Amazon.com

It might seem a bit of a letdown to have waited 26 months (Case is such a transcendent singer, her fans were waiting the two years between Blacklisted and Tigers) for a brief, live effort that's half cover versions. But this disc is wide-ranging and superb, that rare breed of live album (think At Budokan and Small Town Romance) which ranks amongst an artist's finest, most representative work. Recorded in 2004 in Toronto and Chicago, Case is absolutely on fire for the ballads and the ass-kicking tunes. This is largely due to a ripping backing band composed of the Sadies and Jon Rauhouse, with fellow Corn Sister Carolyn Mark and Kelly Hogan lending their vocal talents (the effect's like Trio, but better). The album's title is discussed in a brief example of Case's between-song banter, an expression of her off-color humor which will not surprise those lucky enough to have seen her perform before. And if you never have yourself, this here’s the next best thing.--Mike McGonigal ... Read more

Album Description

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

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

Reviews (12)

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

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

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

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

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

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

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

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

good show!

the DVD bonus adds more beauty

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

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

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

Amazon.com

Todd Snider really knows how to work a room. As a storytelling troubadour for the slacker set, he takes inspiration from the likes of Jerry Jeff Walker (as he explains in one of this solo concert album's deadpan introductions) and Robert Earl Keen and applies it to a selection of shaggy-dog stories, talking blues, and slices-of-life gone askew.One of his earliest signature tunes, "Talking Seattle Grunge Rock Blues," has now outlived grunge by too long, but the more recent "Waco Moon," inspired by the death of guitartist Eddy Shaver, shows that Snider's songwriting is good for a whole lot more than laughs. Some of his most engaging songs such as "Beer Run" seem to have practically written themselves, while others such as "Tension" and "Statistician's Blues" sound like songs that were just waiting to be written. It's an integral part of Snider's engaging appeal that he makes it all seem so effortless. As with Keen, the challenge for Snider is balancing the easy laughs with his more serious progression as a songwriter. --Don McLeese ... Read more

Reviews (11)

When's he coming to my town?
"When's Todd Snider coming to town?" That's what I want to know after hearing this live cd. He sounds like he would be a great show. Great songs, great storytelling and rapport with the crowd. This is downright good American music!

Best album of 2003
I agree with everything all the other 5-star reviewers here have said but I have to admit to being late to the Todd Snider party.

I first heard Todd play live a couple of years ago opening for Suzanne Vega. He seemed like a little bit of an odd fit but I liked him though since it was in Seattle and he did a song about Seattle music scene that was really funny, I just assumed he was some local guy. I think I may also have seen him open once before that for John Prine.

So why did it take me until now to get around to discovering his greatness through this record? Well, I think he's taken awhile to reach his peak as a writer and also he makes you laugh so easy and makes it look so easy to do what he is doing on stage that I might have easily assumed he's coasting a bit and not see how good he is. Play this album a few times and you will quickly realize that's just flat out misperception. Todd's a fully rounded songwriter and performer who can make you laugh one song and put a lump in your throat with the next one. For example, if you tend to have just heard him as a 'funny storytelling guy' check out "Lonely Girl", "Waco Moon", "I Spoke As A Child" or especially "Long Year" here. They are just fine well crafted tender songs that show he's as capable of observing about heart ache and the depths of the human condition in his songs as he is at making clever light verse. Oh, and not to discount the funny songs either. They are right up there with anybody's best when it comes to humorous songs. You will find that you can laugh just as much at Todd's lyrics and delivery of them in "Tension", "Beer Run", "Statistician's Blues", "Talking Seattle Grunge Rock Blues" and "The Ballad of the Devil's Backbone Tavern" after multiple repeat listenings as you might have the first time they caught your ear. What's especially nice is the way they are sequenced and interspersed here with the more straight-up or sobering songs.

He's also best served here by being able to pick from among the best of his material (and he's got some great ones that didn't make it on here - if I have one nit pick here it's that I'd have traded a 2nd version of 'Beer Run' on here for 1 more from his rich songbook) and by presenting it in a solo setting where both he and the audience are clearly relaxed and can settle in and focus on enjoying his storytelling skills and concentrate on his fine well crafted lyrics and his timing and delivery of them. Each song comes off like a rough and ready diamond honed through years of touring and performing but because of his comfort in playing them live this way, they come off as fresh and inspired as if he had just sat down and played them all for the first time.

Buy this album if you love great folk songwriting like John Prine, classic 1960's period Bob Dylan, or Neil Young. I think Todd's best stands up next to the best of those guys if they are left to deliver songs in the solo performance format.

bri
This is what music is about. I am a music lover of all types and I never had a whole album affect me so much. Don't think this is only for ages 50 and up. I spread this music at work amonst 30 or more people, and you'd be amazed how many 20 year olds loved it. They've just never heard good music like this. The only complaint I have is that Todd never comes to Iowa.

More Brilliant Music lost in the world of Corporate Radio!!!
Todd Snider is superb in the same vein as John Prine, Townes VanZandt and Arlo Guthrie. This is a cd that will have you stop what you're doing and totaly get lost in the songs. Alternating between funny and painfully serious, he holds you in the palm of his hand and you live through his lyrics. The only complaint is it's simply not long enough. If there is a heaven above Todd will get the break he deserves.

BUY THIS CD!!!

he makes you laugh, he makes you cry
I was afraid this live album would be a bit disappointing, because I thought his last studio-album New Connection, was an absolute masterpiece, with great arrangements and all. But this one might even be better, because Todd is immensely funny inbetween songs, and he manages to make me and the audience silent when he sings Waco Moon. That's a rare feat. To make you laugh out loud one minute and make you cry the other.
And he makes you really listen to the songs, which, in the end, all have a bit of melancholy. A great album, and I hope Mr Snider will come to Europe soon. I'd love to see him perform live. ... Read more

Amazon.com essential recording

Before Anodyne, Uncle Tupelo already had one masterpiece in 1991's noisy and tense Still Feel Gone, but this album, the band's major-label debut, had even grander ambitions. Replacing the group's grungy guitar with soaring lap and pedal-steel fills, plus fiddle and mandolin breaks both sweet and raucous, Anodyne is overflowing with a spacious grandeur that alludes to, and then makes it own, everything from the Band and the Stones and Neil Young (both as a solo artist and with Crazy Horse) to old Acuff-Rose songs--all of which is just to say that it's among the best roots-rock records ever made. The 2003 remastered and expanded edition offers three unreleased tracks from the original sessions plus a pair of live covers from a 1993 Chicago show. --David Cantwell ... Read more

Reviews (47)

Wow
This is a truly amazing album. My favorite Uncle T record was No Depression, but then Anodyne came out, and it may be better. If you've only got the first two records (or one of them) then this will be a change of pace. The thrash from the early days is almost all gone here, there's nothing at all like "Factory Belt" or "Gun" here. While they do have some really great rocking moments like on "Chickamauga", it's the sad, mostly acoustic numbers that really stand out, though. Farrar's "Slate" and the title track, and Tweedy's "New Madrid" and "No Sense in Lovin'" are my favorites. This is much sadder on a personal level, whearas the first two Tupelo albums were angry about everything from their girlfriends to the economy.

Despite the change of pace, this is definetly an Uncle Tupelo album. There is still that half (and sometimes more)-defeated tone to all of the songs, and there are occasional strong echoes of not only Husker Du, but of Paul Westerberg's Replacements-era songwriting. Add a little twang and see what turns up!

Great, great album, definetly give this one a try.

A raw, passionate parting shot
Upon the first listen to Uncle Tupelo's 1993 album Anodyne, the aura of something coming to an end is clear. Nearly every one of Farrar's songs contain lyrics hinting at separation: "The time is right for getting out while we still can", "No sign of reconciliation", "We can't seem to find common ground", and finally "No more will I see you". In hindsight, we should have seen Uncle Tupelo's demise as clearly as we should have seen Kurt Cobain's suicide. But we didn't, and that only makes the music more haunting and timeless.

As splintered as some Tupelo albums are, it is ironic that Anodyne is cohesive and flows effortlessly from track to track. Jeff Tweedy clearly caught up with Jay Farrar on the album, his songs emitting the buoyant and upbeat antidote to Farrar's mournful ballads. The frenetic energy of the band's early days is gone, replaced with a more balanced and subdued mix of rock and country. The band's sophistication has always stood in contrast with its age, but while listening it's hard to imagine that this band has only been releasing albums for 4 years. While Anodyne is UT's first release on a major label, it retains the raw edge of earlier releases; this can be attributed to the band's standards of getting the songs down live in one take. Mistakes are clearly audible and some parts could be tightened, but the deficiencies actually add to the quality and credibility of the album creating an achingly vulnerable atmosphere. Remarkably, the orchestration is stunning in most places and you have to remind yourself that there were no overdubs or studio trickery in place. Mandolins and guitars drive in sync, lap steel floats over the mix, bass hooks abound creating a sound that at the same time soothes and rubs against the grain of your eardrums. The songs are the best the band ever created as a unit and the lyrics, Farrar's especially, reveal the anatomy of the band's breakdown in a poignant manner. By the time the chorus of the closing track "Steal the Crumbs" comes around anyone who cares about the band's music will feel saddened and deprived of what this band could have become.

The bottom line: Anodyne is essential for any fan of rock music. Pick it up, it's impossible to be let down.

Saving Their Best For Last
Anodyne was Uncle Tupelo's major label debut and also their swan song. After going the acoustic route on their previous album, the band revs back up into the country-rock arena. They shoot for the top and don't miss. The album is a perfect blend of rock songs "Chickamauga" and "The Long Cut", folk like the amazing "New Madrid" and "Steal The Crumbs", straight country in "Acuff-Rose" and the marrying of their sounds on the brilliant remake of Doug Sahm's "Give Back The Keys To My Heart" (Mr. Sahm provides guest vocals on the track). The band unfortunately splintered apart after the album with Jay Farrar forming Sun Volt and Jeff Tweedy forming the more successful and critically lauded Wilco. But as their parting gift, they served up one of the best albums of the 90's.

one more reason to love uncle tupelo
all sorts of great things have been written about this group, here and at altcountry.com, and at any other place that has taken the time to review this band. two reason i own all their music and most of the two off-springs of this group: great lyrical content, great music...what more can ya ask for? write about american history, heartbreak, folklore, tragedy,love, combine that with timeless folk, rock, punk, country. what do you get? a classic must own collection of songs, albums, you get the picture. this album stayed on my disc player for at least two straights months...i only took it off so i wouldn't burn out on the album....will be as classic as any dylan, stones, who, or neil album!!!!

The Irreparable Rift
By now it should be apparent that, irrespective of genre, two brilliant songwriters can coexist within the same band for only so long. Such collaborations may last but a few months, as in the case of the early incarnation of Metallica that featured both James Hetfield and Dave Mustaine, or as long as several years in the cases of the dynamic duos that fronted the Beatles (ok, George Harrison made them a dynamic trio of songwriters) and Uncle Tupelo. Ultimately, however, a band with more than one ingenious songwriter is destined to fission.

Luckily, in the case of Uncle Tupelo, childhood friends Jay Farrar and Jeff Tweedy were able to work together long enough to produce four excellent studio albums, the last of which, Anodyne, represents their most remarkable artistic achievement as a songwriting team.

The proceedings start out well enough with the mournful "Slate" and hoedown worthy "Acuff-Rose". However, the meat of the album starts on the third track, "The Long Cut", which is the first in what seems like an endless stream of classics to come. "Give Back the Key to My Heart" manages to be sweet, funny, and heartbreaking all at once. As perhaps the finest and most rocking song UT ever recorded, "Chickamauga" features a several minute blistering guitar solo outro that soars to the rarified heights achieved before by only a handful of bands such as Pearl Jam on "Alive" and Pink Floyd on "Comfortably Numb". After the frenzied glory of "Chickamauga", the laid-back country pickin' on "New Madrid" comes almost as a relief. "We've Been Had" snags the riff from Springsteen's "Crush on You" and does great things with it. "Steal the Crumbs" is a wonderfully mellow closer.

It's a shame Farrar and Tweedy could no longer work together after Anodyne, yet you've got to admit they've both acquitted themselves quite well on their own since then. Maybe sometime I'll take the time to compare their post-Tupelo output and throw my two cents in on the Farrar vs. Tweedy debate. For now, I suggest that you pull out your copy of Anodyne, grab a bottle of IBC, and enjoy. ... Read more

Amazon.com

After ripping it up on No Depression and Still Feel Gone, their first two albums of twangy punk rock, Uncle Tupelo unplugged for this remarkable tribute--half originals, half political and religious covers--to the band's old-time influences. While the new songs of frontmen Jay Farrar and Jeff Tweedy are consistently strong here (especially Farrar's "Grindstone"), the album's haunted covers of old folk songs are the true keepers. Tweedy's apocalyptic version of "Satan, Your Kingdom Must Come Down" and Farrar's earnest readings of the beat-down "Moonshiner" and the labor song "Coalminers" are as frightening, beautiful, and passionate as anything the band ever recorded. The 2003 expanded and remastered edition adds three unreleased demos, a live version of "Moonshiner," and an instrumental B-side. --David Cantwell ... Read more

Reviews (9)

not my uncle
who's uncle is it. Obviously someone in this band has been heavily influenced by "50 cent" but that's my opinion. This recording didn't sound like it is good.

Uncle Tupelo 's finest disc
I love this album. Most people are familiar with the story of Uncle Tupelo, and how they branched off to form two of the best bands of the nineties, Wilco and Son Volt. This disc captures Tupelo at thier finest. The whole disc has a live type feel to it. It is a mystery why this disc has not been elevated to classic status. Maybe if the music industry wasnt so concerned with the flavor of the week, this disc would be more widely played. If your a fan of music with some heart and soul to it, you will like this disc.

Quiet Side
Uncle Tupelo went unplugged on their brilliant third album, March 16-20, 1992. Produced by R.E.M. guitarist Peter Buck, the album features six cover songs of mostly traditional folk music. The band's signature sound is stripped down to the skeletal remains of acoustic guitars with a dash of percussion and strings. The songs have on overt political nature and the band throws in some religion as well. The overall starkness of the album recalls Bruce Springsteen's Nebraska. Unlike that album which found Mr. Springsteen singing from a first person point of view, Uncle Tupelo act as troubadours, telling the tales of the downtrodden. The album shows the band's versatility and Mr. Buck's subtle production is first-rate.

Uncle Tupelo's best
This is by far my favorite Uncle Tupelo album because this is the album that best shows Uncle Tupelo's folk influence. This album has a perfect blend of original songs, and traditional songs the band learned from a Missouri folk compilation tape they heard. Its also good to see a CD that has worthwhile liner notes. The liner notes explain the band's background and the inspirations for the album, which makes for interesting reading for any Uncle Tupelo fan. Out of all the Farrar/Tweedy albums, I rank this one second only to "Trace".

Must have for all alt country fans
yep !!! bye it right now!!! you're missing out if it's not in your collection. destined to be as classic as any of bob dylans albums. a great collection of acustic music from the band that put alt counrty in the music vocabulary....to bad it it's their last album. while you 're at it you should just get all the uncle tupelo music you can find here....then start buying up the drive by trucker stuff too!!!!! ... Read more

Reviews (9)

Run don't walk to get this LIVE & LOUD GEM!!!
What an amazing, awesome release and one of my favorite live records. For the 2nd time, Cody, Grady, Jeremy and Randy pull off the perfect live recording. What an amazing talented band and one hell of a live band. The song selection's perfect, they got the fans rockin' and Billy Bob's will never be thought of the same way. I liked every track on this release and can't whine they left off a favorite. Of all the newer bands out their, CCR miles ahead and a beacon of light in a sea of garbage. I highly recommend: Carney, Live At The Wormy Dog, Highway 377, the Purpe Disc, Live At Billy Bob's and Soul Gravy w/DVD. CCR's just one of a few bands that gets you hooked as a fan, doesn't disappoint you and just keeps you begging for more. Lastly as with all my CCR reviews, thanks to "the Dusty Show" for getting me hooked on CCR.

One Fun and ROCKING live CD
Right from the get go this CD starts pounding at you with the drum beats which kick off "Long Way Home." From there, it takes you on a ride.
This is the CD which got me hooked on Ragweed. Every song tells a story. There's plenty of heart and soul in the ballads and plenty of anger in the rock. Throw in a little fun with "Carney Man" and some... well... you know... with "Boys from Oklahoma."
You can let this CD ride in your player on a drive all the way through the heartland and not have to bother finding another.

buy this. now.
Every now and then, I stumble across a new band that changes my life. I bought the latest Reckless Kelly album, and amazon thoughtfully suggested I buy some Cross Canadian Ragweed as well . . . I did, and I've since bought everything they've done, seen them live, and become a much happier person. I cannot even begin to tell you how good this band is, and I am NOT a country music fan. This is what country music SHOULD sound like. While I love every single song they've done, this album is probably the best first album to get. Anyone who doesn't like this album doesn't really like music. A warning, however: don't buy this one unless you're also prepared to buy all their others. Because you will want to.

Live, loud, and terrific!
Cross Canadian Ragweed is one hell of a band, carried on the songwriting of lead singer/guitarist Cody Canada. Not that he's the only talent here; all four guys contribute to make some great music. And what better place for great music than Billy Bob's Texas?

The album kicks off with the Vietnam song "Long Way Home," then carries into the almost-whistful "42 Miles," one of my favorites. Another good one is "Look At Me," about a guy enjoying his downward spiral through life. "President Song", though not congruent with all of my beliefs, does capture one thing that rings true: Osama bin Laden's balls really SHOULD be in a sling! "Carney Man" is awesome too, as is the roudy "Boys From Oklahoma."

A note: "Bang My Head" actually occurs BEFORE "Carney Man." Just a little typo.

This is one hell of an album. I reccomend their self-titled CD--featuring the hit "17"--as well. Cross Canadian Ragweed is a band with attitude and a sound uniquely their own, while at the same time capturing the spirit of Texas music. They're a band you need to listen to and follow.

So buy this CD, and be LIVE AND LOUD at Billy Bob's Texas with Cross Candadian Ragweed!

Awesome Album
I highly recommend this album. Every song makes you feel good. If you are a fan of country music, or even just a fan of music in general, you should pick up this album. Cody Canada's singing will bring you to appreciate the songs even more. Johnny's Song is a particularly moving song that almost brought me to tears the first time I heard it. These guys are awesome in concert. ... Read more

Amazon.com

Though Dave Alvin's reputation rests with his songwriting, the dynamismof this live recording puts the pedal to the metal and leaves the studioversions of much of this material in the dust. Highlights range from anine-minute medley of Alvin's "Little Honey" andBo Diddley's "Who Do YouLove" to the honky-tonk country of "Highway 99" to the raucous celebration of"American Music" that has been Alvin's anthem since his days with theBlasters. Not sinceCreedence'sJohn Fogerty has aroots rocker mined such a rich vein of Americana, though material such as"Haley's Comet," "Blue Boulevard," and "Wanda and Duane" find Alvin'shard-bitten lyricism growing increasingly dark as it matures. While hishalf-spoken, half-sung vocals lack the nuance of the best of his songwriting, akiller band featuring drummer Bobby Lloyd Hicks and keyboardist Joe Terryprovides propulsive support for his stinging guitar. --Don McLeese ... Read more

Reviews (9)

Fine electric and acoustic live performances
As a full-time road warrior, it's no surprise that Alvin's confluence of music, philosophy and work ethic is captured so vividly on these live recordings. Steeped in rock, blues, folk, and country, Alvin's decidedly non-Hollywood California viewpoint is born from the grit of a working man's life, and fueled by the endless miles in between countless road gigs.

These thirteen titles are drawn from Alvin's earliest work with the Blasters and X, solo albums (including a generous helping from his 1991 debut), recent public domain recordings, and a newly penned saga, "Highway 99." Highlights include "Blue Boulevard," Alvin's riveting homage to an influential, music-loving cousin, and a smokin' piano and guitar-driven cover of Bo Diddley's "Who Do You Love." An acoustic cover of Bo Carter's "All 'Round Man" and an electric stab at Little Walter's "Everything's Gonna Be Alright" show off two sides of Alvin's blues. Grace notes invoke Link Wray, Bruce Channel, and Lynyrd Skynyrd.

Whether fronting the Guilty Men in electric club performances, or a smaller acoustic group at a Pasadena church, Alvin puts across his lyrics with incredible conviction. The spontaneity of live performance reveals additional details of his songs, as if their studio incarnations were drawn as maps to the road ahead.

+ 1/2 Stars...Alvin Is a First-Rate Songwriter
Dave Alvin has released only two studio albums since his last live album (1996's equally enjoyable Interstate City), but Alvin said in a local newspaper interview before an Omaha appearance that his favorite thing to do is to play before a live audience. "There are things that happen when we play live--intense musical things that are just about impossible to capture in the studio for whatever reason."

This live album is full of raw energy and touches all the bases of Alvin's career to date. There are songs from his days with The Blasters ("Little Honey," "American Music"), X ("Fourth of July"), and his solo career through 2000's Grammy-winning Public Domain (a seven-minute version of "Don't Let Your Deal Go Down"). Alvin performs four songs from 1991's Blue Blvd: "Andersonville," "Blue Boulevard," "Wanda and Duane" and "Haley's Comet," the latter a touching portrait of fleeting fame. The title refers to Bill Haley, but the song's theme is universal. Alvin's world-weary voice is perfectly suited to these songs and the Guilty Men provide excellent support, including his long-time rhythm section of bassist Gregory Boaz and drummer Bobby Lloyd Hicks who have been with Alvin since his last live album. [Note: "Out In California" is the only track repeated between the two live albums.]

Alvin rounds out the album with some rock chestnuts (Bo Diddley's "Who Do You Love") and obscure R&B (the slighlty racy "All 'Round Man"). An unlisted bonus track is an abbreviated version of "Free Bird," which some joker requests but Alvin takes up as a challenge ("You think we don't know it?" he asks. "You think we can't play it?")--it's a fitting ending to a magical set. This is 76 minutes of American music.

As other reviewers have said, if talent were the only barometer by which musical greatness were measured Dave Alvin would be among the elite. HIGHLY RECOMMENDED

why isn't this guy a star?
in a just universe, we'd already be a little tired of dave alvin and the guilty men: the stadium shows, the pepsi commercials, the halftime gigs at the nba finals... but it's not a just universe, and dave and the lads are playing bars and clubs like the venues at which this live set was taped. the music is a gumbo of rockabilly, r & b, country and folk. the band kicks back for a fiddle-flavored "abilene," but it also channels chuck berry as it tears through "american music." this release is rowdier than "interstate city," alvin's previous live album, and the arrangements are busier, but it's all good.

Dave Alvin & The Guilty Men: A True Working Band
My first thoughts on the opening notes of this CD were, "Only the most confident musicians would open a show with the sound of tuning instruments"! "How can they get away with that"? "Are they really that good"? THEY ARE! The songs found here aren't about California dreaming. This isn't Hotel California! It is a culmination of many things found on the road in California, as the dream fades and reality sets in. Hot asphalt, cold beer, little diners, love, loss, dysfunctional relationships, and hope. Not one song on this CD was cleverly thought up by a song writer staring out the window of a luxury tour bus. Dave drives his own van. He lived them before he wrote them. The title track will lift you right off your feet with smokin guitar, and lyrics that compare California mountains to a woman lying naked on a bed. Haley's Comet is also a rocker, but a sad story all the same. The idea that an original American Rock n Roll hero could be forgotten to the point he's not even recognizable. Little Honey is a classic Blasters tune reformatted with guitar licks that will make the listener hang on every note; Mr. Thorogood included. Abilene is the story of too many girls who run away to California, only to end up alone in Hollywood. Don't let your deal go down offers a glimpse into one of the tougher drinking establishments several hundred years ago. Highway 99 is the type of straight ahead country that used to come out of Bakersfield, and actually get played. This is a great song, but it does sound an awful lot like Out in California. With the exception of All around Man, which is a fun loving blues romp full of sexual inuendo, the songs are very much grounded in the hard realities of life. Who would have thought that long after The Beach Boys sang Surfin USA, Some guy from Downey would come along and write a song about a couple fighting in a dark apartment on the Fourth of July? The show begins to wind down with the classic Blaster's tune, American Music. This song not only rocks, but it is also another solid reminder of why the USA is the greatest country on Earth. The last highlight to note falls midway through the final track, when some guy much like myself, shouts out, "Free Bird"! Leonard Skynard is then graciously played by the fabulous Guilty Men! Dave Alvin is a true gentleman, and an American Song writing treasure. Buy it!

Classic Performance from a Classic Songwriter
What I love about Dave Alvin is that he is creative and varied enough to defy any of the categories that most people create for musicians. He can be a country crooner, a rocker, a balladeer, and a thoughtful folk singer. He is known as a brilliant songwriter but is also a compelling figure live. More importantly, just as you get used to one of his creative directions, he finds the ability to do something different. For example in the past year, he has done live shows with his rock band the Guilty Men, done live acoustic shows in places like the Neighborhood Church in Pasadena, played guitar in the Blasters reunion, toured with Christy McWilson, played guitar at a few Chris Gaffeny gigs, and still does a few shows as a member of the Knitters.

So here comes Dave with a new live album! Consider this the Dave Alvin sampler. This gives you an idea of what a wonderful songwriter he is. It also gives you an idea of how energetic his live shows can be. I know because I attended two of the three concerts that were recorded to make this CD. What's great about it is there are live performances of songs that he recorded a number of years ago such as Haley's Comet, Blue Boulevard and Wanda and Duane.

My only complaint about this CD is actually a suggestion. There are so many more songs that Dave does live that are terrific. I hope he issues another CD that would be available to fans at his shows. This could have been a 2-disc CD that would have been just as compelling and fun to listen to. Instead what we have is a single disc CD that is terrific and will leave you begging for more. ... Read more

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This 1986 performance from Austin City Limits (also available on DVD) presents one of country's most powerful artists at his performing peak. The native Texan's series debut finds Earle in the midst of his headstrong breakthrough, drawing from the Guitar Town and Exit 0 albums that put him at the front of the renegade country pack. Within the former album's title track and other performance highlights such as "Good Ol Boy (Gettin' Tough)" and "Nowhere Road," Earle and his band the Dukes combine country twang with rock dynamics. Plainly influenced by Bruce Springsteen, he introduces a taut, riveting cover of "State Trooper" as a song by "a pretty good hillbilly singer from New Jersey," and Earle's own "Fearless Heart" owes a debt of inspiration to Springsteen's "Hungry Heart." Yet the 17-song performance reflects his softer side as well, with the reflective balladry of "My Old Friend the Blues" and the tender lullaby of "Little Rock 'n' Roller" packing as much of an emotional punch as the tougher stuff. Where Austin City Limits typically edits an artist's taping into a half hour for airing, this 65-minute release treats listeners to the full set. --Don McLeese ... Read more

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On their first album since 1998, the Mavericks have finally made a Career Move that Matters--they’ve ditched the desperate, ultra-cool factor and settled down to play straight-head, unselfconscious pop. If Raul Malo & Company had simply done this earlier, it might have buoyed their off-and-on career, and moved them beyond country radio, where they never really belonged in the first place. As such, the album signifies a rebirth, reflected in the self-titling of what amounts to their reunion album.From the opening cut, the driving "I Wanna Know," the band immerses itself in the thrill and energy of ‘60s British pop, with the usual side trips to the graves of Roy Orbisonand Elvis Presley, and to the sonic birthplace of Malo’s Cuban heritage. While a faithful remake of the Hollies’ "The Air That I Breathe" closes the record, it sets the scene for the album as a whole with its grandiose and theatrical homage to obsessive love. At last, the melodramatic Malo never sounds overreaching, because he’s made the material match his nearly operatic vision. Throughout, The Mavericks is smart, sophisticated, and knowing, from its lush and sensuous cocktail forays ("Wondering," "A Little Too Lonely"), to its sexy Latin come-on ("San Jose") and swingy shuffle ("Because of You"), the latter of which recalls the way Presley updated hoary country songs recycled from Hank Snow and Eddy Arnold. Still, it’s not the ghost of either of the big Hanks that hangs over this album, but Phil Spector. A dazzling comeback, and one of the year’s best albums. --Alanna Nash ... Read more

Reviews (20)

Typical Mavericks
Don't get me wrong, The Mavericks is one of my favorite groups and I listen to them more than anyone else. I love their songs and their ways of playing. This CD gets only three stars because it brings to the table nothing more than a typical, though solid, Mavericks CD. Longtime fans should be able to tell you what is there: a fast-paced strong tune made for turning up loud, a Latiny-sounding tune, a couple of I-can-sing-Sinatra-songs-too tunes, a cover of an old standby, a song that sounds country, etc. Once again...I love Raul Malo's voice and the things this band does. I will listen to this latest effort again and again, but I think that Trampoline and Music For All Occasions will get more play time. I hope this didn't sound too negative, because I want to end with...WELCOME BACK, GUYS, AND THANKS!

Welcome Back
Their last album, Trampoline (1998), remains one of our most frequently played. So it is indeed a delight to salute the Mavericks' triumphant return, after a hiatus which allowed leader Raul Malo to indulge his penchant for Latin music on his terrific solo album 'Today'. Resuming right where they left off, The Mavs have honored us with another set of ear-catching tunes over a similar range of styles, from merengue to waltz, with the same range of influences, from Patsy Cline to The Beatles. Their sound is vintage-no trace of the hip or the hop, their spirit ebullient. Fronted by vocalist nonpareil Malo and backed by a studio full of talented musicians, this fillerless record is orchestral and Orbisonic (we're thinking of patenting that word). We welcome the Mavericks back.

A great album.
These guys get better with every outing, and this album is terrific. I haven't stopped playing it since I got it. The vocals are clear, and the harmonies are a thrill. Plus they sound like they are having fun, not always true with groups who re-form. There is no one who does toe-tapping honky tonk like the Mavericks, and there are some great cuts on this album. Buy it.

Repeat & Roy O.
Two types of music, art, books, movies, etc. The ones you like, the ones you don't like.

You gotta like the Mavericks. Ashamed to say, after all these years of listening to music, my first exposure. Catchy pop tunes, great talent, and you know, just keeps returning to my CD player.....

And good god, if you ever loved Roy Orbinson, you gotta pick this up. Don't know their history, don't know Mavericks lead singer..... but anyone who doesn't hear Roy all over this production ..... (hmmmm, "By the Time"... "San Jose"). And the first two tracks ("I want to Know" & "In my Dreams")... impossible to stay angry regardless of how bad a day you've had...
All in All.... a big time keeper. Don't know why, but reminds me of Peter Wolf's "Sleepless" (former lead singer of J. Giles), another CD that keeps finding its way to the top of the stack.

You gotta love quality. You gotta love the Mavericks.

Very catchy and fun. Would be a 5 if not for the production
As longtime fans know, The Mavericks were one of the most acclaimed country bands of the '90s and, at their apex, they were among the most popular. They never fit the mold of what people think of as "country" and some were very critical of their sound, but in my opinion good music is good music no matter where it originates from or where the company/the record industry chooses to try and place them because it seems like they think we are idiots and need to have our music in neat little packages. Some other musicians, like k.d. lang and wynonna judd, have been criticized for leaving their country roots behind, but in my mind their development as artists should take them wherever it takes them. Having said that, I too may be guilty of having some genre biases as I was hoping that this release would try and hit it out of the ballpark by roughing up the production a little. The guys sound better than ever, but the production and certain musical arrangements strips them of a certain liveliness that prevents this release from being the AMAZING homerun that it would otherwise have been.

There is no doubt that Raul Malo is an outstanding singer and that this release has some great and catchy tunes, but as I listened to it I wanted Raul and the band to let loose. I know that hardcore fans will think that I am crazy and go to town on this review, but I am not a Mavericks hater, but a fan was bothered by how distant the band sounds due to the aforementioned production and orchestration.

After hearing my critique some may think that I did not like this release, but that would not be correct as I think it's a pretty good effort. "I Want To Know" is a great anthem. "In My Dreams" is beautiful and although some criticize Raul for sounding like a poor man's Roy Orbison, I have to respectfully disagree as all artists show their influences and Raul is no different. If you listen carefully you can see that he has also listened to Chris Isaak, Patsy Cline, the Beatles, and Jose Feliciano, and k.d. lang, and Los Lobos just to name a few. "I am Wondering" is simply gorgeous and may be my favorite song on the CD. I love the guitar and harmonica. This song screams summer! "By The Time" shows the band's country waltz roots and has a quiet strength. "Would You Believe" is a catchy classic waiting to be stripped of the busy production that derails Raul emotive singing. "Too Lonely" is sumptuous and seductive.

At first I did not like "Time Goes By" because it seemed a little out of place and Willie Nelson did not quite convince me, but I have grown to love it and it's one of my favorites. I love the guitars and horns!! "San Jose" is the only wrong turn as it is almost killed by a mess of strings at the beginning and it does quite get back on course. "Because Of You" is a party waiting to happen! "Air That I Breathe" is surprisingly good as I was ready to hate it because I wanted Raul to break lose, but to my surprise he has made the song his own and it could become the definitive version of the song.

This CD easily earns 4 stars and I would raise it to 5 if it were not for the production. I've heard these guys live and I can tell you that this is tame compared to the energy in their live shows. Although I am generally not a huge fan of live releases, I would love for these guys to record an unplugged version of this CD or a live one that would show the world that Raul is more than a Roy Orbison sound-alike and that these guys can rock with the best of them. Check out Raul Malo's solo release titled "Today" to hear the power of his voice when it's not overproduced. ... Read more

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On September 13, 1995, this like-minded triumvirate of country-folk singer-songwriters joined forces for a good old-fashioned song swap. The music's warmth and relaxed vibe make it sound like it was recorded on someone's back porch in Texas as opposed to Nashville's Bluebird Café. Pulled together for an Interfaith Dental Clinic benefit by Guy Clark's wife Susanna, the three old friends sing songs and tell stories in an intimate acoustic-and-a-stool atmosphere in front of an appreciative audience--what more can you ask for when you have such compelling songwriters? The ravenous cult fans of these artists will want to add these delightful performances to their collections, but newcomers will get an engaging and useful primer on the modern Texas troubadour style. --Marc Greilsamer ... Read more

Reviews (19)

As Great As You Suspect
This CD, capturing a 1995 guitar pull with Steve Earle, Townes Van Zandt and Guy Clark, is as great as you would picture. The sound quality is excellent sound quality and the song selection is great. Earle and Van Zandt, in particular, are in great voice and spice up several of the songs with charming banter. For Earle, this is a far more satisfying concert snapshot than his full-length SHUT UP AND DIE LIKE AN AVIATOR from years ago. Standout cuts: Earle's Mercenary Blues; Van Zandt's Tecumseh Valley; and Clark's Randall Knife.

A Song For Townes Van Zandt
Apparently, these three underground folk / rock / country greats walked on stage together for what sounds like a nearly impromptu benefit for a proposed Interfaith Dental Clinic (for the "working poor," Van Zandt explains, "who can't get insurance"). Each performs several of his own songs, accompanying himself on guitar with a minimal amount of harmony vocals.

Earle and Clark give strong performances. The stories told between songs are sometimes hilarious -- Townes' story of losing his gold tooth in a game of cards, or Earle's recounting of how his roommates were too dumb to even steal pizza.

But the thing I find really striking about this recording is Townes Van Zandt. Townes died only a couple of years later, the proximate cause being complications following hip surgery, but his alcoholism no doubt contributing. In his performances you can hear his slipping concentration -- missed chords, forgotten lines, etc.

His performance of "A Song For" is heartrending. He forgets parts, and the spare accompaniment accentuates his croaking, corroded voice. "Too late," he sings, "to wish I'd been stronger." A song for what? For a dying poet, a wanderer with no strength left to roam. A song for whom? A song for Townes Van Zandt. Touching.

If you're reading this review, you're probably already familiar with at least one of these legendary songwriters. Get the album -- its intimate, warm, funny feel is delicious even if you already have recordings of all these songs.

guy clark's dublin blues...
during dublin blues, guy clark says "this might just be the best i ever played it." it's amazing.

Great Music - PERIOD!
This is one of those CD's that you use to turn your friends on to great talents.

Steve Earle - Genius
Guy Clark - Super Genius
Townes Van Zandt - Superdee Duper Genius.

Grows in yer heart
I cant believe any of you whiners that dismiss this album as poor. Sure, Townes is loaded, but do you want the truth or do you want some polished puke? Townes Van Zandt is spreading the love on this one, and you can hear how the audience responds not only to his songs, but his stories, which by the way, make me laugh over and over again.
This is honest, not perfect, and beautiful. ... Read more

Reviews (7)

top notch
A truly fine performance by a master. I enjoyed the songs, humor and variety. The portion where he imitates a couple dozen other guitar greats is worth the price alone. Sound quality of disc is very good.

THIS CD IS JUST TOO MUCH FUN!
If you're gonna throw a party, first ya need the beer, then comes the entertainment. And that would be the dancing girls and this Bill Kirchen "Hot Rod Lincoln Live" cd. If your a fan of Commander Cody, I promise you'll love this. If you've never heard of the ole Commander, think "Hot Rod Lincoln". And you really haven't heard "Hot Rod Lincoln" till you've heard this funky 8 minute version that's played on the same "Coal Burning" guitar that was used on the original tune from 1971. This new version is soooo good that you'll press track 4 over and over again until your dancing feet wear out. I don't think there has ever been anybody around who has as deep of a twangy guitar sound as Bill Kirchen. Not even Duane Eddy, who is just one of the many musicians that Kirchen playfully mimics on Hot Rod Lincoln. But this isn't the only great song on here. Kirchen throws in a couple Commander Cody songs from the good old days. "Lookin at the world through a windshield", and one of my favorites "too much fun". BIll Kirchen isn't any novelty act though. This guy writes great original songs like "secrets of love", "swing fever" and a great rockin tune "rockin' over China". I highly recommend running out and getting this before your next party. You'll definitly want to have this cd handy, just in case the beer runs out.

Experience the smell of diesel fuel
This is what a Fender Telecaster should sound like. Bill has been doing the roadhouse and truckin' twang since before it was cool and needs to be given fair credit for the influence he had had on other players throughout the years. This is a great "live" recording that puts the listener right behind the wheel. To no surprise, it has a real Commander Cody feel to it which is emphasized by the many songs it contains from the Commander days. Bill's personality, humor and diversity really pop out on his version of Hot Rod Lincoln.

Did someone say "Smokey Texan Bar Room"?
This album is perfect for anyone looking for a CD's worth of great goodtime music. The Centerpiece of the album is the 8 minute version of Hot Rod Licoln. It shows off Bill's sense of Humor, and his great tele playing. If you're lookin for a good CD to listen to driving down any highway, this will fit the bill (Bill Kirchen that is!)

This CD made a Dieselbilly fanatic outta me.
If your idea of great music is three musicians rocking a bar until 2 AM, this CD is as good as it gets. Bill's energy, humor and talent for playing his coal burning" guitar are worth travelling a thousand miles to see. The only thing better than buying this CD from amazon is getting directly from Bill at one of his shows. ... Read more

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Wayne "The Train" keeps a-rollin' as the Austin honky-tonk hero struts his stuff in live sessions on his home turf, energizing the dancers and putting a smile on the face of anyone who prefers country music with an old-fashioned kick. The ex-Marine is a hard-core country traditionalist, but his devotion to swing--Western and otherwise--gives his honky-tonk fluidity. Swing Time, produced by Texan Lloyd Maines, makes excellent use of crack guitarists Paul Skelton and Dave Biller, who deftly combine vintage licks with contemporary energy. Steel guitarist Eddie Rivers is equally effective, especially on songs like "Louisiana Blues," "Flatland Boogie," and "Big City Good Time Gal." Still it's Watson's no-nonsense vocals and 21st-century Hank Williams persona that makes the music click. Hancock reprises several songs from previous recordings, adding a quick trip down "Route 66" and an intriguing take on the standard "Summertime." --Michael Point ... Read more

Reviews (2)

very addictive
I recently disovered the wonders of Accuradio and, in particular, the station TWANG. It is awesome. There are a few CD's that are in heavy rotation other than Johnny Cash or Willie Nelson. This is one of them, and for good reason. It sounds new and old, and Wayne's voice does have an uncanny resemblance to a certain Hank Williams. The music has this quality that you rarely hear of being familiar and completely unique at the same time. Hat's off to the band for making it sound oh so easy. It's toe tapping heaven.

A fun, relaxed live set
A great live set recorded down in Austin by hard-country hero Wayne The Train Hancock and his band, featuring Dave Biller on guitar, a bit of trombone tootling by Bob "Texaco" Stafford, and solid, lively backing by all the others. From the album title, I had expected Hancock to indulge his interest in jazz-standards and swing, but I ain't complaining that this is a strait-up country album instead -- not by a longshot! Really, it's amazing to hear anyone playing such as rough and rowdy, yet accomplished and historically aware kinda country these days, and this disc captures the energy and charm of Hancock's live shows pretty well. High points include his new version of "Thunderstorms And Neon Signs," which may actually outdo the original -- overall, another top-notch release! Highly recommended. ... Read more

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This double live CD, recorded with the Dukes on their tour supporting Earle's 2002 album Jerusalem, takes its title from "John Walker's Blues," Earle's song about John Walker Lindh, "the American Taliban"--a song that got him Dixie Chick-ed off adult contemporary and country rock stations across the U.S. Subtitled "an audio documentary," the album coincides with the release of a feature film that follows Earle as he tours, mounts a play, and campaigns against the death penalty. Earle talks quite a bit between songs; his monologues are affable, entertaining, and leftist. Along with WoodyGuthrie and D.Boon, Earle's one of those rare musical activists who understands that successful political songs must have music that's exceptional and politics that are personal. There are extraordinary renditions of some of his finest soapbox songs, including "John Walker," "Harlan Man," "Christmas in Washington," and "Billy Austin." A couple of tunes that sounded stiff on Jerusalem--"Ashes to Ashes" and "Conspiracy Theory"--receive far better, and more rocking, treatment here, while "Copperhead Road" is turned into a Scots-Irish reel, which works surprisingly well. The highlight is a take-no-prisoners cover of Nick Lowe's "(What's So Funny 'Bout) Peace Love & Understanding." --Mike McGonigal ... Read more

Reviews (28)

A solid live album with a great Townes cover!
I have to throw in my two cents worth regarding Earle's "John Walker Blues". Contrary to what some of the critics here have stated, "John Walker Blues" is NOT over-simplified or anywhere akin to the jingoistic dreck put out by other "country artists" like Toby Keith.

Politics aside, I think it's crucial to remember that it takes a sophisticated writer to 1) humanize a demonized figure, 2) create a complicated sympathetic character, and 3) attempt to understand the point of view of characters we often don't relate to. To do so is not to simplify. In fact, it complicates the whole affair by forcing us to consider the HUMAN involved in the story.

Steve Earle has made it very clear that he doesn't support what John Walker Lindh did. Rather, his song is an attempt at UNDERSTANDING why someone like Lindh might do such a thing. It's easy to jump on the simplistic jingoistic wagon that Toby Keith did. It's not so easy to hold the mirror up and consider how we (as a culture) might be implicated in his tragic turn.

And while you might disagree with Earle's musings over what might have turned Lindh away from the American way of life, it's another matter to write off his approach as simplistic. Earle is pointing out that life is not so neatly divided into black and white, or right and wrong. Instead he points out that sometimes the very things we say we want are what destroys us in the end.

That said, this album is a must-have for Steve Earle fans due to the incendiary versions of "Ashes to Ashes", "The Unrepetant", "Amerkia (V 6.0)", "Jerusalem", and the infamous "John Walker Blues"; the short acoustic bluegrass set that includes an absolutely rocking electric version of "Harlan Man"; the singer-songwriter heavy disc two with a wonderful cover of Townes' "Rex's Blues" as part of a medley with the Townes eulogy "Ft. Worth Blues"; his five minute introduction to "Christmas in Washington" which actually adds to the power of the song; and his son Justin's respectable studio recording of an original tune.

This is a great album for the already converted fans who are interested in getting rawer versions of some of his more recent work as well as some rare nuggets. Casual listeners will want to stick to the studio albums!

instant classic
Steve Earle continues his remarkable winning streak with this live album. There are things you can quibble about: It could have been longer, and there are a few songs that I would have personally liked to have heard ("Taneytown," for example). But, it's hard to complain about a two-disc live album from America's most vital singer-songwriter, on his most eventful and controversial tour ever, the latter aspect which just serves to accentuate the urgency of Earle's socio-political muse.

An Earle concert is like getting at least three different bands (the loud one, the quiet one, and the bluegrass one) in one, and this album reflects that. It all fits together beautifully. Of course, Steve does his (mostly political) monologues as well, but they are funny and to the point, while overall he keeps the focus squarely on the music. And, that part is just terrific--the songs are all worthy alternatives to their studio versions, and in some cases (The Unrepentant, Ashes to Ashes, Billy Austin, Conspiracy Theory, to name a few) they are marked improvements.

The record closes with a furious take on "What's so funny 'bout peace love and understanding," and a beautiful little tune called "The Time you Waste" by Steve Earle's son Justin. The whole thing is great, intelligent fun from start to finish.

5 Stars for Guitar Town, Lose a Star for Each One Since
Which should place this one into negative stardom...Oh boy, saw him live in NYC in 1997 and it was a disaster. With his talent long since AWOL, he's turned to politics that puts him in favor with the elitists in the recording industry, academia, mainstream newspapers, and well-to-do socialists. Siding with the political issues of agenda setters in the mass media is not brave, folks, and don't pretend Earle is singing for the common man. I've got two words to replace the respect I had for Earle circa 1986: Gary Allan! He's the real deal, and someone who is far more melodic, accessible, and fun. Dwight Yoakam also stands as a lesson to Earle in how authenticity matters.

Preachin' to the choir
The problem that seems to plague Steve Earle is that he is not nearly as clever and smart as he seems to believe he is. Unfortunately, most of his fans, especially the newer ones that probably think 'Guitar Town' is a cute little cover song during his set, lap up his misinformed diatribes and sermons on stage as gospel truth while those there for the music roll their eyes. So, Steve read a couple books about Islam and Judaism and wants to tell you about it...he's still against the death penalty....he's an advocate for free speech, although I've been to two shows where he asked people to leave when they asked, 'what about the victims?' during one of his anti-death penalty speeches. Earle is no longer a singer-songwriter, he's an activist that just happens to write songs.

'Jerusalem' was a spotty album at best, and the material does no better when presented live. 'Amerika 6.0' sounds like an outtake from 'Transcendental Blues', a warmed over and slower 'All Of My Life'. And that is the issue with all of Steve Earle's recent releases, they are uninspired and tired, like he's trying to channel John Mellencamp during his 'Uh-Huh' period or something.

While I don't agree with Earle's politics (as I stated earlier, Earle has no original thoughts or insight, just what he's read and overheard makes it into sound bytes and his songs), and he's a hypocrite when it comes to free speech, I just wish he would go back to writing great songs. I suppose that's what disappoints me the most about Earle these days. Listening to Steve Earle now is like watching a once great athlete fail on the field and come up short. It's sad, it's heartbreaking, but hey, we can all say, 'Remember when...?'

Excellent
This CD is well worth the price. it's one of the best live sets you could even hope to hear him play, much less own. Perfect mix of rock, blues,bluegrass (real bluegrass),and country. All done with motivated speeches and cuthroat honesty. A must have. ... Read more

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Guy Clark approaches songwriting the same way he approaches fishing--if what he comes up with is too meager, he throws it back; only the best specimens are considered "keepers." Fifteen of those specimens are featured on Keepers--A Live Recording (Sugar Hill), which was taped at a Nashville club in 1996 on Halloween weekend. Two strong songs are unveiled--"A Little of Both," a bouncy, witty song about avoiding choices, and "Out in the Parking Lot," a slow, poignant look at the action outside a nightclub. These two are joined by 13 old favorites, including those turned into hits by Ricky Skaggs ("Heartbroke"), Jerry Jeff Walker ("L.A. Freeway"), and Johnny Cash ("The Last Gunfighter Ballad"). They're all wonderful songs, but these aren't necessarily the best versions. Clark is a limited singer, but his voice cracks more than usual on several of these live renditions; this version of "She Ain't Goin' Nowhere" is practically unlistenable. Clark did put together a sharp little band for this recording, but if he was going to make a live album, why didn't he deliver some of his long, droll stories rather than these truncated introductions? --Geoffrey Himes ... Read more

Reviews (7)

Not a keeper
One of life's greatest joys is a Guy Clark performance. Though I left Nashville shortly before the one recorded here, I listened to Mr. Clark play every dive in town for 20 years, sometimes sick, sometimes overly fortified with alcohol, and he was always the consummate showman. As such, the idea of a live recording was very appealing to me. The result, however, is a little disappointing.

The songs are indeed mostly keepers, and the track listing is typical of a Guy Clark set list. It relies heavily on his first album, with half the tracks coming from Old No. 1, and then a song or two from subsequent albums of the late 1970s and early 1980s. Some, like "Heartbroke", are pleasant surprises I've never heard him perform live. I tend to be a little more sanguine about Mr. Clark's post-1975 oeuvre than he seems to be based on his shows and on this CD though - I think he's written a lot of other "keepers" that are conspicuously absent here, some from the "Old Friends", "Boats to Build", and "Dublin Blues" recordings that were released before the concert presented here, and that usually find their way into his sets.

It is the performances that disappoint in the end, though, not the choice of songs. The songs are mostly tried and true classics. Guy Clark may or may not tire of singing his first album for 30 years, but he has remarkable stage presence and can play "Desperadoes Waiting for a Train" a thousand times and make me misty every time. In general, though, the vocal performances are better on the original recordings. There is something to be said for re-recording many of these songs using the acoustic sound found on Clark's CDs from "Old Friends" onward, or perhaps in the simple guitar and bass form often used in his performances. The electric instrumentation used on some of his older albums has left some of his best material sounding dated. But here, with Mr. Clark not hitting some of the notes, sometimes off-key, most of the time I felt I'd be better off just pulling out Old No. 1. Or that he'd have been better off re-recording the "keepers" in the studio. There are some fine moments here. Texas Cookin', though recorded perfectly well in the studio, is a fine performance, and I can't help but smile at Mr. Clark, Jr. on bass doing the riff from Hendrix's "Third Stone From the Sun" near the song's end.

In short, the songs are keepers but the performances aren't. I have every Guy Clark CD ever made, and I listen to several of them fairly regularly. He is a personal hero in the world of music, and in his corner of this genre, I'll say something he'd disagree with - I think his work far eclipses that of Townes Van Zandt. But this CD has been in my CD player only twice over the years, once when I first bought it and was disappointed, and once today when I was disappointed again. The only good reasons to have this CD are to have a complete Guy Clark collection or to remember this particular concert if you were there.

Texas Without Being There
Guy Clark is the unofficial music ambassador for the great state of Texas. His songs are simple and straightforward tackling the always tough relationship department and lightweight subjects like eggs, tomatoes, chili, trains and his home state. ( "Texas 1947", "Texas Cookin" & "South Coast Of Texas" ) He's also intelligent when it comes to a live recording, putting together a great band which includes brilliant sideman - Verlon Thompson. Guy is definitely ON this night balencing songs, stories and laughter. The album literally brings Texas to my home until I can make the next visit. The purists seem to like his first two LP's found on "Essential", the critics pick is "Boats To Build", but the real Guy Clark is "Live" and this one is for the "Keepers".

Great atmosphere
The best thing about this record has to be the way it's recorded. Anyone with a half decent hi-fi system will love it just for that.

The small band Guy has gathered for this recording are as tight as can be and even Guy himself stays in control of his fingers...

Great versions of Heartbreak, Texas Cookin' and Home Grown Tomatoes. He's at his best when you can hear the smile on his face. She Ain't Goin' Nowhere is a classic Guy Clark song too. I'm less enthusiastic about some of the slower "moody" songs like Desperadoes (I can never understand the popularity of this one) and he misses out songs from Boats to Build - my favourite album. All in all though, a fine effort.

Texas Pure......
You yankees want to know what Texas is about? Hear it in his voice, words, and music. If you don't live here...listen to this cd and you'll want to get here as fast as you can.

Texas country-folk's main attraction delivers live
Imagine John Wayne with a guitar ... conveying toughness, pride, humor, and above all, integrity without having to raise his voice and rarely changing the pace of his words. That is the kind of talent and charisma Guy Clark possesses. His guitar playing is wonderfully intricate and his lyrics rank with anyone else's best. Slices of life like "Texas 1947" and "Desperados Waiting For A Train" perfectly convey the feel of those little Texas towns a few miles south or north of any main highway. ... Read more