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Austin City Limits tends to bring out the best in the musicians it showcases, and Richard Thompson is the sort of artist that the series reveres most. The veteran British folk-rock troubadour remains an instrumental virtuoso, a soulful singer, and a songwriter whose depth and emotional complexity rival Dylan's. This 15-song set provides neither a career-spanning retrospective nor a greatest-hits rehash, as Thompson's selection of some of his lesser-known material shows that he's incapable of writing a throwaway. The rhythm section of bassist Danny Thompson and drummer Michael Jerome gives his guitar plenty of room to maneuver on the acoustic numbers that dominate the performance before the set builds to the electrifying climax of the lacerating "She Twists the Knife Again" and the explosive "Shoot Out the Lights." On "Uninhabited Man," Thomspon combines a guitar progression that recalls the Byrds with a lyric that gives a sinister twist to the tale of Goldilocks and the Three Bears, while the pensive, sinuous "Ghosts in the Wind" extends his exploration into the recesses of the psyche. Though Thompson's droll humor typically provides a change-of-pace respite from the dark intensity of his material, this disc edits out all the between-song patter in favor of more music. --Don McLeese

Recommended Richard Thompson Discography

Fairport Convention, Unhalfbricking	Fairport Convention, Liege & Lief	Fairport Convention, Full House
Richard & Linda Thompson, I Want to See the Bright Lights Tonight	Richard & Linda Thompson, Shoot Out the Lights	Hand of Kindness

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Reviews (2)

The best singer/songwriter of our time
The other day, my best friend, whose name happens to be 'Rich',
was trying to explain to me how much he liked this song, "1952 Vincent Black Lightning." I had never heard it before. Odd, considering I've been an avid Richard Thompson fan for over 30 years, since seeing Fairport during their last tour - in 1976 - before Sandy died. At any rate, Rich went on to tell me how he had found out the song was written by Richard Thompson. And he said, "Man, does that guy write everything??"


The more I thought about it, the more it occurred to me that Richard Thompson has written every song with any meaning that I've heard for at least the last 15 years. From the haunting "Just The Motion," with its rocking guitar solo and suicidal edge, to the venerable "Genesis Hall" (a song RT performed at my request twice); from the wonderfully manic
"Little Blue Number", woven with an out-of-the box krummhorn accompaniment that just isn't allowed, to the intense rocker "Living On Borrowed Time," this gifted musician is neither predictable nor limited, and he gives a hell of a performance, besides!


It really doesn't get better than this. Oh, by the way, I finally got to hear "1952 Vincent Black Lightning." Kinda like Dylan -- only better!

A lively, muscular sesson
I think nearly everyone has heard a Richard Thompson recording, seen him in concert, or both, so many folks may bypass "Live from Austin, TX," figuring why do I need this one? To do so would be a mistake, even for those with a stack of Mr. Thompson's CDs.

This performance, which was recorded live to tape for the "Austin City Limits" PBS show, features songs from throughout Mr. Thompson's long and steady career, some of which are not as well known as the tracks 1952 Vintage Black Lightning or Shoot Out the Lights. But throughout, Mr. Thompson brandishes his guitars like a weapon, ripping off searing solos or letting his fingers do the talking to convey emotional nuances. He is equally adroit on his vocals, conveying pain, adding a dash of humor, underscoring a turn of events with a bit of a sneer or a sustained note.

Every track has its merits and its own story, from the self-effacing Walking the Long Miles Home to the undeterred love-struck soul in Persuasion. Hearing Mr. Thompson take an image, such as the jackknifed truck in Easy There, Steady Now, and using that as metaphor for lost love makes one appreciate what a fine writer he is. The angst that builds through She Twists the Knife Again mercifully culminates into a fiery guitar finale, making one wonder if the strings are infused with magnesium.

Much of Mr. Thompson's work is as a solo artist, and while that work is enduring, hearing this collection performed with the excellent rhythm section of Danny Thompson on bass and Michael Jerome on drums is a revelation. This trio of veteran musicians never sounds at cross purposes but displays a subtle interplay equally effective with on the jazzy Al Bowling's in Heaven or the punchy rocker Crawl Back (Under My Stone).

The sound quality is excellent, but Mr. Thompson's typical onstage banter (if you have seen him live, you know what I mean) and enough of the applause has been snipped out---which I think improves the overall flow and energy of this lively, muscular session.

... Read more

Amazon.com

When Eva Cassidy is swinging her way through "Cheek to Cheek" and getting down and bluesy on "Stormy Monday" on this live set from 1996, it's nigh impossible not to get swept up in her voice's vast, barreling force. Her full range, though, becomes most obvious--and soul-shaking--on the slower side, as with Paul Simon's "Bridge over Troubled Water," Buffy Sainte-Marie's "Tall Trees in Georgia," and "What a Wonderful World." On these latter tunes, Cassidy's mix of aching clarity and rich warmth has a melting quality, speaking through the body to some evanescent presence that she seems to know all too well. She improbably makes Sting's "Fields of Gold" an emotional powerhouse just as easily as she makes Billie Holiday's "Fine and Mellow" an offhand declaration of feeling equal to nearly anything in the jazz vocal canon. In doing so she earns her place among the great singers--artists who could take any song and stamp it indelibly as their own. What Eva Cassidy had in her short life was an unbelievably perfect voice and a musical soul that grasped gospel, folk, blues, jazz, and all points in between as if they were mere stops on a single train ride. Alas, her ride ended in 1996, tragically early. --Andrew Bartlett ... Read more

Reviews (109)

this cd will rarely leave your cd player, it's that good.
the first time i ever heard eva cassidy was 3 years ago, on a local dc jazz station (which, sadly, has since gone off the air). it was the song "what a wonderful world," which i normally find cloying. but eva's clear, strong, beautiful vibrato cut through my work day and made me sit back and listen. wow. when i went to buy the cd at the store i was looking for an african-american woman on the cover. i was shocked to see a blue-eyed blonde, looking folkie and meek, on the cover. but my god, the woman has the soul, depth and power reserved for the best of the best, including mahalia and 1960s aretha.

this cd, all covers, ranges from swinging jazz to traditional folk to blues. eva handles it all with incredible control and taste, with real singing and not the pyrotechno crap you hear on the radio these days. her range inspires awe, especially on "golden thread," in which she reaches a note that would give anyone else a hernia. her interpretation skills are amazing; she manages to breathe new life into songs that have been covered hundreds of times. particular standouts are "autumn leaves," "tall trees in georgia" and "fields of gold," all of which will make you cry; "golden thread," which is as spiritual as any hymn; and "fine and mellow" and "cheek to cheek," which are fun and sexy. the band is also in top form, keeping the sound tight and crisp while giving eva the spotlight.

eva's passing robbed her of what surely would have been a big, long career, and us of an enduring talent. buy this cd and you will not be disappointed.

Not the best Eva recording but still something truly special
At this stage, what is there to be said about the genius of Eva Cassidy that hasn't already been said a thousand times before?

All I can add is that you have never heard Ms Cassidy's voice before, I PROMISE that you will love it. Absolutely and completely fall in love with it. Eva's voice bypasses the head and instead goes straight to the heart. Once it is there you won't be able to remove it.

This CD was my introduction to Eva Cassidy and while I think the selection of songs could have been better, it is clear that she is a unique talent. I don't want to give the impression that this isn't a good record - quite the opposite; it is on occasion truly magnificent with Oh, Had I A Golden Thread and Tall Trees In Georgia being among Eva's best recordings and two of the most moving songs I have ever heard. It is a great place to start your Eva Cassidy collection - buy this CD, fall in love with it, then move on to Eva two crowing artistic acheivements Eva By Heart and Time After Time. That's the way to do it!

I don't joke when I say that the music of Eva Cassidy has enriched my life more that I thought any singer ever could and I am sure it will do the same for you.

If God wants you to own only one disc, THIS IS IT.
Hands down, the best music recorded ever, and i believe, eternally and a day.

The Artist/s. Eva Cassidy is so impressive and versatile on this disc. Words are not enough to describe her. She massages and caresses each and every note that would make your hairs literally stand from your skin (I call this a hairstanding ovation). But wait, unlike other Eva discs, this Blues Alley recording puts the other musicians (Chris, Lenny, Keith and Raice) right smack there in the center. A total BAND effort. And that makes it more exhilirating for me. The drums, the guitar licks, the bass, the piano . . . all were perfect.

The record. Another thing that makes this record such enjoyable is that it is recorded live in a very HOME-y set-up. You go to your house, put the disc in, you sit in and close your eyes and youll be mesmerized as the music comes alive, complete with a FEW claps from the relatively small Blues Alley (unlike in massive concerts). So, you'll get the feeling that they are REALLY performing at your house/room when you close your eyes. The recording is so great that the disc is now being used as a tester for branded speaker companies.

The songs. The songs herein would fit for almost any person. I love rock, and there's song #11. But I also love blues, so there's song #2. And man, song #3 or Bridge Over Troubled Water, now that's what I call sensuality in spirituality! You got to hear it. Then there's the songs Cheek to Cheek, Fields of Gold, What A Wonderful World and a lot lot more. Each song, perfect.

Overall, this disc WILL MOVE you in a way you've never felt before. To quote from someone, it's the "best glimpse of heaven yet." And it sells as how much? $30 was it? Nahh, this is priceless. Buy this, thank me later.

If you haven't bought any Eva disc yet, start with this, then American Tune.

Amazing
I first heard of Eva Cassidy in 1987 when I performed in the DC area... She was amazing then, and I wish to God she were with us today.

I have bought this CD for countless friends and family members, and they have all been bowled over. Everyone that I purchased this for is in the music business. Contrary to one reviewers opinion...Eva Cassidy embodies soul, and I love Ella, and Louie and many other great performers from yesteryear, but again, contrary to another reviewer, if Eva were alive today, she WOULD be at the top of the charts month after month.

Everytime I hear her rendition of a popular standard or cover tune I think..."it will never be done any better than that!"

Please order this, and as many of her other albums endorsed by her family as you can...you will NOT be disappointed. She is truly amazing.

wow.
I cannot tell you in words... how this cd moves me. There are a handful of songs on this cd that are sung with such depth and soul... you cannot help but fall in love with it.

I get a chill down my back just listening to the cd right now. If you want a cd that will touch you right there - right there on your heart - music that speaks to YOU as if she is singing directly to you.... this is the cd to have. ... Read more

Amazon.com's Best of 1998

Nineteen ninety-eight: The same year he dances with Soy Bomb at the Grammys, his record label finally issues Bob Dylan's ultimate live document. A classic case of not giving the audience what they want but what they need, Mr. Dylan's oft-bootlegged 1966 gig begins with lovely and supple folk that foreshadows folk music's turn from protest song to introspection. The album's true highlight is the legendarily ill received and rocked-out electric set, with Dylan backed by members of the Band. There are too many perfect, on-fire guitar solos by Robbie Robertson to count, and Dylan himself responds to the audience's angry bewilderment with equal parts menace, grace, and brilliance. --Mike McGonigal ... Read more

Reviews (145)

Hailed for years by critics as a bootleg, now official
This is a copy of a review found in a newspaper of this album when it was available only as a bootleg:

Beginning of article>Get this classic Dylan album -- any way you can (Quoted from Daily Record (of Morristown NJ) 1/5/97) --Knight-Ridder Tribune News "GUITARS KISSING & THE CONTEMPORARY FIX" Bob Dylan and the Hawks Various bootleg labels

On this album, a young Bob Dylan blows through an epic two-hour set in May 1966 -- half acoustic, half with the Hawks, later renamed The Band. It's perhaps the best two hours of his career, distilling everything tender, raging, touching and rocking in his work into one potent show. The performance has been available for years in collectors' circles in muddy mono. But this two-CD set is in glorious stereo, clean enough to sound great yet low-tech enough to sound authenic. The electric set is just as revealing, with Robbie Robertson's sharp guitar punctuating Dylan's words. It ends with one of rock music's greatest moments, where an audience member yells, "Judas!" at Dylan for going electric, and Dylan replies with a screaming, angry "Like A Rolling Stone". "Guitars Kissing" technically is a bootleg, legal in some countries overseas, but a copyright violation in the United States.

It's difficult to track down but worth the search; it's been repressed by six labels overseas, and copies are popping up all over. A good place to start searching is on the Internet -- fans of the disc have started their own web site tribute to it. For the computer impaired, check out the ads in record-collecting magazines such as Goldmine, ICE or Discoveries. But it's one of those discs where the rights and wrongs of copyright law become obscured by the purity, importance and force of the performance. This is an indispensable performance -- one of the few truly great lost albums of rock 'n' roll and easily one of Dylan's best.Of course now that it's available officially, you won't have to search for it and pay a premium price (usually $50). The point of this review is that if a bootleg which is illegal can draw this much attention then, ...well,..... if you haven't got it through your thick skull yet you won't ever get it........

My 26 year wait was worth it.
I missed Bob Dylan and the Band when they played Seattle in 1966, but just a few years later I heard about this amazing concert he had done in May of that year in London. Bootlegs were available but I never had the money or resources to search this one out, though I did have the original GWW that later became the Basement Tapes. so I waited for this and just this evening played it for the first time. Pure bliss. Dylan has never sounded so young, tender, angry, and knowing all at once. Other reviewers have remarked mostly on the rock disc and they all got it right, but I am nearly as impressed with the solo disc. His phrasing and timing were never better, especially on Desolation Row and Mr. Tambourine Man, and the harp playing! My God; we have forgotten just how good he was when he concentrated. I can almost understand why the audience didn't like the full band sound after hearing that voice and harp so clearly in the first half of the show. Still, the rock half truly does capture the pure American style of the music Dylan was making: a wondrous stew of blues, rock and roll, and surrealistic poetry. Walt Whitman plugged in, or something. It's tough to even adequately describe it. Anyway, the 26 year wait was worth it, and I look forward to listening more closely in the weeks to come. Bill Compton

one, if not, THE best live album i've ever heard
i really don't know what to say to make you buy this. one of my favourite albums ever. period.

The most entertaining electric live set I've ever heard...
I'm only 22 years old, which means I haven't even been thought of yet when Dylan took the stage in Manchester, but I'm pretty aware of what was going on at the time this event took place. Folk lovers considered the kind of stuff Hendrix was putting out "devil music," so some of the people in this audience weren't exactly thrilled when Dylan finished his acoustic set and began to rock out. It's definitely a legendary concert. This well-priced, handy-dandy souvenier represents one of the most important voices of the 20th century at the crossroads. Some liked it; some didn't. It's the ones who didn't that make this "Royal Albert Hall" concert the essential live document of Bob Dylan at the apex of his career.

Throughout the electric portion of the concert, Bob is greeted with boos, unwarranted clapping and cursing from his audience. At one point, when the audience tries to annoy Dylan by clappinig ferociously as he's tuning up, he leans into the microphone and begins to ramble about a bunch of nonsense. He does so until the crowd finally shuts up, at which he says, "If only you wouldn't clap so hard." Sure enough, they clap harder and yell louder. One guy in the audience even yells out "SELL OUT!"

But the real biggie here is when someone screams out "JUDAS!" after Bob plays "Ballad Of A Thin Man." I guess at this point, Bob was done being polite. "I don't believe you," he sneers. "You're a liar!" He turns to his band and yells indistinctly, "Play it f---ing loud!"

"Like A Rolling Stone" is then thrown into the audience's face with audacity and contempt. The song finally ends, Dylan sarcastically says, "Thank you," and walks offstage.

Cool, huh? The electric set is certainly the stand-out here, but the acoustic songs are nothing to shy away from either. In fact, I think "It's All Over Now Baby Blue" is better here than on the album version (ASOBD).

Another suprise you'll find with this release is how well Columbia packaged it. It comes with a fat booklet filled with glossy pages of pictures and notes of the concert and other appearances. This is truly worth your money. HIGHLY recommended.

Where's The Riot?
Hype is a funny thing. Sometimes one gets caught up in it, sometimes it turns you off. It generally turns me off, but in the case of this "historic" release, I got caught up in it.
I have been a sometimey lukewarm Bob Dylan fan over the years. His heyday was a little bit before my adolescence but his musical maturity began its development about the time I started high school. I am quite familiar with the music of those days, but was curious to go back and try to feel a little bit of the magic and expectation that earlier fans of Dylan experienced.
When I bought this, I expected to feel some of the excitement and tension in the air as the old clashed with the new. I wanted to hear the catcalls and Dylan's sarcastic retorts. I wanted to hear the riot!. But there was none. "One of the great confrontational performances of the 20th century" turns out to have been mostly the creation of the media myth machine. If there was any rioting to be heard, Columbia sure did a good job of screening out its sounds.
The liner notes mention the opening of Stravinsky's The Rite of Spring as another great confrontational performance. Yes, it was great theater, but it was all orchestrated by Stravinsky, Diaghilev and a claque of concert-goers who were given free tickets to the premier with the understanding that they would foment a riot thus generating press attention for Stravinsky and Diaghilev. The notes should have instead mentioned some of Astor Piazzolla's performances where fisticuffs between Piazzolla supporters and old-guard tango purists (sometimes involving Piazzolla himself) were regular occurences and death threats were a daily fact of life.
If the CD package does not live up to its hype, then why own it? The main reason is to experience the budding transition of Bob Dylan from folk legend to rock and roll hero. The first disc features a fine acoustic set of which my favorites are Its All Over Now, Baby Blue and Just Like A Woman.
The second CD features an electric set that showcases the talents of his sidemen that were later to gel into The Band.
I like Just Like Tom Thumb's Blues, the bluesy Ballad of a Thin Man, and the driving Like A Rolling Stone the best. There is a lot of musical tension and energy that makes the entire set memorable. Much of what the liner notes refers to as catcalling and slow clapping can be heard at any concert between songs. What people are usually calling out is a request. Only after Ballad of a Thin Man can you hear a real "insult" when someone shouts "Judas!" at which a few audience members applaud.
Despite the lack of any real riot, I recommend this album to any Dylan fan precisely because of its historic nature as the marking of a pivotal point in Dylan's long and storied career. ... Read more

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Dylan has issued a large number of live albums in his day, but 1974's Before the Flood deserves special mention because of the presence of the Band behind him. Dylan had recently brought the Band into the studio to record the chart-topping (yet still somehow underappreciated) Planet Waves, which was the first (and, as it turned out, only) studio record he made after leaving Columbia for Asylum. He then asked them along on the subsequent tour, which at the time became the most successful rock tour in history. The fruits of that partnership are contained on this two-CD set, which actually ignores Planet Waves completely in favor of older classics. Although the album includes several strong collaborations, the highlights ironically come during Dylan's solo-acoustic portion, which yields powerful and gritty versions of "Don't Think Twice" and "It's Alright Ma," and during the Band's own exhilarating numbers with Dylan sitting out. --Marc Greilsamer ... Read more

Reviews (50)

Energetic and Passionate
Dylan's music is closest thing to American folk art produced in the 20th century. Always evolving, his songs remain works in progress even after 40 years of recording and touring. His most recent tour, with moving remakes of his classics and brilliant new songs from Love and Theft, proves Dylan is never content to rest on his laurels.
Before the Flood is nothing short of a brilliant live album, featuring an energized and passionate Dylan, putting into his songs a vitality that a studio cannot hold. Versions of "Most Likely You'll Go Your Way and I'll Go Mine," "Rolling Stone," and especially "Watchtower" are among the best ever performed, reaching a breathless level of intensity. The acoustic numbers are uptempo, clearly stated and articulate. The Band is tight and focused, economic in their playing, sometimes following Bob, sometimes challenging him to keep the pace, but always with brilliant interplay. Their solo numbers are as intense as they have ever recorded, on a par with Rock of Ages. True Dylanphiles rank this record with the best of the many bootlegs which capture his greatest performances. Those with only a casual familiarity with Dylan can listen to this album and learn why the leading figures in rock and roll history count Dylan as a major influence.

Frustrating Dylan effort on this joint live album
This is a 1974 live album from Dylan's "Planet Waves" tour, when the Band was his backing group. The 2-CD set includes 13 Dylan songs and 8 by the Band. The song selection provides a lot of the "greatest hits" for each. The sound is fairly muddy, which was typical of live albums at the time. But the big drawback is Dylan himself--throughout the first CD, he seems to be goofing on his own songs, singing all the lyrics as throwaways that aren't worth an effort to put any emotion into. That makes this merely a pretty good album, and keeps it from getting anywhere near greatness. "Lay Lady Lay", "Rainy Day Women", "Ballad of a Thin Man", all are sung as though they had the same subject, one that wasn't dear to Dylan. The Band picks things up with their set at the end of the first CD. The second CD starts with Dylan's best performances, a lively three-song solo acoustic sequence of "Don't Think Twice, It's All Right", "Just Like a Woman", and "It's Alright, Ma (I'm Only Bleeding)". After three Band songs, including "The Weight", Dylan returns on electric for a strong four-song close. The CD booklet doesn't say how many shows were taped for the purpose of this album; it's hard to believe the producers couldn't come up with better performances of the first six songs.

Disagree with other reviewers about live Band recordings
"Before the Flood" is a great album, and the Band's best live recording, with Dylan and alone. The best track is the Band's "Endless Highway", which most other reviewers didn't mention.

I vehemently disagree with other reviewers, including star rock journalist Greil Marcus, about the Band's "Rock of Ages" -- I have never liked it. The guest horn section sounds like they aren't even playing in the same concert as everyone else.

Of the other Dylan & the Band live recordings, "Live 1966" and "The Last Waltz" are mediocre. One exception on the "The Last Waltz" is the wonderful version of Rev. Gary Davis's "Baby Let Me Follow You Down", which really rocks. Few people remember Dylan's odd "Self Portrait" album, but it has four excellent live tracks by him and the Band -- "Like a Rolling Stone", "The Mighty Quinn", "Minstrel Boy", and "She Belongs To Me".

Dylan and the Band did studio recordings together, too. "The Basement Tapes" is stellar. "Planet Waves" is very good. And, of the 5 of their songs together on the "Volume 2" disc of Dylan's "Bootleg Series", 3 are quite good.

Successful Tour Came At Just the Right Time
The sheer fearlessness of The Band in this 1974 live performance is so confident that it makes one wonder how they ever could have caught their famous case of 'Stage Fright.' "Before the Flood" is the live document of Bob Dylan's tour for his "Planet Waves" album, joined by his one-time backing outfit, The Band. At the time, the tour was one of the most successful ever. It couldn't have come at a better time for both parties; Dylan had staggered musically as he entered the 70s, releasing the ill-fated "Self Portrait" album, and fans of The Band were disappointed that they hadn't released any original material since 1971, their latest album having been a collection of covers, the "Moondog Matinee."
"Before the Flood" captures the electrical bond that had linked the two legends together in the first place, something missing from earlier classic Dylan/Band efforts like "The Basement Tapes." The Band (unintentionally) upstages and outshines their former mentor, being the more thrilling of the two, but Dylan finally demonstrates the sincreity and power of his cross from folk to rock. But here, the response from fans surely isn't the boos it met in 1965; Dylan compositions associated with his folk period are given a more exciting life, notably 'It Ain't Me Babe' and 'Blowing In the Wind,' as he soars on 'Rainy Day Women,' 'Knockin' On Heaven's Door,' and 'All Along the Watchtower.' The Band however steals the show, even though there are more Dylan compositions on the album; they captivate with such paintings of rural life as 'The Night They Drove Old Dixie Down' and Richard Manuel's shiver inducing vocal on 'I Shall Be Released.' "Before the Flood" also contains the most thrilling and rambunctious live version of the raw 'The Shape I'm In.'
This album packages one of the best live performances in rock and roll. "Before the Flood" is an absolute necessity for Dylan/Band fans and concert experts in general, and it's a pleasantly affordable necessity at that.

A Rocking Good Time
This is the second record that Mr. D recorded for David Geffin's Asylum label before he went back to Colombia, (both this record and "Planet Waves" are now with CBS/Sony where all Dylan's stuff is now) and it's a rocking good time of a record. Dylan's voice is right up front and central, the Band's playing is strong. And Dylan performs a very, very angry, version of "It's Alright Ma," where the audience goes nuts when he shouts out, "Even the President of the United States sometimes must have to stand naked." You have to remember that this record came out during the Watergate scandal, seems Mr. Nixon wasn't to popular with the Dylan crowd. Five stars for this one.

Reviewed by Stephanie Sane ... Read more

Amazon.com

"Stories" is the operative word here.The late Harry Chapin penned tales that touched a chord in listeners regardless of their age, background, or truth be told, regardless even of the type of music they normally listened to. Chapin always came across as a tough guy with a heart of gold, a brainy type who wasn't afraid to get his hands dirty--much like the protagonist of "Taxi" (a terrific rendition of which is contained herein). In addition to radio staples like "Cat's in the Cradle," the 1976 recording also sheds light on slightly lesser-known pieces like "Circle" and "Mr.Tanner." Chapin's affable manner shines through the entire album, giving it a disarming quality that's not always present on the studio versions. --David Sprague ... Read more

Reviews (42)

Very Good.....but seems to be missing something.
This is a fine "live" album and captures the essence of Harry's early work. From my college days, I have always listened to Chapin songs. While the studio albums are wonderful, it was in his live performances where he truly excelled. A large part of that success was due to his musicians. Not only their musical abilities, but their unique personalities shone through both in recordings and live performances. Two tracks which are my favorites are "Mr. Tanner," a work of depth and emotion and Stephen Chapin's "Let Time Go Lightly."

I gave this "only" 4 stars primarily because this is an incomplete album. While the sound quality is fine, the original vinyl had another track that is not included and I take exception (for what it's worth) to shortcuts which have often been taken when converting earlier works to CD in general, whether is in the arbitrary omission of album tracks or in the use of subsequent tapes rather than original masters.

That being said, this album is a fine example of Harry's early live performances. One can only hope that eventually the remainder of his albums will be released on CD (and properly mastered too). In particular, "Short Stories" and "Legends of the Lost and Found" (the latter of which reveals Harry's slightly older, "more mature" voice) as well as "Sequel" would be most welcome.

What an album, one of the Great Live recordings!!!!!
Harry Chapin was an artist that seemed to put out better live recordings, that had much more intensity then any of his studio work. I've listened to alot of his studio driven recordings but nothing will ever compete with this record. The album does have three studio songs pinned at the end but it doesn't disregard the magnitude of his songwriting.

Many folk artists strive for a catchy three minute song with backbeat and sensibility. Chapin never followed that formula. At times, his songs could be long opuses with not much of a chorus to backup. His songs were painted with a very personal, intimate picture of life's dark and virtuous side. This record captures everything anybody needs to know about the man.

The album captivates a very energetic side of exuberance with the opening track "Dreams Go By", but it also exhibits a beautiful portrait of bittersweet remembrance. Another classic, "Mr. Tanner" examines a singer's hopes and visions but with wishful sincerity towards confrontation of ability. The album wasn't just hippie influenced lyrics, but honesty to dreams deferred. Every track told stories of love lost, found and expectant. It seems like many live recordings fail to pickup on what an artist is trying to portray with thier music. This one nails it, seriously.

In a class by himself
There's a lot of songwriters with the reputation for telling a fine story in a song: Bob Dylan, Joni Mitchell, Jim Croce, Van Morrison... But seriously, did anyone ever create on a level with Chapin? His songs remind us what humanity is all about. Isn't that the best thing a song can do?

Takes me right back to college
At the University of Nebraska in spring of 1972, we decided to go on a road trip to the University of Oklahoma, our rival. It was rainy the entire drive and every radio station played, "Taxi." Well, O.U. was a pleasant surprise...everyone was nice (I don't know what we expected) and we returned home to our finals. 30 years later, if I hear Taxi on the radio, I'm right back on that road trip to Oklahoma.

"Did I write that?" asks Harry Chapin
"Christ, it sounds like the theme from Godfather II!"
Chapin makes this comment after signalling his band to a halt during the intro to the opener "Dreams Go By", because of a banjo solo in that part, played vibrato mandolin style. A dead giveaway right from the start of how this live set is going to feature his often humorous approach to the material. This is also reflected later on in the set in this version of the song "30,000 Pounds Of Bananas", in which Chapin makes a departure just before the last verse, relating his trials and tribulations in coming up with that particular verse. But Chapin was always more than a comedian with a guitar--his material was mostly heartfelt and often as sentimental as anything the younger Billy Joel ever wrote. Quite at odds with the rules of pop music, Chapin came across more affable than charismatic. In that brief period of musical history, you didn't have to be a babe magnet to be a star. Today people think of the "Singer Songwriter Era" as an aberration. After all, pop music is supposed to be about sex or anger, right? Or if there's a "folkie" dimension to it as in the case of artists like Chapin, a sociology or poli-sci aspect. Or if you don't have any of that, you have to be like Joni Mitchell and be versatile in style and/ or one hell of a player. Harry wasn't any of those things. His guitar style was basic accompanist, his songs were more prosaic than poetic. Their arrangements were pretty much predictable. His voice was limited in range and tonal color (just like the man himself says of "Mr. Tanner", a song also present here). He didn't have the melodramatic, almost operatic delivery of Texan contemporary Shawn Phillips. Harry was basically The Man On The Street who had an uncanny ability despite his shortage of the stuff stars are made of to express himself in music. It has become a cliche to say that a musician "sings in a style you can relate to", but Chapin was one of very few artists about which that description is bang on target. Chapin did a later live set called "Legends Of The Lost And Found", which I see is no longer available. A shame, really--that set has a high percentage of material that was never released on any studio album. Anyway, if you're at all curious about any of Steve Earle's antecedents, look to Shawn Phillips and Harry Chapin. ... Read more

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The brooding Bob Dylan of the 1966 live collection in the Dylan bootleg series gave way to an even more hooded character on the second live bootleg album from 1974. Which makes the jump back to a younger Dylan in this set all the more jarring. Here is Dylan as an eager-to-please 23 year old with nothing between him and his worshippers but a guitar, a harmonica, and, for four songs, his lover, Joan Baez. In marked contrast to the acerbic electric Dylan of the mid-'60s and the tight-lipped living legend of the mid-'70s, here is Dylan as entertainer. Joking and bantering with the crowd, Dylan deals up some favorites ("The Times They Are A-Changin'," "Don't Think Twice, It's All Right"), but is already shedding his earnest folkie persona; imagine another artist a mere two years into his career declining to perform a hit on the scale of "Blowin' in the Wind." But Dylan was moving fast. Having completed the last all-acoustic collection of his early years three months before the Philharmonic concert, he would record the half-electric/half-acoustic Bringing It All Back Home three months later. Three of the four acoustic songs from that album are presented here, as are a handful of then-unreleased songs, including "Talkin' John Birch Paranoid Blues," "If You Gotta Go, Go Now" (which was soon given a rock arrangement), and a protest-period remnant, "Who Killed Davey Moore?" Had Concert at the Philharmonic Hall appeared the year it was recorded, it would been seen as a respite for folk fans to catch their collective breath before Dylan reappeared in his rock & roll Rimbaud guise. Heard for the first time decades later, it's simply a testament of his gifts as a showman and songwriter. --Steven Stolder ... Read more

Reviews (38)

Absoultely fantastic! Everyone should listen to this!
Bob Dylan is a truly great poet, blues/folk musician, and also a prophet for our times. This concert took place nearly 40 years ago, yet so many of the messages in the songs are still relevant in 2004. The line in "It's Alright Ma (I'm Only Bleeding)" that goes "even the President of the United States sometimes must have to stand naked!" was already manifested once, when Tricky (...) Nixon had his crookedness exposed for all the world to see. One only hopes that the same will happen to our current Moron in Chief, Gee Dumbya Bush. Also, in "A Hard Rain's Gonna Fall" there are many lines foretelling events to come, such as "I saw guns and sharp swords in the hands of young children" which would seem to foretell the tragedies at Columbine and so on. Dylan sings from the heart and from the soul and tells us things we might not want to hear, but that we ignore at our own risk. He is still out there, recording and playing live shows. Get this CD, and catch him in concert next time he comes near to where you live.

A Young Man at the Crossroads, Enjoying Himself
There's all kinds of Bob Dylan fans; fortunately, there's all kinds of Bob Dylans too. This concert captures the best of the pre-electric Dylan, before he started changing the arrangements and some of the words all around (well, he does change some words here, to the two "Talkin' Blues" adding contemporary references to TVs Hootenanny and some current pop hits, Martha and the Vendellas and Leader of the Pack(!)).

A fine concert it is, and it's the quality of the sound and overall experience that makes this CD special, like you were there. Its also Dylan's chatty, giggling personality that comes through and is most memorable. That's probably even more important than anything new you hear in the music. I mean, you've heard most of this sung more-or-less this way before: it's not like Rolling Thunder or something. He has yet to really re-invent himself even once (he does change the sound of "Don't Think Twice" a little, rising inflections and semi-shouting: a presage of things to come).

The concert was, however, groundbreaking history, and you can sense it: the first public unveiling of "Gates of Eden" and "It's Alright, Ma" (he sounds very proud of them, as he recites their words with care); the first (and maybe only?) public performance of "Spanish Harlem Incident." And, like in a way-back machine, you can feel the audience laughter at their first hearing "If You Gotta Go, Go Now"--they wouldn't react the same way today. And there's old history: he and Joan do "With God on Our Side" (the duet that helped make Bob's reputation--and it's an album highlight, in my view). He'd been leading off with "The Times They Are A-Changin'" for over a year, and it sounds kind of tired, but he concludes the set with the new Bob, in a kind of inspired kiss-off: "It Ain't Me Babe" and "All I Really Want to Do." Surprisingly, older songs like "Davey Moore" and the "Talkin' John Birch" are strong, while the newer "Tambourine Man" seems rather weak.

This is the live album for those who were "shocked" by some of his later experiments, like the Budokan album or even Manchester Hall ("It used to go like that, now it goes like this ... "). Buy it, it's an artifact from a young genius at the crossroads, but I think his most inspired work would be in future. This is Laughing Bob, pleased with himself--not the anguished genius and seeker that he would shortly become (and that, I confess, I probably like best).

Dylan at his most - first Dylan, that's it!
A magnificent proof of why Dylan is a capital part of modern music and culture. A set of his most powerful songs before becoming electric. Sound quality is really excellent. A good way to continue a superb collection of Dylan best, this sixth installment of the bootleg series is as good as any of the previous ones. Plus, the nonsensical, teasing, unusually Dylan comments opening some of the songs offer another wiew of the man. Good record to hear after a war!

Good, not Great
The Bob Dylan Bootleg cd's that cover the Manchester, and Rolling Thunder concerts have been exemplary additions to Mr. Dylan's catalog. The recordings capture Mr. Dylan at two of his many career peaks and are rare documents of incredible concerts. "Bootleg Series 6..." tries for the same affect, and though it is Bob Dylan at another peak it may not be the best concert of the period. A number of years ago I taped a concert at New York's Town Hall from the radio that presented much of the same material, with patter that was a lot more coherent, and a delivery that seemed much more impassioned - and sober. The concert also included an absolutely heart-felt rendition of "Bob Dylan's Dream," which should be in the canon as one of his best songs. Granted, Joan Baez did not share the stage, and her participation may be one reason for Sony's decision to release this concert. Anyway, Mr. Dylan manages to be charming, sloppy, and yes, impassioned in the course of the event, but the first attributes detract from the third, and by now his fans will have heard better renditions of most everything on the cd. I think Sony could have chosen more carefully.

A key snapshot of Dylan before he went electric
THE BOOTLEG SERIES VOL. 6, a bootleg that has been around for decades, is a Halloween show from the Philharmonic Hall in New York City. One of the most important shows in Dylan's early career, this show gave quite an overview at the time from Dylan's ever-growing song book, including new, bizaare songs that would show up within a few months on Dylan's fifth LP, BRINGING IT ALL BACK HOME. While much has been made of the later electric performance of the 1960s, it is here that you can see how good Dylan really was with just a guitar, a harmonica, and the signing girlfriend. Covering such a broad overview, Dylan shows all the budding facets of his art up to this time, from the protest songs (including ones that never made the studio records), the more introspective material, and the radical new direction Dylan was pursuing with the three songs from the unreleased (and unrecorded, for that mater) fifth album, BRINGING IT ALL BACK HOME. He proves him a very masterful solo performer. If you like Joan Baez, you greatly enjoy the four songs she performs. If you don't like Baez, this won't win you over.

This 1964 concert, the first all acoustic performance (barring MTV UNPLUGGED, which also has a band) to enter Bob Dylan's discography, captures Dylan at a peak period as he was making a transitional move into rock and roll. Historically significant, funny, and overall Dylan, this installment of the Bootleg Series show a new side of early Dylan, and as VoodooLord7 points out, quite a contrast from the 1966 Manchester concert. What is so startling about this concert is how Dylan comes across as giddy, young, and, overall, a Minnesota boy just honoured to be playing at such a distinguished venue. When introducing the then unreleased "It's Alright Ma, I'm Only Bleeding," he prefaces the song with the comment that it is very funny. On "I Don't Believe You (She Acts Like We Never Met)," he forgets the first verse, asking the audience if they knew it. The rest of the album shows Dylan in this 'aw, shucks' mode, but he gives the audience a wide variety of songs to chew on, showing them that even though he's giddy and young, he's a songwriter the likes of which they've never seen.

Compare this document to the cynical, aloof Dylan just a few months later. This was before the 1965 Newport show where Dylan brought out the electric band totally broke with the folk scene in general. (Who'd like to see a Bootleg installment of the Newport show???) The general atmosphere totally changed after the Newport show; afterwards Dylan was cynical, confrontational, cutting edge, and 'hip.' He's not angry. He doesn't have anything to prove. Dylan just wants to give a good show, and he wants to have a good time. After this, he played rock and roll, the likes of which had never been heard before, and forever changed popular music as we know it. The music went in directions, especially lyrically, that totally broke with all songwriting and pop traditions. VOL 6 captures Dylan just before this, and that's what makes it so endearing and so historically important. Nowhere on VOL 6 is there an equivalent to that legendary accusation "Judas!" on VOL 4. Dylan's not at war with the folk community who wanted to make him their own personal musical saviour. Instead, he was following his muse and this audience went with it.

What makes BOOTLEG SERIES VOL. 6 so special is it gives us the opportunity to listen to Dylan before he made the permanent transition to rock. We can listen to Dylan play with the audience while giving a first rate performance. Those who were in-tune with Dylan this night, though, would surely know Dylan was moving far and away from the folk movement. Dylan showed an unparalleled depth of writing on ANOTHER SIDE, deep, introspective, and far and away from the protest songwriting that had dominated his second and third album. What really must have blown their minds were the new songs ("Mr. Tambourine Man," "It's Alright Ma," and "Gates of Eden) that Dylan had only previously played a very few times. Filled with wildly surrealistic, symbolist imagery, the words floated into your head and showed Dylan was opening up all sorts of new avenues for music, with a much bigger agenda that just being a protest singer, a la Phil Ochs. Dylan proved himself going deeper and deeper into a surrealistic, unprecedented, and never equaled period of songwriting that would become some of the most important songs in all of rock and roll. For those fortunate enough to be there, this would be one show you couldn't afford to miss. This was history in the making.

In the end, an essential addition to Dylan's canon, and for those interested in following the progression of the twentieth century's most important song writer, a must-have purchase. For those who love his all acoustic sound of the early 1960s, this will rival the studio albums themselves. With stunning production, a crisp, clean sound, and such an important snapshot of Dylan's early career, BOOTLEG SERIES VOL 6 will stay in your CD player for the foreseeable future. Highly recommended for the Dylan afficionado. ... Read more

Amazon.com essential recording

The mannered vocal style that has always been the most off-putting element of Ani DiFranco's music is still present on this two-disc live set, but for some reason it doesn't matter anymore. Maybe it's the way you can hear DiFranco using her breaths to accent a rhythm section that's downright merciless with its circling, pulsing, scary grooves. Or maybe it's the way, with an audience screaming, she pours heart and soul into "Unforgettable Face" and the story song "Gravel." Whatever, Living in Clip is the album where DiFranco begins to deserve her hype. And "Amazing Grace," backed by the Buffalo Philharmonic, is where she surpasses it. --David Cantwell ... Read more

Reviews (120)

Oh, I adore, you.
A good friend of mine turned me on to Ani sometime last year. So here I am, listening to 2 Little Girls off Little Plastic Castle, and I'm falling into this deep fascination with this voice. So, I go to find an Ani CD of my very own to start off with. I see Dilate, Not a Pretty Girl, Little Plastic Castle, and Living in Clip. My good friend had everything there except LIC. So I bought this one. Thank goodness. This album, twisting in every emotional direction feasible, is a tribute to Ani's musical genius, her live act, and her phenomenal writing. To list a few trully noteworthy gems: "Hide and Seek"--Beautiful in it's haunting lyrics and almost tribal beat. "Napoleon"-- It's sooo much better live! "32 Flavors" Alana Davis (Is that who covered it?) gave it no justice. "In or Out"--Dynamic and stirring, unlike the studio version. "Amazing Grace"--Mmmhmm.;) Also, be sure to wait until the last song on disc 2 reaches 7:00 for about the most giggle worthy display of audience/band interaction I've ever heard!

Ani's good, but only as good as Ani wants to be
I dont dought the talent of Ani Difranco. I just started listening to some of her stuff and i was very impressed with her talent, but i really do think she could reach a new level of excelance that she appearently has no intent to reach. Her live double cd, "Living In Clip" showcases Ani's talented Dave Matthews like guitar work in combination with a Alanis Morisette type attitude that she sings with. Alot of the tracks on this disc sound great and she has proven to me that she is definately a very talented and original voice in the womens music bussiness. My biggest problem with Ani is that it seems to me that she has to grow up alittle, not only in a mature sense, but also in a musical sense. She has the talent to become among the elite women singers in the bussiness, but it seems to me her attitude and her lack of maturity is holding her back. I like her music on this album, but i have to say i really dont like and cant relate to some of her comments inbetween songs, it is almost a musical turn off to this listener. Overall i enjoy her music and do recomend this album, its just a shame to see such a talent limiting her self to mediocre song writing and little imagination.

One Of The Best CDs of All Time
Ani seems to touch every feeling a person can have on this CD. She goes from subtle and soft, to yelling, screaming and laughter. This is the best CD I have ever bought. I suggest it to anyone who likes folk music or has a an open mind towards new things!

Living in clip
Ani Difranco is one of the few artists who has made a successful career out of her do-it-yourself ethics. She has bypassed the conventional career path most artists takes by not signing with a major record label and by doing that, she has a greater percentage intake in the profits from her music as opposed to being in debt for years to a major record label. I always have and always will respect Ani for taking the high road and do things her way. I was a big fan of Ani Difranco when I was a college student in Wisconsin nine years ago. I first heard about her in a magazine (I think) and decided to check out her music. "Dilate" was my first Ani Difranco cd. I was hooked. During the next few years, I would buy her latest cds religiously on the day they were release, one of them was "Living in Clip". I rarely buy live cds but in Ani Difranco's case, I was willing to buy a live cd of her music. Besides there were a bunch of songs at the time I hadn't heard before like the gorgeous "Both Hands" (my all-time favorite Ani Difranco song) and "Sorry I Am". "Living in Clip" is definitely one of the best live cds that I have ever heard. Although each song was recorded in different cities, you would have never guessed that they weren't recorded at one performance. The occasional banter with the audience gives the listener an intimate insight of an Ani Difranco performance. One of the most stunning performances on the cd is Ani's rendition of "Amazing Grace" with the Buffalo Philharmonic. It simply took my breath away. That alone makes this cd worth listening to. Although I am not nearly the fan that I am of Ani's music any more, I still enjoy throwing in "Living in Clip" every now and then. This is a good representation of Ani Difranco as an artist as well as a performer.

The Rocked Folk album of the Century!!!
Living In Clip shines as Ani's most versatile and amazing album yet, out of her 25 five or so. This album covers some of her most classic songs such as the unforgettable Both Hand, Adam And Eve, In and Out, Out of Habit, and Out of Rage. Combining folk rock punk and poetry, Ani definitely delivers in this piece of musical art. With only a three person band with ever so lovable Sara Lee on bass and Andy Stochansky on drums we are given even a bigger treat, but the double album really shines when Ani sings solo only with her guitar. Me being an original Ani fan from the early 1990's I have seen her music evolve and change into something amazing, which is shown through this classic album. If you are interested in becoming an Ani Difranco fan for the first time I strongly suggest this album. Also if you ever get to actually see her live that is the True Ani expierence! I was also given a treat of meeting her, quite an expierence!
Enjoy!!! ... Read more

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It was Dylan himself who said "the present now will later be past" and there's no better proof of it than this bizarre live collection of his old hits performed in big band versions where nothing seems to mean what it originally did. There's something going on here and even Dylan doesn't know what it is. Following the success of Cheap Trick and Neil Diamond--who both scored with Japanese live albums--Dylan took his Las Vegas revue with him and handed up "Don't Think Twice, It's All Right," "Mr. Tambourine Man," "Shelter from the Storm," and even "The Times They Are A-Changin'" without the vehemence that made them anthems for a past generation. Weird. --Rob O'Connor ... Read more

Reviews (43)

Dylan's least interesting live album by far
To me, "Bob Dylan At Budokan" is Dylan's least interesting live offering. That doesn't make it a horrible album, and it does have its moments, but it certainly doesn't live up to landmarks like "Live 1966" or the intense and powerful "Hard Rain".

The arrangements are much too keyboard-heavy for my taste, and the constant synthetic swirls ruin an otherwise excellent "Mr Tambourine Man" a little (fine vocal performance, though). "Shelter From The Storm" isn't too good, though. Dylan delivers it in a monotone chant with barely any hint of a tune, and "Ballad Of Thin Man" suffers a somewhat similar fate, ruined by annoying backup vocals and saxophone breaks(!).
"Love Minus Zero / No Limit" fares a lot better, though, and it's sort of a relief to hear Dylan's familiar harmonica at least try to compete with the awful keyboard noises.

A heavily syncopated "Don't Think Twice, It's All Right" is better than feared, but the Las Vegas-arrangement doesn't suit "Maggie's Farm" (horrible horn section!), and the same can be said for "Valley Below".

"Going, Going, Gone", "I Shall Be Released" and "Like A Rolling Stone" aren't half bad, although I'll never learn to like that horn section, and the excellent "Is Your Love In Vain" is a nice inclusion, horns or not. Still, there is more bad than good on CD I.

The second CD opens with "Blowin' In The Wind", complete with a chorus of female backup singers and tinkling piano fills. I don't have to tell you what I think of that, do I?

Well, then comes "Just Like A Woman", and you breathe a sigh of relief. The low-key rendition is quite pleasant and relatively uncontaminated, except for annoying backup vocals on the chorus. "Oh, Sister" is unreconizable, however, and not in a good way.

"Simple Twist Of Fate" is very good, though, with an excellent vocal performance by Dylan, and even the saxophone is bearable here.
A very slow, re-arranged "I Want You" is actually quite interesting, but "All Along The Watchtower" and "All I Really Want To Do" have been given the full Vegas-treatment, which is a shame, since Dylan's vocals, particularly on "All I Really Want To Do", are very good.

"Knockin' On Heaven's Door" is bearable, in spite of the weird keyboard fills which sound nothing like "real" music, and the backup singers. "It's Alright, Ma" is heavily altered, and had Dylan been backed by a decent band, and left the chorus at home, it could have been pretty good.

Fortunately, the album ends on a high(er) note, with a good rendition of the lovely "Forever Young", and a fairly good "The Times They Are-A Changin'", but "Bob Dylan At Budokan" is ultimately a forgettable album, mainly due to the horrible arrangements.

That's a matter of taste, of course, but I think it's safe to say that this album completely lacks the nerve of most of Dylan's other live releases, and I don't think too many Dylan-fans can listen to this record and honestly say that they prefer the Vegas-arragments to the originals.

Greatly Underrated
This isn't dylan's best live album, but it certainly has that great live feel that he always generates. As far as I know, this was early in the '78 tour. I've heard a couple of concerts from later on that year, and the band does sound a little bit more cohesive. But the versions of "Mr. Tamberine Man", "Don't Think Twice, It's Alright," and "All I Really Want to do" are all as exciting as their original versions. i love the old songs sung with his late 70's voice, but that's my personal opinion. I can see people not liking this album, but I feel it doesn't get any better than live dylan...from any era. When he's reinventing himself and his songs, he's always on the edge and at his best. And not only does he recreate his sound on every album, but he sounds different on every tour and at every show. This isn't a dylan must, but i wouldn't pass it up.

The are Dylan fans and Dylan fans
In the old Buddhist axiom 'life is change'. It seems many reviewers cannot cope with this album. Well it's petty good. Flutes, violins, saxes and organ all rocking along. Be open minded and listen to Dylans' genius. It is different. But thats the nature of life. But he's vocally at his peak and there are some great renditions. Added bonus is the recording is really hifi quality. Don't listen to the pseudo Dylan fans. Buy this!

Raise it like the Respect Sextet
Some classic performances on this CD. Not all wear well, but a classic "Shelter from the Storm" and a fascinating re-working of "Don't Think Twice, It's Alright" in full reggae regalia make this a welcome addition to the compleat Dylan fan's library.

Sure It's Interesting, But Even That Wears Off
I bought this album on vinyl when it was released, at the same time as I was exploring some of the classic Dylan albums. For some reason, I could never bring myself to play the second LP--I just got bored with the whole thing halfway through. There are some good moments scattered throughout--I like "One More Cup of Coffee" and its sax solo; "Love Minus Zero" is catchy; "I Want You" is a beautiful reading of what was a throwaway "pop song" (tho' still one of my favourite Dylan tunes)--and there are a few other highlights. But it's hardly an album to run out and buy, unless you're very interested in how Dylan reinvents himself in all his stage shows. This time out, the big sound obscures the lyrics, without the glamour and myth of the Rolling Thunder shows. This album was a mistake, and it's probably no accident that he ended up veering completely in another direction ("Slow Train Coming") after this. ... Read more

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In a manner that their studio albums never could, Peter, Paul & Mary's live performances indicate much of what shot the trio to fame and influence during the folk revival.They were witty, sincere, and engaging entertainers, with strong, smooth voices and a smart sense of vocal dynamics.This record, originally released in 1964, and compiled from various venues, shows the trio at the top of their stylized game, both as individual performers and as a unit.Material includes the opener "Times They Are A-Changin'" and spirituals "Rock My Soul" and "Jesus Met the Woman," as well as the familiar "500 Miles" and "If I Had a Hammer." --Roy Francis Kasten ... Read more

Reviews (9)

I was there.
I saw PP&M at the Honolulu Amphitheater in 1964. They performed most of the songs from this CD. When the concert was over, there was no encore, only applause. Like Elvis, they had already left the building, and sadly, left us wanting more.

Quintessential P, P, and M!
If you like Peter, Paul, Mary at all, you'll love this live album. This album displays their best voices, humor, and solo selections.

Alive and in concert with their audience
This recording captures the energy, diversity of talent and great vocal style of the trio which epitomized the collective folk conscience of the dynamic '60's. Peter, Paul and Mary became the popular mouthpiece of an idealistic generation which had begun to dare to question war and social injustice, spinning their message with the hearty fiber of love songs (requited and not), folk ballads and humor.

Here is a great selection from a repertoire which helped complete the connection between the labor union roots of Woody Guthrie, the Weavers, and Tom Paxton and the contemporary/traditional sounds of the Limeliters and Kingston Trio with the politically-charged lyrics of Bob Dylan, Joan Baez, Phil Ochs and others.

Variety abounds, from the magical "Puff" to the harmonic "Jesus Met the Woman." From the lonesome call of Mary's lead in "500 miles" to the far-flung wit, self-examination and low-tech special effects of "Paultalk," this collection brings you in and wraps you in the enchantment and sing-along emotion that have been the trademarks of PP and M concerts throughout their careers. And the joy and sorrow and hope translate faithfully in the recordings.

It is unfortunate that "must-have" is such an overused phrase, but it surely applies to this effort. Join in, get your feet tapping and heart-strings jumping, and, "if you do not know the words, you'd better learn them," as Peter chides.

Altogether, a fun bit of time-travel and a good workout for that slightly atrophied folk-lobe in your brain.

One of the great all time live records
Recorded during the heydey of PP&M, this album gives you a feel for why they were so popular, especially live. Hearing the songs, some deadly serious, and others funnily serious, you will know why they were the most popular folk rock band during their day. I stiil think they are the best; although Pink Floyd, Jethro Tull, America, The Beatles, Arlo and Woody Guthry, Janis Joplin, King Crimson's Court of the Crimson King, and too many other bands that I can't remeber rival them, they spoke the best for the Baby-Boomer generation. My two favotite tracks are still Paul Talk, especially the golf skit, and Car-Car. Much better than the first best of album.

It's like being right there in the audience
Normally a "live" album by any performer is probably avoided by most listeners. Who wants to hear a stage version when you can have the original releases, right? And I agree, avoiding "live" albums like the plague. This album, though, is one of those rare exceptions. The songs are all clear and legible, with very little audience interuptions while they sang their serious songs. But between the songs....that's where this album really stands out! The interactions between Paul Stokey and Peter Yarrow are priceless, prompting spontaneous laughter and applause from the audience. A few of the songs, though, prompted audience response by design. "Blue", a childrens song parody turned into a rock and roll song, is one of those. In all honesty it is difficult to describe, you just have to hear it to appreciate it. "Oh, Rock My Soul" is an audience participation song. But don't be fooled, PP&M guide the audience through the song so skillfully (and with humor) that it becomes one of the highlights of the album. As for Paul's vocal interlude called "Paultalk", it is absolutely priceless and guarenteed to make you laugh along with the audience. Again, you have to hear it to appreciate it. Trust me on this one, you will not be disappointed! ... Read more

Reviews (29)

Very underrated
If you sometimes find yourself shouting "Judas" at the radio when Bob Dylan comes on playing something band-backed, this record is probably not your thing.
Me, I love it. It's too short by far, but Dylan and the Rolling Thunder band rock like never before or since. In my opinion, the intense "Hard Rain" is just as great as the fabled "Live 1966" (the so-called Royal Albert Hall concert from the Free Trade Hall in Manchester).

Bob Dylan and his band play some of the hardest, rawest and most ragged rock n' roll music of his entire career - just listen to him tearing through a spiced-up "Maggie's Farm" and a melodious folk-rock interpretation of "One Too Many Mornings".
But the highlight of "Hard Rain" has to be the closing ten-minute rendition of the venomous "Idiot Wind". Dylan sneers and shouts his way through a magnificent version of his most memorable song - that one cut alone is worth the price of admission.

Underrated live album
The lone official document of the Rolling Thunder Revue, this may be skimpy on song selection, but what is here is immaculate. Opening up with a powerful version of Maggie's Farm (Dylan's long-time concert staple), it then leads into yet another incredible re-invention of One Too Many Mornings. The set continues with the always fun "Stuck Inside of Mobile..." before going into Oh, Sister, another staple of the Rolling Thunder tour. Lay, Lady, Lay comes up next, which gets a big response from the crowd (it was requested earlier.) I Threw It All Away has a nice rendition here as well. However, the true standouts on this album are the re-workings of three songs from Dylan's masterpiece, Blood On The Tracks. Shelter From The Storm is the first of these, more of a raging version here, and every bit as profound. You're A Big Girl Now is an excellent, excellent re-make... featuring numerous instrumental sections, and some particularly agile guitar playing. Still... the closing version of Idiot Wind is worth the price of the album itself. Long one of my favorite Dylan songs, this powerful song lends itself well to a raging live performance, and Dylan puts it across convincingly here, putting some real grit and emotion into the song. It's almost like a mantra; it's power is undeniable. While I don't reccommend this for your first live Dylan album (Live 1966 and Before The Flood both serve the casual fan better), it is certainly a must-own for fans.

Essential Live Dylan
My god, what can I say...I'm listening to this album for the first time in about ten years....finally replaced the casette from my college days. Sounds as incredible as ever. While not the most polished of live recordings, this album makes up for that in that it represents the true essense of a Dylan show. To me, this is Dylan's best live recording. I agree with some of the previous reviews in that the song selection could have been better, but not much better, as the mix of songs does work extraordinarly well. I think the tempos are perfect, from the opening of the record with with Maggies Farm to the final Idiot Wind. Great album by a great musician. Can't miss with this one.

The First Rolling Thunder Record
"Hard Rain" came out right after "Desire" in 1976 and Dylan did the "Hard Rain" TV show to kick off the record. Curiously enough the songs on the video were different than the ones on the record. And no "Hard Rain's A-Gonna Fall" on the record. How dumb was that. He performed the song all over on that tour, but left it off the live recording of the tour of the same name. And the great stuff he did with Joan Baez, included on the video, but not on the LP. Who planned this record anyway? He should be shot. Fortunately those mistakes were corrected when "Rolling Thunder" the last one out in the legal Bootleg series was released. To bad it took 'em over a generation to figure it out. Only three stars for this one, and that's sad.

Reviewed by Stephanie Sane

Not what I expected.
Okay Dylan album. If your hard core you would want it, if not stick to the basic Dylan stuff. ... Read more

Reviews (8)

One of the best and most timeless.
Great album. It makes you want to get up and get those happy feet going. I saw him at St. Bonaventure University in the late 70's. One of the best concerts I have ever seen.

Why only four stars? Not only did the nitwits break up a great double album, but Amazon doesn't let you sample the songs added to each of the cd's. It makes me think that I should just buy the software that allows me to copy vinyl LP's to cd instead of trying the additions.

bromberg's best !!
this is easily David Bromberg's best album
which has something on it for every musical
taste. The versatility of the musicians is
amazing and their skills are very apparent on
a great mixture of acoustic/electric country, folk,
blues and rock tunes.I have seen David Bromberg about
3 times; the first as an oppening act for Dicky Betts.
This was easily one of the BEST concerts I ever heard
and seen.... must of been true for Dicky too!! He was
so drunk (Bromberg probably scared the pants off Betts)
he couldn't play at all. As a matter of fact, he couldn't
even tune his guitar. To sum it up... GET THIS CD !!

Why did they split the album up?
How Late'll Ya Play Til? was my favorite Bromberg release on vinyl, but I'm still mystified by this particular release. Half of Bromberg's discography is now being released on CD with 2 albums combined on one disc. But here we have Bromberg's only double album, and lo...it's released as 2 discs.

Somebody SHOOT the marketing department.

Now you know why I only gave it 4 stars. That being said, tho', everyone do what you must in order to own a copy of "Will Not Be Your Fool". Worth the price of admission. Even when you have to pay twice.

Good but...
To really experience the David Bromberg Band you would have had to have seen one of his concerts in the late 1970's and early 1980's when he really put on some show. I have seen nearly every great guitarist live except for Eric Clapton and I still remember two of the four times I saw Bromberg as being two of the best concerts I ever attended.

How Late'll Ya Play 'Til?, Vol. 1, Live [LIVE]
This piece is dated by language and references but remains constant in the display of versatility and range of style that Bromberg has mastered. His rendenitions of traditional blues tunes with a Dixieland treatment or a simple slide guitar demonstrates his comfort with himself, his material, and with a variety of musicians capable of leading him or being led. The man is the master of a variety of stringed instrument and very few musicians compare to him. ... Read more

Amazon.com

There was a time when Dar Williams flubbed her chords, forgot herlyrics, and could only make it through a set due to the enthusiastic support ofher fans. Now she's a seasoned and poised folk-rocker and a mesmerizing liveperformer, although this recording fails to reflect it. Sadly, her magneticpersonality and energy seem lost here. Recorded during her 2000 tour behindThe Green World, OutThere Live too often falls short of both her lush studio recordings and hervibrant stage performances. Although upbeat numbers like "As Cool As I Am" and"Are You Out There?" nearly summon the patented Williams charm and verve, hermore plaintive, quiet songs, such as "February," "End of the Summer," and "WhenI Was a Boy," sound exhausted and flat. No new songs or covers are included,most arrangements vary only slightly from existing studio recordings, andWilliams frequently sounds downright bored. Her endearing stage banter iscaptured in a few song introductions, but it is not enough to carry an albumthat will please only die-hard fans. --Sally Weinbach ... Read more

Reviews (25)

excellent album
I first encountered the music of Dar Williams in college. I was flitting around looking for new music in the shared directory and ran across some Dar songs. I was very impressed. I like the folk sound to her music and I ran across some songs that became some of my favorites: "As Cool As I Am", "The Christians and the Pagans", "What Do You Hear in These Sounds," and "Are You Out There". I wanted to buy one of her cds, but the songs I loved were all on different albums. Then I found the live album that works like a greatest hits album. The songs that I love were on the album...and I also got a chance to experience some more great songs, including "The Babysitter's Here". I've never seen Dar Williams in concert, so I can't comment on the live experience compared to the live album....but I'm very glad I bought this.

For diehard Dar Williams fans
I personally really enjoyed this live album from Dar Williams. I haven't seen her live yet so this album is a real treat for me. All the songs on this album are my favorite Dar Williams songs like "After All", "Spring Street", "As Cool as I Am", and "End of the Summer". Hearing those songs live added a rawness to the songs that I just didn't hear on the studio versions. I thoroughly enjoyed the intros to "I Won't Be Your Yoko Ono", "Are You Out There", and "The Babysitter's Here". The intros almost reminded me some of the dialogue off Ani Difranco's "Living in Clip" which I found to be quite eery. I thought the intros added a nice touch to the album. Normally I don't care for live albums with the exception for "Living in Clip" and now "Out There Live". Although there isn't a song I haven't heard before by Dar on this album, I honestly enjoyed listening to it. Not a single dud on this cd.

opened my mind...
Dar Williams...beautiful strong feminine voice. This album moved me more than almost anything else that I have listened to in the past year. Hearing her live is exciting because it is raw and beautiful, not overlayed with unwanted information. It is true, honest and beautiful. This album truly brings across the idea of live performance. It is crisp, yet not overdone. I can honestly say there is not one track on this album that I do not like.

She's amazing, but...
I first discovered Dar at a concert in Snowmass Village, near Aspen Colorado. I had never heard of her in my life, being from Australia, but I went along anyway and was completely mesmerized! From "Iowa" to "What do you hear in these sounds" I couldn't believe her cool, honest lyrics and voice. I got "The end of the summer" and love it, but the live album wasn't so great--I recommend her others, as each wonderful song is given more clarity in her other albums.

just TRY not to cry!
A good friend of mine is obsessed with Dar's music, and burnt me this CD. I didn't think I'd enjoy it, but I gave it a try anyway, just to be polite. What followed was one of the most haunting and harrowing musical experiences I've ever had. Ms. Williams is perhaps the finest songwriter in modern music, and I'm not forgetting giants like Rob Thomas and Tori Amos. Her lyrics touch me so deeply, and she forms such strong melodies, that I sure that while she isn't so popular now, in a hundred years she will not be forgotten. In my opinion the standout track is "February," but "Iowa," "Are Your Out There?" and "The End of The Summer" are almost as brilliant. I will never tire of Dar's music, and tears will never fail to jump to my eyes at this lyric in "February":

"And I tried to remember,
But I said, 'What's a Flower?'
You said, 'I still love you.'"

I would give this ten thousand stars if I could. What an experience! ... Read more

Amazon.com essential recording

Nanci Griffith first built her audience through intimate, well-timed, and energetic concerts. This live set, recorded in August 1988 at the legendary Anderson Fair in Houston, contains her best performances of originals like "Workin' in Corners," "The Wing and the Wheel," and "Love at the Five and Dime," as well as songs by Bill Staines, Eric Taylor, and Julie Gold, songs she helped bring just shy of fame: "Roseville Fair," "Deadwood, South Dakota," and "From a Distance." Griffith learned her craft and got her chops down at Anderson Fair, and her gift for narrative shines brilliantly in her (often hilarious) between-song stories, and her unaffected, twangy whisper. She's backed by the subtlest and most sympathetic of bands, the Blue Moon Orchestra, and there's nary a misstep, a rare thing for a live album. --Roy Kasten ... Read more

Reviews (32)

This CD will leave you spinning...
This CD will leave you "Spinning on a Red Brick Floor" (the final track, and my personal favorite on the album). There is a nice mix of styles and speeds...covering a wide range of emotions. The live performance of favorites is simple and heartfelt. The introductions to each song make me feel like we're having a conversation as Nanci entertains a small group of friends. Nanci's voice is unique...and may need to "grow on" unfamiliar listeners. But this is the album to buy whether you're trying her for the first time or find her to be a familiar friend.

One of my top three
I was first exposed to Nanci Griffith when I stumbled upon her music videos on CMT many years ago. This prompted me to buy a cassette of 'One Fair Summer Evening', and I liked it, but lost interest. Years later I stumbled on it again, and the fire was rekindled. Now I have almost all her works on CD, including several imports and a pirate CD or two.

This album is delicious in its mix of songs, made all the more delectable because it is a live album. What's interesting is how much Nanci's stage presence had developed by that time, and how much more it has done so since. Here she still has that timid little-girl voice during the conversations between songs. This has gone away in the proceeding years as she has matured.

Nanci has a huge following in the genre, most probably because of the depth of feeling in her songs, and the warmth that comes through.

This album would rate third or fourth on my list of her albums, preceded by 'Sound Of Loneliness' (a live-concert import from England) and Blue Roses From the Moons. However, I agree with a previous reviewer that I would be hard pressed to choose between them if I could only choose one.

I, too, have several copies of the album, managing over the years to acquire it on LP, CD, and cassette, as well as the video of the concert.

I must disagree with several of the other reviewers in comparing this album to 'Other Voices, Other Rooms'. While OVOR is an important work, and does contain excellent performances, 'One Fair Summer Evening' as a whole is a better reflection of what Nanci is about; where she comes from and where she is going. OVOR is not in my Top Five, and definitely would not be on my list for a desert island. '

Live Nanci is a Triumph
What a wonderful recording. It is full of gems like "Roseville Fair" and "I Would Give You Ireland."

This CD gives you a good feel for the unpretentious, soulful way of Nanci. What you see is what you get and what you get is beautiful.

How good is she?
This one is a gem. This is what a live album should be. Especially the acoustic sound of "Trouble in the Fields" is sensational! It is a must buy!

A BIG FAN
I HAVE BEEN A FAN OF NANCI GRIFFITH SINCE SHE DID " FROM A DISTANCE" I LOVE HER PLAYING AND HER ABILITY TO WRITE SONGS. I WOULD LOVE TO HAVE HER MAKE MORE DVD'S. I HAVE PURCHASED MOST OF HER CD'S AND HER ONE DVD. PLAN TO SEE HER WHEN SHE COMES TO HUNTSVILLE, AL. THANKS, JENNIE SCOTT ... Read more

Amazon.com

Who besides Ani DiFranco would begin an album with a piercing buzz and a muttered "I don't know why the f**k I play acoustic guitars"? But then who else would release a double-disc concert set only five years after the last one? Like 1997's Living in Clip, her latest live document is sublimely packaged and messily recorded, and features the backing of a howling audience and a hot jazz-rock band. Highlights include a funky, almost gangsta take of her best New York song, "Cradle and All"; Julie Wolf's grinding organ on "Napoleon"; and the previously unreleased post-9/11, antiwar poem "Self Evident." The performances (culled from venues across the U.S., as well as France and Canada) feature lots of witty soap-boxing (apparently no one told Ani that Clear Channel's infamous banned song list doesn't exist... does it?) in addition to some gorgeous guitar picking and inventive horn lines. In the end, all the flaws, giggles, stumbling starts, and risky arrangements are a testament to how much she trusts her audience and how much they trust her. Do her fans really need another double live album? When the performances brim with this much charisma, adventure, and conviction, yes, they do. --Roy Kasten ... Read more

Reviews (52)

ani's like no one else live
I saw ani difranco live about a year ago and was totally blown away by her enthusiasm, charisma, and fun she had for her audience. She really connects with them like no one else, and thats what makes her such a great live act. This CD showcases it as well. For the old fans, there is a total potpourri of stuff from her puddle dive days (my iq), dilate (napoleon), not a pretty girl (title track, 32 flavors) to the teeth (title track) little plastic castle (swan dive) all the way up to her last album, revelling/reckoning (aint that the way, tambrritza lingua, revelling, reckoning, rock paper scissors, whathowwhenwhere) and the songs sound really different live. So thers whole new, extended or abridged versions of classics. Plus, she performs her poem about 9/11 (self evident) and a bonus, "you had time". The CD runs for more than 2 hours and even if you havent heard ani before here is a fabulous place to start.

So Much Enjoyment
Disc One:
Swan Dive - 10/10 This much needed live version of the song does not disappoint. Adds great depth to the originally very accoustic song.
Letter to a John - 9/10 Very good rendition of the song. A favorite of mine from Out of Range
Grey - 9/10 I glide past through this song on Revelling/Reckoning, but this rendition is amazing. You can feel the intimacy of the song in the performance. Stunning!
Cradle and All - 10/10 One of the best songs on the album. Good song from Not a Pretty Girl, but a highlight rendition on So Much Shouting, So Much Laughter
What All is Nice - 6/10 I skip past it
What How When Where - 8/10 Good song, not one of my favorites from Revelling/Reckoning but a good rendition nonetheless
To the Teeth - 10/10 So much better than the album version. It's nice to hear the crowd reaction add more relatability to the performance.
Revelling - 7/10 Good rendition
Napoleon - 9/10 not as good as the version on Living in Clip, but it'original and fun and that's all that matters
Shrug - 8/10 From Evolve, I actually like this version. The song sounds raw on this version
Welcome To: - 10/10 So much better than the album version (from Evolve). She sings it on a higher key and it sounds so much more melodic and so much more passionate

Girls Singing Night:
Comes a Time - 5/10 Skip it. No point in having it on the album
Ain't That the Way - 8/10 I don't like this song, but this is a good rendition of it anyways. She sounds very good on it, but the lyrics are her worst ever.
Dilate - 9/10 So much better without the disruption you hear on Render. It sounds good with the full band as well.
Gratitude - 10/10 A highlight to hear an old Ani classic
Rock Paper Scissors - 6/10 Another boring song from Revelling/Reckoning
32 Flavors - 9/10 I actually prefer this version from Living in Clip because it's fuller and less boring. Some may disagree, but I mark it as a highlight on Girls Singing Night
Loom/Pulse - 9/10 I love this version. The tempo is sped up and it is very enjoyable
Not a Pretty Girl - 10/10 Perfect. Amazing. The best version I've heard live. She totally rearranges the song, and it benefits it greatly here.
Self Evident - 10/10 Here we go. One of the best poems I have ever heard. I was lucky to hear it live, but the band adds so much depth to the song. We hold these truths to be self evident: number 1 - George W. Bush is not president.
Reckoning - 7/10 It's ok. I like it better than Revelling
My IQ - 10/10 Awesome with the band. Awesome
Jukebox - 10/10 Her vocals are amazing and the arrangement is really good. A song you can have fun with while listening.
You Had Time - 9/10 A good way to end the album and I'm sure Ani fans will appreciate a classic song at the end.

Ani Difranco is so much better live. You can hear the intimacy and passion in her when she is on stage. While this is not a ticket to a show, So Much Shouting/So Much Laughter is a good representation on Ani's making good music with her band. Not as good as the incredible album Living in Clip, but still amazing nonetheless.

She's amazing!
This CD was my introduction to Ani DiFranco - a friend of mine put on the song about September 11th and it sent shivers fown my spine. This woman is an artist. To call her a singer is mistaken. This is way more powerful than merely singing. Highly recommended!

Sheer energy: shocking and powerful
To say Ani DiFranco is a powerful performer is an understatement. Let me put this out: this is my first Ani DiFranco album ever, but now I know it will not be my last one. Musically, her style brings to mind Dave Matthews (with her guitar playing and somewhat fusion-jazz-rock sound in the background at times), but Tori Amos, Laurie Anderson and Kate Bush influences can -to a certain extent- be felt here.

However, her lyrics (loaded with a significant social weight and an clear anti-establishment theme, sometimes sung in a clever slow rap-like fashion that I just love) make her stand out on a totally different level. The newly released "Self Evident" is the best testimony of this. The only other artist I have heard that remotely sounds like her on stage is Peter Hammill, but even that can be a bit of a stretch. The fact is: you have to take Ani DiFranco at face value, take any prejudices off your mind and listen to her. I think you will be surprised as I was, and wonder: where have I been all this time, while she's been recording music?

BEST live CD
What's great about this cd is that Ani provides different versions of already published tunes, so that the songs performed live are almost different songs -- musically speaking. LOVE them! ... Read more

Amazon.com

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

Amazon.com

Unplugged albums are frequently corny, but this was an important artistic move for Dylan in 1995, when many fans had given up on his incomprehensible singing and lackluster concerts. With sympathetic backup musicians, including organist Brendan O'Brien and guitarist John Jackson, Dylan returns the coherence to his originals ("All Along the Watchtower," "The Times They Are A-Changin'," "Desolation Row," "Like a Rolling Stone") and rearranges them just enough to freshen their sound. The previously unreleased "Dignity" is one of Dylan's best songs this decade, and it fits nicely with the rickety versions of "John Brown" and the finale, "With God On Our Side." --Steve Knopper ... Read more

Reviews (28)

Great live Dylan
This live album marked the beginning of his latest comeback. His band is great and his performance is inspired. I just wish they had released the entire concert; Hazel and I Want You were performed on the show, and they are magnificent versions. My Brazilian CD has an extra song, Love Minus Zero/No Limit, also wonderful. However, the released songs are great, my highlights being Tombstone Blues, John Brown, Dignity and With God On Our Side.

An incredible perfomance--Dylan never sounded better
Dylan's more than deserving resurgence in recent years traces its birth back, in my opinion, to this incredible live performance. This album has it all, mixing old and new music that more than satisfies longtime fans like myself and appeals to the younger generation, many of whom would know Dylan only by name had MTV not provided the medium for Dylan to prove his genius and longevity to them. Dylan's tendency to be reclusive and mysterious has made him inaccessible to some listeners in the past, but the appreciative audience is an important part of this recording, and you can tell that Dylan really enjoyed the whole performance.

The older songs on this CD are great, but they do have a different sound from their originals; this may disappoint some fans, and I admit it took me a while to appreciate this version of "The Times They Are A-Changin,'" but the soul of the songs remain the same, no matter what kind of modernized or different interpretation Dylan decides to go with on a certain night. I love "Tombstone Blues," and it does start the CD out with a great kick. It's always nice to hear Dylan's "All Along the Watchtower," if for no other reason than to let people know the song didn't originate with Jimi Hendrix. "Rainy Day Women #12 & 35" has never been a favorite of mine, but this version is a enjoyable splash of fun in between a couple of slow, serious songs. "John Brown" is a significant track, dating back to the 1960s but never having been released. It truly reflects the anti-war feelings Dylan expressed so forcibly in his formative years. As great as the classic tracks are, the tremendous newer songs only build on the musical momentum and prove that Dylan's great songwriting days have yet to come to an end. I was a little surprised to see "Shooting Star" from the Oh Mercy album, but it sounds great and fits right in here. "Dignity" is another recent song that showcases Dylan's songwriting and singing.

Three songs particularly stand out on this CD for me. "Desolation Row" is a truly incredible, meaningful song that only Dylan could write and perform. Lasting more than eight minutes, I still always hate to hear it end. "Knockin' On Heaven's Door," a song which some listeners may not enjoy as much as I do, really starts building the momentum that reaches its crescendo with my favorite Dylan performance ever of his greatest song, "Like a Rolling Stone." Having wowed his audience for close to an hour, he is definitely "feeling it" when he gets to this trademark song. Its length is matched only by its powerful delivery, and I get the feeling listening to it that even Dylan is a little surprised at how great a show he is putting on. "With God On Our Side" is an interesting song with which to end the CD, but it reflects the heart and soul of music's greatest songwriter. Following on the heels of a rocking performance, it reminds listeners that the old Dylan so many have loved for decades is still there, even if his classic songs have been given a fresh overhaul.

This is by far my favorite Dylan CD. Having a rather small audience so close to the musicians makes this live performance a true personal triumph, and the sense of intimacy between Dylan and his fans is powerful and palpable. Dylan has never seemed happier or sounded better than he does here.

"Vomitific"(Dylan's term)
I'm not one to get too nostalgic and linger in the past because the present is much to exciting However every now and again I listen to some Dylan. There is something to be said for longevity. This outing from 1995 finds Dylan in a loose mood with a fine nasal vocal tone that ducks and peeks while his strong lyrics jab and punch your sensibilities leaving your brain feeling like silly putty. Created for the superlative accoustic MTV series, Dylan is right at home with his folksy pre-electric roots. His harmonica playing adds luster to the folksy sound. He displays an impassioned vocal range that you will either hate or love but you have to give him his props for his poignant songwritting. Actually he is singing on "Knockin on Heaven's Door"in a very uncharacteristic style that indicates he can actually carry a tune! More at home in his delivery of barely understandable slurring and distorting in his vocal phrasing is more the norm on this disc. This cat was the original white rapper sans urban beats. His poetical lyricism is superb. This collection of songs are timely some 35+ years later. Of particular interest is "John Brown" about the soldier who goes off to war and sees the enemy "whose face looks just like mine" and returns to see his mom after being wounded . In these days that finds our country once again at war the words, reality and horror of war are very relevant. "Desolation Row" is one of those classic Dylan songs that paints surreal imagery with words that still reads like a modern epic tour de force. There are several other songs from the excellent 1965 "Highway 61 Revisted" including the unofficial 60's anthem "Like a Rolling Stone" that begs the question "how does it feel to be without a home, like a complete unknown, like a rolling stone"? Further along in the song Dylan states, "You said you'd never compromise, with the mystery tramp, but now you realize he's not selling any alibis as you stare into the vacum of his eyes and ask do you want to make deal"? These lyrics might make baby boomers choke on their lattes and cause them to wreck their Lexus suv's now days as they reflect on their rebellious youth. Another "Highway 61" song is the mind blowing "Tombstone Blues" with which he opens the set as he makes reference to the everything from the "commander in chief, John the Baptist, Gaileo, MaRainey, Beethoven, Deliah and the Phiilistines." In these times of world trouble and tension, heightened by terrorism, Dylan's exploration of war is very timely today. He ends his song and set with the words"If God's on our side He'll stop the next war." Even though "The Times TheY Are A-Changin'" some concerns remain the the same. This is as important music today as it was originally in the 60's and when this 1995 MTV version was released. Buy it especially if you don't have any Dylan, it is a nice introduction to the poets music. Every song is a winner.

unplug tha hoarse voice!
props to all yu Dylan fan-atiks! dylan is in tha house and it aint pretty. tha same guy who is sooo poplar in tha 60's jsut can't hold up in tha 90s whut with good charlotte and blinkity 182 wuich the COOL peeps lissen to! I mean, this guy must be areal muzician! he actually writes his own songz! dat is more than Avril can say fur herself, but AVRil has chart topping hits! dat is more than dylan can say dese days! peece out dylaholics! see ya at tha morgue!

He Does This On Purpose
Man...this guy's been messing with our heads for 40 years.
Ya gotta love him!

I've seen Bob Dylan 3 times in concert, and only once did he give 100% The other two times, Bob barely played the harmonica...hurried through classic songs and cut verses out of the longer songs.

My point?

This brilliant poet/folkie and pot-head has been putting us on ever since he came along in the early 60's. When he feels like giving you his best, he gives it to you! But when he doesn't feel like giving you his best....he puts on the "too burnt out" act.

Bob knew that this was a concert for MTV and the critics, so he purposely just threw out a bunch of effortless numbers. He's Bob Dylan, and will always do what HE wants...not what others want.

Surprisingly...the critics loved this show. Bet ya Bob was shocked.

Still love ya, Bob! ... Read more

Album Description

14 live recordings by Southern singer/ songwriter/ producer extraordinaire Penn with like-minded keyboardist mate Oldham. Contains versions of several of the cuts they wrote that became hits for others, including 'Cry Like A Baby', 'Do Right Woman, Do Right Man' and 'A Woman Left Lonely', plus classics like 'I'm Your Puppet', 'Sweet Inspiration' and 'The Dark End Of The Street'. 1999 release. ... Read more

Reviews (1)

A "must" for fans of southern soul music!
Peter Guralnick calls Dan Penn the "secret hero" of his book "Sweet Soul Music," and in a way Penn is as essential to understanding soul music as listening to Aretha or Percy Sledge (two artists who covered Penn's work). Penn and Spooner Oldham labored for some harsh taskmasters, like Fame's Rick Hall and Atlantic's Jerry Wexler, but they managed to write and produce tunes that sound effortless in their construction. Listen to Penn's hit for the Boxtops, "Cry Like A Baby," or "I'm Your Puppet," his hit for the Purify brothers that launched the Muscle Shoals recording industry -- they sound like tunes that have been around forever, just drifting in the ether, waiting for Penn to hear them and write them down. But don't take my word for it -- buy this record, right now! You'll listen to it over and over again. ... Read more

Amazon.com

It's December of 1962, the folk revival is in full effect, andan absolutely raucous crowd whoops and hollers throughout 32 sparklingcuts. This incarnation of the Foggy Mountain Boys includes Dobro whizJosh Graves and fiddle master Paul Warren, and the exciting musicblends exquisite picking, exuberant harmonies, and a touch ofplayfulness. The diverse repertoire offers instrumental reels and rags,Carter Family staples, traditional and old-time folk, F&S originals,and gospel hymns (with banjo virtuoso Earl Scruggs switching tofingerpicked guitar). Also included are novelties such as fan-favorite"The Martha White Theme," "Old MacDonald," and ofcourse, "Ballad of Jed Clampett," which would hit number onethe following year. Merle Travis joins in on the final two numbers, afitting conclusion to this wonderful show. This is bluegrass at bothits most artistic and accessible. --Marc Greilsamer ... Read more

Reviews (5)

Like being there
Just sit back, close your eyes, and your in Carnegie Hall with a rowdy NY crowd listening to some of the best live bluegrass ever.
Flatt and Scruggs at their finest. Lester's voice and guitar, Earl's banjo (and yes, guitar). Paul Warren on the fiddle. You just can't go wqrong.

The Best Bluegrass Album ever made
If I could only own one Bluegrass Album, this would be the one. I bought the LP record many years ago when it first came out, and still treasure it, but it doesn't have the complete concert on it. The CD version is the complete concert, with additional material, including an encore of Flint Hill Special, the tune made possible by the famous "Scrugg's peg" tuning devices Earl Scruggs invented for his banjo. Josh Grave's dobro work on this number, imitating the banjo licks, is great, also.
With the New York audience hollering for "Martha White!!" , the theme song of the group's sponsor down in Nashville, Flatt & Scruggs delivers the tightly arranged and precisely executed performances that elevated bluegrass to a level that has never been exceeded and only rarely reached by any group since. You don't play this CD while you are washing the car or reading the newspaper. You sit back, close your eyes and--it's 1962 and you are in Carnegie Hall listening to the best bluegrass band ever. It's a shame they didn't film this concert so we could have a DVD of it now, like they did for "Down From the Mountain". This CD is an absolute must have for anyone who likes bluegrass. I bought two, and keep one in my bank safety deposit box.

Somedays, I wish I was Lester Flatt.
This is an essential bluegrass recording, documenting Flatt & Scruggs in top form before an appreciative, surely awe-struck, Carnegie Hall audience. I've heard it said that if you want to know what Bluegrass is all about, you've got to hear it, and see it produced, live. This recording, along with the Bill Monroe (et al) recording "Bean Blossom", captures the excitement and the fiery musicianship one finds at such events, along with a healthy dose of corn-ball humor. Get off you high horse and give this one a listen, and you may never go back to the city again.

This is truely bluegrass at its best - live and rememberable
Lester and Earl has brought the south up north in this cd. There is comedy but more importantly some of the finest bluegrass that can be produced. What more would you expect from two legends? The foggy mountain boys are an excellent compliment to Lester and Earl. This is a must for true bluegrass music lovers.

Earl and Lester at thier best!
A fine example of these boys live!-demonstrates how the entire band functioned together like a well tuned machine. The audience response of this live show indicates that it just doesnt get any better than this! the music is timeless-the musicians masters! ... Read more

Reviews (4)

Gold on every track
This is the first Kate Wolf collection I owned--as a tape back before normal people had CDs-and Kate live, Kate live is something to remember, not that her other albums aren't obviously recorded live in the studio, not on separate channels. How do you get so good as this. Why isnt she a household word. Thank goodness there are so many recordings. It is really worth it hear, even if you have other recordings of these tunes because she speaks so personally every time she did a song.

I've known who knows where the Time goes since Judy Collins did it around 1969, and enjoy Sandy Denny's version, but I have listened to Kate's version here for hours and it got me to perform the song!

The vision of California that Kate weaves on all her records is preciseless, unique real, and a treasure even if much of it is sweeten myth.

I feel so bad that I lived in San Fransisco and Oakland and travelled up and down California and the West Coast in the late 1970s and early 1980s when Kate was doing her best work and only saw her sing once. When I hear something like Sweet love on this CD, I wonder why I am not always listening to Kate. There is something to her voice that gets through to me, something pure. Now that I sing and play guitar and banjo and fiddle, I tend to listen to any singer or player that I hear trying to scope them out learn something, evaluate, figure out how to put what they do into my performance. Even though Kate plays the kind of music I have always wanted to play, I just sit there and listen to the song and receive its thoughts in my heart and mind. Part of Kate's magic is the superb arrangements and backup that gets from the musical genius Nina Gerber her main accompaniest. Nina is now out there solo alot. If you like guitar and this kind music check out Nina too.
Oh Kate, why didn't we realize how much of a golden treasure you were when you were among us. In her memory think of a performer you might miss like we all miss Kate--well that isnt fair because thats a big ideal to measure up to--how about someone you would miss half or a quarter as much as I miss Kate, and make sure you go see them while you can, and maybe bring a friend, bring two.

A Very Moving Album
If you don't know Kate Wolf's music, or you don't own any of her CDs, this is a great place to start. She sings with incredible authenticity and poignancy. Her original material is wonderfully well-written, and she makes excellent choices from the work of other songwriters. This is an unusually well-recorded and produced live album. I especially like her version of "Who Knows Where the Time Goes," which hits me much harder than the well-known Judy Collins version. This one never strays too far from my CD player.

Give Yourself To Love
I bought this album without knowing anything about it. When I first listened to it, I was amazed at the incredible beauty of her voice, her guitar skills and the lyrics of her songs. Medicine Wheel is my favorite on the album, but all of the pieces on this recording are beautiful. Growing up during the Viet Nam War, Agent Orange is stunning. I heartily recommend this album and have already ordered a second!

Kate Wolf: Sorely missed, long remembered.
I came here today to buy a CD for a lovely young lady who may, one day, marry my son. I had written her a letter and at the end of the letter, I quoted the chorus of the title song of Kate Wolf's Album: "Give Yourself To Love". It was a bit of beauty and wisdom I wished for her and my son to share.

Twelve years earlier, my wife and I renewed our vows in a ceremony at which my son and daughter played a role... among the songs in the music at the ceremony was: "Give Yourself To Love"... along with John Denver's "Annie's Song". Kate's song, which she wrote, is of the same quality... of the same feeling... and with the same heart as "Annie's Song". Her song, like his, is ageless and a wonder of beauty.

What prompted me to write this review is simply that no one had done it before me. I could scarcely believe it and could not let it pass.

Kate, in her life... that was too short... entranced countless of her fans in Austin, Texas. And, since I'm from Austin, that is my connection with her. But, it's clear from her music that she had a following in California too... and no doubt elsewhere.

Had her life not been cut so short by cancer, I'm certain that countless others would have come to know and love her and her music. But it was not to be. As her life grew short, all her friends in Austin, where (I believe) she spent her last days, "gathered 'round" her with such love that it would bring a tear to the eye of any but the hardest hearts. All were inspired with her courage and spirit... so full of life... and love.

The absence of a review of this album here was an empty space that had to be filled. So, as I said, I could not let it pass... could not let her pass... without taking a moment here to say something of the magic she brought to this world in her person and her music. Much of her magic is here in her album. ... Read more

Reviews (8)

THE EARLY JOAN BAEZ THAT WE KNOW AND LOVE...
This cd is quintessential early Joan Baez, simply strumming her guitar and singing folk songs that she loves. All but one of the tracks was recorded at various concerts during her tours in August 1962 and October/November 1963. The sole exception is "We Shall Overcome", which was recorded at Miles College, in Birmingham, Alabama.

This cd is even better than Joan Baez In Concert Part 1. The selection of songs is better, as it contains more traditional folk songs, a fact that purists may wish to note. These songs serve to showcase her sweet, clear soprano to perfection. Moreover, her affection for this repertoire is evident in the feeling she evokes with her exquisite singing of these songs. This is particularly notable when she sings "Once I Had a Sweetheart", "Jackaroe", and "Queen of Hearts".

Ms. Baez also sings two songs in Portuguese, "Manha De Carnaval/Te Ador", one of the most beautiful and haunting songs on this cd, as well as the traditional "Nu Bello Cardillo". She also gives her own rousing interpretation to a perennial country favorite, "Long Black Veil".

The cd also contains two Bob Dylan songs, the popular "Don't Think Twice, It's Alright", as well as "With God on Our Side". The latter track, one of Dylan's best songs, is done ample justice by the moving interpretation by Ms. Baez. It is one of my favorites tracks on this cd.

This is a live concert recording, so be prepared for clapping and an enthusiastic reception by the concert crowds, as well as some crowd interaction and participation. The audience joins Joan Baez in singing "We Shall Overcome".

An Old Friend Remastered
Indulge me for a brief personal story.

For some reason my parents, whose taste in music usually ran to Perry Como and Nana Mouskouri, and whose political sensibilities are light-years away from radical, bought a cassette of this album when I was about 8 or 9. I fell in love with "Don't Think Twice, It's Alright" and "With God on Our Side," and was thus introduced to a guy named Bob Dylan, who has been a staple of my musical life for over 30 years now. I eventually swiped--umm...borrowed--the tape when I moved out of my parents' home, and I was amazed at the power of the other songs, too--"Once I Had a Sweetheart," "Portland Town" and "Queen of Hearts" are particular standouts. In a world of heavily over-produced, synthetic music (and this is about as far from Britney as you can get!), it's refreshing to hear a singer who can profoundly move an audience with just a guitar, a voice, and a shy request to remove her shoes. Highly recommended.

great music for the whole family
My parents owned this album and I used to go to sleep listening to it. 35 years later I can still recall every note and word, and they sound just as good. Not only did this album give me the gift of singable music at a young age, it also exposed me--along with "David's Album" which my parents also owned--to the importance of social justice. Listening to war protest songs at a young age was a gentle but powerful introduction to activism, and I only hope that this music will do the same for my kids. Even without the message, the songs are beautiful, sad, haunting, and unforgettable. The whole family can enjoy them!

There was magic in the air
At the start of her career Joan Baez's pure, soulful voice was the signature of the early 60's folk movement; it is perhaps best displayed on this album and on Vol. 1 of the same. There is a special magic in her voice, her guitar and the response of the appreciative audience. The Portuguese song on this album, Nu Bello Cardillo, is touching but not as memorable as Ate Amanha on the first volume, while there's a lovely tremulous quality to her voice in the Dylan song With God On Our Side. My favorites on this second volume include the sorrowful tale of The Long Black Veil and the traditionals Hush Little Baby and Battle Hymn Of The Republic - the audience participation on the Hymn is very poignant and moving, and turns into a rousing spiritual experience. I personally prefer the first volume since more of those songs have personal meaning to me, but this folk classic is also an enduring treasure.

Lovely
This is beautiful folk music, just Joan and guitar. If you're completely new to Joan Baez, she's got the most clear, rich soprano--it's so pure. Most of the songs are traditional (you may know Jack-a-Roe & Fennario if you're a Grateful Dead fan--Jerry Garcia has said Joan Baez's first albums influenced his guitar playing--and "Long Black Veil" is probably better known as done by The Band). "Don't Think Twice It's All Right" is one of her best Dylan covers (though his original version is still the most stunning). Sing-a-longs on "We Shall Overcome" and "Battle Hymn of the Republic" give a feeling for the early sixties folk scene. "Queen of Hearts," "Once I Had a Sweetheart" and "Portland Town" (which is a gentle protest song), are three highlights which aren't that easy to find elsewhere. I'd recommend this if looking for a CD of her early folk music, it's a bit more accessible to modern ears than the earlier albums, and the sound is very good. This is a lovely collection of mostly mournful songs--a soothing listen. ... Read more