Reviews (6)

Funny, endearing, poignant, irascible and witty
As impressive as Wainwright's work has been over the past 35 years, this live album shows that the burnish and perspective of age has only deepened the quality of his work. His songs, pose contrasts to brilliant dramatic and literary effect: humor against anger, a capella singing against spoken interjections, creating a rich catalog of emotion from which he draws. Add a devoted crowd and the effortless musical backing of long-time friends (and family), and you get a live album that perfectly frames Wainwright's mastery as a singer, songwriter and stage performer.

Wainwright's trademark humor is on full display, with his vision of Woody Allen's "Sleeper" future taken to the afterlife in "Heaven" ("There'll be lots of drinking in Heaven / Smoking, eating and sex / What you didn't do in this life bad for you / Will be totally cool in the next."). He pokes a sharp, ironic stick at file sharing ("Something for Nothing"), and revisits the tragedy of Tonya Harding ("Tonya's Twirls") in a song that, removed from its historical currency, is still surprisingly moving. Equally moving is the deeply sentimental autobiography of "The Picture," a lovely ode to his sister and their shared childhood.

Wainwright's masterful stage presence, and the fluidity with which he sings, plays and interacts with the audience is truly staggering. The product of many, many nights just like these (taped in 2002 at Largo in Los Angeles, and the Mystic Theater in Petaluma, CA), Wainwright is completely effortless in the limelight. His accompanists (Van Dyke Parks on piano, David Mansfield on violin) and guests (Richard Thompson on guitar, and Martha Wainwright on vocals) weave their way perfectly in to his colorful tapestry.

With a collection of his songs that stretches from the early 80s to the late 90s, this is a nice introduction to the last 20 years of Wainwright's writing and a singularly compelling look at his perfect showcase, the stage.

Love it!
This album is great! I discovered Wainwright by accident and am so glad I did. This could be the album to turn all your friends onto him. The tunes are quite catchy--just watch out that you don't end up with (...) in your head, 'cause others might not approve. "Tonya Twirls" is the best commentary I've heard on the former ice queen--including all those late night hosts who tried to be funny about the Tonya Harding debacle. "The Picture" is my favorite song from History--poignant and beautiful. His social commentary is both biting and hilarious. The liner notes are great--he comes across as a slightly bitter middle aged man who's still out on the road having a blast. This album deserves to be heard!

An outstanding career
Not only for this album, but for his entire body of work, 5+ stars to Loudon Wainwright III. He has mastered the art of being sincere and snarky, heartbroken and hilarious, personal and political, simultaneously -- something only John Prine, Elvis Costello, John Hiatt and the late, lamented Phil Ochs really succeed at. Plus he's a great, expressive singer and a great, expressive tunesmith. Every song is a cause for celebration. Buy them all.

Wainwright Shares His Happiness
If anyone deserves a shot at happiness, it Loudon Wainwright III. Well into the fourth decade of his recording career, Wainwright continues to walk a tightrope between introspective singer/songwriter and court jester. It would stand to reason that on this (his third live album), he would not stray far from this path. He can at times be touching and poignant (the new song "Much Better Bets" or 1992's "The Picture") or he can go for the funny bone ("Tonya Twirls" and the hilarious new song "The Sh*t Song").

Of the twelve previously released songs, most were recorded since his last live album, 1992's HISTORY. The exceptions are "Westchester County" (from 1983's FAME AND WEALTH and also on HISTORY) and "The Home Stretch" with Richard Thompson guesting on guitar (from 1986's MORE LOVE SONGS).

In addition to Thompson, Van Dyke Parks provides piano on three tracks, and multi-instrumentalist and longtime sideman David Mansfield appears on about half the tracks.

There are three other new songs included here: "Something for Nothing," a song about file sharing (he seems to favor it), the funky "You Never Phone," performed with his daughter Martha, and the skewed look at the afterlife in "Heaven" where Wainwright declares "There will be lots of drinking...smoking and eating and sex." While I'm not going to plan on that, if Wainwright is there it certainly won't be boring. [Running Time - 60:11] RECOMMENDED

Uncle!
This is the record your grandparents don't want their children to hear. Loudon sends another fragrant boquet of thorns with a note written about how you're getting older, and how it hurts the same way the only love you've ever known hurts. And, in true romantic form, he hands another boquet from behind his back. The funniest roses you have ever laid ears on!

Why does he do this? Build us up. Make us feel great. Then scare the living hell out of us by holding up that mirror. He really wants us to stop and remember. To remember to smell those flowers, I guess. ... Read more

Album Description

Full title - Live With The Vancouver Symphony Orchestra.Jann Arden, one of Canada's foremost singer songwritersreleases her first full-length live recordings from herhighly successful 2002 across Canada tour. This specialrecording is the perfect gift for any Jann Arden fan & isavailable for this holiday season only. Featuring 50minutes of music mixed with Jann's witty banter & wonderful stories plus a bonus Christmas track, 'Make It ChristmasDay'. UNI. 2002. ... Read more

Reviews (7)

Great songs & stories
I love this CD. I've never been to one of Jann's concerts, so this gives a good idea of what they're like. The songs sound fantastic with the Vancouver Symphony Orchestra and her stories that she tells before some of the songs are so funny. I also love the interaction with the players in the symphony. I do wish the sound when she's speaking was at the same volume as the sound when she's singing, but I've noticed that on many live albums so I wasn't surprised that I had to turn up the volume during the speaking segments.
Overall, a lot of fun.

If you like Jann Arden, you'll also like Dar Williams.

Rocky start, smooth finish
I saw this concert in Windsor, Ontario, and Jann had the same sound problems with the opening song that night, as she does on this live recording from Vancouver. The mix is way off in spots, and the vocals are all but lost just pass the three minute mark. Why this wasn't corrected in post-production is even more troublesome. Jann is much better than this recording, and buyers deserve better quality for the hefty $[money] pricetag. Fortunately things get much better quickly, and the rest of the release is very good. Great entertainment for fans and newcomers.

This CD is better than expected!
I've never seen Jann Arden in concert despite the numerous times she's performed here, but her new live album offers her fans a glimpse into her wonderful live shows. Jann's voice is radiant throughout the album and her band is wonderful as well! I also found it funny when Jann told the audience stories about her parents and other things - she definitely has a sense of humour despite her sad songs. This album has turned out to be a great surprise!

Jann Arden--best performer EVER
Okay, I'm kind of cheating here...I don't have this CD but I saw one of her shows in Winnipeg with the Winnipeg Symphony Orchestra...and it is simply the best concert I have ever attended. Jann's music is beautiful...she's the 'Queen of Broken-hearted Love Songs' and she simply creates beautiful music. Now add some excellent arrangements on a part of the orchestra, and you've got a magical atmosphere to many of her songs. While there are times that the part of her regular band that's present drowns out the symphony, all songs are beautiful. 'I Would Die for You' was my favorite with the strings, but so many of them are good. The only problem is that this CD is really a repackaged greatist Hits CD...not containing some of the non-singles that she performed, like Time for Mercy...and I said I liked I Would Die for You was my favorite, I must correct myself...this version of 'Hangin' By a Thread' was amazing, creating a lifetime of love for that song. Even 'Thing For You' isn't included.

But enough about her music, Jann Arden creates such great performances because of her humour, and wit and...everything...The way she relentlessly tells stories and makes jokes about her parents, and how she plays off what the crowd does...Jann Arden will make you laugh, no doubt about it and it will not detract from the music at all. If you ever have the chance to see her live...DO IT. It is the least regrettable thing you can do.

I knew from the instant the opening of 'Thing For You' began that a CD from this symphony tour she was on would be created in Heaven. There's no doubt that Jann Arden is one of the best singers in the world. Check this CD out, and you'll find that she's probably the best performer in teh world too.

Spectacular
This is, strangely, Jann Arden's most thrilling album, strange because it is so divorced from what she has done otherwise in her remarkable body of work. To thunderous accompaniments which surge and ebb like a sonic ocean, she magnificently samples her large repertoire mesmerizingly. Then, between songs, she offers a bawdy, naughty series of stories and comments which prove Canadians are not as reserved, proper and controlled as reputation might have, judging by the hysterical laughter from the audience (and orchestra). A mystical, magical singer and songwriter, Arden lays claim to true greatness here. Don't miss it! ... Read more

Reviews (8)

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

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

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

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

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

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

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

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

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

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

Reviews (7)

A superb live recording of the Chad Mitchell Trio (3/19/62)
The Chad Mitchell Trio released three albums for Kapp Records at the beginning of the 1960s before parting ways (the studio refused to release the group's cover of "Blowin' in the Wind" and let Peter, Paul & Mary have the hit instead). These were the years when the American folk music revival was approaching its zenith and after the success of "Mighty Day on Campus," recorded live at a Brooklyn College concert, Kapp followed up with this March 19, 1962 live recording "At the Bitter End" in Greenwich Village (where else?). The trio at this point consisted of Chad Mitchell, Mike Kobluk and Joe Frazier. Backing them up for this intimate concert was former Weaver Fred Hellerman, future Byrd Jim McGuinn, and bass player Bill Lee. If that were not impressive enough, the songs were being arranged by the legendary Milt Okun, who mixed up traditional folk songs like "The Unfortunate Man" and Woody Guthrie's "Great Historical Bum," with more contemporary works by Tom Paxton ("Come Along Home") and Bob Gibson ("You Can Tell the World"). The album begins with "The John Brich Society," a wickedly barbed song that certainly sets the tone for the evening's festivities, and then continues on the other ten songs.

"The Chad Mitchell At the Bitter end" offers up both political satire and social humor. The group also had the advantage of performing in a coffeehouse, where the audience response was a lot more appropriate than what they had received on the college campus. You have to think that the three singers, all of whom were still in their early 20s when this album was recorded, were inspired by both their audience and the superb musicians backing them up. Besides, one of the great truisms about albums by folk singers are that they just do not sound the same if they are not performing live for an audience. This makes sense. Folk music is the music of the people, to be played by people, and for people. There are several excellent collections of songs by the Chad Mitchell Trio, but if you pick up one of their original albums, then this would be the one I would urge you to track down. Note: The most familiar song on the album might be "You Can Tell the World," which Simon & Garfunkle covered on their first album.

Fun in the Folk Tradition
This was a hot album back when the folk movement was taking over the Beatnik era. And the songs are darn funny--especially "An Unfortunate Man" which spoofs lawyers. (You lawyer joke fans who play guitar won't want to miss this one.)

There are quite a few gems here, the "Golden Vanity" being another one that just has you longing to pick up that folk guitar and start strumming again. And the Russian pop tune "Moscow Night" (Moscovya Vechera) is pretty and has some opportunities for nice picking techniques. Great for folk fans, fans of The Kingston Trio and anyone who remembers the folk era fondly.

Fun and folksy
I loathe kids' music. My mother brought me up on other kinds of fun songs to sing -- and since she was a child of the 50s & 60s, that included old showtunes and folk music from the old beatnik clubs. Well, this is one of them. There are a few songs that she used to sing to me all the time and I remember absolutely loving them. Plus the album is fun because it is recorded live so you feel like you're there in the club back when a spoof picking on the "John Birch Society" meant something. The songs are pretty, funny, interesting and well sung.

Incredibly funny, smart, and touching... An amazing listen!
My folks listened to the Chad Mitchell Trio when I was growing up and my dad had all these old original Trio records... this one was probably my favorite. Fondly associated with great childhood memories! Now that I'm an adult I can more fully appreciate the biting satire and hilarious lyrics present in almost all of their songs. The serious songs are haunting and touching as well. These guys have never put out a bad album. Another great one is "Chad Mitchell Trio...In Action", which contains the wonderful "Story of Alice" trilogy. Again, I have nothing but glowing things to say about this group.

Thoroughly enjoyed this folk trip in time back to the 60s
I spent most of my teen years listening to the Chad Mitchell Trio. This collection is as good a cross-section as any of the brilliance of the lyrics, and the harmonic resonance of the group, even though, as Chad jokingly once put it: "One of us doesn't have a very good ear."

If you've never heard the group, you need to buy this album. They represent a great style of music that is all but extinct. It's a shame, too. It's our loss. ... Read more

Album Description

Domestic CD debuts! Fresh from the success of "Get Together," the Youngbloods signed to Warner Bros. in 1970 for four albums that ranged from folk, bluegrass, jazz, and country to good old rock ‘n’ roll. 1970’s Rock Festival and ‘71’s Ride The Wind, both recorded live, find Jesse Colin Young’s mesmerizing guitar and vocals shadowed perfectly by jazzy electric piano and percussion. Good And Dusty (‘71) and High On A Ridge Top (‘72) focus on classics as interpreted by a San Francisco original: the Youngbloods. ... Read more

Reviews (1)

Stripped Down and Stunning
My first experience with the music of the Youngbloods dates back to the late 1960s when their song Get Together defined the youth spirit of the age. Then, in 1971 when this album was first issued, AM radio adult contemporary station KDEO in San Diego, bless them, actually gave several cuts from this album some fairly heavy airplay! Would that, could that happen with today's radio? Probably not, but anyhow I was hooked and hurried to buy it as soon as I could.
Ride the Wind is nothing like the Youngbloods' studio albums. It is stripped down and stunning in its simplicity. Just three members of the band play here; Jesse Colin Young with his bass guitar and expressive vocals, Joe Bauer on drums, and the wild-looking Banana on guitar and electric piano.
Two songs, the title cut and Sunlight, alone take this CD into 5-star territory. The piano work is jazzily superb and Young's voice is at its best. Sunlight in particular is an excellent mood-setter for when the lights are low and you are with a lover.
Sugar Babe has a vaguely country feel to it and features a kazoo interlude by Jesse. The Dolphin is my least favorite, the instrumentation is OK but the vocals are weak. I prefer It's A Beautiful Day's version.
The album follows with a serviceable treatment of their hit Get Together and closes with a rousing interpretation of Beautiful.
I never did have the good fortune of seeing the Youngbloods live, but Ride The Wind has to be the next best thing. My old album being pretty scratched up, I have waited for years for this to be reissued on CD. Who knows how long it will be available?
If you are a fan on any level, and particularly if you never heard this album, you are in for a treat. Do your ears a favor and order it soon. ... Read more

Album Description

Bob Gibson & Bob (Hamilton) Camp's 'At The Gate Of Horn'was recorded over three April 1961 sets at the duo'shometown of Chicago haunt The Gate Of Horn. ThisCollectors' Choice reissue includes both Shel Silverstein's original liner notes and Richie Unterberger's new notesthat include quotes from Hamilton Camp. ... Read more

Reviews (3)

Get this CD
What a great album!!!This is how music is supposed to sound, the harmonies are wonderful and the joy is apparent.What they don't tell you is that the CD has the original "Butternut Hill".This song was missing after the first pressing due to legal action.I'm glad to see that today we have come a long way.If you are a Chicagoian, or even if you are not, get this album to remember the good old days.The only downside; the print on the original liner notes is too small to read for those of us who remember this wonderful duo.

it's a misnomer to call this folk music
This is an example of just plain wonderful,energenic,katie bar the door music.I was priveleged to experience these two performers over two decades from the "Gate"to a Buddhist temple gig on a rainy Sunday afternoon.Their joy from making music is infectious and their virtuosity is undeniable.If you just want to feel good for about 45 minutes,this album is better than any controlled substance.

vocal harmony over a masterfully played 12 string guitar
One of the best performances from the 1960's folk scene.Gibson and Camp not only sing in tune, they have honest and natural voices that blend wonderfully to express their songs.Throughout, their harmonies float on the signature style of Bob Gibson's 12 string guitar playing.His masterful strumming/bass-run style is uniquely his, and it charges every song with rhythm, melody, and rich chords.My favorite example is the introduction to Daddy Roll 'Em, which is not in the sound sample.There is a sample of each song on the album.If you like anything you hear, buy the CD.This is one of the few recordings I still enjoy after 35 years! ... Read more

Amazon.com

Martin Sexton is one of those musicians who is so spectacular inconcert--without a band, without a net--that his studio recordings are often abit of a letdown. The double-CD set Live Wide Open, which inauguratesSexton's own label, Kitchen Table Records, finally brings to record the essenceof his high-wire shows: from blissed-outRay Charles-style R&B andgospel to soaring pop ballads to his almost campy transformations into a '70sheavy-metal god. To accomplish all this, Sexton needs nothing more than hismegawatt voice, deep-pocket guitar (jazz comping, rock lead, and funk bassrolled into one), and the sly grooves of his longtime drummer Joe Bonadio.Sexton's two major-label efforts,The American andWonder Bar, had theirmoments but tended to muffle his extravagant gifts as a singer and performerwith conventional pop production; 1996'sBlack Sheep fared muchbetter by only lightly supplementing his solo style. But Live Wide Openis the next best thing to the sweaty in-person experience. --Jeffrey PepperRodgers ... Read more

Reviews (28)

The finest live recording I've ever heard
One of the most versatile contemporary singer-songwriters touring America (in 2001 he racked up over 80,000 miles on the road), Martin Sexton's Live Wide Open showcases his amazing presence live. Recorded mostly at the Park West in Chicago, the album carries through the various highs and lows of Sexton's voice and songwriting moods. "Beast In Me" is particularly funky, while "Can't Stop Thinking About You" drags the listener into the neon nights and smoke-filled rooms of heavyhearted desperation. Throughout the album, Sexton's vocal and guitar performance is practically flawless. Sexton groupies may be let down by the track selection and implimentation, but this is certainly a great place from which to begin listening to Martin. Personally, this is the finest live recording I have ever heard, both in sound quality and performance.

Finally
Finally...the long awaited live Martin Sexton CD has come out. His studio stuff is great but his unbelievable talent comes out in his live shows. I can't believe I'm the first person to review this album. It's amazing...incredible...beyond words good. It has all of Marty's best songs with a live twist so it's like hearing them for the first time. I'm surprised that Glory Bound and Way I Am are not on the CD, but that's OK 'cause Amazing Grace is gorgeous and The Beast in Me is FUNKY. Martin Sexton is one of the most gifted artists in America today. If you have never heard him, BUY THIS ALBUM. If you are a fan, BUY THIS ALBUM. Do I make myself clear?

Don't believe the nay-sayers
Someone seems to have a grudge against Martin Sexton here, but grudges aside, this is one amazing album. Martin Sexton is one of the most underrated, overlooked artists of our generation. His voice, booming one moment, lilting falsetto the next is more true and beautiful than any in music. His guitar skills are simply astounding-- his ability to comp and solo without breaking rhythm is womderful. When one considers that the man typically tours only with a drummer (no bass player, no keys), it magnifies his accomplishments. From bold and raucous to sad and slow, you will NOT be dissatisfied with this album. Buy it, love it, and thank your lucky stars you made the acquaintance of this fine, fine artist when you did.

Without qualification, highly recommended.

As close as you're going to get without seeing him
(not desiring to start a flame war) Please ignore the handful of "reviews" by the misinformed rube from the Boston area.

This album is certainly not meant to be an introduction to Martin Sexton. On it's own, it may sound a bit pretentious. But if you've seen him live, you will understand. He is an artist who should be first seen live. Secondly, you should buy/listen to his albums in (more or less) order of release to get a better understanding for the artist. He is undeniably a wonderfully talented singer and songwriter.

WHY?
Why are there so many good reviews of this album? This guy is fat and mop headed. If I saw him on the street I would drag him around by his hair, kick him in the nuts and then spit in his eye. ... Read more

Reviews (7)

Don't Start With This One
If you're new to Laura Nyro -- one of the great voices of her time, a wonderful songwriter and a fine pianist -- please don't begin your collection with this CD. It appears that a lot of effort went into the remastering of these old tapes, but the unfortunate truth is that, for whatever reason, her voice sounds strained and even rather grating on this recording. There are so many better releases, live or studio, for those who want to begin a Laura Nyro collection.

Worthy addition to a Nyro library
"Spread Your Wings And Fly" stands as the first live documentation of the late Laura Nyro in her pre-eminent years between the release of her two greatest masterpieces: the raucous, dramatic, catchy "New York Tendaberry" and the soft, uninviting, but amazingly powerful "Christmas And The Beads Of Sweat" (when will they give it the remaster "Tendaberry" has had??).

However, the sound of Nyro live in that era, whilst possessing the amazing power of her best studio recordings from that era, actually turns out to resemble the dramatic pop of "Eli And The Thirteenth Confession" or "Gonna Take A Miracle". The opener "American Dove" really recalls the dramatic pop of "Luckie" with a plea for world peace she was to repeat on "Brown Earth", whilst the next few pieces show her in an accessible piano-based mood that conveys her willingness to create in a surprising way, notably on the improvised early version of "I Am The Blues" that offers a remarkable taste of a songwriter at work trying to perfect lyrics.

The second half of the album changes direction somewhat, with a beautiful, minimalist version of "Emmie" where the silence appears almost to covey regret, and surprising versions of "Map To The Treasure" and "Christmas In My Soul", the former of which really sounds like the beautiful epic of "Christmas And The Beads Of Sweat". Even more passionate and no less moody than the "Christmas" version, this is the definitive version of one of Nyro's least appreciated masterpieces. The closer, "Mother Earth" is a new song never recorded in the studio. It starts almost like "Brown Earth", but evolves into a minimalist-type ballad with Laura's voice rarely rising above a whisper. Nonetheless, the song really is so touching, just like a folk hymn.

"Spanish Harlem" and "Save The Country" do not have a radically different mood from their studio equivalents, but the numerous medleys, though none are as good as "Monkey Time"/"Dancing In The Street", offer a great insight into the way Nyro performed hers and others songs on stage - none of them sound in any way disjointed because she flawlessly joins the songs.

A most impressive document, showing Nyro's ability to vary mood and style in its absolute peak.

intense
Though I much prefer Laura live with a band as on Season Of Lights and the later period Live At The Bottom Line, this is live Laura in her early days when she performed intensely and giving it all to the audience. The later solo piano live recordings, Live On Mountain Stage, The Looms Desire, Live In Japan were more Laura just playing her songs & moving on to the next one compared to this.

American Dove is a stand out and one wonders why she never recorded it on a studio album. I Am The Blues shows early development of a song and a different take on the character. Save The Country and Map To The Treasure are virtuoso performances and listen closely to hear the piano boards literally shaking from her pounding the keys.

Having never seen Laura live but hearing about her legendary performances, this is a welcome addition.

Live from New York, Laura as pure as you'll ever hear her
I've been listening to Laura Nyro since 1970. This is a near-bootleg of a concert she gave in the last days of Bill Graham's Fillmore East, cleaned up by Columbia engineers but still occasionaly a little rough, just Laura and her terrific piano. Stylistically and thematically this album is very close to "Christmas and the Beads of Sweat" and a foreshadowing of "Smile". Six years or so were to pass between the release of those two albums.

For the die hard fans, the main reasons to buy this are the two otherwise unobtainable songs "American Dove" and "Mother Earth" which bookend the album; the CD's title comes from a lyric of the former. Neither of these is going to add much to Laura's luster, though each is a lovely song. There is also a beta version of "I Am The Blues", very interesting historically but inferior to the versions on "Smile" and the wildly expensive Japanese CD of "Season of Lights". Even so, I am very glad I bought this disk.

On this disk, Laura is a little hoarse, and while her phrasing and delivery are tremendous, her voice is not at its best. (You can hear this especially in brief remarks to the audience after "Save the Country"; maybe she had a sore throat.) On the other hand, I have never heard her play better piano than on this CD. There are at least three simply wonderful renditions of classics: "Spanish Harlem", "Map to the Treasure", and "Save the Country". The rapturous piano interlude in "Map" produces an ovation mid-song, and "Save the Country" brings the house down. On "Christmas", "Upstairs by a Chinese Lamp" bleeds into "Map to the Treasure", and on this CD, Laura begins with the last few haunting bars of "Chinese Lamp" before seguing into "Map". Very cool. "Map to the Treasure" alone justifies the purchase, but this is an unusually generous disk: more than 65 minutes of music. (Parts of two medleys appeared earlier on the remastered "Gonna Take a Miracle".) As this concert amply demonstrates, Laura Nyro loved New York, her hearth and her home.

A legend lives on
What a tragedy that we've lost such a great voice. But at least this previously unreleased live recording recaptures some of the magic that was Laura Nyro. She just sang with such passion, and her voice was so sweet and her songs so powerful... this is superb stuff. And while the several cover tunes from this concert are fine, it's on Laura's own songs where she really shines.

The liner notes describe how the tape of this performance was restored during the mastering process, and they did an excellent job. Certainly a few sound quality flaws remain, but overall the sound is more than adequate. There are also some performance flaws -- a few places where her voice breaks, the occasional mic feedback, etc. -- but those all just serve to make it sound more real. I'm just grateful for the chance to hear this music, including two songs making their recorded debuts!

By the way, I had to do a "title search" at the store to find this CD. I finally found it in the "folk" section. I guess I don't think of Laura as a folk singer. To me her music is more universal than that. ... Read more

Reviews (6)

I know I'm living in the past with this but . . .
. . . what a GREAT album this was - and it was live. I have no idea what made me buy this when it first came out - I wasn't familiar with the guy - but I fell in love with this album and played it death and NO ONE at my east coast college cared a whit about it (my roommate was very into Queen). My God, it was 28 years ago! For some reason whenever I see Harrison Ford I think of John Stewart. This is a type of music and songwriting that a lot of critics would hate, it draws heavily on the past and is in many ways derivative, but what a TERRIFIC derivative. To this day, almost 30 years later, I still find myself singing, "Mississippi boy, learning how to live on the road . . ." There are 292 million people in the USA and about 291,500,000 are worse off for never having heard this album.

You can't go back to Kansas
In July 1975 Noel Edmonds, the breakfast DJ on National Radio 1 here in the UK, made " July, You're a Woman " his record of the week. It didn't make it a chart topper,but it did make me go out and by this album. I virtually wore out my vinyl copy over the next 23 years and replaced it with CD at the end of 1998. I have played this album in one format or another every week since 1975 and never tired of it. I just wish I'd been there...Classic songs that are nostalgic without becoming dated and that still make me think new things, even after all these years. For me John Stewart is the greatest of the American singer songwriters and this album is one of his best. Listen, marvel and then explore the rest of his oeuvre.

Idealized Images of America from an Unknown Living Legend
One cannot consider The Complete Phoenix Concerts as a pre-1975 John Stewart Greatest Hits package because John doesn't have any hits. These are the compositions that made John an unknown living legend and a secret American icon. Over the past four decades, his fans have followed him through various musical styles ; their devotion never wavering. Eighteen tracks of country, folk and rock from a singer/songwriter wearing cowboy boots and hat. The Complete Phoenix Concerts is the culmination of an illustrative musical style which opened the door for the Texas school of songwriters: Nancy Griffith, Townes Van Zandt, Guy Clark, Steve Earle and Joe Ely. Compositions telling John's story in sketches, words and images.

There's a ghost of something lost long ago running through each of his songs. The ghost is always there - you can feel it in your bones. Perhaps it's the ghost of barefooted ladies treated with dignity and respect (Wheatfield Lady, The Runaway Fool Of Love, July Your A Woman), or the ghost of quiet and simple small towns displaced by the interstate (Kansas Rain, The Pirates Of Stone County Road, Oldest Living Son), or the ghost of an optimistic search for humane ethics and a code of morals (You Can't Look Back, Little Road And A Stone To Roll, Freeway Pleasure). Then again, maybe it's the ghost of a topic not taught in public schools today - patriotism (Roll Away The Stone, The Last Campaign Trilogy, Mother Country). John Stewart's idealized images of America are not popular, but should anyone expect less from an unknown living legend.

Technical note: Considering this is a 1974 analog recording of a live concert, the sound is surprisingly professional. Credit Bear Family of Germany for another quality CD reissue.

One of the great live albums
Live albums are often a disappointment. Sometimes it is because the artist just copies, note for note, the studio version of the songs. Sometimes it is because the changes they make in the song performing live are not particularly inspired. The Phoenix Concerts, however, is a great live album. The album captures an inspired performance, including John's banter with the audience, and the songs really rock, with a tight band adding to the songs. John specializes in insightful songs about America and Americans, the hope and dreams of people and the appreciation of the past. The album serves as a career summary to 1974, with many of John's most memorable songs captured in the magic of one night in Phoenix.

You'll never be the same after hearing this one.
I didn't think I'd ever find this on CD. The "Pirates of Stone County Road" is worth the price of admission by itself. It will transport you. Do buy this CD! ... Read more

Amazon.com

Quite possibly the bluegrass album of your dreams, this was recorded at the fertile midpoint of a two-decade partnership that ended when Carter Stanley died in 1966. Lead singer-guitarist Carter and tenor harmony singer-banjoist Ralph were always the purest of the defining bluegrass groups, their stark sound and songs coming from some haunting place deep in the mountains. Rather than the machine-gun picking and frenetic vocals of many of their peers, they relied on a meditative, still-waters-run-deep approach in which serenity co-existed with deep sorrow. This set was recorded at a Bristol, Virginia, radio station around midnight, after the Stanleys had completed a full day of radio shows and personal appearances; rather than repeat their usual repertoire, they reached back for personal favorites (the Monroe Brothers' "Drifting Too Far from the Shore") and traditional songs ("John Henry") from their childhoods. In doing so, they embodied, with grace and fire, a way of life already fading even then. --John Morthland ... Read more

Reviews (3)

Intimate, one-of-a-kind portrait of bluegrass legends
It's a nice surprise when archivists dig up something new on well-known; doubly so when the material expands our view of their careers. This disc, previously only available on vinyl at Ralph Stanley's gigs, provides welcome new details on the roots of one of bluegrass music's greatest acts.

In 1956 the Stanley Brothers were at the height of their powers, with a repertoire that had expanded across a series of records for Mercury. This performance, recorded in an off-air Bristol, Virginia radio studio is an intimate recitation of their roots, laid down with no audience beside the engineers, and with no planning beyond a career's worth of practice. The brothers wander easily through their catalog - all first takes, with no set list - testifying to the power of brotherly bonds and countless nights on the road.

The brothers' stage and radio performances have been well documented (notably by Copper Creek's out-of-print 11-disc "Stanley Series" and Rebel's "On Radio"), but this private recording is something very different. Without no audience to please, the Stanley's ad-libbed a song list weighted heavily towards their personal favorites - songs not often included in their stage or recording repertoires, and only three of which they'd previously waxed. Their selections reach back to folk standards learned in childhood and formative works by the Delmore and Monroe Brothers.

Highlights include tales of family tragedy, "Come All You Tenderhearted" and "The Story of the Lawson Family," both chilling in their knowing details of death and murder, and a stupendous duet of "Orange Blossom Special." The latter, in particular, shows off the brotherly bond that allows their vocals to careen in tandem around the song's mountain curves. Ralph's banjo drives the solo "Shout Little Lulie" (reportedly the first song his mother taught him) and "Little Birdie."

This intimate snapshot stakes The Stanley Brothers' claim as among the greatest harmony duos in bluegrass history. Carter Stanley's voice defines the high, lonesome sound of bluegrass, and combined with his brother's tenor harmonies, the two voices stick together like magnets. Carter's introductions provide occasional context, but mostly the brothers focus on each other. Mandolin player Curly Lambert adds additional harmonies, and fiddler Ralph Mayo adds the aching blue notes to this superb volume of mountain soul.

A sweet, stripped-down, informal recording
Simply sublime. Recorded in an after-hours session at Bristol, VA radio station WCYB, this twenty song set captures bluegrass legends Ralph and Carter Stanley at the peak of their fame, in March, 1956, playing in a relaxed, informal setting that emphasizes the their softer, folkier side. Station engineer Larry Ehrlich asked the brothers to play some of their favorite traditional songs, and while they still wound up performing several of their own original songs, the bulk of the album is material that were a little off the beaten track for the Stanleys, and has a haunting quality that will make you sit up and take notice. Although many of these tunes would become part of their regular repertoire, these versions have a more subdued, old-fashioned feel than in their more polished, popular studio renditions. On shorter instrumental numbers such as "John Henry," the band shows that size isn't everything: in 76 seconds they rip through the melody, with some notably slick banjo playing by Ralph, with dazzling accompaniment throughout; even goofy novelty numbers like "My Long Skinny Lanky Sarah Jane" show the breadth of the band's entertainment repertoire. Mandolinist Curly Lambert and fiddler Ralph Mayo provide some sweet, understated accompaniment... Nice stuff!

rawboned performance of straight-ahead traditional music
Stanley Brothers fans will really rejoice at the release of "An Evening Long Ago - Live 1956." The session was recorded by Larry Ehrlich at the WCYB radio studios in Bristol, Virginia on March 24, 1956. It was originally released as a private pressing for friends only and sold only at concerts. Musicologists will recall that the inagural broadcast from Bristol of the Clinch Mountain Boys' "Farm and Fun Time" took place only about ten years earlier, on December 26, 1946. The band made about $2.25 apiece that evening, but the postcards, letters and invitations to play rolled in. The station's listeners were ready for the Stanleys' post-war mountain music, and the musicians were ready to oblige, as well as to capitalize on the exposure, publicity and income that the show brought them. They left Bristol a few times for shows in North Carolina, West Virginia, Louisiana, Kentucky, but they'd always return to Bristol. At the time, their career in music had some ups and downs while they were travelling the countryside in their Cadillac. The Brothers were successfully recording for Rich-R-Tone and Columbia. In 1951, despite their success, Carter and Ralph quit the music business and went to work at Ford Motor Co. in Detroit. Soon after, Carter was back in music singing lead with Bill Monroe's Blue Grass Boys. Ralph was in a serious auto accident in Tennessee. Finances were tight. Ralph (and Pee Wee Lambert) built rooms in the old Stanley country store and attended an agricultural instruction course with plans to become farmers.

These are the kinds of things that the Stanley Brothers were facing in life when they accompanied Curley Lambert (mandolin), Ralph Mayo (fiddle) and Larry Ehrlich (recording engineer) to the radio studio around midnight to record live around one microphone. Around that time, they were using either Bill Lowe or Doug Morris on bass, but the session unfortunately took place without a bass-player. The set starts with Larry saying, "Let 'er roll." As with many live recordings, you get spontaniety, energy, and even a few comments or ambient noises. You can hear a door closing on "Meet Me Tonight," Carter's introduction to the 1928 murder tragedy near Danbury, N.C. for "The Story of the Lawson Family," Ralph whoop it up a bit on "My Long Skinny Lanky Sarah Jane," and a few throats clearing now and then.

It's interesting to note that, with a few exceptions, many of these songs are among the first recorded renditions of them for the Stanley Brothers. Little Birdie, Orange Blossom Special, and Tragic Love are some songs that had been recorded prior to March, 1956. For a few others, I am not sure if they were ever recorded by both Carter and Ralph (prior to Carter's untimely death in 1966) unless they appear on other live recordings from the era. A check of Gary Reid's preliminary discography of the Stanley Brothers doesn't indicate early versions of Dream of a Miner's Child, Poor Ellen Smith, Darling Do You Know Who Loves You?, Bound to Ride, My Long Skinny Lanky Sarah Jane, John Henry, and Feast Here Tonight. I would need to also research their live recordings from 1947 to 1966, and it's likely that Copper Creek Records has released some or all of these songs on their multi-album series taken from live radio shows.

The twenty tunes offered on this project include many of their famous brother duets and instrumentals, many from their own folkloric family tradition and early recordings of the 1930s and 40s. Carter plays a solid guitar and sings lead. Ralph plays banjo and sings tenor. "Shout Little Lulie" and "Little Birdie" were the first tunes that Ralph's mother, Lucy, had taught him on the banjo. Ralph used to play mandolin on "East Virginia Blues" on the Farm and Fun Time, and because this cut doesn't have banjo, I wonder if that is Ralph picking mandolin. Another curiosity is that Ralph Stanley uses the clawhammer style on "Bound to Ride," a song he typically did during the 60s in standard three-finger style before rearranging it for clawhammer again about 1971. Also, the song credit for "Bound to Ride" should have properly been attributed Arthur Smith. This album's 1956 recording of "John Henry" is done three-finger style, and that's another that Ralph rearranged for clawhammer style in 1973. Presumably, Carter learned "Train 45" from the records of Gilliam Grayson and Henry Whitter. Unlike Grayson's train that started from two different places on two different records (Atlanta or New York), Carter clearly says that his train leaves from Atlanta, Georgia, all aboard. Grayson and Whitter are also attributed as songwriters of this album's opener, "Handsome Molly."

While many of these songs would be recorded again in later years on fancier equipment, "An Evening Long Ago" is a rawboned performance of their straight-ahead traditional old-time mountain music and bluegrass. This is a rare opportunity to experience the beauty and power of The Stanley Brothers at one peak in their music career together. It's simply the feeling on this disc that allows us to nostalgically relive a time when they travelled the circuitous, narrow mountain roads between radio stations, churches, barn dances, and tiny schoolhouse auditoriums. (Joe Ross, staff writer, Bluegrass Now) ... Read more

Amazon.com

Guy Clark approaches songwriting the same way he approaches fishing--if what he comes up with is too meager, he throws it back; only the best specimens are considered "keepers." Fifteen of those specimens are featured on Keepers--A Live Recording (Sugar Hill), which was taped at a Nashville club in 1996 on Halloween weekend. Two strong songs are unveiled--"A Little of Both," a bouncy, witty song about avoiding choices, and "Out in the Parking Lot," a slow, poignant look at the action outside a nightclub. These two are joined by 13 old favorites, including those turned into hits by Ricky Skaggs ("Heartbroke"), Jerry Jeff Walker ("L.A. Freeway"), and Johnny Cash ("The Last Gunfighter Ballad"). They're all wonderful songs, but these aren't necessarily the best versions. Clark is a limited singer, but his voice cracks more than usual on several of these live renditions; this version of "She Ain't Goin' Nowhere" is practically unlistenable. Clark did put together a sharp little band for this recording, but if he was going to make a live album, why didn't he deliver some of his long, droll stories rather than these truncated introductions? --Geoffrey Himes ... Read more

Reviews (7)

Not a keeper
One of life's greatest joys is a Guy Clark performance. Though I left Nashville shortly before the one recorded here, I listened to Mr. Clark play every dive in town for 20 years, sometimes sick, sometimes overly fortified with alcohol, and he was always the consummate showman. As such, the idea of a live recording was very appealing to me. The result, however, is a little disappointing.

The songs are indeed mostly keepers, and the track listing is typical of a Guy Clark set list. It relies heavily on his first album, with half the tracks coming from Old No. 1, and then a song or two from subsequent albums of the late 1970s and early 1980s. Some, like "Heartbroke", are pleasant surprises I've never heard him perform live. I tend to be a little more sanguine about Mr. Clark's post-1975 oeuvre than he seems to be based on his shows and on this CD though - I think he's written a lot of other "keepers" that are conspicuously absent here, some from the "Old Friends", "Boats to Build", and "Dublin Blues" recordings that were released before the concert presented here, and that usually find their way into his sets.

It is the performances that disappoint in the end, though, not the choice of songs. The songs are mostly tried and true classics. Guy Clark may or may not tire of singing his first album for 30 years, but he has remarkable stage presence and can play "Desperadoes Waiting for a Train" a thousand times and make me misty every time. In general, though, the vocal performances are better on the original recordings. There is something to be said for re-recording many of these songs using the acoustic sound found on Clark's CDs from "Old Friends" onward, or perhaps in the simple guitar and bass form often used in his performances. The electric instrumentation used on some of his older albums has left some of his best material sounding dated. But here, with Mr. Clark not hitting some of the notes, sometimes off-key, most of the time I felt I'd be better off just pulling out Old No. 1. Or that he'd have been better off re-recording the "keepers" in the studio. There are some fine moments here. Texas Cookin', though recorded perfectly well in the studio, is a fine performance, and I can't help but smile at Mr. Clark, Jr. on bass doing the riff from Hendrix's "Third Stone From the Sun" near the song's end.

In short, the songs are keepers but the performances aren't. I have every Guy Clark CD ever made, and I listen to several of them fairly regularly. He is a personal hero in the world of music, and in his corner of this genre, I'll say something he'd disagree with - I think his work far eclipses that of Townes Van Zandt. But this CD has been in my CD player only twice over the years, once when I first bought it and was disappointed, and once today when I was disappointed again. The only good reasons to have this CD are to have a complete Guy Clark collection or to remember this particular concert if you were there.

Texas Without Being There
Guy Clark is the unofficial music ambassador for the great state of Texas. His songs are simple and straightforward tackling the always tough relationship department and lightweight subjects like eggs, tomatoes, chili, trains and his home state. ( "Texas 1947", "Texas Cookin" & "South Coast Of Texas" ) He's also intelligent when it comes to a live recording, putting together a great band which includes brilliant sideman - Verlon Thompson. Guy is definitely ON this night balencing songs, stories and laughter. The album literally brings Texas to my home until I can make the next visit. The purists seem to like his first two LP's found on "Essential", the critics pick is "Boats To Build", but the real Guy Clark is "Live" and this one is for the "Keepers".

Great atmosphere
The best thing about this record has to be the way it's recorded. Anyone with a half decent hi-fi system will love it just for that.

The small band Guy has gathered for this recording are as tight as can be and even Guy himself stays in control of his fingers...

Great versions of Heartbreak, Texas Cookin' and Home Grown Tomatoes. He's at his best when you can hear the smile on his face. She Ain't Goin' Nowhere is a classic Guy Clark song too. I'm less enthusiastic about some of the slower "moody" songs like Desperadoes (I can never understand the popularity of this one) and he misses out songs from Boats to Build - my favourite album. All in all though, a fine effort.

Texas Pure......
You yankees want to know what Texas is about? Hear it in his voice, words, and music. If you don't live here...listen to this cd and you'll want to get here as fast as you can.

Texas country-folk's main attraction delivers live
Imagine John Wayne with a guitar ... conveying toughness, pride, humor, and above all, integrity without having to raise his voice and rarely changing the pace of his words. That is the kind of talent and charisma Guy Clark possesses. His guitar playing is wonderfully intricate and his lyrics rank with anyone else's best. Slices of life like "Texas 1947" and "Desperados Waiting For A Train" perfectly convey the feel of those little Texas towns a few miles south or north of any main highway. ... Read more

Reviews (19)

Real Bad
This is not a very good live album. The sound quality is not too good and performance is not too exciting except for some nice guitar solos. It has 10 songs ranging from 4 to 6 minutes long. The total lenght of the CD is 52 minutes.

The sound quality is not very good. It is loud and noisy. The audience chatter is way too high in many spots. You can actually pick out some talking in the back ground.

This is one of Dylan's lesser performances. His singing is particularly annoying. He vocals are very affected. He sounds like one of those comedians who do a bad imitation of Dylan with the over exaggerated accent.

The back up band is not very good and renditions of the songs are not anything new or special.

The only thing that makes this CD worthwhile are some amazing guitar solos on 4 of the tracks. And no wonder...the guitarist is Mick Taylor, of Rolling Stones and Gong fame. But, the guitar playing is not enough to recommend this CD.

This is Dylan's second worst CD. His worst is Dylan and Dead.

Real Dylan.
At first glance "Real Live" might seem to be a total curiosity: a playlist featuring chestnuts like "Maggie's Farm" juxtaposed against (at the time) newer material from Dylan's brilliant "Infidels" album, and a version of "Tangled Up In Blue" that features a revised lyric. What's more, the fine band backing Dylan up is a veritable Who's Who of classic British rock: former Rolling Stone Mick Taylor on lead guitar, Ian McLagan of the Small Faces on keyboards, and ex-Focus drummer Colin Allen.

Sounds odd, but it all works, and wonderfully so. The band - Taylor's muscular blues-based guitar work is particularly inspired - provides wonderful textures and underpinnings to the songs, giving Dylan total freedom to employ his unique vocals in a more emotional and expressive way than is usual even for him. Dylan performs a few of the songs solo, accompanied only by his acoustic guitar and harmonica, and Carlos Santana is on hand to lend his guitar chops to the final cut, "Tombstone Blues".

If the measure of a live album is its ability to capture a "moment" from a performance, then "Real Live" succeeds, and then some, on the glorious crowd sing-along during "It Ain't Me Babe". Not to be missed.

Real Live Rocks
My dad says he was blown away when he first heard this record. Mick Taylor had just left the Stones, was now playing with Mr. D, and his smoking guitar work supercharges this record. Sometimes Dad and I disagree, but not about this record. I do wish though, that they would have made it a double CD and released the whole show, cuz this CD just plain rocks. Oh well, maybe if we're lucky, they'll release one of the shows from this tour as a future legal bootleg in the Bootleg Series. Until then we'll have to be satisfied with "Real Live." Five stars for this one.

Reviewed by Stephanie Sane

Dylan's most "ordinary" live album
"Real Live" may not be as grand as the double album "Live 1975", as groundbreaking as "Live 1966" or as intense as "Hard Rain".
In fact, there aren't too many surprises as far as arrangements go, and the band is a fairly ordinary four-piece combo (plus Dylan himself).
So why even buy this? Most of the songs can be found on other live albums anyway, and the new verses for "Tangled Up In Blue" aren't THAT magnificent.

Well, this may not be Bob Dylan's most interesting live effort, but it is actually a fine album nonetheless, and the band is excellent. Dylan's 1984 touring combo may not have been as wild and idiosyncratic as The Band, but you can't put a finger on their musicianship. Former Rolling Stones guitarist Mick Taylor is very prominent troughout the album, and plays some excellent solos, and the production is very good, allowing the listener to hear both Taylor's leads and Dylan's rhythm guitar. And drummer Collin Allen creates a superb groove with bassist Greg Sutton and former Faces keyboardist Ian McLagan.

Among the highlights are "Highway 61", a superb piece of garage rock, a swinging, groovy "I And I", the seven-minute rendition of "Tangled Up In Blue" (fine vocal performance by Dylan), and a really rocking "Tombstone Blues". "Maggie's Farm" is great too, it just doesn't match the intensity of the version found on "Hard Rain".

"Real Live" also features an interesting electric version of "Masters Of War", and even though it may seem a bit short at "only" ten songs, it does clock in at 50 minutes, which makes it about as long as you can expect from an LP-era release.

"Real Live" may not be an essential Bob Dylan purchase, but if you are a fan, it provides a nice addition to the Dylan catalogue, sporting lean, muscular versions of some of his best songs.

Grows on you
At first listen I didn't think much of this album. I thought Bob's singing was off, and all the new arrangements were inferior to their studio counterparts. But after a couple listens, I grew to like "Real Live" alot. As in most Dylan live albums, some experiments work far better than others.

Lets start with the good:

"It Ain't Me, Babe" - WOW! The audience singing on the choruses here is so strong it sounds like a professional backup chorus. Dylan chooses to go acoustic, stripped-down on this one. Similar to the original release but for a couple vocal twists every now and then.

"Tangled Up In Blue" - A great example of Dylan's reinterpreting his own lyrics. In fact, he has said in interviews that this version is more the way the song should be performed than the original "Blood on the Tracks" version. It doesn't matter which version is better; this is a great alternate version no matter what.

"License to Kill" - This song works better here than on it's "Infidels" studio release. The guitar riffs sound better and clearer, and Bob's singing is more forceful and his syllables better stressed.

"Girl from the North Country" - As usual, acoustic solo Dylan works far better than full band Dylan. This version is nearly identical to the original release 2 decades prior. The only major difference is Bob's voice, which sounds great here.

The bad:

"Maggie's Farm" - I usually skip this track. It was never one of my favorite Dylan tracks to begin with, so maybe I am already prejudiced against this track. But for whatever its worth, I don't like it here, either (or on "Hard Rain" for that matter).

"Ballad of a Thin Man" - A classic track off of "Highway 61" is kind of stumbled through here. Once again I recommend you skip it, although its not so bad as to be unlistenable.

The Rest:

"Highway 61 Revisited"/"Tombstone Blues" - 2 classic Dylan rockers are performed decently enough, but without enough spark to make them great listens. Give them a try and judge for yourself.

"I & I" - the 2nd "Infidels" track doesn't work as well as the first, but its not half bad. Dylan changes around the chorus vocals, for better or worse.

"Masters of War" - this is the track I am most conflicted about. Instead of the solo acoustic treatment he first gave this song, here it is a flat-out riff-driven rock song. I like the fact that it rocks more than most Dylan songs and it is great to listen to loudly. But the extended guitar solos, while played well enough, don't fit well with Dylan's songwriting or singing. I initially wrote this track off as a disaster, but I come back to it every now and then and even enjoy it sometimes. ... Read more

Reviews (5)

Just got back from his concert
I just got home from a John Prine concert about an hour ago. It was an incredible experience and John really seemed tickled at the response he got from the audience. Soooo, I just had to order this CD as what some other reviewers have stated is definitely right on--you must see him perform live. This CD will help keep the concert experience alive for some time to come.

Full Sound
Great Disc. John's Sound's Great Live And This Rich And Full Sound Gives You A Perfect Example Of What To Expect At One Of His Show's.

Excellent live album
First impression: remarkable, crystal-clear production! Somebody finally figured out how to record a decent live album. The rockers are clear as a bell and songs intended to be intimate come off as such. Notable funny moments in "Jesus: The Missing Years" and "Space Monkey"...where I laughed until it hurt. But the real corker is an absolutely brilliant, lead-off "Picture in a Picture Show". So John, when is it you are coming to Indy?

JOHN PRINE IS BEST EXPERIENCED LIVE
The music and wit of John Prine have always been things that are best expereinced in a live setting. While John's studio releases are always a pleasure, it's his live shows and storytelling that set him apart from the rest.

It's good to see that John won his recent fight with cancer and is back on the road. He is truly a songwriting legend.

If you can't see John live, this might be the next best thing. If you have seen his shows, then this new disc is a great reminder of just how powerful and enjoyable those shows were.

studio tracks sound even better live
This album shows that some artist need to be heard live to fully apreciate their music. What really sets this release apart is that the songs from "Lost Dogs and Mixed Blessings": Quit Hollerin' at Me, Humidity Built the Snowman, and Lake Marie, are not just copied note for note, but are expanded on, and greatly improve on the studio recording. A must for all John Prime fans and a good introduction for those who may not yet be familure with his work. ... Read more

Album Description

Live album capturing historic reunion of folk music legends performing their signature songs. Features seminal folkartists such as The Kingston Trio, Glenn Yarbrough, RogerMcGuinn and The Brothers Four performing their signaturesongs live! Recorded May 21-22, 2002 at Carnegie MellonUniversity in Pittsburgh, PA. Rhino. ... Read more

Reviews (2)

What happened to my favorite song here?
I came here to review the 2-CD set called "This Land is Your Land" that I got from PBS when this concert aired. Well, this LOOKS like the same CD, but is it? It's got the same cover and it's put out by Rhino, but my copy has another song between "Greenfields" and "This Land is your Land" -- and that's the song that made me want the CD in the first place. The missing song is called "Just Americans" by Randy Sparks and the Minstrels. When I heard this song on PBS, I literally cried. It's the only one of the plethora of "post-9/11" songs that I can relate to, because the words celebrate the diversity of America rather than assuming you have to be a redneck in a pickup truck in order to be patriotic. It even makes specific mention of Jewish Americans like me: "We wear yarmulkes and turbans and occsionally a crown, we wear straw hats and ballcaps when the home team is in town...") In my opinion, this song ranks right up there with "This Land Is Your Land" as the one of the finest of modern folksongs. It was also a high point of this concert.

So where is that song on this CD? Is the omission of "Just Americans" a typo here, or was it edited (censored?) out of later editions? For that matter, if this is a single CD "short version" of the PBS concert, then I would recommend getting the full 2-CD set instead. Mine has a total of 25 songs, including my favorite, "Just Americans."

Great music... disappointing package
The television show on Public TV was great, and this CD is just a part of the show that was recorded live in 2002. Although most of the songs on the CD were originally done in the 60's, many of the songs sound like the originals. If you enjoy 60's folk music, you won't be disappointed with the music on this CD. Unfortunately, the packaging is poor. Other than the list of artists and their songs, there are no liner notes or pictures of the artists. The inside of the booklet is completely blank. I've seen better booklets in budget CDs, and this was no cheap CD (costwise, at least). Rhino records usually has excellant liner notes. If the CD would have had a decent booklet with info about the artists and the songs, I would have given the package 5 stars. At least the music is great. ... Read more

Amazon.com essential recording

A 45-minute trip to bluegrass heaven, these 17 songs combine the talents of two unparalleled musical forces: Bill Monroe, the inventor of bluegrass, master of the mandolin, and owner of a bone-chilling, mountain tenor voice; and Doc Watson, the flatpicking genius with a soulful, mellow vocal tone. Much of the material stems from the legendary Monroe Brothers recordings. Their sublime harmonies carry plaintive ballads including "What Would You Give in Exchange for Your Soul" and "Banks of the Ohio," and uptempo numbers such as "You Won't Be Satisfied That Way." The roaring fiddle tunes are simply mind-blowing: "Soldier's Joy," "East Tennessee Blues," and "Fire on the Mountain" all rank as virtuosic masterpieces. If it's possible, the pairing exceeds all expectations. --Marc Greilsamer ...