Amazon.com essential recording

The last Nirvana collection recorded before the untimely death of Kurt Cobain, Unplugged caught many by surprise with its stripped down, neo-acoustic offerings with a bridled fury. When Cobain sings, "I swear I don't have a gun, I don't have a gun" with clenched teeth (instead of an open howl) and when the haunting strains of "About a Girl"--from their earliest LP--chills even with quieted guitars, you discover a new appreciation for the nuances of one of the greatest bands of recent times. Highlights include covers of three Meat Puppets tracks (featuring special guests Curt and Kris Kirkwood of that influential "college rock" band), the weepy cello on the Vaselines' "Jesus Doesn't Want Me for a Sunbeam," and their cover of David Bowie's "The Man Who Sold the World." --Lorry Fleming ... Read more

Reviews (320)

God, how i wish i could've been there...
This is one of the weridest albums i own, in a way. Nirvana, a band which set the whole grunge scene going, and arguably one of the best in the genre, decided to make a live unplugged show for MTV. Nirvana, you know. Fat distortions, atonal riffs, raging vocals, powerful shows. Nirvana.

That they did *THIS* good is a surprise, and should change more than one peoples' mind about the artistic merits of the band (and Kurt Cobain in particular). Forget what you thought of this Nirvana; the way they morphed their songs (and others too) into mellow accoustic tunes is remarkable, and against all odds, worked great. I mean, my dad, who can't stand 99.9% of grunge, loves this record. It's easy to listen, but not because the songs are cheezy, it's just the complete album is incredibly good.

From start to finish, it transports you first row to this (unique) performance. Like i said, the whole record is excellent, but tracks like "Plateau", "Oh me", "On a plain", "Jesus don't want me for a sunbeam", "Where did you sleep last night?", and "All apologies" are so deeply moving i prefer to listen them by myself, wearing headphones. I can only imagine, closing my eyes, what have it felt to be there.

This is hands down one of the best albums of the 90's, and easily one of the top 10 live recordings of all history. It's hard to say this things without sounding like a fanboy, but the truth is that it simply is. Whatever your musical cup-of-tea is, you deserve to give this record a listen. People argue about how much they like this album - i dare you find someone who doesn't.

Live albums don't get any better than this!
It's ironic how a band who is mainly known for rocking hard pulled something like this off- an UNPLUGGED record, to top it off, a live one at that. Kurt showcased his musical capabilities even further, and proved a versatility that changed people's perception of what Nirvana was all about. Listening to this CD or watching the accompanying TV special is most fans' most intimate encounter with the band we'll ever get. Not just the performance of the songs, but the dialogue in between the songs- Kurt may have been depressed in some aspects, but he still had a good heart, modesty, charisma, and a great sense of humour. Sadly, this was the last album recorded before his untimely death. Even people with a strict taste of music who normally wouldn't consider listening to Nirvana should be able to rethink things and make room to enjoy Nirvana Unplugged, because this is simply good music that transcends any genre. Acoustic interpretations of the following songs- a collection of Nirvana originals and covers were performed:

1. "About A Girl" From their debut record Bleach.
2. "Come As You Are" From their legendary sophomore release Nevermind. This version is outstanding, I think I may like it even more than the original!
3. "Jesus Doesn't Want Me For A Sunbeam" Nice pop-rock renendition of an old Christian folk song.
4. "The Man Who Sold The World" Cover of David Bowie song.
5. "Pennyroyal Tea" Taken from their final studio record "In Utero". This one sounds way less dark and not quite as extended as the studio version.
6. "Dumb" The studio version from In Utero was already acoustic-sounding so there is not much of a difference here. Still sounds great the second time around.
7. "Polly" My favourite Nevermind song next to "Come As You Are".
8. "On A Plain" Taken from Nevermind. What I didn't like about this unplugged version was that it somewhat defeated the purpose of why I love "On A Plain" so much- it rocks! Kurt still pulled it off and it sounded almost as pleasing.
9. "Something In The Way" A quiet, even darker-sounding version than the already melancholy-toned tune from Nevermind.
10. "Plateau" I love to sing along to this song; it's penned by another famous Kurt- Curt Kirkwood of the Meat Puppets.
11. "Oh Me" What do you know, another Meat Puppets cover! And there's more where that came from...
12. My favourite track on the whole record- a cover of the Meat Puppets' already-awesome hit "Lake Of Fire", which I cannot describe other than dyn-o-MITE! Only Nirvana can make even an acoustic recording ROCK!
13. "All Apologies" Performance of the In Utero hit, without a doubt the highest-rated song on this CD- it even replaced the original on the Nirvana hits compilation.
14. "Where Did You Sleep Last Night" Huddie Ledbetter-penned song; if I'm not mistaken I think it's an old Kentucky folk song, an unlikely encore.

NIRVANA
If u love nirvana u should check this band out all their influences include nirvana their name is cannibal garden their site is http://www.cannibalgarden.cjb.net/ you should spread the word around about them.

Wow!!!! I wish i could of seen this in person.
Ok Hi. my name is alyssa and i love nirvana. This is my favorite cd. I love how the acustic guitar is used instead of the normal electric guitar. Kurt Cobain's vocals fall nothing short of amazing. If u do get this or u already have this, then listen to the last song, "Where Did You Sleep Last Night", Kurts voice goes from sad, dreary, weak, then all the way to screaming. I can always feel his emotions every time i hear this album. Dave Grohl.....he is awesome on this cd. The drums are phenominal.Krist bass is sooo good too.well, i hope that u will be open minded when u listen to this. It definetly gives me the chills at how u can imagine yourself sitting in the audience, being captivated by this miraculous group.

Kurt Cobain is a musical genius.
Kurt Cobain is a legend.You know why?Because his lyrics,his music,his everything.This is musical perfection.Enough said just buy it. ... Read more

Album Description

As Morrissey's critically acclaimed world tour ended during the holiday season 2004 in the UK, the audio trucks were there to capture the five sold out dates:London, Glasgow, Birmingham, Brighton and Dublin. ... Read more

Reviews (27)

One of his best
Wow - Morrissey sounds like he actually cares about what he's singing.He sounds energized by the crowd and the live setting.Somewhat of a "Greatest Hits" package live.The Smiths numbers are pretty great - they just miss a bit by not having Johnny Marr on guitar, although Morrissey's band acquit themselves rather well.The lyrics are enunciated very clearly and given a delivery that shows Morrissey's growth as a vocalist.A few vocal embellishments here and there are well chosen and add to the interest of what is admittedly a limited range of pitch.Very strong outing by Morrissey, and possibly my favorite of his solo outings.

Bigmouth Strikes Again
Recorded last December with the help of a great backing band, "Live At Earls Court" is Morrissey on the top of his game.

Of course the albums best track are generally Smiths songs. "Bigmouth Strikes Again" has lost none of it's thuggish appeal (look out for the lyric change - Joan of Arc's Walkman is replaced by iPod). "Shoplifter of the World" has never sounded so good and "There Is A Light That Never Go Out" is still a contender for his greatest song.

Other highlights include Moz breathing life back into his solo classic "November Spawned A Monster" and a cover of Patti Smith's "Redondo Beach".

Of course he focuses on plenty of material from his excellent latest album "You Are The Quarry". "First of the Gang" was a standout then and still is. Even B Side "Don't Make Fun of Daddy's Voice" is impressive, with Morrissey on this kind of form.

If you've heard or seen Morrissey live before, you pretty much know what to expect. Which in this case is a very good thing. A standout release of the year so far.

Who needs Elvis when you have Morrissey?
After standing up to that pig George Bush, Morrissey releases an awesome live album that proves how brilliant this man is. "I Have Forgiven Jesus," "Irish Blood, English Heart," and "How Soon Is Now" all ROCK! Morrissey has courage, intelligence, and talent. Five stars!

Morrissey back on top.
Hey, this is the best live album i've ever heard.Great mix of old and new songs, that flow wonderfully.

Ambitious
Morrissey has had a big year in 2004. He has been on TV and played a lot of shows. He cancelled a few shows too. He is human. A year later we have some of his live shows on CD and DVD. This one is a show recorded in London in December 2004. It was at Earls Court. I have been there. It is a big venue. According to the back cover he played "in front of 17,183 people." This show combines songs from The Smiths, his solo years, and a few tributes. He covers songs by Patti Smith (Redondo Beach) and the New York Dolls (Subway Train). These songs are great. There are songs mixed in from old days and new. Five songs by The Smiths include "How Soon Is Now?" and "Bigmouth Strikes Again." Morrissey's new album is also brilliant and he plays all the singles from that one. Unfortunately he doesn't perform anything from Viva Hate. Morrissey is a charismatic leader and people should like this recording. It has a good sound and conveys the passion of a live performance. You should check it out. It makes me want to see him live. ... Read more

Album Description

"Awake, The Best of LIVE", a deluxe 19-song compilation CD spanning the entire 13-year recording history of the acclaimed rock band from York, Pennsylvania. The package also includes a DVD containing 22 music videos going back to the band's 1991 debut.

The CD compilation includes, "We Deal in Dreams," a previously-unreleased track from LIVE's 1994 Throwing Copper sessions.Also, includes a spirited cover of the Johnny Cash classic " I Walk The Line."

The lavish packaging includes a 14-panel four-color fold-out booklet of photos spanning the band’s career, as well as extensive liner notes and commentary on each album by LIVE lead singer Ed Kowalczyk.

The BONUS DVD boasts a comprehensive representation of LIVE's history on video. It includes 22 videos along with a 30 minute interview commentary from Kowalczyk. Videos included are:"Pain Lies on the Riverside""Pain Lies On The Riverside (live performance)""Operation Spirit""Operation Spirit" (live performance) "Selling the Drama" "I Alone""Lightning Crashes""White, Discussion""Lakini's Juice""Freaks""Turn My Head" (from director Jake Scott) "Turn My Head" (from director Mary Lambert) "The Dolphin's Cry""Run to the Water" "They Stood Up For Love""Overcome""Simple Creed""Like a Soldier""Heaven""Heaven" (concept version)

The DVD also contains two never-before-seen videos: "Ghost," and "Run Away" (with Shelby Lynne). ... Read more

Amazon.com

The ill will that initially greeted Rattle and Hum--the follow-up to the band's massively successful Joshua Tree album--was due in large part to the bloated and self-important feature film that accompanied it, which showed the band as being simultaneously naive and pretentious as it "discovered" America. But as the film mercifully slips from memory, the music has remained, from the furious swirl of "Desire" and a clutch of live hits to insightful musical nods to heroes such as Bob Dylan, John Lennon, and Billie Holiday. Songs like "When Love Comes to Town," a supercharged blues duet with B.B. King, suggests the quartet knew more about America from listening to its music than Phil Joanou's unintentional mockumentary suggested. --Daniel Durchholz ... Read more

Reviews (83)

U2 with cowboy hats
Hey, check it out. Rattle and Hum (1988)was U2's (highlights) from the Joshua Tree Tour, new songs and singles. Whop-dee-doo!!!

Helter Skelter (live)- Uh, well... never been that big of Beatles fan. U2's version is great. 9/10

Van Diemen's Land- Who sings this, Edge? Does Bono play the guitar? PERFECT LENGTH!!! End is weird, but hey, this is a live album. I wonder if cowboys sing this. 10/10

Desire- Awesome, but so short. After the first 2 verses, things slooooooow down. 10/10

Hawkmoon 269- What's with the 269? Too simple and long for me. Ok, but enough with the freaks singing in the background. 8.5/10

All Along the Watchtower (live)- Bob Dylan wrote it? LAME!!! 4/10

I Still Haven't Found What I'm Looking For (Live)- HOLY COW!! Live version with choir is much better than the original (as if that wasn't good enough?) 10/10

Freedom for my People- Don't bother skipping it, it's only :38 long 1/10

Sliver and Gold (live)- Good enough for middle song. 7/10

Pride (live)- HOLY another COW!!! This is the best version ever!!! So shut up! No, you can still talk. 10/10

Angel of Harlem- 2nd single, the bomb man. Sounds like an angel. 10/10

Love Rescue Me- The Blues- I don't think so? 4/10

Whe Love Comes to Town- Whatever happened to U2 music? Who wants to hear BB King and his guitar? 3/10

Heartland- To slow, never is too good. 6/10

God Part 2- Good rock I guess. 5/10

The Star Spangled Banner- JIMMI ROCKS!!! 10/10

Bullet the Bliue Sky (live)- Best version EVER dude!!! 10/10

All I Want is You- Good for the first 3 minutes. Edge's great. 10/10

U2 + American music = Great record
U2 were completely panned by the press and some hardcore U2 fans for 'Rattle & Hum' (1988), which is purported to be U2's ill-fated egocentric exploration into American music. Leaving pretentiousness in the eyes of the beholder, a lot of people liked this record, a mix of studio songs and live tracks from 'The Joshua Tree' tour and for good reason. Here's a song-by-song:

1. "Helter Skelter" [Live]. OK, the ego does get a bit out of hand here, but this is one of the standout cover tunes.

2. "Van Diemen's Land". The Edge takes vocals on this nice ode to the working man which is abruptly cut off in mid-verse.

3. "Desire". The first single, an obvious musical tribute to blues legend Bo Diddley, continues to be one of their most popular and infectious songs.

4. "Hawkmoon 269". Although there is some lyrical help from Bob Dylan, this is one of the studio tracks that really does not work.

5. "All Along the Watchtower" [Live]. An uninspired cover which is memorable only if you saw the movie.

6. "I Still Haven't Found What I'm Looking For" [Live]. With embellishments by a real gospel choir, the song is performed the way it was meant to be.

7. "Freedom for My People". This is just a snippet of a street performer.

8. "Silver and Gold" [Live]. A great live version of a non-LP track, seethingly delivered by Bono toward an apathetic American audience.

9. "Pride (in the Name of Love)" [Live]. What live record would be complete without the consumate U2 anthem.

10. "Angel of Harlem". As one of the songs recorded at the historic Sun Studios, complete with a horn section, this lyrical ode to Billie Holiday is a U2 classic.

11. "Love Rescue Me". With the accompanyment of Bob Dylan, this one never really picks up.

12. "When Love Comes to Town". Although many U2 fans did not appreciate the prominent vocals and guitar of B.B. King, the lyrics are "fantastic" (as the King puts it in the movie), and if you love the blues . . .

13. "Heartland". You can almost see the Mississippi going by on this song, a mood piece which works much better than "Love Rescue Me".

14. "God Part II". A great rocker about contradiction and a lyrical and musical prequel to U2's "reinvention" in the 1990s.

15. "Bullet the Blue Sky" [Live]. With a recorded intro of Jimi Hendrix doing "Star Spangled Banner", this is the consumate version of this song.

16. "All I Want Is You". Although it seems a bit out of place on this record, this is simply one of the best U2 ballads ever.

More Massive Than It Seems
During the "Joshua Tree Tour", director Phil Joanou captured a massive amount of footage, to be sorted and used in a documentary about U2 and this tour. To quote Edge: "No one could really remember when it went from being this small project that we all knew what it was and could deal with it, to being this big thing, but at some point that shift occured." Indeed it did, and this documentary morphed into a massive project, resulting in a movie and eventual home video, and a new album, a double album of sorts, a mix of live material from the "Joshua Tree Tour" and brand new studio material.

As far as the live stuff is concerned, U2 are a phenomenal live band, so the live stuff is great. But some of the best live performances that were in the movie were left off the album(Streets, With Or Without You, Running..., and the powerful Sunday Bloody Sunday on the night of the Enniskillen bombing, featuring his now notorius 'f**k the revolution' speech). The best thing to come out of "Rattle And Hum" is the new material. 'All I Want Is You', 'Angel Of Harlem', and 'Desire' are classics, and are part of the live set to this day. The B.B. King collaberation, 'When Love Comes To Town' is a sore spot among U2 fans...some love it, some hate it, I think it's good but not great. Lesser-known gems from this record are 'Hawkmoon 269', 'Heartland', 'Love Rescue Me', and 'God Part II', and 'Van Dieman's Land', which is one of three songs in the U2 catalog to feature The Edge on lead vocals(the previous one was on "War" and entitled 'Seconds').

U2 recieved quite a bit of backlash when "Rattle And Hum" was released, labeled as arrogant and presumtious to put themselves in the rock pantheon of the Beatles and Dylan. It was clearly misunderstood by these critics though, as Bono later explained, 'We weren't saying we were up with those guys, we made that record as fans, that's why we put in a picture of us looking at their posters'(something like that). This is a must-have for any U2 fan. This was the last U2 release of the 80s. After this was released, and U2 concluded its "Joshua Tree" and "Lovetown" tours(Lovetown was simply a renamed last two legs of the "Joshua Tree Tour" in Australia and Ireland among other places), U2 found themselves actually bored of playing the same music every night, becoming, as drummer Larry Mullen Jr. put it, "a human jukebox". The band were united in this boredom and fatigue and general disenchantment with where they could possibly be headed, and they knew that had to make big changes, because they didn't have the joy and excitement required to make great music anymore. As Edge put it, much later during the "Elevation" tour, 'When you're on tour, it has to be unpredictable. As soon as it becomes comfortable, it's time to stop. And we learned that lesson on the Lovetown tour'.

So, at one of the last shows of 1989, in Dublin, Bono made his now famous speech, saying, 'This is just the end of something for, for U2. It's no big deal, we just have to go away for a while...and dream it all up again'. What that led to is for a different review. "Rattle And Hum" is a documentary of U2 on the path that would lead to the end of an era, and it shouldn't be missed.

U2's Energy is truly felt on this album!
More often than not, you can only tell what kind of band you are listening to by seeing them in concert or by listening to a live recording. Rattle and Hum is a recording of various concerts in the same tour of U2 in the 80's just after the Joshua Tree. the energy is incredable!
The first track starts out with the cheering of the croud. Then you hear Bono say "This is the song Charles Manson stole from the Beatles...we're stealing it back." And then Edge plays the opening riffs to Helter Skelter. The hole album is an experiance. If you are a new comer looking for a good taste of U2, or an old fan looking for somthing classic, but unique- this is the album you've been praying for! "F*ck the revolution!"~Bono

Mix of good and bad tunes.
I'm amazed how inconsistent this album is. Here you have one outstanding track (Heartland), some decent tracks (Angel of Harlem, Desire, All I Want Is You), a few mediocre tunes (When Love Comes To Town, Hawkmoon, God Pt. 2), and the rest is...plain crap, including poor live performances (a tuned down version of Pride, with no delay on guitar). Also why does Bono try to sound country in every song? You know what I mean, that frog in throat trick he employs. It sounds TERRIBLE. Two stars for being a double cd and ergo twice as expensive when instead it should have been separated into a live cd and a studio b-sides compilation. ... Read more

Amazon.com

There seem to be two major camps of U2 fans now: Those who dig the early albums (good and sensible people), and those who only like the ones from the '90s, putting everything previous down as "classic rock." But U2 only became a classic rock sort of band in 1984, with The Unforgettable Fire. The real early stuff, from '80 to '83, still comes off as edgy--and it's comparatively ignored. Here's a sampler: Under a Blood Red Sky is from a U.S. tour (1983's) in which U2 still thought of itself as a hungry little band from Ireland--and draws (fairly wisely) from the band's first three albums. There's nary a misstep on the entire disc, although it could stand a few more tracks. --Gavin McNett ... Read more

Reviews (54)

Passion & Energy
Two of things that make U2 such as special band is their passion and energy. While these traits are present on their studio albums, they come to the front in their live performances. Under A Blood Red Sky perfectly captures all their raw emotions and energy. The album opens with the soaring "Gloria" from their October album and then seiges into "11 O'Clock Tick Tock". Next is a scorching version of their first hit "I Will Follow". "Party Girl" is a great lost U2 song. It was originally issued as a b-side and available on imports only. It starts off with just the Edge strumming his guitar and builds up to a powerful crescendo. Bono states on the record that "Sunday Bloody Sunday" is not a rebel song, but it is definately an anthem. Bono has always had a bit of a preacher in him and as he urges the crowd to chant "no more", the album takes on the feel of an old time revival. After whipping things up to a fever-pitch, "The Electric Co." and "New Year's Day" follow and they mellow things out. The hymn-like "40" is the final track and the album ends on a poignant note with just the crowd singing the chorus. For those of you who may only be familar with the U2 of the 90's and their mammoth Pop Mart and Zooropa concerts, this album is a fine sampler of their earlier efforts. While the approach is simplier in nature, it produces just as big of a sound.

The polemic Under A Blood Red Sky EP
Despite this EP ( 35 minutes long aprox ) shows an EXCELLENT early U2, this is not actually a "Live" album. Contains songs from 3 different performances ( Boston, Denver and St Goarshausen, 1983 ), most of them from Germany ( 5 songs ). This album includes AWESOME versions of "Sunday Bloody Sunday" and "New Year's Day" ( both far better than red rocks ). But is a shame the fact this is not a complete live album, as it mean to be. Also contains a few editing ( Bono's speech before Sunday Bloody Sunday and other ones ).
I remember recently on www.interference.com a GREAT IDEA for an Album release. It's about something like the real Under A Blood Red Sky album, containing the whole concert played in Loreley Festival, Germany August 20, 1983. Since 5 songs were from this concert on the original Ep, that idea would be something really cool, because we would have a real live album for the first time.
I really waiting for that version instead !!!!!!

"This Song Is Not A Rebel Song..."
The tour accomanying U2's third LP, The War Tour, was their first really big world tour. Towards the end of this tour, a live album and video were released. Please note, the video is the actual 'Live From Red Rocks' show from June 5, 1983, whereas the album has SOME tracks from that show, interspersed with performances from War Tour shows in Boston and what was then West Germany. Nontheless, it's the same songs and the same spirit. Basically a live collection of songs from U2's first three LPS plus b-sides. This is one of the most successful and legendary live albums in the history of recorded music, and there's a reason. Even before U2 had the fiscal resources or the sizable back catalog required to put on huge tours like they would in the future, U2 could put on a hell of a live show, and this thing proves it. I have it on vinyl, cassette, and CD. If for no other reason, buy it for its versions of 'Sunday Bloody Sunday' and the b-side 'Party Girl', which are virtually unbeatable.

This live album also served as a summation of a period for U2, though the fans did not know this at the time. U2 were about to embark on a very different path, and this was the finale of their first, angst-punk, period.

Legendary
First things first - the live performances on this album are outstanding. Why U2 have only ever released one whole live album I will never understand. OK, there are videos/DVD's etc but most hardcore fans had to resort to bootlegs to get concert performances.

The only thing that lets this album down is the production: 1. the crowd noise is way too loud 2. Edge is not loud enough in the mix and 3. The sound has a lot of distance/space in it (not sure if that makes sense). If you listen to An Cat Dubh and Twilight (taken from Redrocks) on the Sweetest Thing CD single you will notice how much better the sound is. Thats why I think this album should be rereleased remastered.

Aside from that, this is a brilliant album! All the early staples are here and the best version of I Will Follow you are likely to hear. The rest is history...

cheers

Great Live Energy
This captures of the rebel group U2, in all of its glory. ... Read more

Album Description

Formed in NYC in the mid-'70s by David Byrne, Chris Franz, Tina Weymouth, and ex-Modern Lover Jerry Harrison, Talking Heads soared out of their humble CBGB's beginnings to become Rock and Roll Hall of Famers and one of the most adventurous and influential bands ever. The onstage energy that propelled their rise to fame was documented in the 1982 double-LP set THE NAME OF THIS BAND IS TALKING HEADS, now available on CD for the first time. Following them through several early evolutions from '77-'81, this live gem - a 1982 Top 40 Billboard Album- is a riveting portrait of a stellar band on the rise. For its CD debut it's been expanded with over 30 minutes of rare and mostly previously unreleased bonus material. ... Read more

Amazon.com

Playing Rock's Greatest Chameleon was a great gig while it lasted, but by the mid-80's, David Bowie found his "Changes" led to an ironic dead-end. Yet this 1974 live album managed to distill his quicksilver nature as few others. Ostensibly mounted in support of Diamond Dogs, but sans Guy Peellaert's Ziggy-as-Great Dane imagery (a trick even the notorious pop changeling couldn't turn onstage), Bowie's image and music quickly evolved on the tour, taking on an American r&b-fueled edge that would seep into very corner its career-retrospective set. Indeed, the musician would pause mid-tour to record Young Americans with the core of the live band here, setting up his Thin White Duke incarnation in the bargain. Culled from shows at Philadelphia's Tower Theatre, this edition has been both remastered and expanded by the inclusion of "Panic in Detroit" and "Space Oddity," marking the first time the complete show has been available. Also includes insightful notes by producer/longtime Bowie collaborator Tony Visconti.--Jerry McCulley ... Read more

Reviews (16)

The best live rock recording ever made -- and Michael Kamen!
I can only assume that those reviewers who take exception to the sound recording prefer their music plastic and two-dimensional, like most rock studio recordings. Inspired by this amazing album I rebought on CD favourite Bowie studio albums from my youth, such as Hunky Dory, Young Americans and Station to Station: sadly they are flat and airless recordings, even in their "remastered" versions. David Live, in contrast, gives the full "picture" in all its warmth and resonance, comparable to the sound on, for example, Colossal Head by Los Lobos or Real Gone by Tom Waits. This kind of living, breathing recording is standard in the jazz and classical worlds. What really makes the difference, however, is Michael Kamen's arrangements, which lift the music onto another plane -- compare the far less interesting versions on the original albums and the Ziggy live album. This applies particularly to the songs from the Ziggy studio album and Aladdin Sane, the originals of which are rather juvenile: in Michael Kamen's hands the atom is split and we are witness to a glorious explosion of musical potential, showing Bowie's true greatness (as does his magnificent singing). The incomparable band, too, really allows this music to take flight. I first bought this album when I was 12 years old, and I can see that it had a lasting influence, exposing me at an early age to music's unlimited possibilities: a typical day's listening today (I work at home) is likely to include Mahalia Jackson, Miles Davis, Bach, Weill, Haydn, Funkadelic, Ray Charles, Tom Waits, Ali Farka Toure and Bang on a Can. I feel I owe this freeing of perspectives partly to David Bowie and Michael Kamen. This album was the gateway.

'74. Bowie. Drugs. Good Music.
1974. Bowie had just finished his brillant "Diamond Dogs" album. He was coked out of his mind almost daily. Then, decides to do a world tour. Somehow it worked.

This album, recorded from live shows at Philly's Tower Theater, is completely underrated. Brillant musicians (Mike Garson, Herbie Flowers, Earl Slick, David Sanborn), soon-to-be famous backup singers (Luther Vandross) and of course, Bowie.

The songs are great versions of the then new "Diamond Dogs" material, some R&B covers, Bowie singing "On Broadway" at the end of "Aladdin Sane" plus jazzy recreations of Bowie's classics. This album has plenty of sax but don't let that scare you. The band still plays hard which works great as a comparison to the jazz pianos and saxes.

Bowie, as I said, was lost in a white powdered daze at the time. As Bowie himself said about the album, "it should be called David is Live but only in theory." He was about 100 pounds at the time and pale as anything but somehow his voice still sounds great. Not as good as it could be but still very powerful. His voice, at his worst, he's still one of the best singers out there.

To put it best, if you're a hardcore Bowie fan you'll love it. If you're just a casual fan, you still want to check this out.

P.S. I resent the review on CDNOW saying that "By the mid-80's Bowie's "Changes" came to an ironic dead end." Alright, I'll admit his mid-80's stuff wasn't the best but his career DOES NOT end there. And his "Changes" (a very old and tired cliche pun when talking about Bowie) don't end there. Check out Tin Machine, his 90's experiments or his back to basics rock stuff from this decade.

Ziggy Soul-Dust!
When I first bought this collection on 8-track in '74 I was shocked: gone were the glam trappings and slick production of his studio efforts. Kudos to Bowie then and now for pushing the envelope with regard to his image and musical direction. Sure there are a few missteps, but what you gain in return is a sweaty, live, r & b fueled gig with jazz overtones. Worth the price of admission just to hear David Sanborn's sax riffing and session legend Herbie Flower's amazing bass-lines which evoke aural visions of Jamerson and Jemmott.

Sadly, not an improvement
I purchased "David Live" and "Stage" on the same day, and was really hoping that my earlier general distaste for "Live" would be sweetened by the remastering and expansion. Sadly, this is not the case. Despite the interesting notes from Tony Visconti, the sound of "David Live" was crappy in the original album. Digital remastering did nothing to clear up old flaws, if anything, it forces the album's shortcomings into sharp relief.

David's singing is lackluster. Only on a handful of songs here ("Sweet Thing" and, oddly enough, "Knock On Wood") does he sound like he was paying attention to his performance. Equipment hum makes frequent, distracting appearances, and the instruments themselves are often distorted to an embarrassing level.

Frankly, get this ONLY if you feel you must own all things La Bowie. The reissues of "Diamond Dogs" and "Ziggy Stardust" made me think this might be worth adding, but I was wrong. As David Bowie's live work goes, both the "A Reality Tour" DVD and newly re-issued "Stage" CD are far superior to this.

Unbelievably Bad
I am stunned that this album receives ANY favorable reviews.I am a Bowie fanatic, having taken in a dozen of his shows stretching back to 1978, and have owned every album of his.This is not just his worst album....it is THE worst live album EVER by ANY performer.The arrangements are sloppily played/plastic soul cum art rock and I am sure his whole band is embarassed at how they sounded on record.As bootleg aficionados know, there ARE good shows from the 1974 tour.This album somehow manages to give them a complete miss.As for David himself, he is in the nadir of his cocaine addiction and simply can NOT sing here.His voice is Awful throughout, making even this hardcore Bowie fan cringe!!Buy "Stage" instead--when he was not coked to the gills croaking out plastic soul in front of a band that could not care less--what a difference a few years makes. ... Read more

Reviews (39)

Mellow Maniacs.
Since we never got that "Best of" from them, I guess this will have to due. Of course, this is basically an unplugged greatest hits album. And as good as the studio albums are, this actually seems, and sounds, more natural for them. It includes the classics "Like the Weather", "Trouble Me", and "These are Days". Other wonderful songs are "What's the Matter Here?" and "Noah's Dove". The only songs that I really miss, are "Dust Bowl", and "Circle Dream". But you can't have it all. Though "In My Tribe", "Blind Man's Zoo", and "Our Time In Eden" are excellent studio albums, I would still suggest this to the person looking for just one "10,000 Maniacs" disc. It's 14 unplugged tracks that sound as good as "Natalie Merchant" looks.

A hauntingly exquisite live album
This album stands as one of the most impressive MTV Unplugged albums ever recorded. The unique style and sound of the 10,000 Maniacs was captured beautifully in this concert, preserving an unforgettable legacy by the group which was essentially breaking up at the time this was released. Anyone who listened to the radio back then has to know and remember Because the Night. While it is still hard for me to believe this song so wonderfully suited to Natalie Merchant's voice was written by Bruce Springsteen, it served as a most impressive means of introducing Natalie Merchant sans Maniacs to the larger listening audience. Like many fans, I am not that familiar with the 10,000 Maniacs albums predating In My Tribe, but all of the 14 songs on this album (including four from In My Tribe) are just hauntingly exquisite. Each song tells a story, often a serious one touching on important social issues, infusing this modernized folk music with a very human folk music consciousness that speaks to both the head and heart in a number of very effective ways. If the unique sound of 10,000 Maniacs doesn't move you at first, give it a second listen, and I'm sure the power of the music will begin to reveal itself to you. It is unfortunate that Natalie Merchant left the group, but the magic that was 10,000 Maniacs has been wonderfully preserved in this truly incredible live recording.

Love Merchant, Dislike the Maniacs
Natalie Merchant was truly the force behind this group. Luckily Merchant's voice raises this collection up from the formulaic collections of unplugged that have come before. (Think Eric Clapton etc) Trouble Me, and Because the Night are the two main reasons to buy this cd. If you don't have a love of the 10,000 Maniacs, you would be better to pay to download those two tracks. If you want to enjoy Natalie Merchants voice, please look at her solo debut Tigerlily.

A bit flat, but still a great collection
I remember watching the original shortened broadcast of MTV Unplugged on TV before the album was released, and my first thought was that Natalie Merchant sounded tired during this performance. It's understandable, as the Maniacs were playing many dates in late '92 and early '93, but her last album with the Maniacs is also probably the worst. However, worse doesn't always mean "bad." This is a nice reworking of some of their back catalog, as well as the surprise hit, a cover of "Because the Night," that was worn out by excessive radio play.

pleasant, incredibly good album
In my opinion - which of course may not agree with yours although it might- this is the best, and I mean the best light rock album with a female vocalist. If I were to pick the 5 best american female rock composers, Natalie would be among the three best with Tori and who else?... hmmmm that's a difficult one. But anyway, you know what I mean, her music is great, very melodic, inspires lots of different moods and adaptable for a wide variety of tastes. I wonder what is of Ten Thousand Maniacs nowadays now that they are without the marvelous Natalie. ... Read more

Album Description

The Goo Goo Dolls have never issued a concert DVD or a live album. Now they have both. The first concert DVD from the multi-platinum, Grammy nominated band, Live in Buffalo finds the group in its hometown on July 4, 2004, performing all of its biggest hits and favorite songs for an adoring crowd. ... Read more

Album Description

Evanescence’s "Anywhere But Home", captures one night of the magic as cameras entered The Zenith in Paris to capture the phenomenon.The two-disc DVD/CD features Evanescence’s sold-out European tour and is offered in both 5.1 and two-track audio mixes.In addition to the live concert DVD, which was directed by Hamish Hamilton (U2, Peter Gabriel), "Anywhere But Home" also includes a CD of the concert presented in a two-track mix, and the previously unreleased studio recording of the composition "Missing."The DVD features the band's four music videos, an hour-long behind-the-scenes program, and some special surprises in addition to the concert film.The special surprises will be discovered by the viewer as they navigate the menus designed exclusively for this special release. ... Read more

Amazon.com

Playing Rock's Greatest Chameleon was a great gig while it lasted, but by the mid-80's, David Bowie found his "Changes" led to an ironic dead-end. Yet this 1974 live album managed to distill his quicksilver nature as few others. Ostensibly mounted in support of Diamond Dogs, but sans Guy Peellaert's Ziggy-as-Great Dane imagery (a trick even the notorious pop changeling couldn't turn onstage), Bowie's image and music quickly evolved on the tour, taking on an American R&B-fueled edge that would seep into every corner of this career-retrospective set. Indeed, the musician would pause mid-tour to record Young Americans with the core of the live band here, setting up his Thin White Duke incarnation in the bargain. Culled from shows at Philadelphia's Tower Theatre, this edition has been both remastered and expanded by the inclusion of "Panic in Detroit" and "Space Oddity," marking the first time the complete show has been available. Also includes insightful notes by producer/longtime Bowie collaborator Tony Visconti. --Jerry McCulley ... Read more

Reviews (17)

This is a great concert.
This album is a great album of Bowie at his best; his voice in the late seventies was wonderful, and the set list on this album is as good as it would ever get. Not essential for causual fans, but an excellent addition for those who can't get enough of David.

By the way, the editorial review of this item seems to be for the "David Live" album of 1974, not for this 1978 release.

BERLIN BOWIE - Heroic, Eno-hued,and magnificent.
After an impossible wait, Bowie's 2nd greatest live recording (after the Ziggy Stardust & The Spiders From Mars soundtrack) is finally resurrected.I've been waiting forever for this to be released properly on cd, original concert sequence, superior digital upgrades and packaging, and so on.At long last, he's done it!This performance captures the MainMan and his wicked band at their post-coke, pre-sellout, height-of-punk, best.West Berlin in the 70's provided Bowie with the perfect paranoid backdrop to produce the most personal, ambitious, insular, and creative albums of his entire career, hands down.Some of the best tracks off of them are fleshed out live here, to outrageous effect.For a concert recording, this is as good as it gets!!!From "Station To Station", "Warsawza", "Breaking Glass", and Beauty And The Beast", to "Heroes", "Sense Of Doubt", and "Blackout",this masterpiece nails the bitter end of the 1970's with soaring accuracy and alienated majesty.Get it immediately!

Stage, front and center
I purchased both "David Live" and "Stage" on the date of their rerelease. The remastering of "Stage" points out why "David Live" was such a disappointment, and why my value judgement of "Stage" is two stars higher than "David Live."

Vocally, on "Stage," David is in terrific form. His singing sounds effortless and unaffected, even when he bangs his way through Kurt Weill and Bertolt Brecht's "Alabama Song." The songs include Bowie at one of his artistic peak periods, with the albums "Low" "Heroes" and "Station to Station" informing the language of his music at the time. He also had two incredible guitarists on this tour, Carlos Alomar and Adrian Belew. Roger Powell (on loan from Todd Rundgren and Utopia) put the life into Bowie/Eno synthesizer epics like "Art Decade" and "Warszawa." Engineer Tony Visconti - as he states in the new disc's liner notes - approached recording "Stage" as if he were miking a studio album. And to that end, the horrific technical glitches that so mar "David Live" are completely absent from this album.

An additional benefit is the restoration of the concert's running order to include to leftover songs "Stay" and "Be My Wife." These repairs makes "Stage" flow more organically than the original album did. When you think of Bowie in concert from the late seventies, this is probably what you would have imagined. From the ominous opening of "Warszawa" to the sing-along catchiness at the end of "TVC-15," "Stage" is prime David Bowie. Highly recommended, and infinitely better than "David Live."

4.5 Stars..... Excellent reissue of Bowie's best live album
David Bowie originally issued the live "Stage" double album in late 1978, after a wildly successful world tour. The album was not received very well by either critics or the buying public, but this reissue will hopefully correct that once and for all.

The reissue of "Stage" (2 CDs, 20 tracks, 84 min.) is vastly different from the original double vinyl album. For one, the sequencing of the tracks follows the actual concert (hence starting off with the somber instrumental "Warszawa"). For another, two tracks have been added ("Be My Wife" and "Stay"). CD1 concentrates on songs from the then-current "Low" and "Heroes" albums, with a great "Speed of Life" and "Breaking Glass" as highlights. CD2 showcases older songs like "Ziggy Stardust", "Station to Station" (this live version also shows up on the "Christiane F." soundtrack), and a truly excellent "Stay" (hard to understand why this was left off the original album, it's one of the best tracks on here). It should also be noted that the remastered sound is a remarkable improvement over the original album.

The packaging of this reissue is first class all the way. The CD opens up very cleaverly, it's hard to explain until you actually have it in your hands. There are insightful liner notes from producer Tony Visconti, and to top it off there is a listing of all the dates on the 1978 world tour (interesting to see how many of the US concert sites of those days are no longer around). In all, the new-and-improved "Stage" is essential for any serious Bowie fan.

Overlooked
This is one of Bowie's most criticized albums.I never understood why, considering the quality of the recording and the talent of the band, which included Carlos Alomar, one of the most important figures in Bowie's work, along with King Crimson member Adrian Belew (who seems to have performed with many important groups, the Talking Heads among them), and an incredible rhythm section, which included George Murray hammering the bass.

Tony Visconti, the producer, made some good points in the liner notes, among them that he wanted the quality of this recording to really shine, so he was very careful with microphone placement, even using four mics for the crowd, initially done for quadraphonic sound, but it now helps today with the surround mix.He also mentioned that there are NO overdubs, and only one edit to make sure "Station to Station" was a good take (he put two performances together).The overall result is a crisp and nearly perfect sounding concert.

Bowie's vocals are quite good, almost perfect, but that's Bowie.Bowie's vocal on "Heroes" is stunning, arguably better than the original, and the ending of "Ziggy Stardust", where he holds the note, is amazing. As Visconti has put it in the past, he's a one or two take singer.He can't help that he sings well.So I never understood the critics who said his vocals were too precise.Does he need to cough?Sing off key?

As for the band, they were on fire.Adrian Belew's guitar work was incredible, especially on "Heroes."Another song improved live is "What in the World", which benefits from a slower reggae swing in the beginning.I also love the electric violin on the instrumental "Warszawa".Give Bowie credit for playing his unusual instrumentals live, considering the impatience of American audiences; personally, I think they add to the atmosphere the show.It was a wise decision to re-sequence the tracks in the order of the concert (past versions were chronological).

One of the gems is the previously unreleased "Stay".The band really shines on this track.I wonder why it wasn't included on past versions.

No, I'm not a fan of "Alabama Song", "TVC 15" is a bit fast, and I do wish the guitars were a little more up front in the mix, but these are minor criticisms. This is an overlooked album in Bowie's catalog.Check it out.

(Also, if you can find the three disc version of "Bowie at the Beeb", disc three is from a stunning concert he gave in 2000.) ... Read more

Reviews (68)

The Essence of John
Dave Matthews, Dispatch, O.A.R., it all ends up the same. There's only so much of an essence of the band that you can capture with studio albums. The only way to truly experience the band is to see them live. If you can't see them live, the next best thing is to get the live CD, put it in your stereo and kick back. The formula doesn't change for John Mayer and his double CD live release, "Any Given Thursday." Many of the studio versions of songs on his LP "Room for Squares" get a nice extended facelift on this album. The opener, "3x5," gets a nice drum-laced intro. Songs like "Neon," "83" and "Why Georgia" also get that extra special ingredient in a live concert that does not do the songs justice on the studio album. The real gem of the performance is the acoustic set. "Love Song for No One" gets the honors of being the best song of the performance, as John gets a chance to shine alone. He also does an excellent rendition of the Police's "Message in a Bottle," a song I find particularly bland, but that may just be me. Even so, John gives it a laid-back flair and lets the crowd groove along. What prevents this album from getting that fifth star are the basic carbon-copies of the studio versions of "No Such Thing," "Your Body is a Wonderland" and "My Stupid Mouth." Nevertheless, the songs are just as catchy as the originals. If you're new to John Mayer, I suggest getting "Room for Squares" first, but this album suppliments it nicely.

GREAT GOOD FABULOUS
This is not my usual type of music. I don't care for bluesy stuff, and I HATE "live" albums for the oxymoron that they are. Having said that, I saw this on VH1 and was so blown away that I went and bought this live CD because it's so darn good.
John Mayer's voice has a raw sexiness to it that I haven't heard in awhile. His guitar playing is expressive, emotive, and passionate. The way he goes from total exuberance to kind of being subdued and reflective on "Covered In Rain" is 10 minutes of aural pleasure. "Why Georgia" is fun, as is "Your Body is a Wonderland." I wasn't too thrilled with the sting cover or the covers at the end, but it does show an interesting ability to take one basic beat/melody and pull together an eclectic mix of genres. I don't get the Sting/Dave Matthews references, except that they are similar; I wouldn't call him a wannabe of either of these men. I highly recommend this album. DROP EVERYTHING AND GO BUY IT!!! :)

Phenomenal
I was very pleased when I first listened to this CD. Many live bands do not perform very well on stage, however this is completely wrong for John Mayer. He is an exceptionally great live performer. He really gets up there and blows away the audience. His singing is great and so is his guitar skills. He plays the guitar sensationally. He also changes guitars to best suit the song; its great too. You almost feel as if your at the concert with John with this CD. The sound of the instruments is great, along with John's great singing. It's a great quality. While performing, he really gets into his music; this is shown by his great singing. This CD includes the ever so popular "Comfortable" song which is not on either his first cds, Room for Squares and Heavier things. Some other great songs on this CD include: No Such Thing, City Love, Something's Missing. There are 15 great songs in all. I highly recommend this CD to everybody.

Much Better Than I Exptected
I am not a huge John Mayer fan. I know the radio hits, that's about it. Someone recommended "Any Given Thursday" to me, and much to my surprise I have really come to like this album. Meant as a stop-gap until Mayer would release his second album, and as a quick cash-in to Mayer's quick rise to stardom, this live collection nevertheless delivers.

"Any Given Thursday" (2 CDs, 101 min.) is the complete recording of a September 2002 concert in Birmingham, AL. The set contains, not surprisingly, the bulk of the "Room for Squares" album (10 of its 13 tracks are here), and Mayer delivers them confidently, at times taking his time to "jam" with his band. My favorite tracks include the sublime "Why Georgia", "83" and "Neon" (all of which are on CD2, clearly the better of CD1). There is also the obligatory "John solo" mini-set, which contains a great cover of Sting's "Message in a Bottle" (I don't miss Sting's whining voice at all!). Perhaps somewhat surprisingly, there is not a single song previewing the "Heavier Things" album.

In all, I was very pleasantly surprised with this album. OK, John Mayer live invites comparisons to Dave Matthews Band, there's no denying that. But hey, is that such a bad thing? Not in my book!

For the Mellow Listener
Excellent album. John Mayer seems to find some way to not bore me with a live album. I usually buy live albums and skip to the songs I like but this is a well put together set and great for long car rides. I recommend anything by John, everything is good. Tracks that stand out on this album include "Lenny/Man on the Side", "Neon", "Why Georgia" and "Your Body is a Wonderland." Whole album is good. Great purchase for the mellow music listener. ... Read more

Reviews (93)

The Perfect Album
Beggining To End Pure Genius!!!!!!! What a line up, its perfect. I've been a Alice In Chains fan for 3 years now i've heard all of their cds but this one comes out on top. This CD is the best unplugged cd ever hands down.

1.Nutshell 10/10 awesome song to start the cd off with, unplugged version is 10x better then studio version.

2.Brother 10/10 Awesome guitar, awesome voice, pure Awesome!!!Catchy Chorus.

3.No Excuses 10/10 One Of the best songs on the CD!!!

4.Sludge Factory 9/10 Not a catchy one But still it is still cool.

5.Down in a Hole 11/10 Best song on the CD I could listen to this song unplugged all day it really forces you to play this song over and over again....Best song ever!!!!

6.Angry Chair 10/10 Pure Genius!!!!

7.Rooster 10/10 Everyone Knows This Song!!!

8.Got Me Wrong 10.5/10 This song is definitly one of the best songs on the CD.

9.Heaven Beside You 9/10 Never Really got into this song until I Heard it Unplugged.

10.Would? 10/10 Speechless just listen to it yourself Unplugged.

11.Frogs 8/10 Least favorite on the CD but it is still a great song...

12.Over Now 9/10 Great Song!!!

13.Killer is Me 10/10 Great song to end with!!!

This CD is completely amazing from track 1 to track 13 don't miss out on such a good CD Buy it Now!!! Alice in Chains Best Band of All Time!!!!!!

This was the wrong band to go completely unplugged.
Alice in Chains' music has always carried a savage beauty, never compromised by Jerry Cantrell's ferocious guitars or Layne Staley's tortured vocals. Indeed, the majesty and beauty of songs such as "Down in a Hole", "Man in the Box", "No Excuses", "Rotten Apple" and especially the band's best song, "Would?", gained in emotional impact because of the electric guitars and multitracked vocals.

Which is why Unplugged is hands down the weakest Alice in Chains release.

The songs are still powerful -- Cantrell's sure sense of melody would take a lot to demolish. But there isn't a single performance on here that beats the original recordings. "Would?", for example, sorely needed that ominous electric-guitar line sneaking through the break section; "Down in the Hole"'s moody grind went missing on the all-acoustic version; "No Excuses" became morose and less intimate (surprising in an unplugged setting) for lack of electric-guitar colouring.

Now that Alice in Chains has a real greatest-hits album out (with a boxed set on the way), there isn't much point to this unplugged collection. Stay with the studio recordings.

The Best MTV Unplugged Performance Ever.....
I realize this may offend Nirvana fans but Alice In Chains'dynamic and gut-wrenching "Unplugged" performance is, without a doubt, the finest acoustic show ever recorded. I love Nirvana's unplugged set but nothing in music compares to AIC's tortured set. Witness Layne Staley and Jerry Cantrell harmonizing. Even when they slip, and there are times when they do, they are unbelivable. The band was tight and Jerry's guitar playing here is excellent when you consider that he had all kinds of equipment problems and a bad stomach virus. Truly a professional. The band's excellence alone would be enough to back up my opinion in this review but when you add Layne's vocal performance to the package, it becomes insurmountable. There is nothing like listening to the pain, anger, suffering, humor, and sorrow in Layne's voice. Kurt Cobain was depressed his entire life and so the angst in his songs was not suprising or unexpected. Layne, however, was a happy, friendly guy who was destroyed by his heroin addiction. He knew it was killing him and he couldn't stop. Knowing all this, his pain becomes your pain when you listen to Alice in Chains.
As an experiment, put this CD on in your player at home with no background noise and no distraction. It is probably better to do this at night. You can also play it in your car, at night. If you put on "Down In A Hole" and listen to it in those settings and you don't get goosebumps, I don't know that you are human. Layne's vocals, while powerful and kickass on AIC's studio and live records, are so much more potent here. If you have ever been depressed or addicted, you feel as one with Layne. I can't say enough about his performance. Over the years, you could hear his voice declining as a result of his abuse of heroin. Here, he summons all his strength and almost seems capable of exorcising the demons that haunt him. Alas, it was not to be. Layne was found dead in 2002. So for all of you people out there complaining about the lack of new Alice In Chains material, it is not to be. Layne is gone and I don't think he can record 9 new alblums after death like Sublime or Tupac. Alice In Chains, the greatest Seattle band, the greatest grunge band, and the greatest band of the 90's will forever have it's place in rock's history. Let's hope for a Hall Of Fame induction soon. As for this remarkable album, BUY IT NOW! A gripping performance, perhaps not the best of Alice In Chains' career, but it will still leave you with that powerful feeling. I can't describe it and very few artists can accomplish it but true fans know what I'm talking about. GET THIS CD NOW!!!!!!

Fantastic...even if you don't like the band!
This is an excellent CD, by far one of the best I own. I usually find Alice in Chains to be a little too metal for my taste, but this CD is just great. You have to listen to it, I guarantee you'll love it!

Fantastic album
I am a bit biased- as I am a huge AIC fan- but I have probably listened to this album over 100 times. I love it. I defy you to listen to this album and not get the chills. If you are thinking of purchasing only one Alice in Chains album- buy this one. ... Read more

Amazon.com

The soundtrack to the Jonathan Demme documentary, Stop Making Sense captures the Talking Heads live in 1984 on what would turn out to be their last major tour. This collection, and the film, is a true gift to the band's fans, a testament to the Heads' extraordinary talent, both in the studio and especially onstage. Frontman David Byrne infuses each song with a jolt of energy and drama that could only have come from a late-'70s art-school student. Now-classic tracks such as "Psycho Killer," "Girlfriend is Better," "Once in a Lifetime," "Take Me to the River," and "Burning Down the House" have never sounded better. This expanded 1999 reissue includes all nine of the original tracks, plus seven previously unheard cuts, including "Heaven," "Found a Job," and "Crosseyed and Painless." --Lorry Fleming ... Read more

Reviews (58)

Talking Heads LIVEs again!
Talking Heads have revamped the soundtrack to possibly the best post modern concert rock film ever made. This is not you're older brothers soundtrack. In fact, die hard fans needn't worry. This Special Edition is more in tune with the film. Better sound quality and different mixes appear from the start like in "Psycho Killer." Less drum machine and more acoustic guitar. I love this version better than the original one I grew up with because I think this Special Edition fully captures the Talking Heads concert experience. I love the fact that I can finally jam to the definitive version of "Stop Making Sense" in my car. So, if you want to feeling like burning down your house with a killer live show than the Special Edition Stop Making Sense is the CD for you.

The Talking Heads best collection but not true to the movie.
While this is ceratainly a fantastic album and probabely the Talking Heads best overall collection it is not the exact sound track as advertised. I own a VHS HIFI copy of the actual movie and have played it in the form of an audio cassette at least 100 times. The current new issue does not contain all the songs in the movie and several of the included tracks are not the ones in the movie. For instance, the hypnotic guitar solo during the introduction to Cross Eyed and Painless, perhaps the Talking Heads most energetic song, has been dramatically shortened from the version in the movie. Despite these frustrating shortcomings the newly released Stop Making Sense is far superior to the original release and should be considered an essential for any Talking Heads fan!

"The less we say about it the better...."
Back when I was a kid, during the 80s, my first love, whom I met at camp, used to write to me long detailed letters of her life, which seemed far more interesting and visceral than my own backwoods existence. She once mentioned that she liked Talking Heads, a group I'd never heard of but I ran straight out and bought the first cassette by them I could find -- "Stop Making Sense."

I used to go around on my paper route, in the freezing rain, under a hooded sweatshirt, cranking "What a Day That Was" and "Burning Down the House" on my Walkman, chilled to the bone and soaking wet but warmed by the incredibly upbeat rhythms and confusing lyrics.

By the time I was finally able to get the movie on VHS, I'd listened to the tape a million times and knew most of the songs. But I didn't know what the band looked like or what their stage show involved. Not only was I blown away anew by the Heads, but there were all these other songs I'd never heard. How, I wondered, could they ever have left "Naive Melody" off the initial album?

Anyway, that old first love is long gone, but she turned me on to the Talking Heads before she split and now the album has been reissued with the set-list intact (except for two songs). This music is caffeine in a bright cold can; it's like waking up and looking out the window and finding snow; it's drier-warmed sheets, and it's also the sound of a Saturday wake and bake, the sound of the first spring-forward Sunday afternoon. Good sounds. Enjoy!

The version I was waiting for
In 1984, I saw Jonathan Demme's "Stop Making Sense" four separate times--this was not unusual for any Talking Heads fan. So when the soundtrack was released, I rushed to get a copy. It's not hard to imagine my disappointment to find that it only contained nine songs from the film. Nine! Where were "Heaven", "This Must Be the Place" and the Tom Tom Club's "Genius of Love"? This soundtrack was nothing less than a gyp!

Now, almost two decades later, is this new edition which contains so many of the tunes that I found unforgiveably left off the original! The sound is crisp and true. Without trying to overemphasize the importance of Talking Heads, this documentary of a truly great tour will reveal why this band had such a following, and why its music is still influencing the music of today.

Stop Making Sense: Special New Edition (1984 Film) [EXTRA TR
I can not hide the fact that I think the singer for this group in question has no tallent at all. He sounds like a man trying way to hard and sounding even worst then if his effort was half hearted. This album, i.e., Stop Making Sense: Special New Edition (1984 Film) [EXTRA TRACKS] [SOUNDTRACK] [LIVE]
~ Talking Heads is a good example of his obvious lack of tallent. ... Read more

Amazon.com

Too much too soon is the m.o. of so many bands who, thanks to the fleeting fame that accompanies music-video breakthroughs, are famous before their time and has-beens five minutes later. You could be excused for thinking that's the case with Counting Crows, darlings of both MTV and VH1, who here release a double concert CD after only two studio albums. But you'd be wrong. The set, an acoustic disc recorded for VH1's Storytellers and an electric one from MTV's Live from the 10 Spot, proves how well the oft-bootlegged Crows have earned their reputation as a smoking live band. It also shows how elastic their rambling and evocative songs can be, some of which appear on both discs but in vastly different arrangements. People may tire of vocalist Adam Duritz's perpetually-wounded-soldier-of-love act, but this is one band whose success was hard-won and is richly deserved. --Daniel Durchholz ... Read more

Reviews (128)

THIS IS A GREAT 2-CD ALBUM!
I became a fan of Counting Crows about a year ago. Well, I heard Mr. Jones in 93/94 and liked it but could never remember the bands name. Then in 96/97 Long December came out, and again I forgot the band's name, but finally remember (somehow) and found my friend had this CD, and I borrowed several times before I could buy the CD. Anyway I t! en to like LIVE versions of songs better than the album versions. The only complaint I have is that one the first disk, which is their VH1 Story Tellers show, I wish they would have kept Adam's monlogues, I mean it would interest fans, at least it would me. Oh well. Here is a complete list of the tracks, since the one here is incomplete. I decided to put * by my favorite songs.

DISK 1 1. Round Here 2. Have You Seen Me Lately? 3. Angels of the Silences * 4. Catapult 5. Mr. Jones * 6. Rain King 7. Mercury 8. Ghost Train 9. Anna Begins 10. ---"Secret Track"--haven't figured out which song it is, though, sorry :( ! "Maybe Things Are Differnt These Days" is what I figure from listening to it.

DISK 2 1. Recovering the Satalites 2. Angels of the Silences * 3. Rain King 4. Sullivan Street 5. Children in Bloom 6. Have You Seen Me Lately? 7. Raining In Baltimore 8. Round Here 9. I'm Not Sleeping ! * 10. Murder of One 11. Long December * 12. Wa! lkways

Relax, Adam!
"Across A Wire: Live In New York City" is a great live album from the Counting Crows, and a necessary one as well because of the Crows' superb and different live performances. Highlights on disc one include "Round Here", "Mr. Jones", "Rain King", and a stunning version of "Anna Begins". Highlights on disc two include "Angels Of The Silences", "Have You Seen Me Lately?", and "Round Here". However, this CD is not perfect. I am becoming more and more convinced after every listen that lead singer Adam Duritz takes his music (and sometimes himself) way too seriously. It almost becomes very depressing to hear his voice, but in a way that is a testament to the emotion he puts into his live performances. Still, his voice can become tedious and over-blown. Besides that, this is a great double-disc live set, even if the Counting Crows only released two prior studio recordings.

wonderful and yet....not
I am a diehard Counting Crows fan and this album really opened them up to me. The Storyteller's disc lives in my CD player. Hearing "Rain King" played is a kind of slow jazzy style made me almost cry and the electric versions of "Anna Begins" annd "Ghost Train" are worth the price of both discs. Just hearing the total difference in all the songs from what I was used to demonstrated the Crow's versatility.

However, the live CD didn't impress me at all. I've only listened to it once but the entire thing seemed flat and somehow less passionate than what I've heard in the past.

I would recommend buying this only if you are a fan of Counting Crows as you probably won't listen to the second one and may not appreciate the first. Stick with August and Everything After and other studio albums. If you are a fan looking for where to go for more Crows get this. The Storyteller's versions are worth it.

Best Crows Ever
Having listened to all their other albums (& a lot of other live stuff) I gotta say this stuff really stands out. It's absolutely brilliant what they did with this performance. Taking classic Crows songs & changing them up (& thank God changing them in a way other than a remix) was a risk. It pays off though, the entire thing is awesome. If you're not already a Crows fan, I'd suggest buying a studio album or two first. It'll make this experience much more meaningful. Those seasoned in Crows music need to have this...NOW.

a seminal live album
what a live album should be. Do you see the number of songs and the price they are asking? What a deal!

This is the reward for supporting a band for years - being able to get such a nicely produced, packaged and delivered live version of so many songs.

This band goes all out in their live shows and this collection is the next best thing to being there (and better in some ways - such as when you've seen them live and someone else is inexplicably sharing top billing with them, affording them not much more than an hour of playing time!)

Counting Crows prove their worth in a live venue, so this one's definitely worth it. ... Read more

Album Description

"Awake, The Best of LIVE", a deluxe 19-song compilation CD spanning the entire 13-year recording history of the acclaimed rock band from York, Pennsylvania.

The CD compilation includes, "We Deal in Dreams," a previously-unreleased track from LIVE's 1994 Throwing Copper sessions.The CD also includes a spirited cover of the Johnny Cash classic, "I Walk The Line." ... Read more

Amazon.com

By now, everyone knows how adventurous Radiohead are, which makes this live record--a hairy rock-band cliché--seem like a strange capper to their decidedly cliché-rejecting records. But throughout the hubbub surrounding Kid A, and its Amnesiac companion piece, Radiohead never embraced the notion that they're reinventing anything. Even while a tempest of critics hailed the band as saviors, pulling rock from the jaws of consumerist self-destruction, the band ignored it all, going into stadiums and working out their twisted angst through angry, direct means."National Anthem"'s fuzzed-out riff rages aggressively behind Thom Yorke's crazed, breath-scat vocal, giving the song a rollicking edge that was nowhere on Kid A. The same effect is heard on "Idioteque," as Yorke, getting backup vocal help from the crowd, sings over an acoustic beat, removing the distant, electronic touch of the studio version. "True Love Waits" aptly ends the record with Yorke and a solo acoustic guitar, which finds just the right touch on a song that Radiohead have played with for years (long-term fans should note the first ever appearance on record of the track). In the end, Radiohead don't really stray too far from the original templates of these songs, they merely play up the highs and milk the lows, just like any good rock band should. -- Matthew Cooke ... Read more

Reviews (133)

Or They Might Be Right
An extraordinary live compilation, and as such, one of the best live records you'll hear this year. In this format, the music takes center stage; the songs are good enough to avoid any 'experimental' label the critics might try to bestow on it.

Standout tracks: Morning Bell, Idioteque, and Everything In Its Right Place morphing into Dollars and Cents. Any other band would kill to have a back catalogue like this. What's more amazing is that all the songs (save the atmospheric True Love Waits) come from just two albums: Kid A and Amnesiac. The casual fan might be disappointed that there's no 'Creep,' the rock fan might bemoan the total lack of Bends material, and the critic might complain about OK Computer's absence, but if you've liked any of their albums, this one belongs on your CD rack.

Even better, with only 8 songs, this is no 70's type double live album. It's just rock music that rocks you, and then leaves the building. Just like its supposed to.

Great Album but missing some good songs.
I just purchased the new Radiohead live album, and let me tell you what this album kicks ass! There are only a few groups that I would even consider buying live albums from, Rush and Radiohead are probably the only two. I did not even know this album was coming out, I just happened to see it listed on Amazon. The track listings are as follows:

The National Anthem
I might be wrong
Morning bell
Like spinning plates
Idioteque
Everything in its right place
Dollars and cents
True love waits

The majority of the album is from Kid A and Amnesiac. My favorites included: The National Anthem, Morning Bell, Idioteque, Everything in its right place and True love waits. The majority of my favorite songs are off Kid A. I especially like True love waits; I have never heard that song until I bought this album, the acoustical song is a great ending to the album. The only drawback that I can see from this album is that they don't put anything on from before Kid A. There are a TON of good songs from OK Computer and The Bends that they could have added to this album but did not. A single Live album does not do this group justice a double album would have been awesome! But all in all this was the best ($$$)I ever spent, do yourself a favor and go get this album!

Let Me Be The First To Say...
Let me be the first to say that this album is a "must own" for any Radiohead fan. I know some fans of their early music were confused or disappointed by the fussy studio electronica of Kid A and Amnesiac but live versions of these songs take on new dimensions and show how powerful and energetic they can be. If you've seen them live you're aware of how great their shows are. I Might Be Wrong captures their energy pretty well and lets you look at the songs in a new way. The one drawback is the disk is only 40 minutes long, that's 40 minutes too short for me!

The best Radiohead album?
There are valid criticisms of this album: the abbreviated length, the fact that anyone with a high-speed internet connection can make up their own collection of live tunes. But the availability of complete live shows doesn't negate what this is: a superb little record that chooses quality over quantity, resulting in flawless music all the way through. That's the rarest of all accomplishments, for a live or studio album.

Radiohead open up on stage in ways they never do in the studio. They manage to convey a range of sound comparable to their albums' production effects, but without the calculated distance. The result is that each of the songs here seems a truer version of itself: noisier, more powerful and more genuine. Like Spinning Plates and Everything in Its Right Place, in particular, crackle with new emotion. And all the songs benefit from what's best about live work: they're energized by the fact that they balance constantly on edge of possible failure (though of course these were selected because they succeed).

Anyone who has only listened to Radiohead's albums will benefit from hearing how they flourish on stage; and anyone who already knows live Radiohead should cherish these outstanding mixes. In the company of only their fans, Radiohead finally aren't afraid to be a great band.

Get This For "Spinning Plates" Alone
the songs are all executed well.
my brother enjoys this albums version of "i might be wrong" more than the AMNESIAC's version.

but, this version of "SPINNING PLATES" is the real reason to get this.
it's just brilliant.

i got this as an afterthought, but i'm really glad i have it. ... Read more

Album Description

Recorded throughout September and October of 2003, as Farrar criss-crossed the country with the DC-based 5-piece, Canyon, as his backing band, Stone Steel & Bright Lights offers a diverse collection of Farrar’s solo career.The album features 2 new originals ("Doesn’t Have to Be This Way" and "6 String Belief"), 15 songs from Farrar’s 3 solo releases, as well as 2 well-chosen covers (Syd Barrett’s "Lucifer Sam" and Neil Young’s "Like A Hurricane).As a bonus, the album package also features an 11-song DVD with performance footage from Slim’s in San Francisco. The new originals, "Doesn't Have to Be This Way" and "6 String Belief", prove to be especially timely eventhough they were written and recorded in 2003.According to Farrar, "'Doesn't Have to Be This Way' reflects the headlines in the newspapers during that period," and frames its surging protest against a "new world of shame" with a chiming piano and mournful lap steel."6 String Belief" touches on an issue that seems equally close to the songwriter's heart - the strength of rock and roll to renew and redeem itself in moments when it becomes jaded, corrupted and bankrupt.The song, says Farrar, "deals with the idea of rebellion against the status quo in a music industry context.When corporate blitzes and payola reach a saturation point at the mainstream level, it spawns a reaction of good music - a grassroots, do-it-yourself level." He calls the song "two-thirds idealism and one third reality."

Stone, Steel & Bright Lights documents the acrobatic swings from quiet intimacy to guitar roar that typify Farrar's approach to live performance.Resisting the urge merely to regurgitate his studio recordings, Farrar, with Canyon's help, reinterprets, reinvents and offers up new material.As Stone, Steel & Bright Lights unfolds, some of the best songs of Farrar's solo career roll out of the speakers in astonishing new guises or with clever new twists in arrangement or instrumentation.This collection proves that the heart of Farrar's last three records lay not in manipulating tape but in his superb songwriting. ... Read more

Reviews (12)

Hey Jay, Cool!
I've been a little down on old Jay since he cut the Son Volt boys loose. His solo stuff seemed like good songs smothered by too many ideas. How do those somgs sound live? Fantastic! Stripped of the studio noodling, they are allowed to live and breathe. Most are given full band treatments due to the fine backing efforts of Canyon. There are even two new songs, "It Doesn't Have Be This Way" and "6 String Belief". Songs that call for change in both the political and musical worlds. Do I have to mention a way cool cover of Neil Young's "Like A Hurricane" to seal the deal? I wouldn't mind some "Crazy Horse" type tunes on future Jay albums. Finally, the voice. If there's a more distinctive voice in the music business today, I'd be hard pressed to come up with a name. That "high lonesome" sound gets me every time.

Jay Farrar's best work as a "solo" artist
While the name just says Jay Farrar on the title, it is the performance of Canyon in a backup role which makes this such a successful album/DVD combo.

I have been a huge fan of Jay's solo projects, but it seemed as if something was missing from them. In Stone, Steel & Bright Lights Canyon provides a wonderful wall of sound that brings a more vibrant life to the collection of Jay Farrar's songs from his three solo releases. Everyone who was involved with Uncle Tupelo seems more interested in playing with the knobs in the mixing studio than just playing their instruments, the live format prevents Jay from taking that route on his own songs. It is a pleasant diversion for the listeners sake.

The two new songs on this album, Doesn't Have to Be This Way and Six String Belief are very impressive and I think his best creations since Greenwich Time(which I was pleased to see not just on the album but on the DVD as well). For me the highlights of his previous released material were: Vitamins, Feed Kill Chain, All Your Might, Clear Day Thunder, and Cahokian.

The two covers, Lucifer Sam and Like a Hurricane, are simply outstanding both on the album and DVD. It gives both Jay and Canyon a chance to get away from the core material and rock out. And in a way it brings up what I think is the one weakness in this album. It would be nice to see Jay take the same kind of turn it up and spit it out attitude to some of his own songs that he eagerly takes to the covers.

The DVD isn't that flashy, and it has most of the songs that are on the album. However just seeing the on stage antics of one Canyon band member itself is worth several viewings. I prefer the DVD version of the covers to the album versions.

I would hesitate to call this a Best Of album for Farrar's solo work, the ommission of Barstow and more of the original songs on ThirdShiftGrottoSlack was upsetting to me at least, but it is THE place for anyone interested in Jay's solo career to get started.

Nice Live Solo Effort! with a DVD for visuals
a great effort from Jay as a solo artist!
it definitely has a few moments to enjoy.

good show!

the DVD bonus adds more beauty

might as well pick this one up
it's on the level of early Son Volt, but solo!

Farrar at his best
I was so fortunate to attend the January 23rd show at Slim's in San Francisco that is included, in part, on the bonus DVD of this album (you can see me next to the stage, on the right side, bobbing my head a bit). Slim's club is basically a simple box that holds maybe 400 people at most, but it has excellent acoustics and a great, bluesy atmosphere to it. It's one of those places that looks so simple on the outside but has so much soul to it, and I think the venue fit Farrar perfectly. Truth be told, the bonus DVD was why I bought this album, but when I listened to the accompanying CD, I was amazed. The two new tracks ("6 String Belief" and "Doesn't Have To Be This Way") are energetic and catchy and carry a strong message to them...they really make the CD worth it in and of themselves. And if that wasn't enough, you're also treated to wonderful live versions of his best solo work (my personal favorite being "Cahokian", which is a bit too sleepy for my tastes on the album, but is fantastic live) and his incredible covers of "Like A Hurricane" and "Lucifer Sam", both of which make one wonder (and hope) that Farrar will bring some of that remarkable energy into his third solo album, to be released in the indefinite future. Clear Day Thunder, Damn Shame, and Feel Free deserve similar praise; they got the crowd jumping in SF (the closest thing Farrar will ever see to moshing, I suppose) and will make you want to do so in your living room as well. The whole album is simply infectiously energetic...if I could give 6 stars to this album, I would. It stands heads and shoulders above most anything in my music collection. For anybody who even remotely likes Farrar, you have to have this album.

MUSTARD CUT
Live album's from ligit label's don't generally cut the mustard.that being said,this one does.this ranks up there with neil young's live rust,and neil's unplugged,as great live cd's.You get a lot of alternitive takes on jay's song's,giving the song's a different flow to their counterparts on the studio album's.jay's take on lucifer sam is worth the money alone.Great live cd!! ... Read more

Amazon.com

For many pop-music cynics, excess can be neatly summed up in three things: live albums, double-CD's, and Tori Amos records. Damned ifTo Venus and Back doesn't hit the trifecta. But perhaps Amos is just trying to prove what we've always suspected: that her muse possesses a sly, ironic wit and has been frantically trying to give us a wink while Tori whipped up her heady cocktail of quiet Sturm, desperate Drang, and angst in the panties. There's teasing moments on this double-dose of Tori's love affair with her own melodic and mystical dramaturgy to support that notion, even in the disc of powerful new studio recordings that inaugurates this set. Dubbing a song "Glory of the 80's" is burlesque enough, but yearning to have oneself cloned as Kim Carnes at its climax is simply inspired. Amos is to Kate Bush's distaff mysticism what Mark McGwire was to Roger Maris; she hasn't so much broken the mold as willfully hammered it into her own image. After Bush hit the snooze-bar on her career in the late `80s, Amos boldly stepped into the fray, building a body of work that demanded to be taken seriously, even while the thrift-store chic set were laughing up their tattered sleeves at her ambitious chutzpah. They're not laughing now; in fact, many may find Venus to be a deliciously guilty pleasure. Amos supporters have long maintained that the key to understanding her intrigue lies in her live performances. Disc two boldly states their case as Amos coos, whoops, and warbles through a hit-sprinkled set, her shrewd, sorely undervalued band hanging with every nuance and turn of phrase. Cynics are from Mars; Tori is from Venus--that's just the way her galaxy crumbles. Jerry McCulley ... Read more

Reviews (404)

Not exactly a full-of-suprises following but still stunning
" I've had sex with God " said Tori Amos once and while a statement like that would be considerred ludicrous if it came from the lips of any other singer , coming from her makes it somehow sound naturall . In order to understand her work you must fully believe her supernatural fairy-like universe . Her lyrics don't make sense otherwise . Her confessions on "Bliss" ( " Father i've killed my monkey... " ) are blurry and confusing. What is she talking about ? If you let go though and give to the words your own meaning everything becomes so beautifull! In her 1999 album "To The Venus And Back" she displays once more her enormous vocal and writing skills . This project seems to be the logical continue of "From The Choirgirl Hotel" . Although it's not exactly the beautifull nightmare that record was , she focuses again on building a rich background atmosphere by using a big number of musical instruments .Tracks which stand out are "Concertina" , "Riot Poof" , "1000 Oceans" and the divine "Lust" .What makes this release even more noteworthy is the extra cd with songs from her live acts .Anyone who hasn't had the chance to see her perform can't help but feeling the desire to live the experience . She's delivering her melodies with an even greater passion , talks to the fans , reveals details about the songs and makes " Precious Things " sound like the ultimate musical hymn of the 90's.

No Angel Came
Most of Tori's albums are based on a major thing that happened in her life. Little Earthquakes was the "rape" album, Pele was the "breakup" album, Choirgirl was the "miscarraige" album but it seems to me that this is the "gee i'm bored" album. The songs on Orbiting seem to lack the original pizazz that first got me hooked on Tori. Don't get me wrong, it's still a pretty good album and I would recommend it to any tori fan. Bliss, suede, 1000 oceans, and the haunting Jaurez are among my favorites on the first disc.

As for the second disc, I have never really liked live albums (why should i pay to hear the same songs i already love played differently with all that background noise?) but of course they do add a sense of 'being at the concert'. If you like live albums you'll probably like the second disc. But listening to tori sing 'little earthquakes' live, immediatly prompted me to stop in the middle of the song, and put in the original cd.

Well, there's my two cents on To Venus and Back. I give the album 3 1/2 stars. If you're new to Tori, start with Little Earthquakes or Boys For Pele instead.

Missing the Old Tori...
If you're one of those people who has the tendency to say, "I like their old stuff better.", this is not the Tori CD for you. Similarly, if you're a Tori neophyte, this is NOT the introduction you want to her music. While I can't say I didn't enjoy this electronically-influenced venture from Ms. Amos (I still listen to it often), it left me aching to hear her doing the "girl at the piano thing" again, as she puts it. Tracks like 'Concertina' and 'Spring Haze', (the most old-school Tori on the album), are the ones on which I find myself pushing the repeat button. 'Juarez', a deep, sexy track, and 'Glory of the 80's', with its clever lyrics and pulsing beat, are also on my replay list. However, tracks like the whiny and repetitive 'Suede', and 'Datura', (coming in at over 8 minutes long with not a lot of substance to show for it), are where this album falls short. Also less than impressive is the live CD, which I'm convinced was only attached to force die-hard Tori fans who must own every album to pay upwards of $20 for the new release. It's your standard fare-- the kind I wish Tori would have written more of for the new portion of 'To Venus...' The final verdict? It's a great exploration into Tori's eclectic capabilities, but I doubt it will ever be anybody's favorite.

Not a dull moment... rediscovering Tori
I've owned this album since days after it was released back in 1999, but for some reason the studio tracks on it had managed to "elude" me until today, while I focused my attention on the live 'side', which continues to be a personal favorite Tori recording of mine.

Five years after its release, it feels like the time is perhaps more ripe for these studio songs. She was most definitely ahead of her time when she recorded tracks as experimental as the electronic-based "Datura," "Lust," "Glory Of The 80s," "Concertina" or "Juarez", to be found in here, all of which add a new dimension to her typically-more-acoustic-based work.

It'd always been a pleasant experience to listen to the live renditions of some of Tori's classics, along with the unique "Cooling", which I hadn't heard prior to this release. But paying close attention to the 'new' tracks has given new life to this production by one of my favorite contemporary artists and composers of all times.

Probably Toris Best Lyrically.
I can't understand why a lot of fans didn't like this. It's just beyond amazing. maybe if you would stop comparing everything she does to "little earthquakes" then maybe you can enjoy this spectaular music. i believe that some of these songs show tori at lyrical best. songs like "bliss", "lust", "suede", "1,000 oceans", "juarez" & "datura" are probably some of her greatest masterpieces to date.

GET IT STRAIGHT IN YOUR MINDS PEOPLE. TORI IS NOT GOING TO MAKE "LITTLE EARTHQUAKES: THE SEQUAL" SO GET OVER IT & STOP ANALYZING EVERY SINGLE THING ABOUT EVERY OTHER RECORD SHE DOES & SAYING THAT SHE SOLD OUT! THIS IS AMAZING, & REAL MUSIC, ENJOY IT!!!! ... Read more