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Live Rust gets the most props, but if you're looking for a live document of Neil Young and Crazy Horse at their speaker-shredding, stage-scorching best, Weld is an absolute must-own. Fired up by the success of 1990's Ragged Glory, and outraged by the eruption of the Gulf War, Young and his cohorts attacked their 1991 tour like men on a suicide mission. An angry, gunshot-laced version of Dylan's "Blowin' in the Wind" is the closest thing here to an acoustic reverie; the rest of the album offers up staggeringly intense electric versions of Neil songs both current ("Crime in the City," "Love to Burn," "Rockin' in the Free World") and classic ("Cortez the Killer," "Cinnamon Girl," "Powderfinger"). The back-cover photo of a disheveled Young cradling a broken-stringed guitar pretty much says it all--no one could have unleashed a sonic onslaught this brutal, and emerged unscathed from the experience. --Dan Epstein ... Read more

Reviews (26)

Their best live album
Weld is the strongest live album from Neil Young & Crazy Horse. Although their previous live album Live Rust is also very good, Weld is more raw and intense and features stronger performances. This was recorded while the U.S. troops were at war in Iraq during 1990-91 and the music featured here was very reflective of the nation's mood at the time.

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.

Guitar Barrage
Neil Young & Crazy Horse's 1991 tour was a symphony of feedback and crunching guitars that was full of anger and outrage at the situation the country was in at the time. From the Gulf War to high unemployment to a decimated economy, there was alot of things going on that cast a malaise over the country. Mr. Young tried to wake things up with sonic blasts of guitar. The album is full of socially conscious songs like "Welfare Mothers", "Crime in The City", "Blowin' In The Wind", "Rockin' In the Free World" and "Powderfinger". There is a nice mix of the old, "Cinnamon Girl" & "Cortez The Killer" and the new, "Love To Burn" & "Mansion On The Hill, that keeps the album from sliding into a nostalgia filled set. Mr. Young is from the 60's generation and he carries out the belief that the power of music can help to change things. Weld follows that credo and is a great live album.

One of the best 90's live records
IMO this is the best Neil Young &Crazy Horse live record, although others are also worthwile. The song selection is very good and is representative of the group/solist story. The most amazing feature of this double CD is the intensity of the performance and robustness of the sound. The band seems always at 110% level and the guitar/bass section creates a furious wall of sound. Dylan's cover "Blowin in the wind" is very well interesting. It offers a radically different performance of the song compared with the original but, curiously enough, an extremely similar feeling.

good live cd
its not in the leauge of live rust or rust never sleeps buts its still a decent cd to own. My only complant is some of the music he does. Most noticeably when he does blowin in the wind which was bad. But my my hey hey cortez the killer like a hurricane and f****** up make this cd worth having.

Sir Percival the Knight
Once sued by Geffen Records for delivering "uncommercial" records, Canadian Neil Percival Young has never sought stardom. He has always followed his instincts, even when they told him to put out an album of feedback noise, yet he has also produced a body of work which, in terms of depth and influence, is second only to Bob Dylan.
And nobody but nobody, not even His Bobness himself, will leave behind a musical legacy as diverse as that of Neil Young.

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.
Screaming with distortion and vibrating overdrive, "Weld" gathers sixteen powerful songs, averaging 7½ minutes in lenght, on two discs.
Young's then-current albums "Freedom" (1989) and "Ragged Glory" (1990) are represented by "Mansion On The Hill", "Crime In The City" (in a much harder rocking version than the studio one), "Farmer John", "F****n' Up", and the classic "Rockin' In The Free World", and from his masterpiece "Rust Never Sleeps" comes "Cortez The Killer", "Welfare Mothers" and one of the best songs of Neil Young's forty-year career, the epic "Powderfinger", which burns with two riveting solos from Young himself.

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.
There's an impressive 14-minute guitar extravaganza built around "Like A Hurricane". A great "Love And Only Love". And the final song on disc two is a wonderfully rough, yet melodious rendition of the superb "Roll Another Number".

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

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

Reviews (5)

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

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

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

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

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

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

Reviews (19)

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

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

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

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

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

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

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

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

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

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

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These live recordings find the seminarian-turned-new-folkie in hiselement: playing before an attentive, enthusiastic audience in his native NewJersey and New York, spinning mythic stories of fateful battlefields, hauntedtruckers, and visionary saints and lovers alike. Fronting an easygoing band ofexpert pickers, Richard Shindell turns in surprisingly solid covers ofLittle Feat andBruce Springsteen tunes.Cry, Cry, Cry partnerLucy Kaplansky wrapsShindell's nasal, sinewy delivery in subtle harmonies, pushing the best of thesesongs, including "Next Best Western" and his finest, most poignant take onrelationships, "Are You Happy Now," past previously recorded versions. As anintroduction to Shindell's spiritual lyricism and as a live document forlongtime fans, Courier is a cache of reflective, gently glowing gems.--Roy Kasten ... Read more

Reviews (11)

Nice guys finish first!
Richard Shindell is a great songwriter in style which seems to have fallen out of favor. Lately, it seems one must write ironic, sometimes mean-spirited songs to be regarded as a "sophisticated" songwriter. Richard has always written sincere, emotionally complex songs which are ultimately good-hearted. There is humor in his songs, but it's of a gentle kind. These songs are not full of misanthropy and self-loathing a la Elvis Costello.

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.

! ! ! Best album yet ! ! !
This is definitely Richard Shindell's best album yet even though it is a live reprise of his studio work.

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.

RICHARD SHINDELL'S "COURIER" - A TRIUMPHANT TROUBADOR
Few artists can successfully translate the strength and intimacy of a live performance onto a CD, but Richard Shindell is just the sort of rare singer/songwriter who does just that. His CD, titled "COURIER" was recorded live in New York and New Jersey, and the excitement of those performances is beautifully captured on this album. The CD opens with the title track "COURIER"-a strong foksy work told in the typical Shindell style of first person narrative. With such an impressive work as the number one track, some might worry that the rest of the CD may pale in comparison.On the contrary, it continues to get better and better with each passing song. Not only is Shindell's voice rich and expressive, but his writing is so insightful that one is reminded of other greats like Joni Mitchell and Tracy Chapman. His themes are serious-lost love (as told in "Memory of You" and "Nora",), War (as exhibited in the magnificent "Reunion Hill") and Prejudice ( in the song "Fishing"). Yet, Shindell's keen sense of humor helps to keep the work from being too mired down in the maudlin. For instance, in his crowd-pleasing "Are You Happy Now", he speaks about his lover who abandoned him on, of all days, Halloween. He writes "What was I supposed to do/But to sit there in the dark/ I was amazed to think that you/ took the candy with you too". By laughing through his pain, Shindell's angst becomes more powerful without being overpowering. Richard Shindell is an engaging performer with a rock-solid voice that is nothing short of mesmerizing, yet his greater talent is his writing. He weaves such intricate tales in a few perfectly chosen words...a true poet, as witnessed in such Shindell classics as "The Next Best Western" and "A Summer Wind, A Cotton Dress", that it is little wonder that Richard Shindell's work has become a staple on other's recordings, most notably Joan Baez, whose covers of "Reunion Hill" and "Fishing" truly bring out the genius of the work. On "COURIER", Richard Shindell is blessed with some fine back up musicians and singers, including John Putnam on guitar, Denny McDermott on drums, Lincoln Schleifer on bass, and the ethereal Lucy Kaplansky lending her lilting country folk voice as a perfect foil to Shindell's powerful tones. There are no missteps on this recording...only brilliant writing in the true folk tradition, presented in a straight-on manner that is certain to please.

Get this AFTER you get the studio versions
We grabbed this CD on our way out of a store in Ashland, thinking it to be a "greatest hits" (which in a sense it is) & were surprised to find that a) it is a "live" album & b) Shindell live sounds very different from Shindell "canned". I'm not saying its not good, but if you expect to hear things one way & then get them very differently it may put you off. It would also have been fun to have a bit more background "chat" to some of the songs -I haven't actually seen Shindell, so perhaps he doesn't do this, but I always find a bit of by-play with the audience a fun ingredient of both concerts & live albums. All that being said, there are some great songs here & the recording quality is very good indeed, SOO, if you are already a fan, you will want to grab this.

One of the better live albums I have heard in recent years
A couple of years ago I went to go hear Dar Williams in concert on a college campus, where she appeared with Richard Shindell, who both "opened" the concert and performed with her as well. This was right before both artists had the good fortune of having Joan Baez cover some of their songs on her album; in fact, Shindell left the concert tour to go open for Baez in Europe, if I remember correctly. Since both artists have live albums available I picked them both up to recreate the fun of that night (which ended with me picking up copies of Shindell's first three albums).

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

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

Reviews (9)

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

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

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

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

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

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

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

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

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

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

Album Description

BEAUTIFUL! LIVE INSAN FRANCISCO, 1971 By the time the Youngbloods, always crowd faves at the west coast ballrooms, performed live for San Francisco’s free-form radio pioneer KSAN in 1971, they’d honed their set to a fine gloss. Featuring the smooth as apple-butter voice of Jesse Colin Young and the guitar/keyboard wizardry of Banana, backed by the rock-solid bass-and-drum tandem of Michael Kane and Joe Bauer, the Youngbloods positively sparkle here. We’re elated to present a lengthy, previously unissued 13-song set that’s equal parts rocking R&B, dreamy jazzers and honky tonk flag-wavers, with just a little bit of psychedelic weirdness—topped off, of course, by a knockout version of their generational anthem, "Get Together." The Youngbloods: at the top of their game, making it all look so easy—and so damn beautiful. ... Read more

Reviews (5)

Two Great Live Folk Concerts On One CD!
Folk music is always at its best when performed live, and this CD from the fabulous Limeliters gives the listener not one but two live folk concerts. The first was in San Francisco, the other in London. The appeal of the same kind of music to audiences on opposite sides of the world (and their often culturally unique responses) is what makes this CD so significant, interesting, and definitely entertaining.

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!

A very pleasant surprise
Growing up listening to my dad's albums of these guye, I always considered Our Men in San Francisco as the best live album of all time by ANYONE. Until I bought this 2 disc set I had never heard the London concert. What a gas! Here is a serious challenger to Our Men in SF. Hey Li Lee Li Lee is one of the most fun songs I have ever heard. The arrangement of Hard Ain't it Hard is hilarious, and Wabash Cannonball puts the Our Men version to shame, which is difficult to do! Their interaction with the crowd is so joyous and just plain fun to listen to. I've got my kids (ranging from 11 to 22 years old) hooked on the LimeLiters now. If you don't have this set, WHY ARE YOU WAITING? The only problem with these discs is that they don't go on forever - thank goodness for repeat buttons!

One fine album!
Like the other reviewers, I too grew up listening to my parent's Limeliters collection. Our Men in San Francisco has got to be my all time favorite. One super collection of songs, performed live at San Frans legendary Hungry I nightclub. This will certainly bring back the memories of this highly talented trio, and for those of you who have never heard these guys, I hope this will be the begining of a long love affair with the incomparable Limeliters. So jazzed to see this out on Compact Disk! Enjoy it.

5 Stars for what this CD set is!
This is a CD set of two complete live concerts. The first is as noted "Our Men in San Francisco, live from the hungry I and the second is the "London Concert". I gave this set 5 stars because unlike some other "Classic Collection Set" out in the market this set is two of the Limeliters first albums complete just as they were recorded in the early 1960's. If you collect old Limeliters' albums and want to hear two of their best perfomances without the pops and snaps of old vinyl this set is for you!!!

An old friend back to stay
I grew up with the Limeliters' music, like a lot of kids whose parents had great taste in music. Revisiting these recordings is more than nostalgic listening though. I'm relearning that the Limeliters really were great and the music just gets better each time I listen. Give it a try - this is what folk music should be. ... Read more

Amazon.com

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

Reviews (52)

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

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

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

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

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

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

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

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

Album Description

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

Reviews (1)

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

Reviews (4)

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

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

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

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

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

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

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

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

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

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

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

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

Amazon.com

It's been said that Tim Buckley was the most powerful singer of his generation.Even if that appraisal forgets Bob Dylan, this two-disc set makes a hell of a defense.At the very least his voice could do things few could:it soared beyond any familiar register and held notes long past the breaking point.He had learned from jazz vocalists like Sarah Vaughn, but he put technical prowess into the service of a strange, trancelike state.On this evening, before a hushed, receptive audience, he seemed to be composing visionary poetry with every vocal surge.His band created an Astral Weeks-like sound, and included Lee Underwood on guitar, David Friedman on vibes, and Danny Thompson on bass.They follow his every subtle and explosive turn with effortless energy. --Ray Francis Kasten ... Read more

Reviews (20)

What Music is Missing Today
Tim Buckley's soaring powerful voice evokes the true creative nature in any and all who encounter it. I first heard Tim as a suggestion from my parents and pursued it reluctantly... after all, it was my parents! What i found blew me away and i still have not recovered. Tim Buckley is a visionary as another review states, and his fearless message and freedom of expression are the missing links in today's music... He sings with such feeling that the listener (if tuned in) becomes that lover sending his or her heart out to another. Equally impressively, there are no clear influences on him, he is a true original. This album is more powerful than any of Bob Dylan's contributions to music. It is however, very hard to come across Tim's music in stores, i guess the internet takes care of that... this is a timeless love album from my favorite musician of all time.

Indispensable
Live albums are rarely a good idea. Posthumously released live albums are invariably a terrible idea; usually serving only to inflict grievous damage on an artist's reputation. Not this one. Far from tainting Buckley's already legendary status, Dream Letter is more than capable, in itself, of completely justifying it.

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.

Shivers
Have you ever listened to somone sing a song you never heard before, and the sound of his voice gave you shivers or goosebumbs? That's Tim Buckley on this CD. This is the best sound on a live CD that I have ever heard.

THE POWER AND SPARK OF LIVE PERFORMANCE
I was never privileged to hear Tim Buckley perform live (the one chance I had, and missed, turned out to be the last show he ever played) - I've been a fan since I heard his first album in 1966, and I've marveled at the changes and growth his art undertook over the years. His incredible intellect and yearning for exploration and expansion sometimes left fans behind - but those left in the dust were usually those who weren't willing to take the leap of faith he asked of them with his music. The ones who hung in there were in for the musical journey of a lifetime.

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.

Amazing, simply amazing
I first encountered Tim Buckley when I was in High School--maybe a freshman, in about '65 or'66. Believe it or not, he did a guest bit at the end of "The Monkees" one night. I can't recall the song, but I do recall the performance. Buckley got inside of the performance more than anyone I had ever seen. He became the song. His concentration was intense. I somehow found his recordings, and collected all of them as they were released--no mean task in Lynchburg, VA in the early '60s.

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

Album Description

The hilarious Christine Lavin literally shines in live performance as she straps on a miner’s headlamp and twirls her glowing batons. But the real sparkle comes from Lavin’s sung and spoken wit – this singer-songwriter-guitarist regales and involves her fans with riotously acute original songs, comic monologues, quizzes, contests, and, in this case, her quest to identify Mr. Colorado Springs in the audience at the 2003 benefit concert captured on this CD.

"Sometimes Mother Really Does Know Best" is the award-winning Ms. Lavin’s 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 Christine’s 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 Christine’s 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 Christine’s 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 tonight’s 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! ... Read more

Reviews (7)

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

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

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

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

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

Reviews (15)

Amazingly talented man
WOW, I love Leonard Cohen and this album certainly does not disappoint. I first "discovered" Leonard Cohen when I was a teenager and purchased the Pump Up the Volume soundtrack (which features his song "Everybody Knows"). I have never looked back. Cohen is one of the greatest singer/songwriters I have ever heard. A living legend. All of his albums are great (although some can take getting used to...much like fine wine), but I think that "Cohen Live" stands out because of the variety of songs and his incredible "live" presence. For true blue fans this is an essential recording. However, if you are someone who is just curious about Leonard Cohen, I also think that this is an excellent getting-to-know-you album. Enjoy.

A "Must Have" for Cohen fans
If you're a Leonard Cohen fan, then you know all the songs by heart...And his raspy voice and difficult-to-comprehend lyrics don't really matter.

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.

My favorite Cohen album.
The lyrics. That's what we're here for- I love L. Cohen songs. Not so much his albums in their entirety (with this being the one exception), but certain songs of his... Damn. He is a singer/songwriter like no other. This CD captures performances from the early 90's, and it showcases both Cohen and his band in top form. The female background singers sound sleek and seductive, the musicians know when to take the spot and when to let Leonard do his thing- everyone knows what to do.

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.

Wonderful, amazing... essential!
One might not expect Leonard Cohen - a perfectionist who takes years to write songs and ages between albums - to be the type of artist whose songs really come alive in concert, but this excellent and amazing live albums proves them wholly and totally wrong. Armed with a professional and accomplished backing band, Leonard sings these songs with the amazingly deep voice that he began cultivating around the time of the I'm Your Man album, and has since taken to even further depths. Though some may prefer the bare monotone that he sang with on his early albums, I have always been fond of his later, deeper voice, and it's quite a treat to be able to hear many of his classics songs sung in this voice. It lends them a totally different character, and every song on this album is a universal improvement. The excellent backing musicians Leonard employs also improve the songs immensely by tossing in solos on the various instruments (several songs feature stunning solos on the guitar and oud), making practically every song an improvement over the earlier studio versions. Leonard and the band are in perfect form throughout. The man is really pouring his all into these songs, and several of the performances are absolutely revelatory and amazing: Joan of Arc, which features half of its vocals performed by a female singer (something the song has always called for) is indispensable; Hallelujah is an amazing performance made even more memorable by the addition of several new verses (as is Bird On The Wire); and If It Be Your Will and Suzanne are a pair of absolute classics, masterfully performed, that are truly appreciated by the audience. Every song on this album is a masterful performance, and many are the definitive versions. My only regret is that there are no songs from The Future, my favorite Leonard Cohen album. Alas, the album remains absolutely essential to any fan of the artist. I made the mistake of making this the last Leonard Cohen album I bought - not realizing that his songs really come alive when done in front of an audience - don't let the same thing happen to you: get this album today.

Classic -- Without a doubt.
Incredible performances captured with an air of intimacy and expression that pays homage to the master.

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.
Recommended for travelers. But bring extra batteries, if you use a portable.

Those who are intrigued, will find this is an excellent introduction to one of the great singers of the late 20th century. ... Read more

Amazon.com

Over the years,Dougie MacLean has playedin the seminal Scottish folk bands theTannahill Weavers andSilly Wizard, composedmusic for numerous TV and movie soundtracks, including The Last of theMohicans, and written a piece for chamber orchestra called "PerthshireAmber." But even though MacLean has been successful in every musical settinghe's entered, he is still best known for his songs. On Live: From the Ends ofthe Earth, he performs a dozen of his most famous compositions--including"Ready for the Storm," the song that introduced him to American audiences whenit was covered by Kathy Mattea--backed only by his own delicately fingerpickedguitar. He also sings a moving, understated version of "Caledonia," which hasbecome something of an anthem for the supporters of Scottish independence.MacLean's melodies retain echoes of the ancient music of Scotland, but hislyrics have a universal appeal. His songs have been covered by singers such asMary Black and Dolores Keane, played by orchestras and marching bands, and evenremixed with drum loops and techno backbeats, but MacLean's intimate renditionsincluded here are destined to become the definitive versions. --MichaelSimmons ... Read more

Reviews (9)