour and album also provided the two with some long overdue financial reward for their groundbreaking work. Reed and Cale didn't need the money, but who could begrudge Sterling and Moe finally seeing some payoff? (Sadly, Sterling would not live much longer after this was released.)

So think of this album as a worthy contribution to the VU catalog, if nothing else for the dignified and intense contributions of the amazing Sterling Morrison and Maureen Tucker.

Unnecessary
I'm sorry, but this album is not needed. I love the Velvets as much as anybody, but this album pales in comparison to any of the original live albums. I want my VU albums to be groundbreaking! This is nowhere near that. Just your usual rock and roll. The superb VU atmosphere and sound is not present here. Who cares about the sound quality, if the music is not as good as it was? Go for the old stuff instead.

Great Live Recording
This is a great live recording of the VU!
A few reviewers have called it uninspired. They think that the band should sound as raw and raucus as they did in 1968. Guess what? We all get a little bit older and a little bit slower.
I think all four of the VU pulled off a great (albeit short) reunion. The video of the same is excellent viewing/listening. I'd love for the video to be released on DVD.

This CD came out shortly before the late, great FZ died and after I listened to all my Zappa discs I played this set over and over to get me through. Kinda weird to rely on the VU to get me over some Zappa blues, but it did!

Enjoy this CD set. Don't buy the single disc version. The long "Hey, Mr. Rain" is worth the price alone.

Average
Hmm. Not bad, not good. But the hidden tracks are garbage. They made some good songs worse. There are better live VU albums than this. An unnecessary album.

Sovereign
Documentation of the three reunion concerts of 1993 in Paris. The Velvet Underground sound equally well as 25 years ago, only this time the songs are not followed by embarrassed silence, but by excited applause. Most of all I like „Sweet Jane", „Some Kinda Love" and the great „Coyote", the only new song that the for a short time reunited Velvet Underground played. There is also a video with the same title of these concerts. Likewise recommendable. ... Read more

Amazon.com

Neil Finn's restless creative spirit didn't lounge during Split Enz's and Crowded House's two decades of achievement. In this live recording (culled from five shows at New Zealand's St. James Theatre in April 2001), Finn not only pauses to take stock in his rich career, he often generously shares the spotlight with an impressive array of guest musicians (brother Tim, guitarist Johnny Marr of the Smiths and Electronic, violinist/vocalist Lisa Germano, Radiohead's Phil Selway and Ed O'Brien, and Pearl Jam's Eddie Vedder) who've come to back him and express a little fandom of their own. The results are gratifying cross-pollinations: Vedder sharing vocals on Enz's "Stuff and Nonsense," "Take a Walk," and a jagged version of "I See Red"; Finn tipping his hat to Morrissey on the Smiths' "There Is a Light That Never Goes Out" after Marr's jangly "Down on the Corner"; and sharing an always-welcome harmony with Tim Finn on material from their various projects together. If there's a criticism to be made, it's that Finn occasionally shortchanges himself here. --Jerry McCulley ... Read more

Reviews (32)

a good friend
Have you ever met someone for the first time and you feel instantly comfortable with them? Like you have know them all your life. Well, that's the feeling I get when I hear a Neil Finn song. For that matter and song from the entire Finn brother career (Split Enz, Crowded House, Etc.). While always being new and fresh, I am always how easily the songs flow through me and fit my mood.

On 7 Worlds Neil brings some truly old friends, (Johnny Marr,Phil Selway and Ed O'Brien,Eddie Vedder, Lisa Germano, his son Liam, and ofcourse Tim) all adding to the warmth and fun of this live CD.

Along with the Neil Finn songs we get some from our buddies, Johnny Marr's "Down on the corner," Lisa's "Paper Doll" and who can forget the dead-on Smith's classic "There is a light...."

So buy this CD and hang out with some old buddies.

The MagniFINNcent Seven
Every once in a LIVEtime a group of musicians "collide" and something special happens. Such is the case with this stellar collection of eclectic talent, who are led by the artistic genius of Neil Finn and sound like they've been playing together forever. The best from Neil's two solo efforts, "Try Whistling This" and "One All," are well-represented and rival his Crowded House catalog. But what makes this album shine is the creativity and generosity with which Finn weaves and distributes the playlist, and how these choices imbue the album with a remarkable flow and vibrancy. Three Split Enz numbers are magically resurrected and rejuvenated: Eddie Vedder spearheads Neil's galvanized "Take a Walk" off the 1982 album "Time and Tide"; and Vedder takes over on two Tim Finn-penned songs from 1979's "Frenzy," sensitively rendering the achingly beautiful "Stuff and Nonsense," followed by a ripping, raucous "I See Red." Former Smiths ax-man Johnny Marr (hey, he's got a voice!) rocks his own "Down On the Corner," and Neil's right at home with with the Marr/Morrissey classic "There is a Light That Never Goes Out." Lisa Germano dims the lights with her plaintive, touching "Paper Doll." The brothers Finn share the mike on several numbers, with Neil & Tim harmonizing on the superb, previously unreleased "Edible Flowers." Neil closes the show on acoustic with an audience sing-a-long to one of the greatest songs ever written, "Don't Dream It's Over." The perfect finale to an exceptional live collaboration.

Great after a few listens
Upon first listen to this album I was fairly dissapointed. Initially, the vocals on the One All songs seemed weak and I didnt care for the work of Eddie Vedder on several other tracks. However, after a few more listens this album has become a favorite. Neil Finn's voice has an incredible pure resonance live and it shines brighter than any of the other vocalists who are not as strong. Vedder's renditions of Stuff and Nonsense and Parting Ways are surprising gems after a few listens. The Finn standouts are the cover of There is a Light That Never Goes Out (even better than the original), She Will Have Her Way, and Weather With You.

Recommended.

Seven Worlds Collide
Neil Finn first broke onto the music scene in the 70's as one of the founding members of Split Enz, one of New Zealand's most successful pop/rock/punk bands, and garnered worldwide attention with minor hits "I Got You" and "I See Red." Split Enz, as their name suggests, eventually split ends and Neil went on to form Crowded House in the 80's. Neil enjoyed more success with Crowded House and the hit singles "Don't Dream It's Over," "Something So Strong," and "Weather With You." Crowded House eventually became a little too cramped as Neil and his brother Tim disbanded the group to focus more on their solo work and brotherly collaborations. Try Whistling This, Neil's first proper solo album, shyed away from the Split Enz and Crowded House material as Finn began to take a darker edge with his songwriting in tunes like "She Will Have Her Way," "Sinner," and "Addicted." Despite much critical success, as is par for the Finn family, Whistling failed to take off commercially in the states. Never one to take a day off, Neil promptly went back to work on crafting One Nil, his sophomore solo release. Once again released to critical acclaim in Europe, Australia, and Asia, American record execs at Sony/Work didn't hear another "Don't Dream It's Over" on there. As the Work label was collapsing and Sony was cleaning it's roster of established acts, Neil went back into the studio to re-work One Nil into One All - partly due to label pressures, partly due to his perfectionistic tendencies. The traditional record label stories follow leaving Neil with a refurbished version of an album which was already fine to begin with, but without a company to release it in the States. In steps Nettwerk, a Canadian-based artist-friendly label that was for all intensive purposes founded on the international success of Sarah McLachlan, to release One All. Always the showman, Neil continued to tour throughout all this to sold-out audiences across the world culminating in 7 Worlds Collide, an experiment as he says to form a band of his friends and some of the greatest musicians today, play a week of shows, and disband before things start going bad.

Neil's constant touring resulted in the all-star 7 Worlds Collide shows, recorded in Neil's native New Zealand. From the One Nil/One All sessions, Germano and Steinberg return, this time accompanied with Radiohead's Ed O'Brien and Phil Selway, the Smiths' Johnny Marr, Pearl Jam's Eddie Vedder, brother Tim Finn, and son Liam Finn and his popular Kiwi rock band, Betchadupa. Highlights include an acoustic version of Crowded House's "Fall At Your Feet" and "Don't Dream It's Over." Eddie Vedder and Betchadupa shine on the Split Enz classic, "I See Red," taking it into new territory. Lisa Germano's bewitching "Paper Doll" and "Cry Wolf" would give anyone goosebumps while Neil does a fine job with the Smiths' classic "There Is A Light That Never Goes Out." Try Whistling This's "Loose Tongue" has one of the most memorable bass lines this author has ever heard, and the live rendtion of "She Will Have Her Way" brings out the fun and energy inherent in the original. Guiding us through all this is Neil's traditional Kiwi charm and wit which is unmatched by any live performer today. If Neil Finn considered 7 Worlds Collide an experiment, and the cd/dvd of the shows his published results, someone fund this sonic scientist again.

One of the best live albums I have heard
This live album is a awesome listen as it isn't just a greatest hits live it is a collection of amazing songs performed by some of the world's leading musicians. I love Neil Finn and wish I had been at these concerts to witness such a mind blowing set. To give some examples of the best on offer here (they are all good)Loose Tongue, Take A walk, Stuff and Nonsense, Neil's rendition of The Smiths There is a Light thet Never Goes Out send's shivers down my spine and Don't Dream it's Over is a great finale with just Neil and the guitar. If you are new to Neil, or a casula fan or just love good music you should invest. ... Read more

Album Description

Japanese exclusive 7 track live EP features songs fromtheir March 2001 Tour of Japan. Tracks, 'Church On Sunday', 'Castaway', 'Blood, Sex, & Booze', 'King For A Day','Waiting', 'Minority' & 'Macy's Day Parade'. Includesexclusive artwork. ... Read more

Reviews (5)

amazing,loud, and inspiring
This cd is simply amazing. The songs on this disc have so much more energy than their "warning" studio album. the songs here are filled with so much emotion form billie joe's lyrics that you can tell what he sings he really means. the crowd in this cd just adds to the amazing and unique sound green day gives in this disc. the music is all about inspirationothing less and that harmonica part in "minority" is simply brilliant, not to mention it would be quite hard not to sing along to all the songs in this album. a must for any green day fan and well worth the price.

Great CD!!!
This is a great CD!!! The songs are great picks to make into a live CD. The crowd is also screaming and chanting throughout the entire CD, which gives it more energy. Church On Sunday is awsome live, a must hear for any fan. Castawy is one of the best on the CD, evnen though he stops in the middle to get the crowd chanting. Blood, Sex, and Booze is very good. King For a Day is funny and it has an awsome beat to it. Waiting is also one of the greatest "new" Green Day song, and I was happy to see they put in on a live CD because it sounds s lot better live. Minoriy is also good, but they stop in the middle to get the crowd chanting. Macy's Day Parade is THE best song on this entire CD. It has a different soound to it, but a better one, and it's an aswsome CD finisher. I highly recomend this D to anyone, even if you're not sure if you like Green Day. Also, another great CD to buy is Foot in Mouth, by Green Day. It has their earlier songs on it, and both of these CDs are Live, which makes it 100 times better.

What did you expect?
It's Green Day in Japan, playing some of their more recent hits. Of course it's great. It's Green Day.

green day Tune in tokyo
Anyone who loves green day will love this 7 track live cd! It has a super-charged audience that you can hear chanting with green day. The live songs on this CD are just incredible.This is a must have to every single green day fan out there!

MORE EVIL LESS DISCO
STATIC X WENT A BIT MORE EVIL WITH THIS CD. THE SONGS WILL MAKE YOU I DUNNO...FEEL SOMETHING EVEN THOUGH SOME OF EM MEAN STUPID THINGS LIKE TAKING A ...ON A TOUR BUS. STATIC-X RULES AND YOU SHOULD GET THIS. THERE. ... Read more

Album Description

Aussie exclusive live release featuring three of New Zealand's top artists, Tim Finn (founder of Split Enz who later joined Crowded House), Bic Runga (alternative pop superstar) and Dave Dobbyn (founding member of Th'Dudes and one of N.Z.'s most popular and respected figures). 15 tracks including the Split Enz classic 'Six Months In A Leaky Boat'. This exclusive release also features versions of tracks from each of the artists solo careers! Standard jewel case. 2000 release. ... Read more

Reviews (7)

Now that's what i call music
Need a change.
Need to escape from the hussle and bussle of the big city
Need to relax?
Then
This is certainly something essential for u
Just put them on and drift away in the small little world
of bic runga
She's a truly gifted musician!

New Zealand Music at its very best
simply superb...what more can I say

More great Kiwi music
Have had this album for a couple of years and just keep playing it. The synergy between the trio means brilliant music, playing some of their best songs. 'Loyal' will always be a winner (and now Team NZ's theme song) and 'Whaling' just rocks. Pride of place in my NZ collection.

Memories from Australia
This has quickly become one of my favorite CDs. Having only heard "Good Moring Baby" on the radio in Australia, I seeked this album out in the U.S. It was FAR worth it... all three of these artists really sound superb together. Every song is a work of art.

BRILLIANT CD FROM A BRILLIANT TOUR
The songs on this album were recorded live from the 'Together in Concert' shows throughout New Zealand. Bic Runga, Tim Finn and Dave Dobbyn are of New Zealands most talented singer/songwriters. Their concerts last year were a sellout and this CD including 5 songs from each of the artists, is almost as good as the live shows were themselves - a little something to remind you of a night to remember. Their voices blend together wonderfully. Hope they do a repeat tour. ... Read more

Album Description

Aussie edition of 2001 live album for the ex-Lemonhead.Featuring Lemonhead gems, covers & rarities along withbonus 6 track 'Griffith Sunset EP' of alt-country covers. ... Read more

Reviews (5)

nice acoustics
nothing would give me more pleasure than to tell you that this cd is a superb, unqulaified success deserving of 5*'s. it's very good, but i have a few reservations.

on the positive side - welcome back Evan, 1 record in the preceding 7 or 8 years is a void in the music world. the quality of the live set is excellent, i always thought evan was at his best on his own and acoustic when i saw the lemonheads previously. remember those encores of 'being around' or 'divan'?? also really glad to see a couple of 'lovey' tracks on here including 'ride with me', 'stove' and 'half the time'. the rendition of 'the outdoor type' stands head and shoulders above the rest here. cd2 is a studio record of covers, with only the tribute to hank williams a standout in my opinion.

on the downside and top of the list is the length. as usual with evan there is precious little music for your money, in fact not even 60 mins all told on both discs in this case. for a full-price 2cd set that isnt much bang for the buck. only one new song on the live set (albeit the excellent 'same thing you thought hard about' from baby i'm bored) is a little disappointing. cd2 doesn't quite work, evan never seems to sound as comfortable with other people's songs and the only time he did was when a bit of a joke backfired on him (must confess i quite like the alt lyrics of mrs robinson that evan sang live!).

the live cd is well worth getting hold of, the other disc is far less interesting so it is probably a 5* recommendation and a 3* recommendation at a fairly hefty price... that said, it did pave the way for 'baby i'm bored', which is excellent....

EVAN IS BACK !!
Evan Dando is Back!!! He is better than ever. This CD lets us listen to his melodic voice in an intimate setting. Evan Dando is perhaps the best at performing an acoustic show. His EP with a little alt-country is terrific as well. I saw him...at a show and he was superb there as well....

Dando at his best!
I can't say enough about this one. Evan Dando's deep, sexy voice shines in this live acoustic set.
If you love Evan, as I do, you'll listen to this over and over again. Dando pairs his deep, yet tangential lyrics with cutting guitar riffs and his fluid vioce. Songs like "My Drug Buddy" and "The Turnpike Down" mesh very well with the more obscure "Stove" and "Thirteen". Every song is better than the next. The only thing missing is backing vocals by Juliana Hatfield! All ED fans should own this gem.

FINALLY
I've seen Evan Dando about 6 times, starting in 1992, and the last time I saw him (February 2001) was one of the best. This album shows why. Some of his best songs performed acoustically, without a band to drown out the lyrics and Evan's underrated voice. With the new songs I've heard only live (including "All My Life," written for him by Ben Lee), I'm very optimistic about his next solo album. He's talented, married, and seems to have his act together. The Griffith Sunset EP is a nice addition to a great live set.

Evan is back in our lives again.
After the 1996 release of "Car Button Cloth," Evan Dando began to drift further and futher out of sight until by the year 2000, he had dropped of the face of the Earth altogether. This left many of his hard core fans wondering whatever happened to him, and more importantly, if we would ever see or hear from him ever again. This live album shows that Evan Dando is back, and alive and well. The album contains plenty of Lemonheads' classics, some well chosen covers, and some new Dando compositions that are excellent, and make one look foward in anticipation for his new solo album which (hopefully) be coming out soon. The compositions are all played acoustic, which give the performances a much warmer intimate feel, plus it reveals new facets of the songs that one might might miss during a electric performance. After a long period of obscurity, Evan Dando is back in our lives again, and we all should be thankful. ... Read more

Reviews (7)

Best Nephilim starter album
It's been said before but it cannot be repeated enough - this is simply an awesome live album. If you are new to Fields of The Nephilim then this is the perfect place to start as it combines tracks from their 3 prior studio albums, i.e. Dawnrazor, The Nephilim and the most excellent Elizium. I have owned Earth Inferno since it's original release and still find it fresh. Too bad they didn't include the extended version of Chord of Souls from the Visionary Heads video that complements this release. Overall, Sumerland and Last Exit for the Lost are standouts for me but there isn't really a bad track to be found. Do yourself a big favor and pick up a copy.

Ferocious Live Performance
Purely on its merit, this is an amazing live album. The output is far more loud and ferocious than their studio performances generally were. As a big FotN fan though, I'm not sure that's always a good thing. Rather the live album is a perfect compliment to the studio albums, it is not meant to be a replacement unless you are a metal fan in which case you may like this better. What is impossible to replicate live is the dreamy, ethereal nature of the studio recordings. The best moment is the perfect version of "Dawnrazor" - this is how this song was meant to sound and is far superior to the album version. In most other cases, I think the versions are merely different and I appreciate them for that.

A must-have for fans, and a great starting point for new fans who will likely find this more accessible (at least at first) than the studio albums. I know that's an odd thing to say, but for FotN it may be true since EI is more straightforward kickin' rock and far less complex than an album like Elizium.

Live dark metal from the edge of the apocalypse
This is the most incredible live album I've ever heard. None of FoTN's studio albums moved me that much, but this is incredible - a record of not just a concert, but a seance, a spell, a happening of epic proportions. Carl McCoy's fluid, shifting takes on his own Crowley-inspired lyrics weave an incredible luminance over a blasted psychotic landscape.

If you like dark metal you'll find this album a revelation. I can't recommend it enough.

Yikes
I never was a big fan of Sisters Of Mercy and I was a little hesitant about even giving this CD a chance. I was sold from note one. Although the vocals on this recording are along the same vein as S.O.M., the music is similar to a gothic and energized Pink Floyd: guitars and basses enhanced by rich delays and effects. Whenever this CD gets played, newly exposed listeners always ask who it is and if they can borrow it: this alone is a testament to this CD's worth.

A Musical, Spritual Experience like no other..
Don't Listen to the first review, he's approaching it from the wrong side. The music is not full of cliche's.. Thats just It! McCoy is the Genuine thing.. Influences are drawn from Occult/Literate sources, IE. Austin Osman Spare, Aleister Crowley, Peter Caroll, Shakespear, Milton, Zoroastrianism etc.. You name it he's read it. Which gives us a deeply poetic outcome. As for the music, it's all very atmospheric, (Andy Jackson (Pink Floyd) Produced it). The Music has a rock element but with an Classical (maybe I dont know what I'm talking about here) arrangement. This is not for the faint hearted. The music is very dark and spiritual, and you will never find anything else as authentic as it in the World. The Fields are an experience not just a Band. If you get the chance to see them live go.. This is the best produced live album I have ever heard. If you want a culture shock, or are open minded get it. ... Read more

Amazon.com

In the absence of any new music from Kate Bush, Tori Amos carries on the tradition of sensual rock chanteuse nicely with this breathy pop track from the studio portion of her To Venus and Back album. Respectfully remixed here by frequent Amos collaborators Marcel van Limbeek and Mark Hawley, the song has a crisp rhythmic feel but is certainly no radical departure from the album version. A suitably bleak solo rendition of Leonard Cohen's "Famous Blue Raincoat" and an only slightly more animated live version of Boys for Pele's "Twinkle" round out a 12-minute EP best suited for hardcore fans. --Bill Forman ... Read more

Reviews (17)

Definite Purchase for the Tori Fan
This single contains the same alternate tracks as "The Glory of the 80s" Pt. 1 UK Import. Obviously, this US release is easier to find and for those fans concerned only with the obtaining of B-sides this single is a a required purchase.

The B-sides for this single are the live version of "Famous Blue Raincoat" and "Twinkle." "Famous Blue Raincoat" is a Leonard Cohen cover that cannot be found anywhere else, and is a low key yet poignant attempt at one of the greatest songwriters of the 20th century. The archaic lyrics make it sound as if it could be a Tori Amos original, yet because it isn't it lacks the emotional sincerity that make Tori's songs so meaningful. "Twinkle" was one of the most precious tracks off of "Boys For Pele" and the live performance captures its ephermeral beauty. Combined, these two tracks make this single a worthy purchase and necessity for even moderate Tori fans.

Best three bucks I ever spent
Tori's maxi-single of Concertina is by far and away the best single she has ever released. The remix of "Concertina" has a richer and deeper sound which the original lacks. I know the original version of "Famous Blue Raincoat" by Leonard Cohen, and Tori has never ceased to make this song her own. The development of the texture from his original to her first cover (on "Tower of Song: A Tribute to Leonard Cohen") to this live cover is truly breathtaking. The piano part is fuller and more active, while the vocals feel even more like her own heart pouring out to us, the listeners. The seamless segue into "Twinkle" makes for a complete "set" of songs. While the vocals on "Twinkle" sound more girlish than Tori has since Y Kant Tori Read (or even the old "Baltimore" days), the piano part is more satisfying to hear. The overall effect of the song is heightened by the added triads in the upper third of the piano. If you are a Tori-phile, this is a MUST HAVE.

You're the fiercest calm I've been in...
The Concertina single from the album to Venus and Back is not disappointing in the least. The new Mix of "Concertina" takes out some instruments in a few different parts of the song. It doesn't detract from the original much and is pretty good. The live tracks are very nice indeed. Tori's cover of "Famous Blue Raincoat" is right up there with her "A Case of You" cover. Hearing this live makes it sound great and the piano is flawess. I am highly impressed with this live version. The other live song is "Twinkle" from Boys For Pele.Although it's kind of an odd song to put as a live B side it fits perfectly with "Blue Raincoat" and it pleasantly good. This single can be found cheaper on places like ebay and such, but it's a great single for Tori fans,new and old.

Not Tori's best, but definitely a must-have
This CD contains the song Concertina from the Venus and Back album along with two previously unreleased tracks of significance. Concertina is one of Tori's more melodic songs, and it quietly works its way into your mind and remains there replaying itself over and over for hours. This mix offers no significant departure from the original, though. As is almost always the case, the important part of this CD single is the brand new Tori tracks it offers. Tori fans speak highly of Leonard Cohen's Famous Blue Raincoat, so I was quite eager to hear the live version on this track. It is the real gem of this CD single. A live version of Boys for Pele's song Twinkle completes this little collection. It is always interesting to hear Tori's live presentation and interpretation of a standard album song. I don't find Twinkle to be one of Tori's more moving songs, but it is beautiful nonetheless. I would like to be able to describe the bonus Glory of the 80s video this CD provides access to, but the video will simply not run on my computer under any browser. Despite this disappointment, this is yet another wonderful Tori Amos CD single that should have a place in the collections of all Toriphiles.

sweet, sweet sounds
The single mix of "concertina" always leaves me aching for more of Tori's voice... that sweet, sweet sound. This remix isn't a techno dance mix; it just amplifies the song's sweetness. Then she does a cover of "famous blue raincoat" by Leonard Cohen, which is a song that I had never heard before. I'm glad Tori covered it, because it is a beautiful song. From there, the applause leads into a live version of "twinkle," from Boys For Pele. This is a special song to me, because it inspires me again and again to not give up. It reminds me to twinkle.

Included on this single is the video for "glory of the 80's." This video features Tori in a black dress, suspended by wires attached to a square, metal frame. When finally cut free, she looks like a gothic faerie as she flies away with giant black wings. Intriguing.

... Read more