Album Description

Limited edition 1997 Japanese release on Reprise with 11 live tracks from various 1995-1996 shows in Stockholm, St. Petersburg, Prague and Tokyo. Five of the tracks are previously unreleased live recordings: 'F.O.D.', 'When I Come Around', 'Going To Pasalaqua', 'Geek Stink Breath' and 'Stuck With Me'. ... Read more

Reviews (2)

Green Day Rulzz!!
This CD is a must for any Green Day fan. I have been a fan since 94', and always will be. Keep rocking Green Day!

Green Day Rules!
This CD is great! I suggest you buy it if you like Green Day alot! ... Read more

Album Details

Limited Edition Hdcd Digitally Remastered LP Style Sleeve Replica. Recorded Live in Frejus in the South of France. Originally, Four Tracks from this Concert were Released as 'the High Road' EP. Years Later, the Rest of the Concert was Used to Createthis Lasting Document of the Final 80's Version of the Band. Includes their Cover of Neil Young's 'hurricane' and a Stirring Version of Lennon's 'jealous Guy', which Had Only Appeared on Single Up to this Point. ... Read more

Reviews (7)

Great live farewell to Roxy Music
Roxy Music's Heart Still Beating was released in October of 1990. The album was recorded Live in Frejus in the South of France in August of 1982. Originally, four tracks from this Concert was released as The High Road EP in 1983. In October of 1990, the rest of the concert was used to create this lasting document of the final 80's version of the band which featured original members guitarist Phil Manzanera, lead singer Bryan Ferry and saxophonist Andy Mackay plus new drummer Andy Newmark, future Dire Straits/Mark Knopfler keyboardist Guy Fletcher and Bryan's guitarist neil Hubbard and bassist Alan Spenner. This EP turned full live album included their cover of Neil Young's 1977 classic Like a Hurricane, killer versions of Out of the Blue and Can't Let Go. Plus great versions of A Song For Europe, Love is the Drug, Avalon and a stirring version of John Lennon's classic Jealous Guy. This was a great live album which would be their last until their 2003 reunion live album which saw the return of original drummer Paul Thompson. Highly Recommended!

Excellent live farewell to Roxy Music
Roxy Music's Heart Still Beating was released in October of 1990. The album was recorded Live in Frejus in the South of France in August of 1982. Originally, Four Tracks from this Concert was released as The High Road EP. In October of 1990, the rest of the concert was used to create this lasting document of the final 80's version of the band which featured original members guitarist Phil Manzanera, lead singer Bryan Ferry and saxophonist Andy Mackay plus new drummer Andy Newmark, future Dire Straits/Mark Knopfler keyboardist Guy Fletcher and Bryan's guitarist neil Hubbard and bassist Alan Spenner. This EP turned full live album included their cover of Neil Young's 1977 classic Like a Hurricane, killer versions of Out of the Blue and Can't Let Go. Plus great versions of A Song For Europe, Love is the Drug, Avalon and a stirring version of John Lennon's classic Jealous Guy. This was a great live album which would be their last until their 2003 reunion live album. Highly Recommended!

Like a Hurricane
I have NO idea what the one-star reviewer was listening to, but if for nothing else than the brilliant despair of "Can't Let Go" this live album is a stunner. And then . . . and then . . . one gets to "Like a Hurricane" and there isn't a more emotionally charged moment in any live album I have ever heard by any band. Phenomenal. Ferry is the true genius of our time.

Recorded Live Frejus France 1982
Avalon turned me on to the band in the summer of '82. That year as a freshmen in college I bought several of their older records including a very good hits collection on cassette,& Stranded, Country Life, and Siren on vinyl. And out of the blue I heard Roxy Music was coming to my humble college town in Santa Barbara. I bought tickets and remember the show to this day.
I was very familiar with Avalon and the whole sound of that record but not at all prepared for the level of musicianship which I just assumed would be lost in a live performance. I expected stripped down versions of everything but the great Avalon sound remained. Andy Mackay is now a name I am familiar with. The show was outside in early summer and the sun was setting when India began and the rest of the evening was full of such moments, even "Dance Away" sounded pretty good with the background singers adding some vestige of soul to that brand of song I normally don't respond to. But this was no disco tour. The elegant horns throughout and masterful guitar and Ferry's crooning leave you in something like an altered musical state. You can't help smiling when you hear "Love is the Drug".
My memory of the show is better than any mere recording of it could possibly be. And its not only possible but a simple fact that this was not the Roxy Music of 1974 or 75. But I was only 10 then and was not cool enough to know who they were.
This is a cool disc though, especially the trio of Like a Huriicane-My Only Love-Both Ends Burning. The sax on "Like a Hurricane" is enough to make me want to hear this often, and of course the storm of guitar at the end. Even a slow song like "My Only Love" evolves into one powerful jam by songs end alternating between guitar and sax. And "Both Ends Burning" with that distinct Roxy sax blowing and Manzaneras million mile an hour guitar blaring leave no question in your mind that these guys can light a very large musical fire when they want to. Then back to "Avalon", as if the rock ship has returned to safe harbor after the sax and guitar storm of the previous three numbers, and the great female vocal letting loose as the number glides along.
Encore:"Editions of You". Sax raver, with squeaks, and cool electronic gadget sounds and especially the Doors organ. Pure frenzy.
Encore two: "Jealous Guy". Hard to resist that whistling.
Ferry has always been fond of covers but finally he gives one a sincere treatment which features both the song and his voice. With very mellow and rich sax solo providing just the right touch.
I am curious what the new Roxy 2001 tour sounds like. Hopefully a live release will follow.

Heart still bleeding
What can i say more about the band who turned the back to its original fans? What else can be told about Bryan Ferry, who decided to turn to the English Julio Iglesias? Not much, i guess. Try, if you dare, to compare Heart still beating to the early live album Viva. You'll find different bands with the same name. The band of Viva made a real rock music. The band of Heart is just Ferry plus friends. Listen to their terrible versions of the old stuff - "A song for Europe", "Both ends burning", "Do the strand" etc. and you'll get the conclusion: The toys are back in town!! ... Read more

Reviews (8)

Pearl Jam and Perth
I was at the Perth, Western Australia concert and it was fantastic. If you werent there then this album is obviously the next best thing. Great vibes (and a great city!)

Great but not the best.
I am a huge Pearl Jam Fan and own many of the bootlegs. This one is good, but not great. There are some sections where the band and Eddie just seem out of it, like "Do the Evolution". Eddie forgets his own song. Perhaps it is the wine talking...lol.

Not A Bad Ending
I've listened to a few of these Pearl Jam live CDs and I have to say that I think this is the best I've heard. For the most part the audio only seems to strip the passion that would make attending the concert so entertaining and leaves the listener with a mostly flat souding performance. Where this comes alive though is with the encores. During the first encore Vedder says the band is going to perform something not on the set list. That song along with a sing along, a few covers and Johnny Marr pitching in on the last track make the end worth listening to.

4 stars (but in my mind, worth every bit of money)
Due to a fractured ankle, I am currently confined at home on medical leave. The beauty to that is that other than wine and cigars, I've had a chance to revisit my entire Pearl Jam collection.

I am a big Pearl Jam fan and have all their studio alblums, and all 25 boots of their European 2000 series.

Having listened to these again, I can't believe how good a studio band Pearl Jam is, but more amazingly so, how great a live band they are. In my mind, a live boot from Pearl Jam is always worth the money, and my listening ratio of live boots to studio albums is about 6:1.

Perth Australia is the only boot I have of Pearl Jam's 2003 tour series. Pearl Jam's boots are hard to come by in Singapore where I live.

I rate it 4 stars.

It is not great (but my standard for rating Pearl Jam is ridiculously high as these guys are just so good!), but very good --- good enough for me to want to lay my hands on every 2003 Pearl Jam boot that they release and which I can find.

In fact, after re-listening to my European 2000 boots and this Perth Australia boot, I have re-energised my commitment to purchase, own, and enjoy every bootleg that Pearl Jam releases.

Having read the roaring reviews of hard-core Pearl Jam fans for the boots from State College and Mansfield, I can immediately tell you that if you only want to buy the best 2003 boots, then just go for these 2.

If, however, you're like me, who is an avid collector and fan, and who is able to thereby find beauty in every concert CD that Pearl Jam plays on, then you will also want to get this to complete your 2003 bootleg collection.

All in all, Perth Australia is a very solid concert, with strong enthusiastic performances from all band members.

Had the set list been longer, and if the band had played in a tighter, more vicious and desperate style (which I particularly like), it will have warranted 5-stars.

Official Bootlegs, The Oxymoron that Makes Pearl Jam Amazing
A few years back, one of the members of Pearl Jam walked into a record store to find one of their concerts on a bootleg that was priced at an atrocious [price]. They then decided, whether it made money or not, that they would release all of their concerts from the 2000 World Tour on CD and price them affordably. This translated to over 70 double CDs and one three disk, "Official Bootleg." They set a Billboard record for having 6 of these sets on the top 100 albums at once.

They have again decided to produce their tour in this way; this time on a much smaller scale. This show in Perth, Australia is one of two set for mass release from the overseas leg of the tour.

They play a lot of new material from "Riot Act" and quite a bit that is off of their previous records. They also drop a few tracks from their "unreleased" catalog, and even a few covers (a pearl jam staple).

The highlights are many. They play the almost forgotten: "Jeremy." It sounded great. The hits are all there save for "Black" & "Dissident." Victoria Williams' "Crazy Mary" is always a treat.

Overall, this is one of the best bootlegs released thus far. They play a healthy mix from all of the albums. . . It is rather amazing trip into the past of this iconic rock group.

epc ... Read more

Album Description

Retitled reissue of his 1983 concert album 'Live In Italy'. Over 74 minutes long, it features 14 of the same tracks, plus new cover art. Includes solo gems & Velvet Underground classics alike, including 'Sweet Jane', 'I'm Waiting For My Man', 'Satellite Of Love', 'White Light/ White Heat', 'Walk On The Wild Side', 'Heroin' & 'Rock And Roll'. 1996 Camden release. ... Read more

Reviews (1)

Approved
Solo concert of Lou Reed in Italy (Caution: is identical with the CD „Live In Italy"!) with the musicians of his long approved band. They play old songs from the time of the Velvet Underground, of course with new arrangement, as well as newer material. I especially like „Sweet Jane", „I'm Waiting For The Man", „Betrayed", „Walk On The Wild Side" and „Rock And Roll". Likewise very recommendable is the video „A Night With Lou Reed" from a concert 1983 in New York with the same musicians. ... Read more

Reviews (6)

Better Than in the Studio
Mission of Burma were a classic indie rock band. Unfortunately, though their songs are excellent, thought provoking pieces of material, their producer never quite got their sound right so that the live experience was never fully captured. This documents them on their farewell tour. I saw them live on their reunion tour and this really lives up to the Mission of Burma experience. All of the songs are filled with the raw energy and sincerity that was supposed to be there on the studio versions but is somehow lacking. This is a great album to start with.

Still Avant-Garde After All These Years
This album is a real nostalgia trip for me. I became aquainted with Mission of Burma as a student in Boston in 1979. It was a time of great creative ferment in the avant-garde scene, both in jazz and in rock. MOB blew me away when I first heard Revolver on WBCN. I followed the band as much as I could at the time, and continued to be interested in Roger Miller's followup band Birdsongs of the Mesozoic. But MOB had it all. It had the raw rage of British punk, but the experimental attitude of other avant-rock groups like Pere Ubu, who are their most clear forebears. And the lyrics were smart...this was college student's punk.

This album captures much of the energy of that period. The cuts include the biggest hit, Revolver, along with numbers from Vs., MOB's strongest work, and other cuts that never made it to wax during the band's lifetime. The playing on the album is white hot, and Mike Swope's tape loop work is even more creative than on the studio work. And the more atmospheric work is prescient of the electronic ambient music of the later 80s and 90s. And though there is the requiset thrash and slash on the album, the writing and playing is excellent. These aren't guys who just learned to play their instruments, they are true creative musicians.

One big problem with the album however is the recorded sound. Though not bad for music recorded in small bars around the country, it is still kind of muddy and at times, the instruments overpower the singing. MOB shouted with the best of the punkers, but you could usually hear them over the din. That's not always the case here and you loose something by not hearing all the lyrics.

All in all though, this is one of the best underground bands of the early 80s. It amazes me that it still sounds fresh, even after 20 years (though I suppose I shouldn't be amazed since the Velvet Underground still sounds fresh as well and it's been 40 years for them!) So many bands in the late 90s and today seem to think that they've invented punk attitude. MOB has them all down cold.

The Bright Flaming Trail Of A Meteor About To Hit The Ground
First, I implore you to ignore abrasive, mediocre reviews. This, a document of the final tour by a band gone WAY before their time, is wonderful.
A live album can be a tricky thing, but Burma delivered onstage & that is captured to good effect here. Cover songs are monsters (Stooges & Pere Ubu) and originals are given that extra kick (Peking Spring ROCKS). Martin Swope in particular is revealed here as a fuller collaborator that on the studio albums, tweaking, spindling, folding & mutilating chunks of the band' playing & sending them back though the sound system in realtime via analog tape loops, way before any samplers were around. Fine stuff from a band having one last blast of decibels before hanging it up.

Title Says It All
Abrasive, mediocre live recording by the band that cut the brilliant "Vs.".

Hey, Is that Martin Swope?
Hey is that other message from Martin Swope? Tape god extrordinaire? ... Read more

Amazon.com

Elvis Costello has always had great taste in guitar players, from his early devotion to Wes Montgomery to his frequent use of Marc Ribot, while Bill Frisell has shown a special empathy for Costello's songwriting on The Sweetest Punch, his instrumental cover of Costello's collaboration with Burt Bacharach. This barebones duet meeting with Costello singing to just the accompaniment of Frisell's guitar comes from a 1995 London performance. Charles Mingus's "Weird Nightmare," with the composer's own lyric, is a moody, dissonant minor piece that establishes a common ground and sets one of the tones for the performance. While Costello's songs may sometimes be bleak, they're also driven by a reality principle with a sense of accomplishment in their own hard-won experience. Frisell is an excellent partner for him, creating a densely resonant atmosphere that stages and echoes the often haunted, memory-filled lyrics. The guitarist picks up on the singer's every vocal nuance, too, expanding on his complex moods and lifting every rising melodic line with his own sense of light. Songs like "Shamed Into Love" almost glitter with Frisell's serene and trebly arpeggios, and Lerner and Loewe's "Gigi" grows from an initial sense of loss to genuine wonder. The collaborative "Deep Dead Blue," with Frisell's compositional input, has an intriguing, almost fragmented structure. --Stuart Broomer ... Read more

Reviews (8)

Intimate
Close your eyes. On the left of the stage sits Elvis Costello, geeky glasses, geeky smile, a microphone in his hand. On the right, Bill Frisell sits on the edge of a little Fender amp, rocking gently, picking his guitar in only the way he can.

While the audience applause in between each of the tracks on this album leads me to believe the setting was not quite as small as I like to imagine it, my imagination still beats out my reason. And that's what makes listening to this record so exciting. Clocking in at under twenty-seven minutes, and costing over twenty dollars, I had to wonder if this was worth the money. After it sat on my "To Buy" list for a few months, I decided to just spring for it.

I waited until, given what I'd read about the album and what I've already heard from Costello and Frisell as artists on their own, I thought the timing was right. It was a late night in November, sort of chilly outside. I wrapped up in a favorite blanket and listened to the album.

The album begins with "Weird Nightmare," an obscure Charles Mingus composition. Costello's voice is haunting when paired with Frisell's sparse lines, and Mingus' creepy lyrics bring out the best in both musicians. The tone is similar through the next three (two written by Costello, one a Lerner & Loewe standard) before picking the mood up considerably on "Poor Napoleon." Though it was originally recorded for Costello's "Blood & Chocolate," it is rerecorded here to a very effective end. Costello's voice is dead on, and (once again) perfectly matched to Frisell's one of a kind style.

This is music that needs to be heard. The next time you're lonely, pour yourself a glass of red (or two), light up a Lucky Strike, and curl up with a blanket. These twenty-seven minutes might not make you feel entirely better, but they'll certainly make you feel comforted.

2for2
live at the meltdown is truely one amazing piece of music. the pairing of elvis and bill was nothng short of genuis!! whether they are doing costello's "lovefield" or a mingus song "wierd nightmare" or the odd pair of writes (cait o'riordan/mac manus)"baby plays around" this CD offers nothing but talent from beginning to end. and i for one love elvis's voice

Interesting combination!!
Costello and Frisell happen to be two of my favorite artists. I had no idea that this album existed--I happened to stumble upon it one day while browsing through Amazon.com. I think they compliment each other pretty well. I particularly like the rendition of 'Baby Plays Around,' a gem from Costello's 'Spike' album that unfortunately often gets overlooked. The album has excellent sound quality. Fans of Costello and/or Frisell will dig this album.

Incredible sound for only vocals and guitar
When most people think of New Wave, good singers is probably not the first thing to come to mind, heh if not the last. However, Elvis Costello is one of the few New wave artists to have a simply amazing voice and it is never more evident than on this CD. With only guitar and vocals, the CD seems like it would be empty sounding, but instead it is just the opposite, creating a full lush sound that would actually be hurt by the addition of louder, more crash instruments like drums or bass. Bill Frisell's guitar work lies somewhere between the piano style of Eric Satae and the ambient experimentation of Fripp/Eno bridging the gap between minimalism and ambience to create a smooth, flowing wave of notes that wash over the listener. Costello then softly croons over frisell's work in incredible vocal range going from a gentle whisper to a full falsetto. The subtelty and brilliance of this album is breathtaking and the depth and beauty they can create with only 2 instruments at their disposal is more than impressive. Apart from the music, the sound is A+ quality for a live release and allows every note to remain intact in a concert that truly relies on the important of each and every sound. Finally, clocking in at only about 30 minutes, the CD ends without becoming repetative or boring, which eventually would be inevitable using only 2 instruments, simply leaving the content listener with a nice, concise batch of love songs.

Exquisite MacManus/Frisell
I must say this is a delightful cd... only if you are an open-minded listener. I thought every Costello or Frisell fan was such kind of person. Should I say that through the years I realize I was mistaken? I guess both Costello and Frisell ask for the same musical curiosity (or, lets say it: heterodox musical erudition) from the listeners than the one that obsessed them all the way; that is: their opening to different styles in music is not the attitude of a snob --is the rejoice of a musician who let him be surprised by the "new values" as well as by the traditions of their roots. That is the only way you can enjoy this cd: let you be driven into the subtle complexity of Frisell's guitar on "Love Field" and "Poor Napoleon", two underrated masterpieces written by Costello, who sings them as if he had learned the best of Sinatra's or Bennett's style (but remaining himself); or dive for that rare jewel that is "Shamed into Love" just to merge full of charity and self-consciousness; or re-read the Lerner and Loewe classic "Gigi" and realize that every thirty/fourty-some guy is a nowadays Louis Jourdan character is this XXI century world. Of course, there is more: you have "the taste of beauty" (that already was on "Spike") with "Baby Plays Around"; the rare Mingus song facing a darkness that's always lighten; and the original "Deep Dead Blue" version with its real "deep-end" approach, that breathless feeling of ephimeral marvel, that sort-of-satori revelation that can only be captured when a sublime songwriter (and very personal singer --I must admit: the kind of singer I prefer: honest and imperfect like the glimpse of a truth) and a talented musician, both of them as open-minded as faithful to themselves, work together for an open-minded listener with a wide open and sensitive soul. (By the way, excuse me for my English --it is not my everyday language). ... Read more

Reviews (2)

F'ing Amazing
i bought this cd because i downloaded a few songs by Mudhoney and liked em. This was the only Mudhoney cd in the store, i was kind of disappointed since i was after thier first self titled album but i bought it anyway in disgust.
NEVER have i been so rocked out of my socks by any cd on first listen. words cannot describe how hard this rocks, if you're new to Mudhoney, buy this u wont be sorry
BLOWN THE F' AWAY ! ! !

Mindblowingly Rockin'
The sticker on the album says that this album rocks by some reviewer and he was right. I was hesitant about giving this CD five stars, because those are common reviews on this site, but this CD deserves it. Mudhoney is one of those bands that I have every CD of out of respect for how much I like some of their CDs. I always loved their early CDs, but their latter CDs left a bit to be desired and most of them failed to match their intensity. This CD makes up for that.

Kind of like the Pixies bootleg, Rough Diamonds, this CD is Mudhoney at their rawest, and it's a welcome treat that I urge any Mudhoney fan to pick up. I'd also urge anyone in the mood for a rocking and raw CD to pick this up.

A few songs repeat, but you'll barely notice it. Even mid-tempo numbers like "By Her Own Hand" are pulled off with unexpected urgency (with some subtle lyric changes) that mark how great a band can sound. It's a shame they were never really able to match this intensity in the studio. Some songs off their later albums are given a great second chance they didn't intially get. Songs of off My Brother the Cow (not a very good album) like "Judgement, Rage, Retribution and Thyme", "Dissolve", "What Moves the Heart" and a few others are given great performances that make up for that album.

Other songs of Mudhoney's fine debut album (which is also an essential grunge-period release) show up in fine form here from "This Gift" to "You Got It"

Other highlights: "Here Comes Sickness", "You Make Me Die", "Touch Me, I'm Sick", "Suck You Dry", "Poisoned Water Poisons the Mind", and of course "Hate the Police".

All in all, this album is blisteringly raw, and I'm so glad that I bought it. No one seems to own it, and that's a shame. ... Read more

Reviews (6)

icing on the cake
the best. all of the greatest hits on one record. very instrumental and very delightful. the guitar riffs make me wanna space out for hours and his i love it. i love this CD. i want to hear more and more modest mouse constantly. we need more com cds tho.

Interstate 8
This was the disc that got me into Modest Mouse. I didn't know at all what to expect, and after hearing this, their other albums disappointed me a little (just a little; the band is one of my favorites).
The songs on here are some of MM's laziest and most atmospheric, with intense, but not overdone, emotions. If you've ever lived in the Pacific Northwest you will identify with this music. The title track is the perfect song for staring out your window into a rain-soaked afternoon; "Sleepwalking" is probably the happiest Isaac's ever sounded (though, as the title suggests, he may just be sleepy). "Edit the Sad Parts" is an anthem for every gloomy, depressed teenager. The other songs are jumpy and funny, and all excellent.
Of course, the real prize here is that you don't just get the five songs listed on the CD case - after about two minutes of silence, you get another string of half a dozen tracks, most of which are live recordings of songs from "This is a Long Drive for Someone with Nothing to Think About", MM's first full-length album.
If you manage to find this, buy it; this is the best way to get into a really amazing band.

MM's best
Modest Mouse at it's best: raw, crazy, and unbridled. Not too produced, it gives a really cool sound to it, and gives you a mental image of what it'd be like to see them live. Some songs are performed live and are crazy. I beleive it's out of print, but if you ever stumble across it, snatch it.

please God.........
this was the 1st cd i ever bought by mm. on every future album i have purchased, i've been searching for the raw emotional sound that the band displayed on interstate 8.

As soon as you get interstate 8 you'll want to memorize all the words to these perfect songs and listen to this cd nonstop like i have.

but alas, through my carelessness and overusage of interstate, i accidentally busted it in two. it was always within reach in my car or in my room, never put back in the cd case and on one unfortunate day i dropped a bag on it and cracked it in 2.

i almost cried, because this, i think, is the best recordings the mm has ever produced, and believe me, i've heard them all. pleeeeeeeeeease god, let them release interstate 8 again so that everyone can enjoy this masterpiece and i can replace this lost piece of my soul!!!!!

you HAVE to get this.
You HAVE to have this. The great thing about this CD that isn't mentioned anywhere ON the CD is that as well as having the interstate 8 ep, it also has an additional 6 or 7LIVE songs following the EP (they put 1 minute of silence inbetween them..clever), so you end up with a full length album for the price of the EP for one thing. Secondly AND most importantly..it's ALL good. ... Read more

Reviews (3)

Goofing Off a Little
Disclaimer: Owner of all 72 official PJ bootlegs. Pearl Jam was in a pretty fun mood for this show, which was the first in the third leg of the 2000 tour. They were surely happy to be on the road again after taking a few weeks off. The problem was they were so happy that they almost forgot to put on a good show. This bootleg is not a dud by any means, but the band is really goofing off, which does does not make this one a good representative of the series. Eddie Vedder is really slacking off on the lyrics, as if he doesn't want to take the effort to remember some of them. In several places he just mumbles or giggles instead. Mike McCready is really in a wild mood, turning up the jams and obscure riffage references. Dig Mike's noodling on some Rush riffs in between tracks (a bonus for the Canadian fans, but Rush is from Toronto anyway). Unfortunately, Mike's extra jamming doesn't really improve the songs as usual, and it just sounds like he's goofing around like everyone else. This show is saved from oblivion by an intriguing set list, with some relative tour rarities like "Gods' Dice," "Pilate," "I Got (...)," and "Off He Goes" thrown in to keep things interesting.

My Favorite CD
This is the first Pearl Jam CD that I ever bought, but as soon as I listened to it all the way through, I fell in love with the band. The band hasn't played in a while, and Eddie says, "Its wierd to be surrounded by so many people, but if feels good." And Pearl Jam sure gave one hell of a performance. You don't have to get this one, but get at least one of the live cds, you won't regret it!

Great show for real Pearl Jam fans
This show was awesome, but you really have to love Pearl Jam to appreciate it, because they don't play the big hits like Jeremy, Alive, Black or Daughter. However, they play great songs like Wishlist, Light years or Last kiss wonderfully. I also saw this show and I loved it. It was one of the greatest shows I've seen. They were awesome on stage, maybe because it was the first show of the second part of the tour. They hadn't played in three weeks and it showed. They were on fire! If you are a real Pearl Jam fan, you will love this cd. ... Read more

Reviews (5)

Made We Want To Have A Band Like This!!!
I had read about Big Star in a magazine when this was released officially in '92(of course it was bootlegged from the original broadcast and traded among fans since the mid-seventies) and it sounded like a record I should take a chance on. Listening to it in the car on the way home from the record store I must say it changed my life and the perception of the type of band I wanted to play in. Chilton's guitar playing is amazing throughout this show and the band is just so tight. The intervew segment is classic as well, and typical of the way Alex comes off when you meet him (I have luckily done so twice, like a religious experience!!). Any aspiring indie guitar rocker needs this record, and everything by Big Star while you're at it.

Melodious to My Ears
It's not bad. It was bootlegged extensively before its official release ten years ago. I first heard the bootleg version; this one sounds a little better. The bass player who appears here, John Lightman, is the brother of novelist Alan Lightman. He has trouble with the timing of "Mod Lang," a pretty simple song when all is said and done. In general, this recording helps you understand how simple these songs are. There's a CD of a Big Star performance in 1974 at the Overton Park Shell, Memphis, which isn't too good. They were a studio band. Alex Chilton has gotten a lot better over the years but he doesn't seem to care too much about whether folks like him or not, or that's his act, I guess. I like the interview--worth the price of the CD. I never play it. About the only Big Star record I listen to much these days is the third one. The liner notes are a bit much, as is most of what passes for analysis of Big Star's music. Go to Memphis in May or October, avoid the summertime if you can.

Must for Big Star fans
I'm a recent inductee into Big Star's slavering fan base.
I kept coming across B.S.'s name in association with all my favorite groups, and having read the near-ridiculous ravings for the #1 Record/Radio City combo disk I tried them out.
It is becoming obvious that Big Star is a sort of either you get it or don't type of band. As with all truly great artists, Big Star's music could easily be dismissed as dated 70's rock, and truly that's about all they are. Unless they connect with you, then they absolutely engulf you.
I really like and highly-recommend this live set. As the previous reviewer stated, the mix is a bit off on the first song, and you actually hear the knob twist that straightens everything out about a third through the second track. Never fear, it won't interfere with your enjoyment of the disk at all.
For some strange reason this disk seems to 'fill out' the louder you play it. Even a few clicks on your volume will make a big difference, so make sure and rock the room a bit when listening.
Being a HUGE Beatle/60's rock fan it is much-easier for me to forgive the 'retro' feel of some of these songs and it is that quality that seems to torpedo some people's enjoyment of the group. Make no mistake, Big Star are a product of their times, and it seems to be an insurmountable obstacle for my wife who usually digs everything I do.
Anyway, this disk is an invaluable addition to any fans Big Star collection. It comes across as a veritable snapshot of BS's moment in time, and a precarious one at that. It's sad that we don't get to hear Chris Bell here, and in truth even Andy Hummel is long-gone by this time, though quite ably 'replaced' by a surprising John Lightman who seems to noodle along without missing a beat, and some fine noodling it is.
Though another reviewer found the interview portion unnecessary I find it essential, both for its historical significance, but also because it maintains the flow of the original show. Alex comes off as a guy who delivers on par with the hype, but is obviously tired of acclaim with no reward. Having been wrung dry with the Boxtops, Chilton was a grizzled veteran before even forming BS, then having put his soul/art/talent into the project finds that pedestrian aspects of the music business can sometimes render brilliance moot.
The accoustic performances by Chilton are nothing short of amazing, for those who enjoy stripped-bare accoustic renditions. Even the at-times slipshod electric numbers are still driven hard by musicians who are masters, even if they do seem a bit 'loose' sometimes.
This recording should be in any Big Star fans collection without a doubt. It is an achingly lovely glimpse in time for those that care, and for those that don't, it still rocks.

Legendary live recording finally reissued!
I can only think of two real criticisms of this disc, and it's really more a criticism of the tapes that Ryko had to work with than of the disc itself. First, the mix on the opening track ("September Gurls") is way off. The guitar is just about absent. Second, the interview segment in the middle of the disc is a pain. It's just not something I want to hear every time I play the disc. (And yes, you can program around it, but I don't want to have to remember to do so).

Of the 12 musical tracks here, I am, initially at least, more drawn to the acoustic performances, that has Chilton just singing along with his own guitar playing. "The Ballad of El Goodo" "Thirteen" "I'm in Love With a Girl" and the previously unreleased cover of Loudon Wainwright's "Motel Blues" all feature very emotional, affecting vocals. Chilton's vocals are all the more highlighted for the lack of the studio's backing voices. The segue back into the full band (with "In the Street") sounds a bit like a tape-edit, but it's still a very effective transition, from the light acoustic blues to the great intro electric lead.

What at first seemed like a very ragged band sound on the electric tracks has settled more in my ears. After having listened to the studio versions of these tracks for so many years, it's taking awhile to adjust to hearing them played and sung any differently. But it's worth it: they're the same songs I've known and love for a long time, yet they're different enough to be a new experience. Chilton's emotional emotion-charged vocals (e.g., on "You Get You Deserve", among others) really pushes the songs to a new place. Some of the musical breaks (like the extended guitar jam on "She's a Mover") also change the songs in unexpected ways.

I think part of Robert Gordon's liner notes capture the essence of this disc quite well:

"You find an old picture of your lover. It dates from before you'd met, and though you'd heard about this period in his or her life, seeing it adds a whole new dimension to the person who sits across from you at the breakfast table. You study the photograph and its wrinkles, looking for clues that might tell you more about this friend you know so well--can you see anything in the pockets of that jacket, can you read any book titles on the shelf in the background. You think about an archeologist's work. When you next see your lover, you're struck by things you'd never noticed. The skin tone, the facial radiance--though the lamps in your house are all the same and the sun does not appear to be undergoing a supernova, he or she carries a different light. As strikingly similar as the way your lover has always appeared, he or she is also that different. You shrug and smile. Whatever has happened, you like it.

"That's what this recording is about."

Good (FM in-studio quality) sound, a ragged but energetic performance, and great songs. Five big stars.

Only the best on this live concert
"Live" succeeds where the first two Big Star albums falter in that only the best songs are present. While Chilton and Co. got a little too Zeppelinesque at some points on "Radio City", he only brings out worthy songs like "Way Out West" and "September Gurls" here and tears them apart. The solo acoustic material is worth the album price itself. ... Read more

Reviews (6)

Greatest Pop Rock Duo of all time, gone Live!
Hi Eurythmics fans!

I bought this collection back between 1993-94. I also have a 3rd disc as a limited edition live accoustic medley. This collection of live Eurythmics concert performances is satisfactory, but lacks in sound quality and color in some places. Most of the songs lack a good strong bass sound. Everything is kind of dull "thudding" instead of hard, heavy drum beats and bass guitar. The keyboarders were great though.

I believe this compilation of live concert material has been taken from various concerts. If you read the credits, you will indeed find that out. I don't really like the thick, double case the the cds come in. My copy has been moved to a standard jewel case for the time being. The artwork is great, as well as the layout itself. Cool design on the discs themselves. I like that kind of silkscreening work.

In total, there are 28 songs between the 3 discs.
For the two regular concert discs, there are 22 songs. The other 6 are found on the medley.

This is the track listing for each cd, plus the location of each show from where each was recorded:

CD ONE:
01 Never gonna cry again ( Manchester-March '83 ) 5:14
02 Love is a stranger ( Los Angeles-July '83 ) 4:00
03 Sweet Dreams are made of this ( Berlin-March '83 ) 3:45
04 This city never sleeps ( Manchester-October '83 ) 5:37
05 Somebody told me ( New York-July '83 ) 3:43
06 Who's that girl ( Chicago-April '84 ) 4:07
07 Right by Your side ( Austin-April '84 ) 4:27
08 Here comes the rain again ( Stockholm-October '86 ) 5:50
09 Sex crime 1984 ( Nuremberg-October '86 ) 3:46
10 I love you like a ball and chain ( Rome-November '86 ) 5:05
11 Would I lie to you ( Houston-August '86 ) 3:34

CD Two
01 There must be an angel ( London-November '86 ) 6:57
02 Thorn in my side ( Brighton-November '86 ) 4:34
03 Let's go ( Christchurch-January '87 ) 4:55
04 Missionary Man ( Sydney-November '87 ) 5:03
05 The last time ( Melbourne-February '87 ) 4:49
06 Miracle of love ( Paris-September '89 ) 6:22
07 I need a man ( Rome-October '89 ) 3:59
08 We too are one ( Dublin-September '89 ) 4:19
09 My my baby's gonna cry ( Edinburgh-October '89 ) 5:10
10 Don't ask me why ( Rome-October '89 ) 5:04
11 Angel ( London-September '89 ) 6:07

CD Three (Live accoustic Medley)
01 You have placed a chill in my heart
02 Here comes the rain again
03 Would I lie to you
04 It's alright, baby's comin' back
05 Right by your side
06 When tomorrow comes

It's a nice collection of live music, which scales the duo's entire career as "Eurythmics" up to 1990. Some songs were never hits, but should have been, had they been redone on another totally new Eurythmics cd. If you really like the songs in their original sound, then I don't recommend you buy this set. Otherwise, it makes up for not going to a Eurythmics concert.
Also a nice addition to your collection of their music.

Hope this review has helped you.

A Live Album Proves Everything
This superior live compilation set proves that Dave and Annie are truly extraordinary musicians and artists. Their studio albums are great- but this set captures some of the electricity and spontenaity of the talented duo that studio albums sometimes lack. For those who have never seen them in person- this is the next best thing. Enjoy!

Terrific live set
This is a fantastic live set. The set I have though has a bonus 3rd disc which is a limited edition acoustic medley. I don't know if that is included here as it doesn't mention it. Anyone who is a Eurythmics fan will be bound to love this album. The booklet though could be a bit more informative, although it does state when and where each track was recorded. To really appreciate any band, no matter who they are, you really do need to hear them live, and if you can't go to see them, then recordings like this, are the next best thing. And no one does it better than the Eurythmics. Recommended.

Live Album Rocks
Eurythmics Live 1983-1989 is an impeccably produced and recorded document of Annie Lennox and Dave Stewart's career as live performers. The performances are as eclectic as this amazing duo. Rumor has it a new Eurythmics album is on the way - in my book a welcome addition to the stale pop scene!

IT WAS REALLY GROOVY !!!!
this is the best album i have ever listened to. it is soooooooooooooooooooooooooooooooooooo good. i am speechless. it is soooooooooo great. i'm still singin' sweet dreams in my sleep. ... Read more

Amazon.com

Recorded two years after emerging as the preeminent architects of the American punk, this live set catches the Ramones in all their unvarnished glory. Far from being the benign, cartoonish elder statesman of their later years, here the Ramones are surly, unredemptive toughs snarling through their three minutes blasts of irony and rage. Primitive versions of "Now I Wanna Sniff Some Glue," "Cretin Hop," and "Blitzkrieg Bop" raw and powerful enough to stand up to anything that the MC5 ever released. Just as captivating are the acerbic and witty asides Joey Ramone tosses off to the clamoring crowd, and Dee Dee Ramone's signature countdown. It's also revealing to hear source versions of their own masterpieces, including skeletons of "Rockaway Beach" and "Sheena is a Punk Rocker," as well as surprisingly faithful interpretations of "Do You Want to Dance," "Surfin' Bird," and "California Sun." --Jaan Uhelszki ... Read more

Reviews (6)

Incredible!
I used to have a copy of "It's Alive," which I thought was a great live CD. However, one day I was browsing the shelves at a local music store, and I noticed a copy of this CD on sale for $10. I looked at the track listing and noticed it was almost the same as "It's Alive," and one of the guys at the store
told me that someone had bought that same copy, then he returned it because "It sounds like every other Ramones' CD." Go figure.

Anyway, I figured, "What the hell? It's only $10." I bought it and took it home, and it sounded INCREDIBLE!!! I think it's better than "It's Alive" because the concert takes place on the Ramones' home turf, so they feel more within their element. The sound is more rough and raw and in-your-face, and it captures the Ramones at their finest.

Don't get me wrong, "It's Alive" is still a great CD, but it just doesn't quite have the same energy. I gave my copy to a friend, so now I just listen to "NYC 1978."

Teaching The World To Count To Four...
If seeing a Ramones show is on your list of things to do before you die, you're SOL. With Joey and Dee Dee both now having vacated the planet, it's unlikely the notoriously belligerent and difficult Johnny will ever taint the memory of the band by mounting some sort of half-baked, ill-advised reunion tour, preferring to keep a low profile somewhere out in California and monitor his portfolio. Let's face it - he's earned it. Besides The Ramainz, Marky's apparently joined The Misfits on some sort of semi-regular basis, Tommy's concentrating on engineering and producing, and who knows what CJ's doing or where Ritchie is?

So much has been written about the Ramones, especially in the last 10 years, that for me to rehash the influence their throbbing, amplified, and usually childish whiplash punk genius has had on so many would be not only pointless, but redundant and dreadfully boring as well. I say let's leave the arguments as to who was truly the first "punk" band to hopeless no-lifers like the combined staffs of "Rolling Stone," MTV, and VH1, most of whom were still soiling their diapers and spitting up mother's milk when the bruddahs came up with the bright idea of using guitars and Marshall stacks to wax poetic about girls, dope, and social sickness. In the grand scheme of things, it matters not anyway. Hell, I've reached the point where even using the words "punk" and "rock" in the same sentence makes me cringe.

Chances are if you're reading this, you'd probably have a hard time imagining a world without the Ramones' tough-as-nails and grey matter-damaging pop-punk workouts fouling the air. Depressing though, innit? As flat-out great as most of their studio albums are - yes, even those released in the twilight of their career (well OK, "Brain Drain" and "Adios Amigos" are sort of sad-sack) - the Ramones were exposed as a true force of nature when they stumbled up on stage and the lights came on. By my count, this is their fifth live album and its very existence is sort of puzzling. It was recorded at New York's Palladium on January 7, 1978, a mere week after the December 31, 1977 gig at London's Rainbow Theater that was immortalized on 1979's "It's Alive," which many bandwagon jumpers are now calling one of the greatest live albums ever. Duh... Maybe King Biscuit ran out of Gentle Giant, Yes, and Emerson, Lake & Palmer tapes to foist on a gullible public?

Don't get me wrong - "NYC 1978" captures the band's original lineup (Tommy on drums) in all of its sweaty, muscular, and cranium-crushing glory, tearing through a 27-song setlist in about 55 minutes that is virtually identical in content and running order to that of "It's Alive," only omitting "Judy Is A Punk." This is the beast at the peak of its bruising, rumbling, buzzing power, hunkering down and only pausing between songs long enough for Dee Dee to count off the next one. Fast? Johnny didn't have time for carpal tunnel syndrome and Joey still had enough wind to spit out all of the words in their blinding covers of "Surfin' Bird" and "Do You Wanna Dance," no small feat. Too bad Johnny never perfected that main riff in "California Sun" though, but come to think of it, that would have been like putting perfume on a pig. To me, the Ramones were always more of a concept than a band anyway, and the concept was built on a foundation of Johnny's howitzer Mosrite fretfire and Joey and Dee Dee's insanely catchy yet dimwit songs rather than any pretensions of virtuosity. Fair enough. Admittedly, keeping a pace on stage like the Ramones were used to for 20 years, in addition to drugs, drink, and Joey's health problems, took its toll and when they played the last of 2,262 gigs in 1996, they were looking and sounding a little long in the tooth, as born out by their last two live albums, 1991's "Loco Live" and 1997's "We're Outta Here!".

Although virtually identical to this album, "It's Alive" remains the high water mark for Ramones live discs probably because the London punters were a little more enthusiastic than their New York counterparts on "NYC 1978," but that's splitting hairs. It's certainly arguable that like Kiss, the Ramones basically played the same show over and over again for two decades, with minor tweaks to fit in songs from their current studio album. Here's a(nother) chance to hear songs from "Ramones," "Leave Home," and "Rocket To Russia" in a live setting at a point fairly early on in the journey that would ultimately land them in the Rock & Roll Hall Of Fame. Call it a hunch, but something tells me this one's not going to remain in print very long.

DIG A LITTLE DEEPER
While this is a good representation of what the Ramones sounded like live, do yourself favor and dig a little deeper to find their "It's Alive" CD instead. Though the "NYC" CD is 2 minutes longer then "It's Alive" (recorded just a week earlier in London), it doesn't contain "Judy Is A Punk" and doesn't sound nearly as good (maybe it's lacking Tommy's co-producing). It's a nice addition for hardcore Ramones fans only. R.I.P. Joey and Dee Dee.

You won't like unless your a faithful Ramones fan.
This album was incredibly disappointing to me, but obviously I'm not a big Ramones fan. I respect the Ramones, but this album I just didn't like. I usually am a little wary of live albums anyway, because I would've rather been there than listening to them talk to the crowd instead of me. Anyway, it has all of their early classics, but the album just got on my nerves. Especially, when they count 1-2-3-4 before they start every song, it just drives me crazy in a bad way. But, I still respect them for starting the punk rock movement. Without them, some of my favorite bands wouldn't exist, so hats off to the Ramones, but not this album.

For Completists Only
It's not bad at all, but It's Alive, the live album recorded ONE WEEK EARLIER is far, far superior. It's Alive is the exact same setlist, but also has "Judy Is A Punk". Diehard fans are going to buy it anyway, but really, get It's Alive first. Oh, the version of "Sheena" on NYC 1978 features some seriously out of tune guitar work, and Dee Dee must have been jumping around too much for the hometown crowd to properly rock the mic. Great band, great songs, just not the best album of these songs played live in this order. Once again, you do need to have It's Alive, one of the greatest albums ever. ... Read more

Amazon.com

Single-mindedness is not frequently considered an asset in rock & roll, but it's all the Ramones have going for them, and they've certainly made it work over the years. Pile-driving rhythms, ear-shattering volume, a stack of great songs, and those hilarious "one-two-three-four" count-offs--that's pretty much the m.o. of every Ramones show. Greatest Hits Live offers no real surprises, then, but something you wouldn't really expect from a punk band--nostalgia. The group runs through 16 songs recorded live in about twice as many minutes, including "I Wanna Be Sedated," "Beat on the Brat," the "Spider Man" theme, and "Pet Sematary" (which, at three and a half minutes could be considered a jam-type tune for the Ramones). Two studio tracks, the self-congratulatory "R.A.M.O.N.E.S." and "Any Way You Want It" (alas, not the Journey song), don't add much to the discussion. --Daniel Durchholz ... Read more

Reviews (11)

noisy, but good
I borrowed this, and was surprised. The songs are even faster than the studio versions, and Joey Ramone is kinda shouting and screaming a lot, but it's ok. Blitzkrieg bop has a really good version. And so does do you remember rock 'n' roll radio?. And if you can play guitar, it's really fun to play and sing along. But this is for big fans only. If you want to be introduced to the ramones, get either leave home, road to ruin, ramones, or rocket to russia. And if you want a live album get NYC 1978, or it's alive.

Far better live albums out there
I was actually at this show when they recorded it in NYC. I couldn't wait to buy it when it came out and I was thoroughly disappointed. Ramones shows are very quick and have a fluidity to them. This album takes away all of that by mixing up the play list and only putting in half of the songs. If you must buy a Ramones live album (and I heavily suggest you do) go for Loco Live or It's Alive. They each grasp the full spirit of the band and better convey what a real show was like. The Ramones were one of the best ever live bands to see and Greatest Hits Live was put together so poorly that I almost wish I hadn't bought it.
It does get snaps for the couple of studio tracks (R-A-M-O-N-E-S was unintelligible before this) and because the songs themselves are so good.

R-A-M-O-N-E-S
"Greatest Hits Live"? Uh, they didn't actually have any hits. Don't get me wrong, I love these guys, but it's a pretty silly title for the album. Anyway, this album was recorded live during the Ramones farewell tour, on 2/29/96(Leap day!) in New York City. Unfortunately, only about half the show is included here. On the plus side, several of the songs here are from their last studio album, so these are the first live versions of those songs. It's a typical, solid Ramones concert. There are also two bonus studio tracks included. They are covers of Motorhead's "R.A.M.O.N.E.S." and The Dave Clark Five's "Any Way You Want It". I happen to like both of them a lot. This is not an essential Ramones CD by any means, but their hardcore fans will want to get it. For the curious, here is the coplete set list of the 2/29/96 concert:

1.Durango 95
2.Teenage Lobotomy
3.Psycho Therapy
4.Blizkrieg Bop
5.Do You Remember Rock'N'Roll Radio
6.I Believe in Miracles
7.Gimme Gimme Shock Treatment
8.Rock'N'Roll High School
9.I Wanna Be Sedated
10.Spider-Man
11.The KKK Took My Baby Away
12.I Don't Want To Grow Up
13.Commando
14.Sheena Is A Punk Rocker
15.Rockaway Beach
16.Pet Sematary
17.Strength to Endure
18.Cretin Family
19.Do you Wanna Dance?
20.Somebody Put Something In my Drink
21.California Sun
22.Wart Hog
23.Cretin Hop
24.R.A.M.O.N.E.S
25.Today Your Love, Tomorrow The World
26.Pinhead
27.The Crusher
28.I Just Want To Have Something To Do
29.We're a Happy Family
30.Anyway You Want It
31.53rd And 3rd
32.Beat On The Brat
33.Love Kills
34.Chinese Rocks
35.Havana Affair

Great Live Album!
Greatest Hits Live is a excellent Ramones live experience. The band blazes through many of thier best songs with energy of punks half thier age!

Unfourtunatly, the album is really short and seems to be tacked on as a footnote of thier legacy (unlike "its alive" and "Locco Live" which were full concert performances).

I would recommend LOCCO LIVE if you want the best Ramones live album. Greatest hits is just too short!

However, the performance is great. The songs are played faster and louder than the actual studio recordings. Bassist CJ sings on some of the songs too. They play thier new stuff and classic oldies too. Great performance.

Joey's commentary on this record is classic:
"Here we are, Home sweet home New York City!!! This one goes out to all of you, take it CJ!"

"I dont know if you all know this, but undearneath this building lies the Pet Sematary!!!"

Agressive Ramones at their best
This is the live Ramones you've seen! Raw and out of control! This is The VERY BEST live Ramones album ever. So if you want to try and capture a tiny bit of the Ramones experence at home (a little faster a bit more aggressive). Then this album is a must!!! ... Read more

Album Description

Unavailable for some time, available again at a mid price,this intriguing release captures a complete gig by theband, weeks before the tragic demise of Ian Curtis.Alchemy. 2003. ... Read more

Reviews (12)

One hell of a live act.
Anyone can see (ehrm, hear) the unbelievable power of Ian Curtis' voice and words from Joy Division's studio albums. But lest you doubt they could put on one hell of a show, here's this fine CD to quell your groundless doubts. Overall, the recording quality is better than on Preston, and certainly enough to capture the intense energy of the legendary band. And that's basically all you need to know - if you've already heard the songs from the studio albums (probably, if you're considering this CD now), I don't need to sing their praises to you. Suffice it so say - lyrical obscurity or not, Curtis' emotion is unbelievable, and very, very few singers have ever even approached his level in the twenty years after his suicide.

Not to be missed (if you love Joy Division)
There is not much more to say about this disque that hasn't been told by other Amazon reviewers.
I bought Les Bains Douches on vinyl first, fell in love with it, then had to buy it on cd so I could travel with it. It's full of great moments, Atmosphere being my fave. I like this version better than the studio one. It's beautiful. Someone else said it was one of their fave live songs ever, I can fully agree. Though I feel it is better than the Preston recordings, Preston still has its moments.
Joy Division had this completely genuine feel that was entirely their own, which bands since have tried to replicate, but never have gotten quite right. Furthermore, you've probably already heard this if you're into them, in which case I'll stop. Enjoy.

Sweaty Godhead
Tremendous live record, I can do nothing but echo the previous reviewers' accolades. Even if you aren't a fan you will love the energy and sound of this record. Joy Division would've been bigger than U2 if Ian Curtis hadn't punched his own ticket. The proof is in this record.

Superb live recording from JD
I think this was a better live recording then the Preston one that was released around same time on cd. I liked the entire set list Disorder was tops as was Insight shadowplay and the rest of the album. I was impressed with the live version of Dead souls and Atmosphere is without a doubt one of the BEST EVER songs I have heard live by JD. I think this is split into 2 different shows I think the first 9 tracks were recorded in France Les Bain Douches 1979 and the other tracks that make up this album were recorded in Amsterdam 1980 (I think the Amsterdam show is on that limited Edition cd set that includes both this and the Preston gig from 28th of February 1980) I don't have a lot left to say just go and buy this now if your a JD fan.

Brutal
Wow... it amazes me how phenomenal this band was. I'm an American midwesterner born in 1973... my own life experience in so far removed from these guys in both time and place, and yet they seem to encapsulate the post-modern headache so completely. How did these four working-class Manchester oinks do it? This is one of Britain's most important, truly original bands, and yet they don't seem to quite make it into the pantheon... I think they deserve a shrine! Did the planets align in some special way? This is the brilliant live document... even the cheesy synth on "Love Will Tear Us Apart" works. It adds a B-movie feel to the track which perfectly suits the theme. And "Shadowplay" & "Transmission" hit like blunt objects to the head. This band will always stand alone-- many have tried to imitate, and all have failed. Enough trying to explain... we'll just call it "magic" and leave it at that. ... Read more

Amazon.com

A two-night return to their hometown on their 2001 tour for Flowers yielded this 17-cut concert document of the once and future Bunnymen. Liverpool begins as more of a stroll than the storming rush of the '80s concert recordings exhumed for the Crystal Days box set. But by its fourth track, "Never Stop," frontman Ian McCulloch's slight cig-induced rasp and lowered register seem less signs of diminished capacity than drivers for emotional vitality. From there, the balance between intense hits like "Back of Love" and "The Cutter" and moodier pieces such as "Eternity Turns" makes a case for the group as something more than a nostalgia act. As do convincing recent compositions such as their (latest) Doors homage, "King of Kings," and the stately "Nothing Lasts Forever." This disc is probably a must only for fans, but those who haven't heard Echo & the Bunnymen in a while might be struck by its cohesiveness. --Rickey Wright ... Read more

Reviews (15)

For the new and old fan alike
This is a wonderful collection of 17 songs recorded live in August 2001 in the Bunnymen's home city of Liverpool. The tracklisting almost serves as a 'best of'. Songs from each phase of the band are found on the CD. Early songs such as 'Rescue' and 'All That Jazz' are played with the same vibrant energy as they were in 1980. Will Sergeant unique guitar work shines on cuts such as 'Over The Wall' and 'The Cutter'. Ian McCulloch's raspy voice is in top form, especially on 'The Killing Moon' and 'Nothing Lasts Forever'. The band's performance of 'Ocean Rain' is unbelieveable - it seems like it wouldn't be possible to transfer the beauty of the recorded version of this song to a live setting, but they succeed. The new songs (King Of Kings, Supermellow Man, An Eternity Turns, and Buried Alive) stand up strongly with the classics, proving that McCulloch and Sergeant are still creatively relevant. Old fans of the band will certainly find a lot to like about this CD and new fans will a great overview of a wonderful, underrated band. I liked what I heard on this album so much that I bought 'The Crystal Days 1979-1999' box soon after.

Rockin' Live record!!!
I loved this 2001 Liverpool, England concert CD from the still alive and kickin' Echo & The Bunnymen...
OK, they've got a number of hired guns these days, but originals - Ian McCulloch and Will Sergeant get the best out of them and as a result, this record (CD) rocks! I saw this band lineup when they toured the States and they did a great job...this CD captures them well...additionally the sound quality is really GREAT here - thumbs up to the recording / mixing engineer Pete Coleman!
The well chosen song selection covers alot of ground, from the early days clear up to 2001's, "Flowers".
I look forward to many more from Echo & The Bunnymen!

Don't Deny it, Just Buy It
Live albums today rarely live up to their previously set standards of expectations--so the most we can generally hope to enjoy about them is a polished performance (or excellent post-show mixing) and a 'greatest hits' song-selection. With "Live In Liverpool", the Bunnymen set their sights somewhere between self-parody and brilliance.

I'm happy to say the album is quite good; material from "Crocodiles" and "Songs to Learn & Sing" mesh well with newer tunes from "Evergreen" and "Flowers", something that's hard for any band to pull off. But they pull out the stops with "Lips Like Sugar", "Zimbo", "Killing Moon", and "Seven Seas."

There's very little innovation to be found here; just a well-rounded, superb-sounding performance that is sure to please old 'where are they now?' fans and newer ones.

good, but DVD better.
Big fan and because i couldnt get to a show when them came around last time i was looking forward to getting this cd. check out the DVD as it includes several more songs and the visuals add to the experiance.

Echo-less
Echo and the Bunnymen: once the world's best pop band - now one of the worst. Ian Mcculloch live looks like he's trying to pull off a Ramones impression but sounds even worse. Smoking turned his heroic 1984 bellows into nasal sqeaking. The new material is different music from a different band - even Will's still magestic guitar playing can't carve it out of its tomb. Bunnymen fans will be more content mining the original albums or the new box set than this CD's illumination of a band that only casts a sad shadow. ... Read more

Reviews (9)

Not the Same 'ol Fishbone but Good Enough!
With the departure of several of the original band members, the bright future of this legendary band is firmly placed well behind them. To borrow one of their song titles, 'Those Days Are Gone'. However, there's certainly enough here in this latest brew for the diehard Fishbone soldier to sip on. For the Fishneophyte, the first four or five albums are listening prerequisites to appreciate the mozaical musical style, frenetic energy and good wholesome humor of this album. 'Live at the Temple Bar' also makes up for the lackluster 2000 release, 'Fishbone and Friends' which contained no Fishbone and no Friends with it suppressive corporate production sound.

Like each one of their previous albums 'Temple Bar' requires several listens then you're hopelessly hooked. Without the mellifluous influence of some of the departed band members, at times some of the songs are a bit too discordant and because it's a live production, are a bit too gritty, but it's still Fishbone. Encapsulating the band in their natural element, the live show, each song is an awe-inspiring example of magisterial musical artistry and showmanship

What's also remarkable about this collection of songs is that once you get past the wrinkles and tattoo (which suspiciously appears to be covering a bald spot) in the picture on the backside of the CD of the lead singer's devilishly grinning visage, you realize that this 20+ year old rock band is creating new music that is as youthful as ever. With time, bands tend to produce a more contemplative sound in contrast from their earlier work, however, with song titles like 'Skank 'N Go Nutts', Fishbone thankfully shows no signs of growing up.

A poignant moment on the CD comes at the very end of the last song when the audience fades off chanting in unison, 'Fishbone is Red Hot'. This not only reveals the love and admiration fans have for this talented group but also the signature of a band whose audience is hungrily caught in the afterglow of a magical and intimate moment.

'Live at the Temple Bar and More' with Fishbone's typical rockjazzfunkpunksoulthrashskaetc sound, is only for the adventurous music listener. Tap into it and enjoy a band doing what they were meant to do. Have fun!

Fishbone kicks! VERSATILITY and virtuosity in tact live!!!!!
Sknk n go nutts! If you like fishbone and don't have this cd, go get it! It is my favorite cd i've listened to this month! I can't wait to hear their next cd. Personally like it better than any of their other cds (I HAVE ALL OF THEM)! It reminds me of bad brains and (classic)red hot chili peppers mixed together. with reggae/ska/thrash/and funk mixed in. 'There is a demon in me & he smiles at me' is my favorite track, hopefully a studio version is also in the works of all these songs!

THE GREATEST LIVE ALBUM IN THE HISTORY OF MANKIND!!!
I'm not joking or being sarcastic. I don't work for the band or the label. I love a wide variety of music, from Bach to Bebop to Beatles to Bad Brains. I have no personal gain here. But all things considered: all-new material which is as strong (or stronger) than anything they've done in the past, outstanding (even stunning) production quality, and nailed-to-the-floor performances all the way around by each band member (especially the new guys) -- this album just leaves every other live album in its wake/dust. PERIOD.

Fishbone??
I'm glad Norwood, Angelo and Walter are still playing live shows. They are fun to watch and are truly talented. Unfortunately, without the rest of the original line-up, they don't really compare to the Fishbone I once knew and loved. It's sad that they are playing at heavy metal dives nowadays but go check them out if you want to have fun. Or just buy their first four albums and listen to them at home.

The 'Bone is Back and Stronger Than Ever!!!
There's not much I can add to the previous reviews, but I just had to chime in here to say how [blankety-blank] awesome this new CD is. When the various members of Fishbone began falling off I began to worry. When (drummer) Fish left, I became despondent, fearing that that would be the last straw. MAN O MAN -- now I know I had nothing to worry about! (Foolish Earthling!). This band is the strongest lineup ever; drummer John Steward and guitarist Spacey-T really take the 'Bone to a new, higher, even more intense and cosmic level. On the previous (Hollywood) album they were good, but obviously holding back, just gettin' the job done. But Holy S**t do they ever let it all hang out on this one! (As does the whole band.) Angelo and Norwood are in top form and all the new tunes are completely killer. Add to that immaculate sound quality (esp. for a "live" recording!) Up 'til this one, I was always holding on to "Truth and Soul" as the "truest" Fishbone album (whatever that means) but this album blows away any and all previous output by this most amazing and continually under-appreciated band. I had to push pause after the first 3 cuts just to realign my jawbone, as it was hanging down unhinged. This band just blows everyone away in any format, quite simply. These are the most talented musicians on the scene combining a multitude of different styles (from classical and jazz to funk and thrash-punk-metal) and presenting them in an all-out assault on the complacent commercialism that has now emasculated the entire music industry. Plus the lyrics are extremely intelligent AND funny, often at the same time! Who else is gonna give you all that? I have been a fan of the F-Boners ever since the beginning (saw 'em in '86 opening for the Chili Peppers -- Fishbone blew them away, starting a near-riot in the process!!!) And after all their tribulations, they have persevered and come out stronger than ever. This band is the living embodiment of what it means to be truly great. ... Read more

Amazon.com

Pearl Jam's unprecedented documentation of their Europe 2000 tour hasdone more than offer their fans an affordable alternative to music pirates; iteffectively ensures their stature as one of rock's greatest live acts. Recordedbefore an unusually ecstatic audience at Milan's Fila Forum, the album finds theband playing off the crowd's good vibe with wild, sometimes antic abandon.Building from one of the tour's favored openers,Binaural's "Of the Girl," withthe crowd hanging on every word, the vibe grows as the crowd joins in on "SmallTown" and a number of others. The band seems unusually energetic, with MikeMcready repeatedly giving in to the temptation to make like a soaring guitargod. Eddie Vedder introduces a driving version of "MFC" fromYield by telling the crowd thathe wrote it in Italy after falling in love there. "But," he notes, "she had fourwheels and was called a Mini." A great feel-good show from a band once notoriousfor its dour shoe gazing--maybe it really is the dawn of a new millennium.--Jerry McCulley ... Read more

Reviews (20)

Real Rock at it's best.
In an age of cookie cutter rap-rock groups and dance/pop, pure rock is becoming a hidden treasure. It is great that Pearl Jam decided to release their European Tour on cd's so that the masses can enjoy a live band that actually cleanses your heart and soul. Despite the lack of critical success with their latest album, "Binaural", it stands in a series of cd's of musical development by this powerful band and is matched against familar classics in this performance.-----Standouts of this cd include a jamming intro with "Of The Girl", a pumping fast "Animal", an awesome extended solo on "Even Flow", dumb story about "MFC", including the rarely played "Jeremy", "Sleight of Hand", and "Garden". It also has Neil Young's "Rockin' In The Free World". The band hits its peaks in tracks 8-12 on cd 1, and tracks 2-6 on cd 2. The problems are including "Smile", and "Do The Evolution". This cd also includes the most personaly influential song to me "Present Tense".----Get this cd and you can't be disappointed, and to the rap-rockers out there--you will be introduced into a wonderful world.

Pearl Jam At Their Best
Having listened to a majority of these "Bootleg" albums so far, I'd have to say that this is the best one. The Italian crowd seems to be very excited as they sing along loudly to most of the group's classics. The band seems to be at thier peak also. After playing 'Wishlist', Ed proclaims that it was the best time they played the song.

The album is also very well balanced. Along with staples like 'Jeremy' and 'Betterman', they throw in some lesser known tunes like 'Smile' and 'State of Love and Trust' to make everything flow very well. In my opinion, the best song that they played was 'rearviewmirror'. I never really liked it much until I heard this version. It really whips you into a frenzy. At the end you feel warn out from all the energy the music gives out. They also perform a worthy cover of Neil Young's 'Rockin in the Free World'. There are a few slip-ups here and there, but that's what makes this album (or any of the others) great. It hasn't been polished or glossied-over. It's raw, stripped to the bone, and pure. This is Pearl Jam at their best.

You have to be a real Pearl Jam fan-atic!
I had a few free CDs to redeem at Columbia House and this was available as a free selection.
I like their studio albums, although the latter ones can't seem to grab me that much. They're a bit boring, there's nothing new, nothing exciting on them.
I did actually promote some of their shows in Eastern Europe in 1996 and 1998. I liked them live. This is the only CD I've heard from all of the concert recordings that they've kept releasing in the last two years. I don't like it.
The sound quality is poor. Somehow, if you're not there, it doesn't give you back the energy that comes off stage. It seems boring. I can't really explain this. Something was lacking. I think you really have to be a die-hard fanatic to buy any or all of these concert releases. I will give another one or two a try, but I really don't think they're going to be any better. I have serious problems with the mixing and the sound quality compared to other live recordings.

An Extra Long and Extra Strong Performance
Disclaimer: Owner of all 72 official PJ bootlegs. Not including the lengthy tour finale in Seattle, which contains a lot of extra stage talk, this show in Milan, Italy is the longest gig in the entire bootleg series, at a whopping two hours and twenty-five minutes, following another very long show in Verona the previous evening. Unlike some of the other very long shows in the series, the band actually manages to keep the intensity level up during the entire evening, and this show is a non-stop powerhouse. This is clearly one of the best shows of the European portion of the tour. Some highlights of the evening include punishing takes on the rarely performed rockers "Gods' Dice" and "Rival," a flawless performance of "Garden," which was mostly a disaster in its other European appearances, and probably the strongest and sharpest European takes on "MFC" and "Grievance." The band tackle some of the more challenging material from **No Code** and deliver tight performances of "Present Tense" and "Smile," strong tunes that are performed very rarely throughout the tour. Neil Young's "Rockin' in the Free World" appears for just the third time to close the show in a climactic and convincing matter. Mike McCready and Stone Gossard are both especially strong this evening, and Eddie Vedder is in a weird mood, explaining the origin of "MFC" (a car he fell in lust with), and stating that the band didn't play Rome on this tour because the Pope won't leave. Take it easy there, big guy!

i'd rather be in italy
i enjoy this performance of pearl jam in milano, italy on 22 June 2000. the crowd is all over this cd. and the band responds with an inspired show exuding energy. starting with a slow "of the girl", the crowd response is overwhelming for a quite frankly, underwhelming rendition. That all changes with "corduroy" as the band wakes up and goes full throttle. On "animal" Mr McCready goes guitar-gawd crazy. more amazing still is that the audience sings the words to all the songs. this is especially noticeable on "small town". "one, two ..." and Mr Vedder cues up the band, but it's the audience which is on cue with the first words of the song -- the choral continues on into the night. "evenflow" follows with solid riffing from Mr McCready, and quick jabs from Mr Gossard -- it helps that the mix favours them. The extended guitar & drum duet makes me wish it did not end so quickly. the band is now in overdrive with the crowd so palpable they appear as though they are on stage on "not for you". Mr Vedder introduces "mfc" with a love story. "present tense" seems to lose its way. "daughter" brings back audience participation. after the shades go down, the participation percipitates a call & response with Mr Vedder. against the usual convention, the crowd begins the exchange. Mr Belafonte's banana boat sneaks in, as well. After the "best singers in the world" help Mr Vedder with "nothingman", and again with "betterman" as the instruments fade into the background. "wishlist" is another crowd sing-along. "garden" and "black" betray a touch of weariness as the band takes a short break and the audience cries for more. another two songs "smile" and "rock'n in the free world" this is a great show, one I would have liked to been at. ... Read more

Reviews (10)

More Scrumptious than a five flavored snow cone!
This CD preserves for the annuls the tastiest of all pearl jams shows from 2000. If this recording were a Carvel Cake, it would be Fudgie the Whale (Tom Carvel's finest delight!). If you like sweets, this release is for you. Each track seems tighter, and more powerfull than its respective studio recording. Eddie vetter's vocals capture both the original intent of the songs, as well as the emotion which abounds upon breathing life into the same. It was upon hearing this recording that, for the first time, I truly understood "Yellow Ledbetter." Now, when I hear Vetter yelp out its name, I too am remorsefull of its bitter, and senseless journey from mere lemur, to king of the tree-tops. Perhaps the best track is P-Jam's cover of Prince's "Baba O'Riley" -- outstanding!!!

More impressive than the quality if the individual tunes is the theme presented by the compilation performed. Upon strict scrutiny, it became evident that the selection of songs chosen for this LP told a story. The story is this (as told by me in the third person): "Look! There go[es] Jeremy, off to see Babe O'Riley, and to scam on the elderly woman behind the counter in a small town. Yes, there he goes . . . I can see him from here, up high, in my tree. He's off to about-face this life of his, filled heretofore with monotony and insignificance. Looking back . . . simply black. But now, he's off to be a better man. Spiritual immortality awaits . . . so long as the old lady is receptive. Off he goes, smil[ing] all the while, like a yellow ledbetter. May he, however, find better for himself; may his fate shine brighter . . ."

BUY THIS CD, TODAY!!! Postscript: In Honor of this CD, I will be serving slices of Fudgie the Whale Cake from my ice cream truck throughout the Month of March. Be on the lookout for my mobile ice cream parlor up and down the east coast, including all major rest-stops off I-95. If you see me, and would like a slice of icecream cake, or any other of the assorted frozen treats served daily, stop me by yelling, "Hey, ice cream here!"

Zeppelin Rules!
Rated the best of the three shows played at Jones Beach, day three has to be one of Pearl Jam's best shows of the first leg if not the entire tour. A long set with songs like Smile and two closers, Baba O'Riley and Yellow Ledbetter. Baba O'Riley is reason enough to purchase this cd set but an added treat to this concert is when Mike adds the intro to Zeppelin's Over The Hills And Far Away into the final set closing YL.

No Code rocks
I bought this CD because I most likely will never see Pearl Jam live and wanted to hear what they sound like. It blew my away. This totally rocks, and as a special bonus, there are more songs from No Code (which IMO is their best work) than any other album. Worth the money I payed for it... the only personal favorites missing are "Daughter" and "Hail, Hail"

A Great Live CD
Got this on a whim after reading y'alls comments about it. I agree, it's terrific. For me, I saw the band live only once, in Jan. 1992 when they played a $5 show the Hollywood Palladium with Fugazi, L7, and Lunachicks. That show blew me away, especially after they took off into super-stardom. This show is very strong and enjoyable and showcases the band's terrific songbook over the last 10 years. Really great. Now if only I can get my hands on the Seattle and St. Louis shows.

Pulling Out All the Stops for NYC
Disclaimer: Owner of all 72 official PJ bootlegs. The Jones Beach location near New York City is the only spot on the 2000 world tour massive enough for three shows, and this bootleg covers the third and final performance. This gig is definitely one of the highlights of the tour and of the bootleg series. The band delivers a sterling, muscular performance of their best material, as well as several surprise numbers that do not appear very often in the tour. This show is unusually high on songs from the **No Code** album, and these are some of the most challenging of the group's numbers. Of special note are a crushing rendition of "Red Mosquito" in which Mike McCready blows your brains out with amazing slide work; while Matt Cameron gets to shine on "In My Tree," giving a more subtle and conventional reading than Jack Irons in the original. Other outstanding tracks here include "Immortality," "Present Tense," and "Smile" in which the band shines on these little-performed tunes. This gig was being broadcast live over a radio station, so Eddie Vedder avoids the potty-mouth this time around, but still addresses the crowd in his endearingly incoherent way. Pearl Jam has bared their souls to the world with this bootleg series, which contains some very embarrassing shows, as they can get careless, bored, and sloppy on some nights. But that doesn't apply to this show. This performance proves why they're one of the most popular and influential bands of the last ten years, and keeps on proving it! ... Read more