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| 21. The Kingston Trio/...From the "Hungry i" [Collector's Choice] | |
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Album Description Reviews (7)
The two live albums in the collection were most responsible for this, not solely for the bits where the artists chat with audience, but because they come from the era of intimate settings when you could actually experience the camaraderie of the performers (something MTV's Unplugged and VH1's Storytellers series tried to recapture). From Homer and Jethro at the Country Club I picked up sayings like, "You're blackballed! Put on your shoes and go!" long before I understood the sorry history of racism and elitism that the two, supposed, hicks were playing on in their club setting and "You don't look mad," right after badgering someone into anger and forcing them to admit their ire. It's not too surprising that a comedy album might provide memorable lines, but the other major influence was The Kingston Trio's ...from the "Hungry i". From that album, I acquired, "You're all alone, you know," from the novelty tune "Zombie Jamboree," as well as some of the general cynicism of "Merry Minuet" best expressed in the line "...and I don't like anybody very much." Those two songs do represent the more humorous portions of the album and lend themselves to quotation, I admit. For those not familiar with the Kingston Trio, they burst onto the music scene in the early 1950s with a coffee-house update to traditional folk music, paving the way for the folk-rock movement. (The faux trio, The Folksmen, from the recent mockumentary A Mighty Wind, is a parody of the Kingston Trio, matching their instruments, voices and musical style if not their lives.) Prior to this live album, they had released two albums and had a major radio hit ("Tom Dooley"), but those studio albums just don't do justice to their easy camaraderie onstage and their imprompto musicianship, which does come through in this recording. Unlike modern live albums, which tend to showcase the band's hits, every song here had yet to appear on a Kingston Trio album, although some are traditional songs ("When the Saints Go Marching In"). Most of the songs are taken from the pre-Dylan folk idea, where ancient texts or melodies were updated. Songs like "Wimoweh" (aka "The Lion Sleeps Tonight") and "Gue, Gue" are modern adaptations of African and French folk songs, respectively. The songs switch between light-hearted, amusing songs such as the opener, "Tic, Tic, Tic," the up-tempo "New York Girls" and the aforementioned "Zombie Jamboree" to the morose story-song like "South Coast" and the biblically-inspired "Dorie." My favorite song on here is the haunting "They Call the Wind Maria," with its fascinating opening lyric, "Way out here they have a name / for rain and wind and fire / the rain is Tess, the fire is Joe / and they call the wind Maria." Unlike other, more popular albums from the late 1950s, ...from the "Hungry i" doesn't sound very dated at all, although other Trio albums from the time period do due to the production. There's something timeless, however, about three guys on a stage with acoustic instruments and great harmonies, a trend that popular music has embraced in each decade since the Kingston Trio's heyday, from Crosby, Stills and Nash to last year's Thorns.
Every song is great, ending with the banjo-thumper "Little Maggie" . Then this cd continues with the 2nd K Trio record, the "Live At The Hungri I". This album, in my opion, excells at showcasing the personalities in the Trio, from Dave Guard's sarcastic, 'intellectual' leanings, to Bob Shane's good-old-boy routine, to Nick Reynolds' enthusiasm. Highlights include "They Call The Wind Maria", a worthy follow-up to 'Scotch & Soda', the calypso "Zombie Jamboree", and the pseudo-ethnic "Dorie". The material is not as strong as the debut record, but the humor and personality carry the day. Combined, this set is the blueprint for their entire career to come.
If you like the harmonies of this album, you MUST buy their "The last month of the year", the greatest Christmas album ever written (now on CD). ... Read more | |
| 22. James Taylor (Live) | |
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Amazon.com Reviews (40)
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!
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.
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| 23. Living in Clip | |
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Amazon.com essential recording Reviews (120)
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| 24. Unplugged | |
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Amazon.com Reviews (27)
Alot of us in our 40's are still very fond of Neil.
In fact, although there is a generous helping of material on this CD that was originally released in 'acoustic' form, there are also a number of surprises. For this show, Neil took several highly non-'acoustic' songs and converted them. One of my favorites is his bluesy, wailing version of 'Mr. Soul'. Originally a Buffalo Springfield tune, this time it's just Neil with his guitar and harmonica. I also like the stripped-down, countryfolkified performances of 'Old Laughing Lady' and 'World on a String'. And wait until you hear what he's done with 'Transformer Man'. Even if you didn't like it before, you may like it now. There's also 'Like a Hurricane', a blistering rocker originally released on _American Stars 'n' Bars_ (which, incidentally, is now available on CD at last!). Here Neil performs it solo, accompanying himself on pump organ. This show took place not long after the release of the magnificent _Harvest Moon_, so there are a couple of selections from that album. And the rest is what you'd expect -- a set of solid performances of old and new favorites, some well-known and some obscure, from all stages of Neil's long career. "The Needle and the Damage Done', 'Look Out for My Love', 'Long May You Run' -- this stuff is never going to wear out its welcome. One last highlight: Neil also does a fine tune called 'Stringman' (which I suspect is about Stephen Stills); I don't believe I'd ever heard it, or even heard _of_ it, before this release. ... Read more | |
| 25. 30th Anniversary Concert Celebration | |
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Reviews (24)
Stevie Wonder gets carried away with his intro to Blowing in the Wind, but fast forward 2&1/2 minutes and you will miss the only misery of this CD. The end of this double CD has Dylan singing. It makes you appreciate how special his music is when sung by these top performers. It also shows off what Dylan does best - song writing. Wanna hear Dylan with an Irish accent? Buy the CD. I can't think of a better way to spend 2 hours in the car. I own over 500 CD's and this one is my favorite.
Perhaps the best thing about this grouping of performances is the fact that everyone has a different favorite part. After reading all the other reviews, I'm left amazed that nobody has pointed to the Eddie Veder/Mike McReady rendition of "Masters of War" as the highlight of the set. To me, this is hands-down the reason to own this set. The amount of feeling poured into the words and the preformance is astounding and a true credit to the genius of Bob Dylan. It provides a case in point that any and all Dylan songs can be made into the performer's own heart-felt masterpiece. Sure the performances by Neil Young, Tom Petty, Eric Clapton, etc. are outstanding, but one likes to think that would go without saying by now. If after listening to this you can't feel the anger, emotion and scathing attack behind the lyrics to a song like "Masters of War," you simply never will. The lyrics ring just as true today as they did the day they were written --- if not for knowing better, one might think this song was written for George W. Bush and Dick Chaney. Only the Vedder version delivers the anger and emotion that are conveyed in the words themselves...this is what a protest song is meant to be!
Sure, nobody is going to like *everything* here (I could do without Mellencamp for example), but there are a few absolute stormers - Lou Reed, Richie Havens, Tracy Chapman, and - especially - Eric Clapton. I'd go so far as to say that EC's performance of "Don't Think Twice" is not only the high point of this show, it's the high point of his *career*. If you're a fan of the "Layla" album, and have been disappointed with the mostly soporific stuff he's done since then, listen to this - it's *blistering* - right up there with "Have You Ever Loved A Woman". Great, great music.
Reviewed by Stephanie Sane Unlike a lot of live compilation albums, this one really works. All I can say is that I think you should own it. Five Stars. ... Read more | |
| 26. Tonight: In Person | |
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Reviews (10)
How could I have forgotten The Limelighters and what a blessing to see this album in particular available on CD. Nothing beats Folk Music in live concert form and this particular album while it certainly shows off individual talents, humor and creativity, is enhanced with some great audience participation. That's what folk music was all about and The Limeliters were great at their craft. So chalk up some brain cells restored by The Limeliters and some great folk music to listen to and remember.
To my mind in the Limeliters' repertoire, this album (and it is one album re-mastered into a CD) is second only to the album entitled, "The Slightly Fabulous Limeliters," which is available as part of a two-album-CD. I recommend this CD to any folk music lover, any Limeliters fan, or any lover of beautiful vocal harmony. Gorgeous, lush harmonies !
TONIGHT:IN PERSON was their 1st Live album, and their 1st with RCA. There's so much I love here-- great melodies, amazing singing, sharp intelligence & humor. While I ran across this one comparatively "late" (1970!) it's been a favorite of mine for over 30 years now. So many highlights: "There's A Meetin' Here Tonight" (rousing), "Molly Malone" (romantic & tragic), "The Monks Of St. Bernard" (dramatic & hilarious at once), "Hey Li Lee Li Lee" (Lou's "audience-participation" song), "Headin' For The Hills" (one of my favorite historical ballads, about the American Revolution), "Rumania Rumania" (perhaps the most exciting-- and funniest-- on the album) "Have Some Madeira M'Dear" (would this be out of place on Monty Python?) and "Proschai" (the multi-lingual "farewell" song). The strongest statement I can make about this-- is I feel TONIGHT: IN PERSON is one of the greatest live folk albums EVER recorded. And it's NOT even their BEST one!! (Also check out their Elektra debut, THE LIMELITERS, recently reissued in its entirety on CD by Collector's Choice Music!)
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| 27. At Budokan [Live In Japan, February, 1978] | |
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Amazon.com Reviews (43)
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(!). 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. "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.
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| 28. Between the Breaks...Live! | |
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Reviews (12)
The songs on this album represent Rogers' songwriting talent at full flower and the band is snapping with energy. My only complaint -- gee I wish they'd used a better vocal mic. It's not awful, but fairly typical of the late 70s.
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| 29. Out There Live | |
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Amazon.com Reviews (25)
"And I tried to remember, I would give this ten thousand stars if I could. What an experience! ... Read more | |
| 30. One Fair Summer Evening | |
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Amazon.com essential recording Reviews (32)
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. '
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.
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| 31. Live As I'll Ever Be | |
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Amazon.com Reviews (16)
Do yourself two favors: buy this album, then go see him in person (or vice versa!)
What comes across so amazingly live is the great humor in his songs. When he sings, "Seems so dumb to get so excited," on "Can't Shake These Blues," it's not that it's a comedy song, but just that you get the humor of his great spirit. His facial expressions contort to often express a humble self-effacing guy with wry wit. On Friday he related singing at prison where the inmates were a little wary of him at first. Then after a couple of songs "they figured I just hadn't been caught yet." This disc is a great representation of his live show. All of the songs on this disc are so strong that it's hard to pick highlights. "Hold On" is a great opener. When he did "The Devil's Real," he said his friends showed up at his concert worried that he'd gotten religion. He assured then he hadn't; and they all left. His closer in Chapel Hill was "Link of Chain" which is a great song with his great penchant for lyrical twists, "Fly me like a kiteline smilin' like a goldmine, I don't need to be right." "No Love Today" with its intro about the vegetable man makes you think this will be a funny song about a street seller until the song hits its great pathos, "I could not love to save myself from lonesome desperation, everything I thought was love was worthless imitation." "Cave Man" boasts a gorgeous melody about the supreme loneliness. Chris' guitar on "Small Revelations" is about as expressive as a guitarist gets balanced by his wistful vocals, "Passion is feeling in motion, compassion is standing still." When Chris adopts a song like Robert Johnson's "Dust My Broom," he encompasses it so completely that it's hard to tell that it from his self-penned pieces. There is also a great universality and worldly wisdom that comes through in Chris' songs like, "I'm not the passenger, I am the ride." One of my favorites is "Up On the Lowdown" with its insistent beat and they great rise in melody when Chris sings "That's what's so surprising." Chris' set "Live As I'll Ever Be" is a great recording of a man in his element. His guitar is so distinctive that just like I can recognize James Taylor's or George Harrison's guitar as individual as their vocals, so too is Chris' guitar unique. I thought this was the best recording of 2000. Enjoy! ... Read more | |
| 32. How Late'll Ya Play 'Til?, Vol. 1 [Live] | |
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Reviews (8)
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.
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.
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| 33. MTV Unplugged [Live, 1994] | |
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Amazon.com Reviews (28)
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.
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 | |
| 34. Children's Concert at Town Hall | |
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Amazon.com essential recording Reviews (3)
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| 35. Tribute to Woody Guthrie | |
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Amazon.com Reviews (4)
Guthrie wrote so many songs that I have no doubt there will be many tracks on this album you have never heard before. My favorite is Tom Paxton's version of "Pastures of Plenty," although I also like the section on the Pacific Northwest, where Bob Dylan sings about "The Grand Coulee Dam" and Judy Collins leads the audience in "Roll on Columbia," while Robert Ryan's narration fills in the gaps. Plus, of course, there is something fundamentally enjoyable about hearing Arlo Guthrie sings his father's songs. This 2-record set on highlights from concerts at Carnegie Hall in 1968 and the Hollywood Bowl in 1970 was condensed to a single CD by eliminating three songs, all of which were written by the artists who performed them rather than Guthrie. All this means is that nothing important was lost in the transition. "A Tribute to Woody Guthrie" is a necessary part of any serious collection of American folk music.
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| 36. Old Friends Live on Stage (2 CD) | |||||||
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Amazon.com Recommended Simon & Garfunkel Discography !-- end6pak --> | |||||||
| 37. We Shall Overcome: Complete Carnegie Hall Concert | |
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Amazon.com essential recording Reviews (6)
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| 38. Shadows & Light | |
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How much you'll enjoy Shadows & Light probably depends on how much you like jazz. Joni's storytelling voice and folk roots show through, but the whole album is settled into a pure jazz mood that still blends perfectly with her distinct style. "Free Man in Paris" is given a new life with Jaco bouncing all over the place. "Dreamland" flows hypnotically. The title track is one of Joni's most peaceful, beautiful moments on record. What are you waiting for? Click and order; if you don't like it, chances are you know someone who will.
The selections vary between Joni's impassioned, quietly intense, deeply personal folk-based material ("Amelia", "Furry Sings the Blues", "Edith and the Kingpin"), and the rollicking exuberance of the band's full-tilt jazz explorations of "In France They Kiss On Main Street" and "The Dry Cleaner from Des Moines". On lead guitar we have virtuoso Pat Metheny (whose talents are somewhat underutilized on this set, sad to say), with his longtime compadre Lyle Mays playing keys, but Jaco Pastorius' bass-playing is super-phenomenal throughout; you really get a strong feel of how he's revolutionized the instrument, and Michael Brecker gives what must have been the performance of his career, especially on "The Dry Cleaner from Des Moines" and the impassioned cover of "Goodbye Pork Pie Hat". This is not your father's (or your mother's) Joni Mitchell album. The power of the performances makes this a must-have recording for Mitchell's fans, even though they already have studio versions of all of these songs. For folk fans, Mitchell's haunting voice and introspective lyrics (albeit less distinctly personal than previously) still deserve attention. Progressive jazz fans will probably yearn for more Metheny, but Pastorius' bass works so effectively with this material that you can't fault the arrangements. Moreover, there's probably never been another album that so successfully merges progressive jazz with pop sensibility. Even more highly recommended is the vinyl version, which contains recordings of "Black Crow" and "Free Man in Paris" that are so incredible that it boggles the mind that they were cut from the CD.
"Shadows & Light" is a collage of Mitchell's various musical expressions throughout the years: rock, folk and pop ballads blended with her own unique and often quite eccentric style of jazz. The album kicks off brightly with "In France They Kiss on Main Street" with Mitchell packing in the words to this rapidly traveling and lyrically nostalgic pop tune. The crowd is enthusiastic from this very first song, which adds to the excitement and electricity of a very memorable evening at L.A.'s Hollywood Bowl. From there it is a fascinating journey through the most recent Joni Mitchell works preceding this release...from "The Hissing of Summer Lawns" she performs the mysterious "Edith and the Kingpin" and the beautifully acappella title song with background vocals courtesy of The Persuasions. Mitchell's selections from her then recent collaboration with the late Charles Mingus are the focus of her most hard-core jazz performances including "Goodbye Porkpie Hat", "The Dry Cleaner from Des Moines" and the finger-popping "God Must Be a Boogie Man" which feature the late Jaco Pastorius on bass and Michael Brecker on saxophone. Most lyrical and haunting though are her beautiful and often ethereal selections from her album "Hejira" including the rolling and humor-laden "Coyote", the melancholy "Furry Sings the Blues" and most notably the absolutely monumental "Amelia"...a confessional tale full of loss and wanderlust with its focus on the life, dreams and death of Amelia Earhart. "Amelia" concludes with a visionary Pat Metheny/Lyle Mays duet, which is a fine early example of the incredibly melodic and prolific work these two composers and instrumentalists produced together in subsequent years (such as on the album "Pat Metheny Group: First Circle"). There are a few old favorites covered on "Shadows & Light": a lively rendition of the old rock and roll classic "Why Do Fools Fall in Love?", and performances of two older Joni Mitchell classics "Free Man in Paris" and the legendary "Woodstock." While the concert DVD of "Shadows & Light" now appears somewhat dated, the CD of this concert is every bit as entertaining and emotionally charged as it ever was upon its initial release. Truly a unique live classic.
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| 39. Hard Rain | |
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Reviews (29)
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".
Reviewed by Stephanie Sane
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| 40. The Weavers at Carnegie Hall | |
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Amazon.com essential recording Reviews (3)
And amidst all that was the explosion into my consciousness of great classical music, experienced through the likes of Oistrakh and Richter, Giulini and Klemperer, Schwarzkopf and Popp. I still love ALL types of great music. And I still regularly return to The Weavers and still marvel at their art and their commitment. And of all their recordings I have heard since they first impinged on my young consciousness, this 1955 concert at Carnegie Hall is still the freshest, thumpingest, foot-stomping best. Buy it now. No matter what your age, it will enrich your musical life forever.
The first thing one notices about this live concert, recorded in February of 1955, is that the sound is so terrific-- as if recorded in that great concert hall yesterday. At the same time, the sense of pure joy coming from the stage and then back from the audience is palpable. The four voices that make up the group are individually so fine & so idiosyncratic: the big, booming bass of Lee Hayes, the sweet baritone of Fred Hellerman, the totally unique sound of Pete Seeger and, best of all for me, the warm alto of Ronnie Gilbert whose every note is just about perfect and whose enunciation is superb. You understand every single word she sings on every single song. From Ireland, Africa, Indonesia, the American South, Israel, etc. every song is chosen perfectly and matchlessly performed....and I promise you that you'll never listen to "Greensleeves" ever again, without slyly smiling. It is easy to hear that the audience is having the time of their lives. The Weavers are a national treasure. I dare you not to sing along. Highly Recommended.
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