Amazon.com

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

... Read more

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

Reviews (39)

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

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

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

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

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

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

Amazon.com

One may never be able to go home again, but that hasn't kept Paul Simon and Art Garfunkel from trying every other decade or so. This two-CD plus DVD live set (recorded in December 2003 at the Meadowlands and Madison Square Garden) shows their musical chemistry has transcended the years--and no small amount of acrimony. But while their '80s live reunion was marked by an aura of celebration, this one floats on an undercurrent of bittersweet resolve. There's no mistaking the elegiac tone of the title track, while stark readings of "Hazy Shade of Winter" and "Sounds of Silence" can't help but evoke the scars of 9/11. A musical circle is completed as the Everly Brothers step in for a joyous "Bye Bye Love," while elsewhere Simon's musical restlessness inspires a subtly jazzy reworking of "Slip Slidin' Away" and Garfunkel adds his stately grace to his partner's "American Tune." The album concludes with S&G's first new studio recording in 30 years, the plaintive, irony-studded plea, "Citizen of the Planet." --Jerry McCulley

Recommended Simon & Garfunkel Discography

Bridge Over Troubled Water	Sounds Of Silence	Bookends
Parsley, Sage, Rosemary & Thyme	Wednesday Morning, 3am	The Columbia Studio Recordings

... Read more

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Those who have experienced a Robert Earl Keen show in his native Texas know it can be hard to hear the artist amid all the whooping and partying of his rabidly loyal following. This 2001 taping from the Austin City Limits series gives the singer-songwriter's range the attention it deserves. An eight-minute rendition of Keen's signature anthem, "The Road Goes On Forever," shifts that epic into overdrive, as the furious interplay of guitarist Rich Brotherton and steel guitarist Marty Muse finds the band firing on all cylinders. Yet the subtler selections are every bit as impressive, with his reflective rendition of Townes Van Zandt's "Snowin' on Raton" and the brooding melancholy of Johhny Cash's "I Still Miss Someone" highlighting the performance. Though Austin City Limits typically condenses an artist's appearance into a half hour for airing, this CD (with the performance also available as a DVD) presents the full studio concert. --Don McLeese ... Read more

Amazon.com

With a slate of more than 200 shows a year, Ben Harper has never been an album-tour-album-tour kind of artist; for him and his fans, the stage is the ultimate proving ground. So after four studio albums, Harper has finally released his first official live set, a 25-song double-disc collection that surveys each of his four albums and adds a couple of well-executed, if not terribly inventive, covers. Disc one is electric and finds Harper and the Innocent Criminals tearing through their patented mix of rock, folk, soul, and blues. Yet, the solo-acoustic disc two is the true prize, putting the spotlight squarely on Harper's incredibly agile, versatile, and enormously moving voice. In this pared-down setting, Harper shows an uncanny ability to connect with his audience, offering one spellbinding performance after another. Culled from two years' worth of shows--no two songs are taken from the same concert--Live from Mars provides a welcome overview of Harper's many facets. --Marc Greilsamer ... Read more

Reviews (72)

Past Due
Finally Ben Harper has a live album and while it's past due it's well worth the wait. This cd is a perfect compilation highlighting the many aspects of his show with one disc being the band and one being solo acoustic. And because each is taken from a different night, every song is top quality. Especial highlights for me would be "Steal My Kisses" w/Rahzel and the cover of the Verve's "The Drugs Don't Work." The only complaint one could have would be the inevitable and unavoidable one of track selection. There are going to be a few of his songs not on this that you wish were but if anything that just makes all the reason for another live album of similar nature to be released. And that is definitely a good thing so if you buy this and you are not amazed, maybe you are listening to the wrong type of music.

I already love this album
For those who don't about know them, Ben Harper and the Innocent Criminals are going to be a pleasant surprise: their music has this incredibly big sound, but the material is very introspective and personal. Ben Harper as a musician is a study in contrast also: his vocals are kind of reminiscent of Cat Stevens if he was a gospel singer, and he plays these blistering licks and chords, completely without any showmanship at all, dictated by his lap-style playing.

Live from Mars is a great title, and a great description. It's a two-record set of live recordings; seemingly recorded in a variety of venues and edited together. This gives the entire album a kind of weird disconnected feeling - the recordings are soundboard mixes that eliminate most of the crowd noise, but it actually serves the songs pretty well. The two discs have been organized to be Loud (disc one) and Quiet (disc two) - kind of splitting up the flow of a coherent performance. While this would be my only complaint, it does allow you to listen to an entire record of your preference, however.

Ben Harper's albums can be a little spotty because the variety of his playing: from bluegrass and zydeco-influenced, to wailing rock guitar, to funky covers of Motown. His live shows are incredible however, and with live recordings like Live From Mars, we'll never need a greatest hits record.

This album is a complete out-of-body experience, either Loud or Quiet. If you like great songwriting that has a great vibe and a great rhythm, or you just like artists that don't sound like anyone else, get this record.

Must Have
A classmate always talked about Ben Harper, so I decided to download a couple of his songs to see what he was about. I didnt really like what I heard but when I borrowed Live From Mars it completely changed my mind. Disc 2 is great and I can listen to it over and over for hours. After hearing the studio versions and live versions I realize that I like Ben much better live. If you havent been impressed by Ben yet buy Live From Mars and you will be. Everyone loves DMB but I think that Ben is much better. I cant wait to catch a concert.

Very dissapointed
Ben Harper was brought to my attention through his association with Jack Johnson. Then Direct TV showed Ben Harper this month on their free concert. I only saw part of the show and decided to buy Live from Mars as my first (and last) Ben Harper CD. I can't get into his music...it doesn't have any flow. His guitar playing is mediocre at best, and his vocals even worse. At times I thought Tiny Tim had come back from the dead. I'll stick with Jack Johnson. Ben Harper was not what I expected, and I utterly fail to see what all the hype is about.

a good sampling of Harper's work
The amazon.com editorial review nails it in describing this release, but what it fails to mention is that the best part of this compilation is the cover of the Verve's "The Drugs Don't Work." Harper's version of this song is beyond spectacular. There are no words to appropriately describe his ability to seemingly connect w/suffering and hardship and portray it w/such grace, sensitivity, and emotion. It's up there w/Elliot Smith's "Between the Bars." Not to mention that the "Whole Lotta Love" cover that's played in the middle of "Faded" makes it my new favorite BH song. The only reason I won't give this release 5 stars is because I would have preferred to hear a different mix of songs, but this album is still highly recommended. ... Read more

Amazon.com

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

Mere months passed between the release of Neil Young's mid-career milestone Rust Never Sleeps and this 1979 tour recording, which documents a late-'78 San Francisco performance. Indeed, Live Rust boasts four songs from the album that gave it its name. It's also sequenced in the same spirit as its studio sibling. As with Rust Never Sleeps, Live Rust opens with steady-flowing acoustic numbers before swirling into an electric vortex. What was side 4 off the original two-record version--"Like a Hurricane," "Hey, Hey, My, My," and "Tonight's the Night"--is arguably Young and Crazy Horse at their peak as a live unit, with all due respect to 1991's estimable Weld and 1997's desultory Year of the Horse. Few rock bands rank with Young and his stalwart electric trio, and Live Rust presents them in all their raging glory. --Steven Stolder ... Read more

Reviews (37)

Neil Young & Crazy Horse "Live Rust" is an essential album
Neil Young is my favorite artist and this is one of my favorite albums by him. Though he has too many great works to appear on one album, this shows many facets of Neil Young, 16 songs, while at the same time being very enjoyable to listen to. It starts out with some of his great acoustic works and moves into some of his heavy grungy stuff giving off the energy of being at a live show.
He takes us down lifes roads with songs like I Am A Child and Comes A Time, Lotta Love, ect., then thru more serious songs like The Needle and the Damage Done, Powderfinger, Cortez the Killer, and then hits it hard with classics like Cinnamon Girl (a rocking fantasy), Like a Hurricane, Hey Hey, My My (Into the Black), Tonight's the Night. As diverse a sample this is, it flows together like a charm and is probably the best live album I've heard. -Steve Anderson

Godfather of Grunge
Live Rust is one of the better live albums to come out of the seventies. It not only works as a concert experience, but as a sampling of Neil's greatest hits as well.

The contrast of Mr. Young's folky acoustic side is well represented (Sugar Mountain, Needle and the Damage Done, After the Goldrush) as well as his hard-rocking distortion-filled jams (Cinnamon Girl, Powderfinger, Cortez the Killer).

Not all of this album is incredible by any means, but this works as a good introduction to Young's lengthy and large span of music. Cortez the Killer especially shines with its Hendrix-like guitar solos and playful energy of the band. Also of note is Young's clever tribute to Johnny Rotten with the songs Hey Hey My My and My My Hey Hey. Rock and Roll will never die.

Live Rust
All The Songs Rock All Essential Young Stuff A Real Gem
Live And Raw Music Thats Whats Its All About

best live album
this is the best live album. I like this one more then rust never sleeps and weld. The song selection is much better in this one to. And neil isnt trying to do bob dylan songs in this one eather like in weld

NOT RUST NEVER SLEEPS PART II
Coming on the heels of Rust Never Sleeps, Live Rust is often seen as a live version of the studio Rust album. Although some of the songs are the same, this album is a much broader interpretation of Neil's career up to that time. Like Rust Never Sleeps, this album starts out with just Neil and his guitar, doing what he does best. Beginning with the timeless classics Sugar Mountain and I am a Child, Neil builds a foundation that gets progressively harder and more electric with each song. The beauty of the CD format (unlike the double LP) is that you get to experience the progression from folksie Neil Young (I am a Child) to disillusioned and grungy Neil Young (Powderfinger, Tonight's the Night). The latter Neil is considered by many to be the fore-runner of modern grunge, as displayed so well on Weld.

Over the years, I think the album has suffered somewhat by having such a similar title to Rust Never Sleeps, as these albums are really quite different in both construction and tone. While not as polished as Rust Never Sleeps, Live Rust has an edgier feel that seems to give notice of where Neil would be taking his music in the future (Weld, for instance). Although I would recommend Decade for anyone interested in a greatest hits, or more retrospective album, this is a great performance by a consummate artist. ... Read more

Amazon.com

You can almost hear Simon & Garfunkel begin to like each other again on this now-legendary set. On September 19, 1981, the duo reunited for just the second time since their initial breakup and revealed a camaraderie that had apparently vanished years earlier. Not only do they reprise their shared hits, they also work in a few of Paul Simon's solo gems and a couple of telling covers--one from the Everly Brothers and one from Chuck Berry. The band includes the best session men around. By the time they get to the sincerity of "Old Friends" and the joy of "The 59th Street Bridge Song," you sense a relationship fully repaired. After this success, they even planned a studio record together--one that eventually became Simon's overlooked Hearts and Bones--few were surprised when it did not come to pass. --Marc Greilsamer ... Read more

Reviews (52)

The best
To say that this is the best Simon & Garfunkel album will perhaps offend some fans who love their acoustic folk-pop of the late 60s. But it is, and their most accessible, too.

It was recorded a decade after the break-up of the duo, and features a full backing band, complete with a subtle, well-used horn ensemble, and Paul Simon and Art Garfunkel perform truly excellent versions of classics like "Mrs Robinson", "The Sound Of Silence", "Homeward Bound", "The Boxer" and a magnificent "Bridge Over Troubled Water".
And the presence of Art Garfunkel (and the fine backing band) makes for some superb live renditions of several of Paul Simon's best solo tunes, especially "Still Crazy After All These Years", "Me And Julio Down By The Schoolyard" and "Slip Slidin' Away", which features Garfunkel's masterful harmony vocals.

This album is much more lively than the duo's strictly acoustic outings from the 60s, and it is highly recommended as one of the very best live albums of the 80s, one that really adds something to the artists' legacies.

Sublime!
To say that this is the best Simon & Garfunkel album will perhaps offend some fans who love their acoustic folk-pop of the late 60s. But it is, and their most accessible, too.

It was recorded a decade after the break-up of the duo, and features a full backing band, complete with a subtle, well-used horn ensemble, and Paul Simon and Art Garfunkel perform truly excellent versions of classics like "Mrs Robinson", "The Sound Of Silence", "Homeward Bound", "The Boxer" and a magnificent "Bridge Over Troubled Water".
And the presence of Art Garfunkel (and the fine backing band) makes for some superb live renditions of several of Paul Simon's best solo tunes, especially "Still Crazy After All These Years", "Me And Julio Down By The Schoolyard" and "Slip Slidin' Away", which features Garfunkel's masterful harmony vocals.

This album is much more lively than the duo's strictly acoustic outings from the 60s, and it is highly recommended as one of the very best live albums of the 80s, one that really adds something to the artists' legacies.

The worst of Simon and Garfunkel
The idea of a reunion might seem romantic, especially if we are talking about the best duo that pop music have ever created. Anyway, here the problem is not the noble intention but the execution. The band backing the sublime S&G's voices and guitars is awful. The choice of instruments, with all that keyboards and horns ruins the simple melody and essential instruments backgrounding the original songs. So, if you want to know better the music of Simon and Grafunkel, PLEASE!, don't buy this "illusion". If you absolutely need a collection, try the 2CD of TALES FROM NEW YORK (THE VERY BEST OF) instead (but I think it's a european-only release).

Actually 3 1/2
The famous 1981 reunion concert finds Simon & Garfunkel in fine form vocally, but I was less than entranced by their back-up band. The excessive horns made them come off like a Vegas act at times, as if Tom Jones were waiting in the wings. At other times, sappy keyboards detract from some of the quieter moments. Nevertheless, it¡Çs great to hear S&G together again and I¡Çm looking forward to eventually hearing some recordings from their current ¡ÈOld Friends¡É tour.

As memory serves; Revisiting Simon and Garfunkle
I was happy to see Simon and Garfunkle in concert on their recent "Old Friends" tour, and was more than pleased by the performance of two men who, by all rights, should've been retired and not in the best of vocal form. The afterglow of the Philadelphia show led me to reacquire this CD from the 1981 Central Park reunion show. Since most of the songs from the current tour are reflected by the Central Park set list, it was worth it for me.

This CD is actually better than I originally remember it. Maybe I was just too wrapped up in my new wave years (I was a junior in college at the time the album was released), but both men were in strong form vocally. It also meant that, as a greatest hits sort of show, all the bases are essentially covered. Even the Paul Simon solo material comes across as well matched (in particular, "American Tune" which rings truer in the post 9/11 world as it did back then). The instrumentation is a bit dated, Richard Tee's keyboards especially, but that's more the fault of the times than of performance.

And the performances here are superb. Oddly, the one major omission from the disc is "The Late Great Johnny Ace." If you watch the DVD of the concert, it was Simon's tribute to John Lennon and is when a fan charges the stage, distracting Simon from the microphone. Art Garfunkle is relegated to only one solo hit here, and naturally it's "A Heart In New York." Just as "counting the cars on the New Jersey Turnpike" gets a huge outburst of applause (it did here in Philly, too), "Heart" brings the crowd to express itself with exuberence.

On the other hand, when Art begins to sing "Bridge Over Troubled Water," it's hard not to notice that he can still sound like the folk singing choirboy of the sixties, and even more so for "The Sound of Silence." Despite all the infighting, back biting and legendary arguments that Simon and Garfunkle have shared over their career, there is no denying that - as a duo - they created magic. After 20 years, I'm glad "The Concert In Central Park" is back in my library.

PS: I eagerly await the inevitable "Old Friends" concert disc, and would also recommend Paul Simon's "Concert In The Park" from 1991. ... Read more

Amazon.com essential recording

While many of these live tracks were culled from the Swamp Ophelia tour, the entire collection on this two-disc set covers a lot of territory in the Indigo Girls oeuvre. From the charming "Back Together Again" (recorded in Amy's basement in 1982) to the reverent cover of Joni Mitchell 's "River" (recorded live in Atlanta), these songs capture the energy and spirit of one of the most successful folk-rock duos in the history of contemporary music. Live renditions of favorites like "Closer to Fine," "Power of Two," "Strange Fire," "Land of Canaan," and "Galileo" bristle with passion, and the mandolin, cello, and percussion parts sparkle in concert. While they're right on with their rave-up of Bob Dylan's "Tangled Up in Blue," the one misstep is the lackluster performance on the 10-minute "Down by the River" by Neil Young. --Lorry Fleming ... Read more

Reviews (47)

On my third copy
I wore out two copies of this album on tape and I'm beginning to wear it out on CD. I've been an Indigo Girls fan since college and feel that this CD set is a wonderful representation of their work. It is a live album, but the sound quality is wonderful. It includes almost every one of my favorite songs with some wonderful twists. I also deeply enjoy their covers - Last Train to Georgia is a favorite, as is Tangled Up In Blue.

If you like the Indigo Girls, this album is a must.

AMAZING!
If you can only have ONE Indigo Girls CD - get this. Amy and Emily are amazing singer/musician/songwriters in their studio recordings - but they are even more amazing live - and this set certainly is that. Not only do you get to hear some of their most fabulous and famous songs (as well as some lesser-known to the new indigo fan), you also get to hear some fabulous musings from them. ALSO their cover of "Tangled Up in Blue" with its break down blues section in the middle is probably the best recording ever of one of the all-time great songs. There isn't one false note on this set! Totally worth listening to over and over - it rarely leaves my CD player.

MUSICAL ORGASM
LIVE IS THE WAY TO LISTEN TO THESE POET PERFORMERS. THIS DOUBLE CD IS THE NEXT BEST THING TO A TICKET. AT TURNS HOPFULLY POLITICAL, WRENCHINGLY ROMANTIC,SING ALONG SWEET. INTROS ABOUT WHAT INSPIRED THE SONGS ALONG WITH INSERT COMMENTS MAKE YOU FEEL MORE CONNECTED TO THEM. DEFYING CATAGORIZATION THIS SET IS NOT FOLK, POP,ROCK OR SOUL IT'S A GREAT BLENDING OF STYLES. IF PREVIOUS CDS ARE THE JOURNEY, THIS IS THE DESTINATION A MATURE COHESIVE SOUND THAT JUST SOARS.

I'll make it simple for you ...
...if my house was on fire, this would be the CD I'd grab on my way out the door. It's that good.

A Rare Find...
I'm usually disappointed with most performer's live albums- this is one exception. I bought this long before I saw the "Girls" in concert, but I listen to it again and again to remind me of their incredible talent to perform live.

Many of these performances are better than the studio versions-- the Dylan song, the Buffy St Marie song, and the Gladys Knight songs become their own and make this album even more enjoyable.

My husband and I love singing along with this in the car on a road trip. The music calms my infant daughter as well.

All and all, the best live album I've ever purchased and just maybe my favorite Indigo Girls album (and I've been a fan since the beginning) ... Read more

Amazon.com

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

A sweeping, 30-track career retrospective that leaves almost nothing out, Live is a much more filling meal than the two-part Best Live series, each of which contains 12 tracks. Fans will want one or the other of these packages, and will need no further elaboration on their merits. But those who just want a sampler of Taylor's hit songs might want to check this out as well. The best greatest hits package, Classic Songs, is an import, and costs a premium. The domestic Greatest Hits was compiled in 1976, and misses later tracks. It also features rerecorded versions of some of its songs. This is a better value than the import and offers a better selection than the domestic sampler. --Gavin McNett ... Read more

Reviews (40)

Saw the Concert - Got the Album
We (a married couple) saw James Taylor in Providence (Performing Arts Center) during this concert tour. As he has done for years, James tours with seasoned professional musicians and singers.

The musical arrangements on this album, his voice, the voices of the background singers, the (minimal) audience banter...make for an entertaining - perhaps even joyous - listening experience. We have worn out both cassettes (the double set) and are now purchasing the CDs.

Although the concert was in 93 and we bought the album in 94, we continue to listen to it right up until today. "Walking Man" is a perfect autumn song. "Shower the People" includes phenomenal singing by one of the male back-up singers. The arrangement for "How Sweet It Is" is better than the original Motown version. If you are in the car, you will probably pull the album out of the stack when you're in gridlock just to hear "Traffic Jam."

This album is as close to a live performance as you can get, yet the sound quality on it is superb. "Five stars" is not enough - it deserves ten!

Fabulous flow of energy between JT and audience
There are those who are naturals for live albums and ones who aren't. James Taylor has to be one of the naturals.

Of course, if you want perfection, you probably want to stick with the studio recordings. But if you want to hear a truly electric performance, go with this live album.

From the first cut, "Sweet Baby James", you can sense the perfect rapport with the audience. The live version of "Mexico" is quite enhanced by the life atmosphere, and by the time you get to "Fire and Rain", you can sense a flow between the singer and his audience. The energy reaches its zenith on "Shower The People" and "How Sweet It Is".

Cut after cut is notable here. The pure country sound of "She Thinks I Still Care" is a highlight. "You've Got A Friend" and "That Lonesome Road" close a truly exciting experience. If you prefer the best in the spontanaity of a live performance to the cool and perfect studio recording, or even if the two are equal in your mind, then you deserve to have this in your collection.

Simply Awesome!!
I am a new fan of James Taylor. My step mom got me hooked! Out of all the albums I've ever herd of James Taylor, I think this would be the best one. I could spend all day listening to it. I never get tired of the songs. The little speeches he gives in between the songs make the CD funny. The back up singers make the music timeless. Truly a great album, no questions asked!!

College Student Review
I enjoy this album very much. My family has owned this two disk set for a couple of years now and even though I am now in college, I never tire of hearing these songs. The songs in this set all have a great deal of energy behind them, and they are all enjoyable to listen to. All of the songs on this album are good, although some are better than others. I enjoy how the songs actually do flow together despite what many people think. For example, in the first disk, we move from medium paced songs, to fast paced songs, through a couple of jazz songs, on through some of his well known songs. It seems that everything fits together in this album. I would strongly encourage people to buy this album, whether you are a seasoned fan of James or just a new listener. Once you buy this album, you too will be able to enjoy the song "Traffic Jam" when stuck in traffic on the way to or from work. If I had to pick a favorite song from this album it might have to be "Shower the People", which is truely a gift. I hope this review was helpful.

In His Element
So I left My Job at 5 O'Clock, fifteen minutes to go three blocks
Damn! That's a good song!! If you don't know it, it's Traffic Jam, and it's one of MANY great songs on this double set. And although, I don't want to take anything away from the music because it is EXCELLENT, I also have to add, JT's comments between the songs are another reason why this album is so good. The only reason why I didn't give it 5 stars, is because I wish it was longer! Try, "Sun On The Moon" "Slap Leather" and "Millworker" They're great songs, not as familiar as "Fire & Rain" & "You've Got a friend" But just as good. ... Read more

Amazon.com essential recording

Young has recorded many live albums, but none capture his two dominant musical personalities with as much power as 1979's Rust Never Sleeps. The acoustic side opens with "My, My, Hey, Hey (Out of the Blue)," a devastating anthem about the state of rock & roll. Comparing the Sex Pistols' Johnny Rotten to the late Elvis Presley, Young delivers perhaps his most famous line: "It's better to burn out than to fade away." Side 2 demonstrates the emotional power of Young's hard-rocking quartet, Crazy Horse, with the scathing political songs "Powderfinger," "Welfare Mothers," and the loud reprise of "My, My, Hey, Hey." --Steve Knopper ... Read more

Reviews (49)

Neil's best album Ever!!!
This is just one of those albums that will never grow old for me. While the album contains several standout tracks, namely, the acoustic and electric versions of Hey Hey My My, and the absolutely beautiful Thrasher, its real strength lies in its folw as an album. Just as you begin to grow tired of the softer, acoustic songs that fill the first half of the album, you are greeted by the loud electric guitars of Powderfinger, another Young classic. From this song on, it is nothing but Neil and Crazy Horse jamming on loud, electric numbers. No album better demonstrates Young's talents in acoustic and electric rock. All in all, the album is a great starting point for any new fan, as well as a great addition to any long time fan's collection, although I can't see anybody getting this album just to finish off their Neil Young catalog.

My favorite Neil and a perfect introduction to his solo work
Disco had the charts, punk rock and new wave had the critics. What could possibly come from dinosaur Neil Young in 1979? Well those who were fortunate enough to see his "Rust Never Sleeps" tour in late 1978 already knew. This album was recorded at various stops on that tour and remains one of rock's finest efforts.

Sometimes reffered to as Neil's "answer" to punk rock, I think of this album more as a tribute. Neil saw punk as the lifeline for rock, which had grown increasingly stagnant over the decade. Accordingly, Neil is more furious and inspired than ever before.

The album is divided into acoustic and electric halfs with neither besting the other. The acoustic songs are gorgeous, lyrically baffling, and quite torrid. "Hey Hey My My" is a stirring song about rock and the music business. "Thrasher" remains Neil's ultimate statement of individuality, while "Pocohontas" revisits his destruction of the Native-Americans motif.

For the flip side Neil adds Crazy Horse and turns out four of his most brutal jams. "Sedan Delivery" is perhaps the closest to actual punk rock, but is the reprise of "Hey Hey My My", now electric. Full of glorious distortion and feedback, the song is an untoppable close to a near perfect album.

Because of its dualistic nature that shows off both Neil's acoustic and electric leanings, I think this is the best record to get acquianted with Neil's legacy.

No Rust Yet
It's hard to believe that I picked up "Rust Never Sleeps" on vinyl more than 20 years ago. I just downloaded the album the other day and it still holds up all these years! God, I recommend everybody go and revisit this album (or pick it up for the first time if you've never heard it before). This album still rocks!

Grime and Glory
I guess this album was considered some sort of comeback for Neil Young in the seventies, although, let's face it , he'd been there for years. I first heard "Hey Hey My My" on the soundtrack of Dennis Hopper's great, depressing movie "Out of the Blue" (for real!) playing over shots of seagulls swarming over a garbage dump - somehow that image is very appropiate to the music. This album is Neil Young at his most enigmatic and powerful, a combination that only him and Dylan have been able to pull off with any degree of real success. Somehow, the combination of meloncholic acoustic songs and bruising rockers results in an album that's of one piece, instead of one that's an awkard mish-mash. This should really be one of the first five Neil Young albums that you should buy - if you buy that many and feel that you don't need any more, you're not truly a fan.

Neil Young Raw Sound Heard on this CD
It's a raw sound, but full of emotion. Young sings from the heart...he is not one of those high-image guys. What you see is what you get, and I would expect what you hear on this album is a good indicator of the energy one feels at a Neil Young concert.

He'll be rocking in the free world until he is 75!! ... Read more