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The Cocteau Twins were one of the more distinctive recording acts of the 1980s and their dreamy, atmospheric sound provided an ethereal sonic template for many Euro-pop groups of the time. With Elizabeth Fraser's haunting vocals and Robin Guthrie's innovative use of guitars, drum machines, and other electronic instrumentation, the Cocteau Twins created a rich, textured sound that endured over a large number of recordings. This double disc serves nicely as a greatest-hits package as well as a lengthy memento of the band's evolution from 1982 through 1996. Including shimmering renditions of old favorites like "Musette and Drums" and "Ivo," as well as a stirring rendition of Billie Holiday's "Strange Fruit," this collection is a must for all Cocteau Twins fans. --Mitch Myers ... Read more

Reviews (23)

Live jibe erroneous
I have to take issue with "A music fan from San Diego" regarding the Cocteau Twins live. I saw them in Manchester (U.K.) in 1994, and it was the best concert I had ever seen in my life up to that point (bested the year after by the Stones).

As for the music contained herein, it is early Cocteaus, and, therefore, a little more coarse than later works. But Garlands, Sugar Hiccup, Dear Heart speak of the wonders to come, and Musette and Drums must be considered classic semi-instrumental by anyone who can respond to beauty in powerful, rhythm-driven, music (equivalent to the blissful Me In Honey, on R.E.M.'s Out Of Time).

I totally agree with "San Diego"'s in respect of Heaven Or Las Vegas - one of the most emotive albums I've ever experienced, and along with Victorialand the best of the Cocteaus (thus far!)

A More Intimate Experience
This CD contains renditions of their songs that are slightly different and, to my mind, perhaps more intimate, than the studio versions. This effect is especially pronounced on the version of Serpentskirt. This rendition of Serpentskirt is less grandiose than the version on Milk and Kisses, yet I find myself listening to this version over and over and over again, perhaps for its starkness or perhaps because the guitar sounds like something from another planet.

Truly magnificent
This is an album you should enjoy and enjoy a lot. Incidentally when a BBC sessions album is released by a band it doesn't really mean it's a live album. It's just the band recording the songs at BBC's studios so that it can be broadcasted on radio at a particular time. So for those who were wondering why there were Liz's voice in the background as well as at the forefront should rest at ease - there was a little bit of studio trickery there. I just I should point that out lest someone gets confused

Pleasant enough but don't listen to it straight through
I am not a huge Cocteau Twins fan but find their music works well as a background for when I am working. I did not find this CD as interesting as Treasure but it is pleasant enough. (Will probably get some plays while I am ironing my shirts!) Don't listen to both CDs straight through, as it gets pretty samey.

I love them, but live Cocteau Twins isn't optimal
I'm as big a fan as they come, but live Cocteau has a problem -- there's just one Elizabeth. On studio albums, as you know, there are numerous vocal tracks, creating a rich, layered sound. I never knew how important this element was until it was gone. Live recordings (including the BBC Sessions) just feel sort of anemic, because only one melody is being sung. Yes, her voice is still beautiful, but it changes the nature of the songs.

I'm not going to tell anyone not to listen for themselves, but I was disappointed. ... Read more

Album Description

Japanese pressing of 1997 live album in a limited edition, thick, gatefold slipcase. Contains 19 tracks recorded on November 25, 1996 at the Hotel Congress in Tucson, AZ, including 'Get With It', 'Can't Stop', 'Fuck Shit Up' and 'Down Low'. A Toy's Factory release. The full title is 'Controversial Negro: Live In Tucson'. ... Read more

Reviews (2)

Pure blues explosion at it's best.
This CD is worth your time and money, anyone who likes raw rock will lovethis CD.It's a great time to be a Jon Spencer fan.

The Blues Is STILL #1
The Jon Spencer Blues Explosion is one of the few bands in rock 'n' rollthat can inspire me enough to leave my home, wait in line to purchase aticket and then wait in another line to see the show. They are also one ofthe few bands for whom I'd ask for seconds. Truth be known, they are one ofthe few bands worth a damn these days. "Controversial Negro"documents the indefatigable trio at the Hotel Congress in Tuscon, Arizona.After listening to the record, there is no question in my mind that theTuscon crowd got more than their money's worth and so did I. To see theBlues Explosion live is to see pure televangilism delivered in the stylingsof a young James Brown, accompanied by his band mates who have one footfirmly planted in Church and the other hanging recklessly over the edge.Particularly compelling are the tunes, "Vacuum of Lonliness" and"Sticky" The use of the theremin threads the needle like no othersound produced by machine and Russell Simmons proves himself to be one ofthe (most unlikely) funkiest drummers performing today. Taking their cuesform their leader, Bauer and Simmons are always able to put it right in thepocket once spencer has lit the fuse. This is a must-have for any die-hardBlues Explosionist. ... Read more

Amazon.com

When the news filtered out that Roxy (Bryan Ferry, Andy Mackay, Phil Manzanera, and Paul Thompson, but, alas, no Brian Eno) were reconvening, skeptics anticipated a nostalgia trip by superannuated globetrotters. How wrong they were. These 22 sonically excellent recordings (made in 16 auditoriums, from Stuttgart to Adelaide via Vancouver) exhibit an envious attention to detail (Lucy Wilkins supplants Eddie Jobson's violin on "Out of the Blue" and there are even revving motorbike noises on "Virginia Plain"), but are far from clinically sterile. The godfathers of glam still manage to stoke up a fire behind the likes of "Remake Remodel" and Ferry continues to sing like a man handling a poisonous spider or having his back scratched by a supermodel. Their influence is still palpable--Suede must have re-written "Street Life" three times over. Pretty much everything on Live--from the art-rock of the early years to the urbane sleekness of "Avalon"--sounds as fresh as the 6 o'clock news. --Kevin Maidment ... Read more

Reviews (9)

Really enjoyable
Roxy Music confirm that they are an excellent live band. For long-time fans who know that a new studio album is not likely, this is the next best thing.

The sound quality is not as flawless as it could have been, hence one star removed.

Could they have made this a three-CD set? Given their calatogue of great material, yes. I'm not sure, though, if they performed more than these songs on the tour.

Technicians took control
The music of Roxy Music can be separated to 2 eras: the first 5 studio albums (1972-75) that brought us something fresh, new and interesting, and the music from the 80's that is more Brian Ferry solo - shmaltz, elevator music, just choose for yourselves. Lets call it "The Avalon era". In between there was a bad album from 1979 by the name of "Manifesto".
Last live album of the band, that was also the band's last one, "Heart still beating", from the 80's, took many fans to cardiologists, cause it was so B-A-D (kids, don't try it at home!). So I had many reasons not to expect much. But After reading that most of the material is taken from the 70's, I decided to give it a chance.
So... "Live" is not "Heart still beating", and also better than a few live albums from the Manifesto tour ("Concerto", "Live concerts"). But it's inferior to the old live album of the band, "Viva!", and to "Valentine" and "Vintage", 2 live albums of the early band, (that were released only lately) that include video clips (with Eno, Eddy Jobson, John Wetton and so). "Live" sounds too syntetic for more than once, by trying to bring us the original studio sound like in Re Make/Re Model, Out of the blue and others (ah, they brought us the motorcycle from "Virginia", but forgot the car from "Love is the drug"!). It's hard to understand it, because during the 70's, the band changed, improvised and improved the studio versions of many songs."Chance meeting" that was mixed together with "Both ends burning" in "Viva!" is a good example. Last part and the most dramatic one, in "If there is something" was done in "Viva!" much better than in the original first album. "Street life" (listen to Jobson's great violin solo!) and "Virginia" were done great in "Vintage" and "Valentine"; "Do the Strand" best version is in "Concerto". Jobson, in his time did not try to copy Eno, and brought us a new sound that for more than once was better than Eno's.
So why did they try to copy the old solos now?
Also I'm not satisfied with the sound. Roxy is a band of great individuals, but, sometimes they're lost here among the good technicians (on stage and in studio), that joined the band for the tour. After listening to the BBC 2 broadcasting of the show from Glasgow, I suspect that many mixes, too many, were done in the studio. But don't get me wrong. the album is a good one and if you are Roxy's fan, you'll love it,despite of its weaknesses.

almost 5 stars
the reason i give 4 is because i find the recording values to be uneven/unstable. im thinking it may very well have to do with each song having been recorded at a different venue from around the world. i mean the variables! acoustics for one. even good mixing cannot correct that. this explains why 'while my heart is still beating,' sounds fantastic...bryans vocals are clear as a bell the band is awesome, and 'mother of pearl' sounds distant and less defined. bryans vocals are not clear. i do agree with one reviewer that there is 'musical crowding' at times which squelches the bands essence. i also agree that speeding up some of the songs diminishes the songs effect, esp.on 'love is the drug.' there is plenty of good stuff here though to balance things out. the good news for me is that listening to this inspired me to get tix for r.m.'s upcoming gig here in so. cal. aug.2nd.

Ah, nattering naybobs of negativism...
I think y'all missed the point when you compare 2001's LIVE to '70's-era VIVA: If Roxy Music music was unique for anything back in the '70s, it was in the ability to "feed the fire" while playing it cool. Thirty years later, for those of us who've grown and, along the way, re-defined the definition of "cool", Roxy Music overwhelmingly succeeded in their 2001 tour. Rather than take the tact of other "oldies" acts who tour these days in order to recreate (dredge up) the music, Roxy Music instead recreated themselves to fit a new era and fans' new definition of cool. Their fan base (and the world) certainly has higher expectations for concerts. Roxy Music still knows how to create a spectacle and to be spectacular. Best of all, they brought the music right along with them: it is still fresh and engaging. The musicianship was superlative, and the overall impact is actually more compelling than some studio versions of the songs. The support personnel only added to the spectacle. The speeded-up versions of songs only add to the excitement. This CD convinced me to buy the DVD, which convinced me to go see them when they tour again. We've seen a number of formerly-great rock bands hit the road over the past few summers. Most were content to stir fond memories. Roxy Music LIVE proves that the band set out to stir the embers until the fire re-ignited. In so doing, the new music and performances are memorable in and of themselves!

Not a patch on Viva!
When the Roxy Music reunion tour was announced I should have been very excited, but as only Ferry,MacKay and Manzanera did the prepublicity and no mention was made of other original members returning, I thought it would be worth missing: on their last tour even Paul Thompson was absent.
Of course I was infuriated when it became clear that Paul was appearing but by then tickets had sold out.
Now that I've heard the live album though, I'm not so disappointed: it is quite simply not a patch on Viva!, the first Roxy Live album from 1976. Why ?
There were 13 musicians in the 2001 reunion lineup and only 6 in the classic Roxy lineup(s) of the early-mid 70s. On Viva!, you could say there are 8 musicians if you include The Sirens who provide backing vocals on 'Both Ends Burning'. They might have been out of tune but god could they screech and a bit of dirt is what this new album really lacks.
The effect of this layering of session types on top of more authentic rockers results in a crowded mix that diminishes rather than increases impact. For example, the excellent Chris Spedding is brought in on second guitar behind Manzanera and we hear very little of either throughout this album, which is very bass and top heavy but lacks serious middle register. The tone colours are just to thin on much of this album. Maybe the sound was much better live, in which case whomever mixed this album should go back to recording school...
The arrangements are also weak and limp in many cases (having heard Viva versions of Both Ends Burning, If There Is Something, Out of the Blue, Do The Strand and In Every Dream Home the versions on this album are non-events in comparison- Editions of You is also very poor, especially the awfully mannered vocals at the coda).
Manzanera is particularly absent throughout much of the record and why chose the talented but generic Lucy Wilkins on keyboards and violin over Eddie Jobson (who was probably available) or even Hawkwind's Simon House (whose 70s style would have been more in keeping with the Roxy aesthetic). And where was the great unsung Roxy bassist John Wetton ? Less members but more personality would have made for better performances and more authenticity. It must be said though that Colin Good (pianist) does a lovely intro to 'A Song For Europe'.

The album is not all bad (nice versions of 'Tara', 'For Your Pleasure' and 'A Song For Europe' are the highlights) but the post-Jobson stuff sounds as bland and inoffensive as ever: Over 8 minutes of the big nothing that is 'My Only Love' shows how Ferry's own judgement of his songwriting ability had faded by 1981. Be honest Bryan, the later stuff makes for nice pop songs but its not the groundbreaking stuff we loved from the first 5 albums.
To sum up: most true Roxy fans would prefer CD issues of the live version of 'For Your Pleasure' (b side of Both Ends Burning) and ferry's best solo song 'As The World Turns' (b side of this Is Tomorrow') than this average live album. No wonder Eno didn't even guest at the London gigs... ... Read more

Reviews (12)

Not a good showing
this is a poor representation of a great artist. Steve Earle should have put out a better live CD than this. There are some real flaws in the editing and some of the selections were poor choices. Stick with his studio stuff, you will not be disappointed there...

Not one of Earle's best
There is a generous amount of music--over 74 minutes which is a lot for the typical Steve Earle CD but you can find better renditions of these songs on his other CDs. Get Guitar Town and Copperhead Road if you want to hear most of these songs done in a studio. Also, I had eagerly anticipated hearing Earle's version of Dead Flowers but it isn't nearly as good as the original by The Stones.

Raw and ragged
This is a loose collection of live Earle music circa 1991. The band is just going through the motions and Earle's voice is at its most ragged, but it still remains an interesting time capsule of where Earle's career was at the time and some of the songs really thrive in the live setting. A good summation of Earle's earlier work and glimpse of an artist close to the edge of self destruction. Probably not the best example of his ability but an intriguing look at an artist whose life has had more than a few ups and downs.

Interesting Live CD
Recorded during a Canadian tour of the early 90's, this appears to be a fan's dream: a greatest hits package recorded live with Earle and the experienced Dukes performing at their peak-Earle, however, was in the depths of his drug addiction during this tour, so the performances are restless at best. A live reference to an incident in Ottawa points to Earle's growing spirit of social conscienceness. His stellar writing rescues this project, with new tour staples such as the anti-death penalty anthem "Billy Austin," the auto-biographical "I'm The Other Kind," and "West Nashville Boogie," (all from "The Hard Way") providing shining moments. A teasing "Guitar Town" is tell-tale: there are only shreds remaining of the exhuberant 27-year-old laureate who took the country and rock communities by storm only 4 years earlier. Most frightening is a transcending, gut-level version of Jimmy Rogers' "Blue Yodel #9," showing that Earle remembers from whenst he came, but leaving the listener wondering where Earle is going. Or if he'll survive the journey.

One of my favorite live-recordings ever.
This is THE essential Steve Earle recording. The set is stellar and the Dukes just flat-out rock live. Steve may have been a strung-out addict at the time but he sure does deliver. In fact, there isn't a trace of half-assing here. He does it all with heart and the gruffness in his voice gives tunes like "Billy Austin" an even bigger impact. I really loved the live version of "the Rain Came Down" and "Fearless Heart" has never sounded better.

This is one of the first cds I ever bought (I was eleven) and after a decade, it has yet to lose it's charm. The only difference, is now, I'm quite a bit older and the songs have much more meaning. ... Read more

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Who doesn't love a party? And one thrown by Beantown's ska-bitten sons the Mighty Mighty Bosstones can't be that bad, right? Named for the nightclub that hosts the Bosstones' annual gift to their home crowd, Live finds the frat-boy faves doing exactly what they do best. Frontman Dickie Barrett grunts, bellows, and stomps his way through the walloping, horn-punched skank, his mates swinging merrily along behind him. And if there were ever any doubt, Live makes abundantly clear that Barrett's sure no singer. But the roaring, high-fivin' crowd doesn't seem to mind. After all, you don't go to a Bosstones show expecting to find Pavarotti at the mic. So, as a representative sample of the Mighty live experience, this album is what it is. But if dimension, fidelity, and artistry are more your bag, Live pretty much bites. --Sue VanHecke ... Read more

Reviews (42)

Captures the Essence of the Bosstones Live
Recorded during the Bosstones annual hometown throwdown shows right after their breakthrough album Let's Face It, Live from the Middle East actually does a good job capturing the essence of the Bosstones live. It features classic songs as well as a ton of songs off of Let's Face It, all in all it's a massive 22 song collection and every song sounds great. The set opens with 1-2-8 off of Let's Face It, it then goes into the classics Do Somethin Crazy, He's Back and one of my favorite Bosstones songs Devil's Night Out. With this live album they also breathe new life into songs such as Dr.D, Howwhywuz Howwhyam, Cowboy Coffee, and Where'd You Go. All of which are highlights of the album. Songs such as Kinder Words, Hope I Never Lose My Wallet, and Hell of a Hat also sound just as good live maybe even better than their studio recordings. Other songs from Let's Face It include the title track, Rascal King, Noise Brigade, Royal Oil, and their hit single, The Impression that I Get. The band sounds very tight on the live album, as any band would after touring for months at a time. Honestly the one low point of the album is the song Royal Oil, I'm just not a fan of that song, I actually think it's one of the worst song's they've ever recorded. The album ends on a great note also with The Impression that I Get, the classic Someday I Suppose (also featured in the movie Clueless), and the short Lights Out, which features the band members going back and forth singing to each other, definately a highlight of the live album. Live from the Middle East is definately worth the money, of course nothing will ever capture the essence of the Bosstones live but this cd comes extremely close, you should definately check them out if you get the chance to.

Mighty mighty good.
Like the Grateful Dead, the Bosstones are better live than recorded. This is essentially a live greatest hits album. It has all the songs of theirs that I could name, good sound, and an amazing 22 tracks. It's the only Bosstones disc I need, especially with "Where'd you go", "Someday I suppose", and half of the "Let's face it" album. Who needs that anymore. If you enjoy that "live" energy, and listen to bands like Fishbone and The Reverend Horton Heat, you'll love this.

Good Live Compilation
This live CD by the Bosstones is also a nice pre-Pay Attention "greatest hits" collection. Songs are taken from everything from Devil's Night Out to More Noise... to Don't Know How To Party. Many selections also come from Let's Face It. The recording quality is not as bad as some may say. All the songs do credit to the studio versions, with that touch that can only be felt live. The only song that just plain stinks is "The Impression That I Get" because it does nothing to capture the essence of the original masterpiece. Dicky's voice is in top-form, and he switches from growling to his deep tone very nicely. So there you have it. A live 22-track compilation of some of the Mighty Mighty Bosstones greatest. My only gripes are the bad quality of song 20 and all the unneeded language.

I HAVE GOT TO SEE THESE GUYS IN CONCERT!
One of the greatest ska bands out there, The Mighty Mighty Bosstones would be awesome to see in concert. The guy's got an amazing voice and the lyrics are great. And contrary to many punk rock and ska bands, these guys can seriously play! The musicianship of The Bosstones is amazing.

A little bit to my disapointment, a ton of these songs were on "Let's Face It." Too many infact. But the CD is still worth it even if you have a couple of their CD's. On the recording the crowd isn't too loud and you can here the band fine.

But when they're not playing, and just talking to the audiance, the crowd is great. The concert was in Boston, and the guys there loved them. Before they played one song they asked the crowd if they wanted it the new way or the old way. First he says "new way" and everyone screams. When he says "shh" everyone is really quiet. It's great, they listen to him like crazy.

I have to see these guys in concert. An amazing CD from one of the most amazing ska bands out there, if not the most amazing. I was hightly impressed with CD.

Enjoy ska.

Good Times
Yes, its true, live recordings have pretty bad recording quality. Yeah, its also true the lead singer cant sing. On the other hand, it's true that you cant help but love this cd no matter what its faults. Its pretty hard not to listen to this cd and not tap your toe, let alone stand up and dance. I cant explain WHY this cd is great, just know that it IS. ... Read more

Reviews (36)

More to Vertical Horizon then just Everything You Want!
Eveything You Want is now a song that is all over MTV but this album is a tribute to what went before. The quality of VH songs is healthy to see. There is not one bad song on this album. It is very well produced and has such brilliant songs as Heart In Hand, On the sea and Great Divide. The early VH stuff was more acoustic as is this whole album and is very different from their new stuff. I love it none the less. It is great for acoustic guitarists also with great riffs and solos. What makes this a great live album for me though is how songs are varied to their album versions. You'll hear extra bars and solos here and there, which is the sign of a great band. Not just doing their stuff in the studio, VH are a live band and I cant wait for them to come to England! A great way to discover VHs early songs which still sound as fresh as ever.

Hands down my favorite album ever. 'Nuff said.
I have well over 300 CDs. I am the teen music critic for the Daily Herald (if you live in the Chicagoland area, check me out every Friday in the Time Out section!). Of all the CDs I've ever heard, none have the raw energy, talent, emotion and overall vibe of coolness this one exudes. This is from when the band was transitioning to the James Taylor-ish "Running On Ice" to the more Matchbox 20-sounding "Everything You Want." So far the only concert I've ever been to was a Vertical Horizon/Five For Fighting show, and this captures every bit of the energy without the crowds. Oh yeah, and the songs are great too.

1. The Man Who Would Be Santa: Great sentimental song, the harmonies that make me cry from Running On Ice aren't as clear, but the passion the guys have live make up for that. One of my fave VH songs.
2. The Ride: Great new live song from Keith Kane. Love it, it has a funky groove to it, kinda like Famous from ROI.
3. Falling Down: This is a live classic, probably the most beloved by fans in general...the lyrics were written as a poem by Matt's wife Kelly Moylan, Matt put them to music.
4. On The Sea: A beautiful, sad song, the only one they still play live from There and Back Again.
5. Japan: Love this song, love this electric version better than their acoustic studio version or the super-electric version they play now...great melody too...
6. It's Only Me: Another new song, it's pretty good, not by any means forgettable, but not my favorite.
7. Candyman: Probably the only song from this CD that's not as good as its studio counterpart. The ROI version is so great it's hard to recapture something like that live.
8. Fragments: This was never my favorite VH song, but this version is much better than the ROI one, and it grows on you.
9. The Unchosen One: This sounds kind of like Windmills by Toad the Wet Sprocket, it's got a great mellow vibe, I love it.
10. Heart In Hand: Live classic, fans love it, not their best but pretty frikkin good.
11. Wash Away: 12 minutes, and not one of them is boring. What more can I say? This is their live masterpiece, and with their current bassist (Sean Hurley), there is a 5 to 8 minute bass solo when they play live now. Don't get me wrong, Chopper is a great player, but he can't hold a candle to Sean. Probably my favorite song they've recorded.
12: Great Divide: My favorite of the new songs on this album, this is just Matt and Keith on vocals, an acoustic guitar and some minimal percussion. I absolutely love this song and it was the perfect closer for the album.

This is, hands down, VH's best album. If you like the Everything You Want album, I'd reccomend picking up ROI, then Live Stages. You won't be dissappointed.

Sweet live cd
all the songs rock. i think there are a better live band than studio. one of the best live cds i have heard. if you like there music i would say go get it you will love it

Amazing!
This is an amazing album from an amazing band. Their live show is like nothing I have ever seen, and this album captures Vertical Horizon's energy beautifully!... Two thumbs WAY up!!

Better than now
I first starting listening to VH when they first started at Ziggys in Winston-Salem NC.. This CD was recorded from a show that I was at, this is actually not their best performance I have seen.. But however I have never seen a bad VH show.. But anyway, this cd really shows the talent and artistry these guys really have.. Unforunatly they have become more radio based, but they still put on a good show.. If you get a chance to see them GO! You will not be disappointed. As for the CD, this is definitly the best CD you can get from this band.. I am anxious to hear the new CD that is being released at the first of the year.. ... Read more

Reviews (12)

Back with a Vengeance
Wonderful to see Terri Nunn and the reformed Berlin back in action! The updated versions of Berlin classics come alive with fine musicianship, an edgier more guitar driven sound, yet not sacrificing the signature techno tinged keyboard melodies. Above it all soars Terri Nunn, sounding better than ever. At times growling, at times nearly angelic. Always full of feeling! Make sure to give a good listen to the new songs "Steps" and "Turn You On" live. They fit in the set perfectly and with a sound for today being more aggressive on "Steps", and sensual on "Turn You On." The three new studio tracks, Blondie cover "Shayla", and especially "Angel's Wings" and "X-Girl" have infectious hooks, and rhythms, along with terrific performances. You'll enjoy the 2000 version of Berlin, I'm sure!

Live YES ! Studio NO !
Terri Nunn still has it ! Strong vocals and an awesome band (despite the fact all band members have changed). Every live track on here rivals the sound (if not exceeds) the original studio releases from the 80's. The sound of the music is more rock/alternative than new wave/pop. There is more guitar than synthesizer.This c.d. lives up to it's live portion. My favorite tracks are Touch, The Metro, For All Tomorrow's Lies (Terri's tender and romantic side),the haunting You Don't Know,and Sex(still steamy after all these years) ! As for the last three new studio tracks, it is a shock to the system to hear Berlin using rap on Blondie's old tune Shayla. The last two tracks, Wings and XGirl are nothing more than techno filler-pop and are considerably weak despite Nunn's distinct and strong vocals...

With the addition of a talented back up singer (Charlene Gibson),new band members, and an up-to-date rock sound, Sacred and Profane is worthy of all the stars; minus the last three studio tracks !

A Great CD!
It was SO nice to see some new material from Berlin. The live cuts are great and lively and Terri Nunn never sounded better. The new material, some live and some recorded, ain't bad either. I really liked "Steps" and "XGirl," written with Charlotte Caffey of the Go-Gos.

Its nice to see that at least one 80s band has not disappeared and is still kicking a-s!

Teri Nunn is back,better than before
The new berlin album sacred and profane is one of the best live albums ever done.It was done in a small venue,therefor it feels like you were at the concert.Berlins sound is more Rock live and if you ever seen them live you know what I am talking about,Teris vocals are stronger than ever,I strongly suggest if like to rock a little pick up the new berlin -its hot

Vital CD for any Berlin fan (casual or devoted)...
First let me tell you, the energy that resonates off this CD alone is amazing. I can't imagine what the real concert was like. Terry Nunn sings an amazing set of songs, and her performance is truly remarkable.

I am not usually a fan of Live Cd's, because the songs usually sound bad or nothing like you remembered. This set of live songs are different from their origionals, but the way they are sung is really good.

I was also afraid to purchase this CD when I heard that there was a lot more guitar than synthesiser. Being a big synth-pop fan, this scared me off, but luckily I gave it a shot anyway.

Synth or no synth, these songs are sung beautifully and you will love your favourites sung with an energetic band and audience! In the song "No More Words", Terry interacts with the audience letting them sing part of the chorus.

Personal Picks: "No More Words", "Metro" (you have got to hear this one) "Masqurade", "Tell Me Why" ... well at this rate I'll name the whole CD, but it is a stellar performance.

What I would've done to be in that concert... ... Read more

Reviews (13)

# 1 live punk-pop album ever
Since being introduced to the Descendents by a friend's older brother in 8 Th grade, I have worn out the tape on my cassette. Whether you want true punk speed or silly girl love songs, this album will deliver it. "I'm not a loser" is a classic anthem for all of us who have felt ostracized by anyone. "my van" will make everyone think of that special place where we can let our hair down and be ourselves(however your do that, I don't want to know!). This is truly one of any true music fan's necessities!

The perfect goofy pop punk band
This CD rocks! I first heard these songs back in about 1987 in some skateboard videos when I was 13 or so. I can't believe punk and hardcore is "cute," "trendy," and "mainstream" nowadays. I guess its fitting of the times that I would see this band's cd in a major national music outlet today and not hardly be able to buy it anywhere 15 years ago.

All of the songs on this live compilation are excellent. It isn't really much of a stretch for them to play a spontaneous live gig and record for an album. The performance is about equal. All of the songs have a goofy adolescent element that is refreshing. My favorites are "Silly Girl," "Coolidge," and "I don't want to grow up."

I guess I should be seeing an arena rock tour in the near future with long defunct bands like the Descendents, the Deadmilkmen, Butthole Surfers, and Seven Seconds. All of the high school jocks from the surrounding areas could show up and make a scene.

This is one of the best live records ever!
No records had resume enough good the energy of a band live on stage! The Descendents were probably the best punk-rock band to see live! This live CD contain all of their hits with all their live energy, well, that's awesome!

THE TEMPLATE LIVE PUNK CONCERT: Descendants 'Liveage'
Anyone who has ever had the opportunity to see their favorite band(s) perform at the historic First Ave. in Minneapolis, Minnesota probably has a good story to tell about the experience. The Descendants performance could easily be included.
Bashing out tunes like 'Silly Girl' and 'I'm Not A Loser' stand as a form of template for up-and-coming aggressive punk go-getters with pubic hair counts in the single digits.
BOTTOM LINE: GREAT PUNK SHOW. A MUST HAVE.

THE Live Band
I'm not usually fond of any live albums. The Descendents, with their energetic on-stage performances, tweak their songs just enough to differ from their studios recordings. Not enough tweakage to ruin an excellent song though. This album, as well as Hallraker, define the Descendents as an excellent band who truely love performing. I hope they eventually put out a Live Video. ... Read more

Reviews (4)

Best Album of 1996 Award Pants -Down!!
Listen, I first heard this album when it first came out when I was a DJing college radio, and boy, did I play the living ... out of it!!! It still holds up today, and it's 2003!!! First of all, all the reviewers of this record are WRONG. THIS ALBUM IS NOT REALLY A LIVE ALBUM. IT WAS RECORDED TO SOUND LIVE. But they are all right on one thing - that this album is simply brilliant. Nothing short of brilliant. And they were INCREDIBLE to see live back in the day. They wore an assortment of matching suits at every show of a variety of colors. And you were expecially lucky to see them play in the yellow suits. Unparalled in sheer, raw energy, showmanship and charisma!! WOO!! But besides all this, Ian Svenonius is a real musical genius, even from the days of Nation of Ulysses. So ahead of his time. And If I were in the Make Up or The Makers right now, I would simply be spitting on the lame attempts of ridiculous bands like "The Hives" who are trying to make "music" (if that's what they call it) reminicent of this style. They don't even come remotely close to this stuff. And they should all sit down and listen to this record AND LEARN SOMETHING, for .... sake!!! We all know the real truth, Ian. And we say "YEAH" to the final judgement!!!!

BEWARE OR BE ARMED, "Hives!"

James Brown, Smokey Robinson, Prince, and The Cramps unite.
The first Make Up full length album, and it's live.

I recall being disappointed with this after all the great seven inches they put out up to this point (later put on "I want some"). But...after repeated listens I grew to like this pretty well. The British MC that comes on at the beginning, middle, and end of the album is pretty funny.

"Dont mind the mind" and "bring the birds down" are beautiful soul songs. "Here comes the Judge" is the big rocker. This album alternates between soul music or ghoulish garage rock a la "They Live by Night."

I still think that their best album is "Save Yourself."

Make-Up: Destination Love
This is the best Make-Up recording out there. It is beautiful. Their other albums are good investments but it's almost impossible to compare how they sound in a recording studio to how they sound live. This album definitely shows how amazing they are live and considering that they've broken up, it may be your only chance to hear them live.

listen to the the gospel yeah, yeah
i first heard of the make-up through my boyfriend and he could not stop talking about them. when were in chicago we found this cd and it blew me away. i highly recomend it to anyone that likes punk or funk. i normaly don't listen to punk (i am a huge cure fan) but this really got me.it is absolutely one of the best albums that i have heard in 5 years. the second that you pick up on the grove of Ian and feel the bass you will start dancing around. i think that the strongest part of this album is the fact that it is live. i feel that is the only way to hear the make up. i have heard them on a regular recording as well and though it is good, live is way better. so, buy it. ... Read more

Reviews (3)

Johnny Was A Rock Star Unlike Any Other
In 1987, relatively late in his career, Johnny Thunders went to L.A., and with fellow former New York Dolls Jerry Nolan and Arthur Kane, recorded one of his best-ever live sets.

Johnny begins and ends with a couple of his signature tunes. The opener is a blistering "Pipeline"; capping things off, he wrings the life out of those opening chords to introduce "Born to Lose." In between is an acoustic interlude, and more notably, Johnny lets loose full-throttle electric blues on the lesser-heard covers of "I Can Tell," "Superstitious," "Green Onions," and "Midnight Hour." Johnny Thunders, the 1970's glam-punk, could play the blues.

An aside: There's a video of this performance floating around, too. Johnny Thunders was a unique artist, mesmerizing, and every inch a rock star.

One Of Johnny's Best Live Sets!
With alot of live recordings, the listener deals with terribly recorded music. The band might be on, but the person doing the recording is not. No bass, no drums, tinny guitar etc... With Johnny Thunders it's just the opposite. There are dozens of soundboard quality recordings available, but very few where Johnny is lucid enough to give a quality performance. This album, recorded at the Roxy in 1987, is rarity in that the sound quality and Johnny are both firing on all cylinders. The band features 2 of Thunder's former New York Dolls bandmates; the late Jerry Nolan (arguably punk rocks greatest drummer)and Arthru "Killer" Kane on bass. Any rock fan needs one Johnny Thunders live album in their collection and this one will do just fine.
But let me warn you, once you hear Johnny...there's no going back.
Rock on & R.I.P>

Late at Night/Late in Life
A damn good set late in Johnny's life. With Jerry Nolan (who propels "Can't Keep My Eyes" nicely), Arthur Kane (who took several deep breaths), and Barry Jones as the Walter, Johhny Thunders flies through his usual set with unusual elan. Nice versions of "Pipeline," "I Can Tell," and "Born To Lose" are joined by such rarer tunes as "The Midnight Hour" and "Lil' Queenie." After so many slur-fests, it's nice to hear Johnny on for a rare night. ... Read more

Amazon.com

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

Reviews (17)

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

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

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

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

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

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

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

... Read more

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Recorded less than three months before vocalist Ian Curtis committed suicide, Preston 28 February 1980 captures Joy Division's creative gloom in all its glory. Although this live gig features the band's club hits "Transmission" and "She's Lost Control" (but not "Love Will Tear Us Apart" ), it's not your typical concert album. The sound quality is less than pristine, the band's performance is far from perfect, and the gear onstage keeps malfunctioning. Yet Preston 28 February 1980 is truer and has more impact than most live releases, exposing Joy Division's morose melodies, scrambled guitars, brooding beats, and futuristic keyboard squabbles in the group's rawest, most vulnerable form. Joy Division were never about perfection. They flaunted their flaws, reveled in their (and everyone else's) meaninglessness, and sought solace in the idea that control is merely a myth. On February 28, 1980, these foibles become a fascinating mission statement. --Jon Wiederhorn ... Read more

Reviews (14)

One of the last JD concerts
I think this really serves as a live document one of the last concert performed together. This was recorded on 28th of February 1980 the sound quality isn't all that fantastic but I still enjoy the cd. They were having all sorts of problem that night from electrical problems to members of the band who occasionally missed a note or a beat. I don't think either the playing or singing was top notch (I could tell Ian sounded poorly). I still think its worth 5 stars though.

The "live" live album.
I've never heard a live CD like this. The performance is brilliant at times, mediocre at others, the crowd is rowdy, the gear is basically three steps from oblivion, and Ian Curtis is having an off day. Yet, even with all this, it works. It REALLY works. You can feel the energy of the performance... when the synthesizer goes haywire after "Heart And Soul", you just want to scream "Get on with it! " along with the rest of the crowd. It's that vivid. This is a godsend for those of us, like myself, who were not around to see this incredible band in the flesh. I won't say it's the next best thing, because nothing can compare to seeing a great band live, but it's pretty damned close.

If you are a JD fan
If you are a big JD fan, you NEED this CD. It's one of my favorites to play LOUD. The performance is spotty, as noted by other reviews, but the power is just incredible. This is JD doing their thing. The sound of the guitar on the opening chords of Colony are worth the price alone. For those of us who didn't reside in England in the late 70's/early 80's, this is our chance to experience what JD was like live.

This is not, however, a good primer if you just have a passing interest in the band. In that case, check out Unknown Pleasures.

"(i think)Everything's Falling Apart..."
What's to say about this performance... The release of this was a very big deal back in '99. It was a very hectic gig as described by all other reviews. All I can say is the sound quality is lousy. There are so many performance mistakes from every member of the band--they must be hanging their heads in shame. But still raw and emotive just as always from JD. It's worth buying alone for this performance of The Eternal. However, I don't think I've listened to the entire album from start to finish more than once.

Fantastically brutal
Take it from someone who had the priviledge of seeing them live (yes, I'm bragging), nobody went to a Joy Division concert: you were sucked into going like a whirlpool. You heard about them, you read reviews of their shows in the press (all of which never seemed to "get it"), and you probably put off going a few times out of a primal fear of seeing what you heard on the records exposed intimately. The best thing about this incredible live recording (I believe it was bootlegged at one time) is that, despite its numerous flaws as a recording and as a performance, it captures exactly what the essence of Joy Division was, in my opinion: a brutally honest excursion through the tortured terrain of your soul with no escape hatch and no looking back.

Should you yearn for the magnificence of the band's songwriting talents, or the far-reaching earnest of their collective vision in the studio, check out one of the other releases or the box set. But for an indication of just how much was actually lost when this outfit crashed, of the scope of their unwaveringly violent and tormented live performances, there is no greater evidence than this record. I simply found it too difficult to listen to more than a few times without really preparing myself for the trip, and it's nearly impossible to play any other record for hours after this one ends. Like the band themselves, there is a power here that really can't be explained or described.

Engaging this album is a difficult, intense experience, but can be rewarding for reasons that will differ from one listener to the next. It is simply fantastic and breathtaking music. ... Read more

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The last date of the best-documented tour in rock history, Pearl Jam's Seattle, Washington 11/6/00 might be the most important record in the band's entire career. Starting with the dates from the European leg of the tour, then moving through the U.S. East Coast, and finally concluding with the West Coast, every date on Pearl Jam's world tour has been immortalized with its own accompanying CD. Why would the band choose to do this? After listening to this three-disc set, one possible answer looms closer to reality-- it's the last gift to their fans before Pearl Jam calls it quits. "Hello, Seattle, this is it," says lead singer Eddie Vedder after a scorching rendition of "Dissident" (from 1993's Vs.). "One last show, (and) we never play again." After a round of boos, he retreats a little, backpedaling with "at least for quite a while," but it's clear that Vedder and the band are not just tired after a long tour. They're giving some thought to an extended, perhaps permanent, break.

Perhaps better than any other of the "bootleg" releases, it encapsulates the dichotomy of Pearl Jam's iconoclastic catalog. The sweeping set list from the longest show on the tour ranges from the Ten-era anthem rock that made them superstars to the introspective and artsy fare that has characterized their later work. They attack each song the same--with boundless energy and the tight stage savvy of veteran performers. Leading off with a stirring "Release," Vedder's voice bleeds with his now-familiar throaty power, laying into one of the band's signature ballads. He works a similar magic with "Off He Goes" from No Code and "Crazy Mary" (memorably captured on the Victoria Williams benefit record Sweet Relief), as well as Vitalogy's "Betterman," which the Seattle crowd turns into a giant choral number. But Pearl Jam are a rock band, and nowhere is that more apparent than on the start of the second disc, when Vedder and company rip through defining versions of "Even Flow" and "Jeremy," giving guitarist Mike McCready and the rest a proper forum to work the crowd into a sweaty mess.

It has been a wild 10 years since Ten blew the doors off alt-rock, when Vedder and company became worldwide icons and were swept up in the intense, if short-lived, ascendancy of grunge. If it's all coming to an end, it makes this already essential disc that much more so. --Matthew Cooke ... Read more

Reviews (42)

The Emotion is Evident
When I bought this CD I was expecting a highly charged emotional bootleg. That is exactly what I got. The superb opener Release really shows the superb vocals of Eddie Vedder while rearview mirror shows the amazing guitar expertise from Mike McCready. This bootleg really shows how Pearl Jam have changed their style with the contrast of songs from the first album TEN like Even flow that are really groovy grunge tracks to the mellow Parting Ways from Binaural the latest LP. The main plus point of this album is the way the crowd follow the songs through singing along and making the event a really special occassion. Just listen at the end of Daughter where we hear Eddies usual wandering into a very smooth chanting which the crowd copies to a T. The highlight track from this album I feel is a cover of the Who's Baba o Riley which really adds that bit of spice to an already amazing performance. The only problem with this bootleg is the lack of two songs Black and Elderly woman......town but they certainly make up for it with the inclusion of a highly emotional Crazy Mary and a brilliant uplifting Jeremy. I own 7 of the bootlegs this is the best. This is a must for all Pearl Jam fans.

Inspired Performance in Seattle
The final recording of Pearl Jam's 2000 tour came from their final show that year on November 6 in Seattle. At the beginning of the show, Eddie Vedder teases that this may be it for Pearl Jam. I found that interesting because I hadn't heard anything prior to that, which would suggest that to be the case. Then again, it just might have been me.

The show is one of the best from the tour. Eddie and the boys are clearly energized to be playing at home in front of fans that they say are one of the best on the tour. Throughout the recording, Eddie repeatedly thanks the fans for their energy. Apparently the crowd for the 11/5/2002 tour was found to be lacking. In addition, all the proceeds from the show were going to charity.

The set peformed by the band was a culmination of their best work from their five albums. 'Couduroy', 'Betterman', 'Even Flow', 'Jeremy', 'Daughter', 'Alive', and 'Yellow Ledbetter' were some of the highlights.

Before closing out the show with 'Yellow Ledbetter', Eddie encourages everyone to get out and vote the following day. Like the rest of us, he had no idea what a fiasco the 2000 election would be. On top of that, he shot off some criticisms towards the city for mandating a ton of extra security for the show.

Fortunately, it turns out that Pearl Jam was not calling it quits, and a new album is due sometime in the later half of 2002. If the fans are fortunate, a long inspiring tour will follow with plenty of 'official' bootlegs to follow.

has to be the best Pearl Jam concert ever
i bought this one in 2001 i believe.. sometime in june.. it has to be the greatest live album i've heard.. the sound quality was excellent, and everything.. awesome setlist, i just wish it had Breath or Last Exit on it.. but regardless it's a great live album.. and i would prolly pay $300 to have gone.. but i didnt really listen to Pearl Jam till march of 2001.. if you haven't kept track with the band, no they did not break up or anything.. actually they released another album (Riot Act), a few live concert CDs from that tour (the PA State College one is pretty good).

THEN they released the long awaited Rarities album, and live DVD of their Maddison Square Garden concert.. which is deffinetly worth buying. keep on rocking!

Great Show, Great CD
I was fortunate to be at this, it was also on my 20th birthday. Truly one of the longest and best shows I've ever been to.

An all encompasing must have live CS (4.5 stars)
This was the last show of the 2000 tour and it did not dissapoint. The sound was perfect, Gossard was exquisite on the guitar, Vedder's voice was in fine form and the setlist speaks for itself. Having seen the band live twice, I must emphasize how different the band is in person in compared to in the studio. Live is where they really bring it up a notch. They connect with the audience, they improvise and the emotion of their music is amplified live. The only drawback of this album was the incessant talking by Vedder near the end which becomes very annoying and goes on way too long.

Bottom Line: A good into live Pearl Jam. Most of the heavy hitters are part of this set and the band was on fire this night. ... Read more

Reviews (6)

Finally! A mix of the concert I didn't know was possible.
I owned the LP, the original CD, the VHS, and even an earlier version of the DVD and could never understand why the sound was so shoddy. It always sounded as if someone simply placed a mike in front of the speakers and recorded the show.

NOW, with the Visconti mix, it's as if it was literally recorded yesterday. THANKS to Bowie and Visconti for finally creating a version of this performance that justifies yet another "version" of the concert for us fans and followers to purchase.

The sound this time around is simply breathtaking compared to previous versions. It's interesting to note the differences and how little things like the echoes in "Moonage Daydream" or the high note in "Wild Eyed Boy" are striking in their absence. Nonetheless, this is a mandatory purchase for Bowie fans, this truly is a remix worthy of the purchase price.

Vastly improved Visconti mix
If you are putting off buying this because you have heard previous versions (on vinyl or CD), wait no longer. This release features incredible sound in comparison to earlier versions. Thanks to Tony Visconti for cleaning things up so nicely.

This disc is worth having for The wild-Eyed Boy From Freecloud/All the Young Dudes Medley alone.

A must for any Bowie fan! Only the continued absence of The Jean Genie featuring Jeff Beck keeps this from being a perfect Five.

Spectacular sound, great performance
This new mix of Bowie's legendary "farewell" concert in 1973 is in every way an improvement on the Rykodisc release. I originally owned the album on a two-record vinyl LP set, and for the first time, it sounds like a concert rather than a live recording. The balance between the ambient noise of the crowd and the performance is much more realistic, the bass and piano have more punch, the guitar is jackhammer solid, and Bowie's vocals sound better than ever.

In contrast to previous audio releases on vinyl and CD, this contains the soundtrack as presented in the film. The original 2-disc vinyl release, and subsequent CD reissues, not only have a mix that's markedly different from what you hear in the movie, but some of the performances are different. For example:

In the older issues, on "Wild Eyed Boy from Freecloud" Bowie hits a spectacular high note on the last word ("free") and holds it for several seconds as the band segues into "All the Young Dudes". It's a spine tingling moment, one of the high points of the recording... but it's not here --- and it's not in the movie. Bowie sings an ordinary low note at the transition.

I saw the movie in a theater and again on VHS and laserdisc, and recently watched the new DVD release. I'd forgotten how strong these differences were! Some of them can be attributed to the difference in the mix, but others must have been taken from a previous performance.

This new mix is a dramatic improvement in every way; but I'm going to hang on to my old Ryko CD; I miss that high note. It
really makes a difference!

At long last
A most memorable and noteworthy concert finally gets the treatment that it deserves.

When the 30th anniversary edition of this cd was released I had the old version on my stereo in the car. The difference in the mix is starteling. Most noticeably right off the bat is the extended intro tape leading into the opening riff of Hang On To Yourself.

I have owned a bootleg recording of this gig for many years which, while representing an incomplete set still had two things over the legitametely released version. The first thing was Mick Ronson's guitar. It, along with the other instruments was buried so far down in the original mix as to be almost criminal.

Now, with this new version all the instruments are right up front where the deserve to be. Anyone listening to this new disc who's hairs do not stand up on the back of their necks when Ronson hits the first chords of Hang On To Yourself should be ashamed of themselves.

The one sad point about this set and the sole thing that stops me from giving this a five star treatment is the lack of the Jeff Beck tunes.

For those who do not know the full history of Ziggy's retirement gig, Jeff Beck joined the Spiders for rousing versions of Jean Genie / Love Me Do and Around and Around. Rumour has it that Beck never gave his permission for the inclusion of his guest spot because he was disappointed in his performance.

If this is truley the case and this was the sole reason that these two songs were not included in this remastered edition then shame on Mr. Beck.

While I have never heard his spot on Around and Around the boot that I mentioned above does include his Jean Genie / Love Me Do spot and all I can say is that he had absolutely nothing to be ashamed of.

Regardless, this is an amazing upgrade of the previously available set and should be picked up without hesitation. Even if you already own the previous version.

Go ahead... I'll wait.

Finally... Last Ziggy show gets treatment it deserves!
For many years Bowie fans have had to accept the shoddy sound quality of previous releases of this album. Now, a full remaster with vibrant sound has been made available.

The show has been expanded somewhat in that it now consists of two discs, and "Width Of A Circle" has been restored to it's original 15 minute length. Intros and farewell speech are included, making this the best official release yet.

The packaging is also quite nice. The CDs are housed in a black box each in their own cardboard sleeves. Included in the set is a mini poster with highlights of newspaper headings and pictures from that fateful night, a reproduction of a concert ticket from the show, and finally a introspective booklet.

Finally... a David Bowie LIVE album worth the addition to any Bowie fan's collection! ... Read more

Reviews (36)

More to Vertical Horizon then just Everything You Want!
Eveything You Want is now a song that is all over MTV but this album is a tribute to what went before. The quality of VH songs is healthy to see. There is not one bad song on this album. It is very well produced and has such brilliant songs as Heart In Hand, On the sea and Great Divide. The early VH stuff was more acoustic as is this whole album and is very different from their new stuff. I love it none the less. It is great for acoustic guitarists also with great riffs and solos. What makes this a great live album for me though is how songs are varied to their album versions. You'll hear extra bars and solos here and there, which is the sign of a great band. Not just doing their stuff in the studio, VH are a live band and I cant wait for them to come to England! A great way to discover VHs early songs which still sound as fresh as ever.

Hands down my favorite album ever. 'Nuff said.
I have well over 300 CDs. I am the teen music critic for the Daily Herald (if you live in the Chicagoland area, check me out every Friday in the Time Out section!). Of all the CDs I've ever heard, none have the raw energy, talent, emotion and overall vibe of coolness this one exudes. This is from when the band was transitioning to the James Taylor-ish "Running On Ice" to the more Matchbox 20-sounding "Everything You Want." So far the only concert I've ever been to was a Vertical Horizon/Five For Fighting show, and this captures every bit of the energy without the crowds. Oh yeah, and the songs are great too.

1. The Man Who Would Be Santa: Great sentimental song, the harmonies that make me cry from Running On Ice aren't as clear, but the passion the guys have live make up for that. One of my fave VH songs.
2. The Ride: Great new live song from Keith Kane. Love it, it has a funky groove to it, kinda like Famous from ROI.
3. Falling Down: This is a live classic, probably the most beloved by fans in general...the lyrics were written as a poem by Matt's wife Kelly Moylan, Matt put them to music.
4. On The Sea: A beautiful, sad song, the only one they still play live from There and Back Again.
5. Japan: Love this song, love this electric version better than their acoustic studio version or the super-electric version they play now...great melody too...
6. It's Only Me: Another new song, it's pretty good, not by any means forgettable, but not my favorite.
7. Candyman: Probably the only song from this CD that's not as good as its studio counterpart. The ROI version is so great it's hard to recapture something like that live.
8. Fragments: This was never my favorite VH song, but this version is much better than the ROI one, and it grows on you.
9. The Unchosen One: This sounds kind of like Windmills by Toad the Wet Sprocket, it's got a great mellow vibe, I love it.
10. Heart In Hand: Live classic, fans love it, not their best but pretty frikkin good.
11. Wash Away: 12 minutes, and not one of them is boring. What more can I say? This is their live masterpiece, and with their current bassist (Sean Hurley), there is a 5 to 8 minute bass solo when they play live now. Don't get me wrong, Chopper is a great player, but he can't hold a candle to Sean. Probably my favorite song they've recorded.
12: Great Divide: My favorite of the new songs on this album, this is just Matt and Keith on vocals, an acoustic guitar and some minimal percussion. I absolutely love this song and it was the perfect closer for the album.

This is, hands down, VH's best album. If you like the Everything You Want album, I'd reccomend picking up ROI, then Live Stages. You won't be dissappointed.

Sweet live cd
all the songs rock. i think there are a better live band than studio. one of the best live cds i have heard. if you like there music i would say go get it you will love it

Amazing!
This is an amazing album from an amazing band. Their live show is like nothing I have ever seen, and this album captures Vertical Horizon's energy beautifully!... Two thumbs WAY up!!

Better than now
I first starting listening to VH when they first started at Ziggys in Winston-Salem NC.. This CD was recorded from a show that I was at, this is actually not their best performance I have seen.. But however I have never seen a bad VH show.. But anyway, this cd really shows the talent and artistry these guys really have.. Unforunatly they have become more radio based, but they still put on a good show.. If you get a chance to see them GO! You will not be disappointed. As for the CD, this is definitly the best CD you can get from this band.. I am anxious to hear the new CD that is being released at the first of the year.. ... Read more

Reviews (2)

A BIG SURPRISE
In 1989, Devo hit the road for a reunion tour following the "Total Devo" CD, and were, frankly, a highly aggressive live act once more. They were ready to start taking on the old targets. After all, the Reagan/Bush weirdness was in full bloom, so why not prove that de-evolution was still a thing to take note of? This album documents that period well, including the acoustic version of "Jocko Homo" that starts the show off. (Remember how everyone was astounded that Bruce Springsteen, who was touring behind "Tunnel Of Love," was trying to show the maturity of the times by playing "Born To Run" as an acoustic lament?) The spudboys use this kind of irony to play a "cool" version of "Going Under," and a mellowed, jazzier version of "Working in a Coal Mine" before the really getting to work and letting loose with a meaty version of the newer "Happy Guy."

From this point on, Devo rocks out. It helps that most of the remainder of "Now It Can Be Told" is comprised of selections from "Q/A," "Freedom of Choice" and "New Traditionalists," plus you get the wonderful "Shout" and a devolved version of "Somewhere" from "West Side Story." If only because Rhino Handmade's full length version of 1981's "Dev-o Live" is getting tougher and tougher to find, you should have this wonderful artifact about the truth behind De-evolution, some ten years after Devo set the snowball off on its roll down the mountain.

A must for every true SPUD out there!!
After listening to this CD, you will understand how DEVO became the leaders in the "New Wave' era. Live material from DEVO is hard to find, so I suggest that every spud out there and get this one. It has everything for everyone...... ... Read more

Amazon.com

The Dream Syndicate's sterling reputation at college radio (in the halcyon indie-rock days before the "alt" prefix was co-opted as corporate marketing gimmick) made them one of the '80s most respected and influential young American rock bands. This new, double-disc edition of the band's live statement (now restored to its original length and running order) recorded gloriously direct-to-two-track DAT at the venerable Hollywood Blvd. dive Raji's, sheds new light on a project that's long been misinterpreted as the band's swan song due to faulty labeling on the original release (it was recorded in Jan. of '88, prior to Ghost Stories). Indeed, fueled by Paul Cutler's careening, aggro-psych-out guitar and songwriter/frontman Steve Wynn's fervent, nasal-shred vocals, it's about as elegiac as a frayed high tension wire. The set list leans wisely on material from the band's rough-hewn jewel of a debut, The Days of Wine and Roses, and its follow-up, Medicine Show, in a riveting performance that pays ample tribute to the manic, ever-evolving sonic inspiration of the Velvet Underground and Crazy Horse. But as the hypnotic abandon of its Dylan-meets-Hendrix cover of "All Along the Watchtower" segues nervously into "Tell Me When Its Over," it's clear this is also a garage band powerhouse whose roots go considerably deeper--and whose legacy still resonates with every ringing, feedback drenched explosion of guitar captured here. --Jerry McCulley ... Read more

Reviews (1)

An absolute stonker!
One of the very few bands who ever produced a vital live album. This is an incendiary piece of work - a great band captured at the peak of their powers. In the studio the Dream Syndicate could sometimes sound restrained and mannered, here the hounds of hell rip havoc all over the shop. This is a vital recording of one of the great American bands of the 1980's. Buy it! ... Read more

Amazon.com

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

Reviews (22)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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









... Read more

Reviews (1)

Suicide: Ghost Riders/Half Alive
Once the Suicide sound has entered your mind, you'll never forget it. Hypnotic, uplifting, revolutionary. The American Kraftwerk. The only band that can remind you of Alan Ginsberg, the Velvets, Daft Punk, James Brown, ? and the Mysterians and the Last Poets all at once. Elvis talking in his sleep. The simple mantra of the X-pel-air fan overlaid with the rant of the corner preacher who has seen the truth. Once you've tried it, you'll need it all, but, covering their entire early career, this compilation provides the perfect initiation. Suicide, the last sound you'll ever hear . .

Don't think twice.

Doug Campbell ... Read more

Album Description

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

Reviews (3)

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

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

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

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

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

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