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| 41. Weld | |
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Amazon.com Reviews (26)
Many of the tunes on Weld had already appeared on Live Rust such as "Powderfinger", "Hey Hey, My My (Into The Black}", "Tonight's The Night", "Like A Hurricane", and "Cinnamon Girl". However, the performances of these tracks on Weld are grittier and grungier. There are five tracks here from their excellent Ragged Glory album with the best being "Love To Burn", "Farmer John", and "Love And Only Love". Disc 1 is the slightly stronger disc, containing a feedback heavy version of Bob Dylan's "Blowin' In The Wind", and killer versions of "Welfare Mothers" and "Crime In The City", with the latter being much better than on the Freedom album. Disc 2 contains decent versions of "Rockin' In The Free World" and "Roll Another Number". This album, along with Ragged Glory, pointed towards the grunge music that dominated the early 90's. Highly recommended to fans of Neil's work with Crazy Horse as this is clearly the best thing next to seeing them live.
No techno or rockabilly here, though. "Weld" is a furious two hours of blistering hard rock, courtesy of Neil Young and his legendary 70s backing band Crazy Horse. He also covers "Blowin' In The Wind", complete with the sounds of an air raid siren, gunfire and bombs going off, and the result is quite majestic. Several of these songs have been released live before, but that doesn't change the fact that "Weld" is one of the most awesome rock records of the 90s. The guitars sizzle and shimmer like you won't believe, and somehow Neil Young's fragile wail of a voice is just right for these furious hard rock arrangements. A must-have for any self-respecting Neil Young-fan, and a good place for the curious listener to discover why the Neil Young / Crazy Horse-combination was (and is) so highly esteemed. ... Read more | |
| 42. At Carnegie Hall! | |
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Amazon.com Reviews (5)
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| 43. Together at the Bluebird Café | |
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Amazon.com Reviews (19)
Earle and Clark give strong performances. The stories told between songs are sometimes hilarious -- Townes' story of losing his gold tooth in a game of cards, or Earle's recounting of how his roommates were too dumb to even steal pizza. But the thing I find really striking about this recording is Townes Van Zandt. Townes died only a couple of years later, the proximate cause being complications following hip surgery, but his alcoholism no doubt contributing. In his performances you can hear his slipping concentration -- missed chords, forgotten lines, etc. His performance of "A Song For" is heartrending. He forgets parts, and the spare accompaniment accentuates his croaking, corroded voice. "Too late," he sings, "to wish I'd been stronger." A song for what? For a dying poet, a wanderer with no strength left to roam. A song for whom? A song for Townes Van Zandt. Touching. If you're reading this review, you're probably already familiar with at least one of these legendary songwriters. Get the album -- its intimate, warm, funny feel is delicious even if you already have recordings of all these songs.
Steve Earle - Genius
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| 44. Courier | |
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Amazon.com Reviews (11)
Listening to these songs on one disc, performed by a cracker-jack band drives home the point what an amazing talent Shindell really is. Every song is A-list material. He smartly groups them: a "triology of trucker" songs, a few of his wonderfully evocative "war" songs, and of course his challenging religious material, sprinkled with some poignant and funny relationship songs. The only thing this album lacks compared to his recent studio albums is thematic coherence--- but the sheer amount of great songs still makes this the best single Richard Shindell disc available, since the songs also sound better sonically and musically than the studio cuts, thanks to an ace live band and fantastic recording. Highlights? Well, "Are you happy now?" remains the best break up song ever written and sounds better than ever. "the next Best Western" is simply awe-inspiring in its majesty and saddness. Like the best songs, Shindell's insinuate rather than explain. As a result, they remain full of mystery, tinged with regret, and flirt with redemption. For instance, why did the narrator of "Kenworth of My Dreams" leave his old life behind? Who knows. The hint is given in how he deals with country love songs on the radio. These characters are complex creatures, full of puzzles. The narrator of "Reunion Hill", "Sea of Fleur Du Lis"... all trying to figure out how to find meaning and redemption, be it in love, war, religion. or the roar of a semi engine. This wonderful disc makes a case for Shindell as easily one of the best songwriters of the last decade.
I'm not normally a fan of live recordings because you end up hearing the room and the not performer. Not so here -- in fact, definitely one of the better live albums out there when it comes to sound quality. While most of Richard's studio cd's have been fairly restrained -- just Richard and his guitar (which is something I normally gravitate toward) -- this album sports a small band. Occassionaly overly poppy (Next Best Western) and sometimes over exuberant (Arrowhead) the band really does the trick and adds just the right amount of support to Richard's songs. Courier (the first track) is just amazing -- quintessential Richard Shindell. Not leaving out Lucy's harmonies: they are just right -- really nice. Even though there aren't any new songs on this album, it is indeed the best one yet. There's something about the presence and the delivery, filled in by the band that really wraps it all up in a nice tight little package. This could be the only Richard Shindell album you ever own but you'll like this so much you'll buy the rest of them too.
The album title is taken from the opening song, "The Courier," which obviously serves as a metaphor for Shindell as a singer-songwriter. Initially I was somewhat disappointed that this concert recording does not contain any of the memorable introductions Shindell gave to his songs (especially "Are You Happy Now?" and his trucker twins, "Next Best Western" and "The Kenworth of My Dreams"). The liner notes are unusual for a live album in that they include all of the lyrics for these songs, which certainly makes sense give Shindell's talents as a lyricist. But I do wish that some of the stories behind the songs had made their way into the album as well. This is one of the better live recordings I have heard in a while, after a whole bunch of disappointments in that regard (e.g., the Dar Williams album); I am talking just about the technical aspects of capturing the artist's sound (tip of the cap to Ben Wisch). What I found most interesting about this album is that Shindell makes many of these songs sound differently from how we first heard them on the albums, not through instrumentation, but through how he sings them. The best example of this is "Reunion Hill," which he sings with a new, elegant simplicity. Lucy Kaplansky's voice is used to create some nice new harmonies on a few songs and the album closes with a nice cover of Springsteen's "Fourth of July, Asbury Park (Sandy)." Another way of thinking about this is that Shindell was in damn fine voice the night(s) he was recorded. This is not what I would call a great live album, just an incredibly solid one that should impress you whether this is your first or just your latest exposure to Richard Shindell. ... Read more | |
| 45. In Concert | |
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Amazon.com Reviews (9)
Here is a great selection from a repertoire which helped complete the connection between the labor union roots of Woody Guthrie, the Weavers, and Tom Paxton and the contemporary/traditional sounds of the Limeliters and Kingston Trio with the politically-charged lyrics of Bob Dylan, Joan Baez, Phil Ochs and others. Variety abounds, from the magical "Puff" to the harmonic "Jesus Met the Woman." From the lonesome call of Mary's lead in "500 miles" to the far-flung wit, self-examination and low-tech special effects of "Paultalk," this collection brings you in and wraps you in the enchantment and sing-along emotion that have been the trademarks of PP and M concerts throughout their careers. And the joy and sorrow and hope translate faithfully in the recordings. It is unfortunate that "must-have" is such an overused phrase, but it surely applies to this effort. Join in, get your feet tapping and heart-strings jumping, and, "if you do not know the words, you'd better learn them," as Peter chides. Altogether, a fun bit of time-travel and a good workout for that slightly atrophied folk-lobe in your brain.
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| 46. Live From Austin Texas (Dig) | |
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| 47. Beautiful! Live in San Francisco 1971 | |
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| 48. Our Men in San Francisco | |
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Reviews (5)
Some of my favorite songs, like "The Jam on Jerry's Rock", are here. Glenn Yarborough's "I'm Goin' Back" impressively presages his later solo career. And the international stuff ("Kerakina" and "The Lute Player") is brilliant. (Be careful, though-- the only flaw in this CD is how they've divided up the cuts, if you are skipping around from one song to another... the delightful intro to "Kerakina" is unfortunately left as the last part of the previous song). The reaction of the very British audience to "Hey Li Lee Li Lee Lo" is worth hearing by itself. Remember, while the Limeliters are still performing wonderfully and successfully, this original version of the group can only still be heard on recordings like this one. Don't miss it!
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| 49. So Much Shouting, So Much Laughter | |
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Amazon.com Reviews (52)
Girls Singing Night: Ani Difranco is so much better live. You can hear the intimacy and passion in her when she is on stage. While this is not a ticket to a show, So Much Shouting/So Much Laughter is a good representation on Ani's making good music with her band. Not as good as the incredible album Living in Clip, but still amazing nonetheless.
However, her lyrics (loaded with a significant social weight and an clear anti-establishment theme, sometimes sung in a clever slow rap-like fashion that I just love) make her stand out on a totally different level. The newly released "Self Evident" is the best testimony of this. The only other artist I have heard that remotely sounds like her on stage is Peter Hammill, but even that can be a bit of a stretch. The fact is: you have to take Ani DiFranco at face value, take any prejudices off your mind and listen to her. I think you will be surprised as I was, and wonder: where have I been all this time, while she's been recording music?
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| 50. Moments From This Theatre | |
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Album Description Reviews (1)
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| 51. Give Yourself To Love (Live In Concert) | |
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Reviews (4)
I've known who knows where the Time goes since Judy Collins did it around 1969, and enjoy Sandy Denny's version, but I have listened to Kate's version here for hours and it got me to perform the song! The vision of California that Kate weaves on all her records is preciseless, unique real, and a treasure even if much of it is sweeten myth. I feel so bad that I lived in San Fransisco and Oakland and travelled up and down California and the West Coast in the late 1970s and early 1980s when Kate was doing her best work and only saw her sing once. When I hear something like Sweet love on this CD, I wonder why I am not always listening to Kate. There is something to her voice that gets through to me, something pure. Now that I sing and play guitar and banjo and fiddle, I tend to listen to any singer or player that I hear trying to scope them out learn something, evaluate, figure out how to put what they do into my performance. Even though Kate plays the kind of music I have always wanted to play, I just sit there and listen to the song and receive its thoughts in my heart and mind. Part of Kate's magic is the superb arrangements and backup that gets from the musical genius Nina Gerber her main accompaniest. Nina is now out there solo alot. If you like guitar and this kind music check out Nina too.
Twelve years earlier, my wife and I renewed our vows in a ceremony at which my son and daughter played a role... among the songs in the music at the ceremony was: "Give Yourself To Love"... along with John Denver's "Annie's Song". Kate's song, which she wrote, is of the same quality... of the same feeling... and with the same heart as "Annie's Song". Her song, like his, is ageless and a wonder of beauty. What prompted me to write this review is simply that no one had done it before me. I could scarcely believe it and could not let it pass. Kate, in her life... that was too short... entranced countless of her fans in Austin, Texas. And, since I'm from Austin, that is my connection with her. But, it's clear from her music that she had a following in California too... and no doubt elsewhere. Had her life not been cut so short by cancer, I'm certain that countless others would have come to know and love her and her music. But it was not to be. As her life grew short, all her friends in Austin, where (I believe) she spent her last days, "gathered 'round" her with such love that it would bring a tear to the eye of any but the hardest hearts. All were inspired with her courage and spirit... so full of life... and love. The absence of a review of this album here was an empty space that had to be filled. So, as I said, I could not let it pass... could not let her pass... without taking a moment here to say something of the magic she brought to this world in her person and her music. Much of her magic is here in her album. ... Read more | |
| 52. Dream Letter: Live in London | |
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Amazon.com Reviews (20)
Ironically this 2 hour complete recording of Buckley's first ever British gig was never intended for release and the tapes remained lost until 15 years after Buckley's death. Thank heaven they were found because this album is essential listening for any Tim fan, or indeed anyone who loves music. Most of the songs are from Buckley's first three albums, although there are several unreleased songs and two songs that later turned up on Blue Afternoon and Sefronia. All the songs are much better here than in their studio versions (with the possible exception of the opener Buzzin' Fly), the arrangements are spare but gorgeous and Tim's voice has never sounded better - a rich, soaring, beautiful instrument of unparalleled power and subtlety. In addition the whole set is beautifully recorded. Of the unreleased songs Troubadour is the highlight. It's a fine companion piece to the preceding Hallucinations and as fine a song as Buckley wrote in his early phase. There are some odd moments too - Strange Feelin' and Carnival Song are almost completely different songs to the studio recordings with the same names. The first of these is another highlight, incidentally. With the continued inexplicable absence of Starsailor from the CD shelves, Dream Letter is probably the best Buckley album currently available. An essential purchase for Buckley fans and a fantastic introduction for newcomers. Marvellous, beautiful and indispensable.
This album surfaced several years after Tim's untimely death - and it's a sparkling jewel that reflects the bright spark that was Buckley's creative spirit. The songs here are from GOODBYE AND HELLO (1967), HAPPY SAD (1969), LORCA (1970), BLUE AFTERNOON (1970), a great live version of Fred Neil's 'Dolphins' (a cornerstone of many of Tim's live shows, which finally appeared on SEFRONIA (1973), and several tunes that were never recorded elsewhere. Stylistically, most of the concert leans toward the HAPPY SAD and BLUE AFTERNOON studio recordings, but with the freedom to improvise much greater here than in the confines of a recording studio. The mix of songs from various albums is a treat - especially hearing the solo versions of some tunes, and the jazzy (a la HAPPY SAD and BLUE AFTERNOON) treatments of some of the ones originally given more straight-ahead 'folk-rock' arrangements on GOODBYE AND HELLO. Tim leads the group through numbers with which the audience is familiar, tossing in his (and the band's, I'm sure) other favorites to spice things up a bit - it's easy to hear the more improvisational leanings that would lead him into his most exploratory period later, to the LORCA and STARSAILOR albums (which he - and others - consider to be his greatest artistic achievements). Tim is accompanied in fine style by Lee Underwood on lead guitar (who played on most of Tim's studio albums, as well as touring with him for many years); David Friedman on vibraphone; and the great British double-bassist Danny Thompson (from Pentangle). The missing link from Buckley's regular band of the day is the incredible percussionist Carter C. C. Collins - financial considerations wouldn't allow bringing the whole band over on this trip. Underwood and Friedman perform beautifully, completely in sync with Buckley's spirit, as always - and Thompson shows his brilliance by sounding as if he's played with Tim for more than the short pre-show rehearsal time he was afforded. The recording quality is excellent - it's hard to believe when listening to this album that it was recorded over thirty years ago. I can't say if the quality was there in the original recording, or if it's been 'cleaned up' for its contemporary release - but whichever is the case, it's a treat to hear it. Tim has been called 'the voice of his generation' - and as clichéd as that might sound, it's actually an understatement, in my opinion. Buckley music was so much more than a young man opening his heart and conscience by singing love songs and protest songs, strumming on a twelve-string guitar - his music was about truth, first and last, beginning to end. Tim was always true to his spirit, and it shone through his music in a way that few others were able to accomplish. This recording is a great testimonial to that spirit. If you're already a fan, it's essential to your collection - if you're new to his music, it should take you gently by the hand and lead you on a voyage of further discovery that will amaze and delight and move you to unspeakable heights. And, finally: Lee Underwood's notes in the CD booklet make for interesting and enlightening reading - Tim was appreciated by many critics and fans in his lifetime, but the recognition that should have been his in light of his stunning creativity never came his way in the broad manner he deserved. His death was shrouded in mystery, rumour and innuendo for many years - there are still horrific pieces of misinformation mixed with some pretty obviously personal opinions floating around out there today. The memoir written by Lee Underwood, BLUE MELODY, is a caring and truth-based source for what Tim was really like - I heartily recommend reading it.
I actually got to see him perform at the Mosque in Richmond VA in about '71 or '72. He was the warm-up act for a Zappa (sans Mothers) concert. Zappa was fine, but Buckley was stellar. It was shortly after the "Letter from LA" recording, and his vocal acrobatics were amazing. Then he died. In about '89 I stumbled upon "Dream Letter," and is was just that for me. It came from out of my past, but it still had a freshness and originality about it that is stunning. The guitar work is wonderful--both lead and rhythm. Lee Underwood was an excellant guitarist, who accented much of what Buckley sang. His liner notes are quite insightful, as well. As a bassist, I thoroughly enjoy listening to Danny Thompson, who was in The Pentangle at that time, falling in with unfamiliar material. I've played pick up gigs quite a bit, and Thompson covered the gig very well. The most remarkable song, to me, on the album is "Wayfaring Stranger." I listened to it just the other day, and I was mesmerized. Once again, Buckley's commitment to performing his material is what came through for me, after all of these years. The only problem I have with the recording is the tuning. I'm a stickler for tuning, but on the other hand, Buckley was wailing the hell out of all 12 strings of his guitar. Buy this CD--you won't regret it. ... Read more | |
| 53. Sometimes Mother Really Does Know Best | |
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Album Description "Sometimes Mother Really Does Know Best" is the award-winning Ms. Lavins seventeenth album in a recording career that stretches back to 1981. Some songs here have appeared on her previous CDs, but never like this! One of Christines signature compositions, "What Was I Thinking?," resurfaces with updated needling of Martha Stewart, while the affectionately rueful "You Look Pretty Good for Your Age" is wrapped around Christines search for Mr. Colorado Springs. Five other favorites are captured "live" for the first time, including the tropical ordeal of "Wind Chimes and the anthem of the uncoordinated, "Ballad of a Ballgame." There are also three new songs here. At least half the fun of this CD comes from Christines giddy but incisively sarcastic song intros and a half-dozen comic monologues. "What kind of a ridiculous glamour trajectory am I on?" conveys her outrage at being mistaken for an ex-nun and a lunch lady; "Bernice, Carol, and tonights crowd compete for the science prize" is a quiz that involves such brain teasers as "How many roads MUST a man walk down before they call him a man?" Armed only with a guitar, a Boomerang sampling device that multiplies and delays her vocals into harmonies and swirling rounds, a wry, mocking self-awareness and boundless insight into contemporary culture, the Christine Lavin live experience is just as funny when heard at home, as preserved on this disc. Lighten up and laugh for almost 75 minutes! | |
| 54. Hot Rod Lincoln Live! | |
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| 55. Cohen Live | |
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What does matter is that Cohen - with the help of a small band and some good vocalists - offers a new twist on old favorites. He even ad-libs some of the lyrics. Since Cohen rarely appears in concert anymore, this is the closest most fans will get to hearing him live. The bottom line is: If you're a Cohen fan, you probably love this album and will want to add it to your collection. If you're not a fan, don't bother. You won't like his voice, which is rougher live than in the studio.
Usually I feel that Cohen is a superb, master songwriter, but other people cover his songs and better than he does. Concrete Blonde's cover of 'Everybody Knows,' comes to mind, as does Tori Amos's spellbinding version of 'Famous Blue Raincoat.' Again, this album is an exception. He shows that he can really work his material, milk it wonderfully for every ounce of lyricism. You know the songs are his. His plaintive, monochromatic voice has always been a cornerstone of his style and it has certainly aged well. The gravelly, stark delivery really fits the ambience. And the songs! This is a great selection of Cohen's work, hands down (I just wish there were more). And several cuts are simply the best versions (in my humble opinion) you can find of the songs in question- period. 'Dance Me to the End of Love,' is much better fleshed out here than on "I'm Your Man," (much of the studio atmosphere, the sound of Cohen's 80's albums, I think, works against him- those albums just sound ineluctably dated to me) and 'If it be your Will,' That song slays me. Always will. The live version here (track 11- and a reason in itself to buy this CD) is sooooooo much better than the one on 'Various Positions' (another 80's album that just doesn't sound good to me). 'Who by Fire,' is another standout track- with a violin that drones away in a middle-eastern, harmonic minor melody... The songs segue into each other nicely, even though they were culled from a variety of shows. I never cared for 'I'm Your Man,' or 'Bird on a Wire,' until I heard these versions. The only songs I don't really care for are 'Everybody Knows,' (Mr. Cohen messes around with the vocal rhythm and it just sounds bad- in my opinion), and 'Heart With No Companion,' (just don't like that song). I wish 'Chelsea Hotel #2,' 'The Stranger Song,' 'Avalanche,' 'Seems So Long Ago, Nancy,' 'Leaving Green Sleeves,' 'A Singer Must Die,' 'Last Year's Man,' and 'Love Calls You by Name,' had been performed as well. Highly, thoroughly, recommended.
Particularly impressive is 'Everybody Knows', as well as the incredible 'Joan Of Arc'. The moody 'Hallelujah' swings along at a leisurely pace, with time for an instrumental. This is one that I can listen to all the way through in the car. Those who are intrigued, will find this is an excellent introduction to one of the great singers of the late 20th century. ... Read more | |
| 56. Live: From the Ends of the Earth | |
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Amazon.com Reviews (9)
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