Reviews (7)

QUINTESSENTIAL EARLY JOAN BAEZ...
This is a live concert recording, so be prepared for clapping and an enthusiastic reception by the concert crowds. It is quintessential early Joan Baez, simply strumming her guitar and singing folk songs that she loves. It was recorded at various concerts during her tours in August 1962 and October/November 1963.

Her clear, sweet soprano is exquisite, and her choice of these thirteenfolk songsshould satisfy the most ardent purists. Truly, hers is the voice of an angel. For those of us who grew up withthe music of Joan Baez, this recording is a glorious trip down memory lane.

The quality of this cd is what one may expect from such an early, live recording, as it suffers from an occasional lack of clarity and from a slight variance in volume from song to song.Still, this is a cd that all devoted fans of Ms. Baez will want to include in their collection, if only for her wistful rendition of"What Have They Done To the Rain".

Early Joan
This CD has three extra songs that were not on the original vinyl recording of "Joan Baez in Concert."They are "Streets of Laredo," "My Good Old Man," and "My Lord What a Morning." Not much of a bargain, considering the fact that Joan sings kind of wishy-washy spirituals, and "Streets of Laredo" is set to slightly unfamiliar music, which makes it difficult to sing along with.I'll get used to it, though, and as always Joan's Child Ballads and Southern Appalachian ballads are to kill for.The liner notes that accompany this CD are also quite interesting.They discuss Joan's very early career and how she overcame her fear of large audiences.

Remember that the songs on this CD were recorded 'in concert' so you will hear occasional applause and crowd noises.

There are sixteen songs in all, and here are a few of my favorites:

"Babe, I'm Gonna Leave You" - I always thought this was a Bob Dylan song, but the most popular version turns out to have been recorded by Led Zeppelin.According to their web site, Jimmy Page heard the Baez version and decided to rearrange it for his band. The original version of the song has been traced to Anne Bredon, a folk musician who wrote and recorded the original song in the 1950s.At any rate, Joan sings it as a very lovely, plaintive ballad.I'm probably one of the few people in America who has never heard the Led Zeppelin version.

"Geordie" - A version of this Child ballad (#209) "God be wi' thee, Geordie" appears in the "Straloch Manuscripts (early 17th century)." It also appears in Buchan's "Ancient Ballads and Songs (1828)" under the name of "Gight's Lady."According to the Child Ballad web site, it's six pretty babies that Geordie's wife has borne, not Joan's three, and Geordie appears to have stolen 'six milk-white steeds' from the king, not deer. According to Buchan "Geordie" was Sir George Gordon of Gight (1512-1562), the son of the illegitimate daughter of James IV, who was imprisoned for becoming "too familiar" with the Laird of Bignet's wife (no deer or horses in this version).Geordie's wife, Lady Ann, went to Edinburgh to plead for his life. She was successful, but upon being freed Geordie killed his faithful wife.I like Joan's ending a bit better: Geordie is hanged in a golden chain and that's the end of it.

"Kumbaya" - This spiritual apparently originated with the Gullah, an African-American people living on the Sea Islands and adjacent coastal regions of South Carolina and Georgia.'Kumbaya' means 'Come by here' and it really brings back the Sixties for me (we always sang it at the sit-ins).Joan asks the audience to sing along with her (you will hear it as a dull muttering in the background), and so I do.

"Black is the Color of my True Love's Hair" - There are many versions of this tune, including "Black is the Color of My True Love's Eyes."It's best known as a tune from the Southern Appalachian Mountains and is probably based on an 18th century English tune.Joan sings it almost as a lament, and I always expect the black-haired lover to die at the end, but in truth the ballad ends on a slightly happier note: the singer only threatens to kill herself if she loses her love.

"House Carpenter" - This Child ballad (#243) is also known as "James Harris, or the Daemon Lover." I like the Buffy Saint Marie version slightly better (on her album "Little Wheel Spin and Spin), in which the lover is an actual demon: "He stomped his foot and down they sank, and sank to rise no more."Joan's slightly sanitized version makes no mention of demons, although the carpenter's wife and her lover go to the 'hills of hell' when their ship accidentally sinks.

"Danger Waters"- This song has a chorus that I'd never been able to decipher completely, until I went to the web.Anyway the chorus goes something like this:"And I holler why, and I holler why, and I holler why," (now comes the hard part) the Burgess (or gorgeous?) boy "no mon ami." 'Burgess' turned out to be 'tortoise.' Oh well.This is a West African song, and Joan makes it sound very wistful even when she is demanding the return of her 'schillins.'

Lovely, lovely Joan. This CD is a 'must' for her fans.

Across the Years
For forty years, her pure voice and liberal beliefs have been part of the American fabric and of the lives of those of us who came of age in the 60's. When I hear her, I see myself in college waking up to this album, I see my grown sons as small children listening to her in front of the stereo while I studied in law school. When I had a "high lonely", retreated from whatever I was doing and went back to my "roots", it was Joan that I listened to. I love her music, not for what she is or isnt or what she ever has said or done, but for how her music did to me.

Why Joan was magic early in her career...
"Gospel Ship" is just a brief, traditional hymn, but it was the first Baez performance I ever heard and led me to become a fan. This collection has that one, and a nice mixture of the traditional folk songs which helped her get started near Harvard in the late 1950's, and a few more contemporary pieces. I have been quite disappointed in this artist's efforts over the past decade...but my, oh my, few folkies ever had a better FIRST decade.

PRISTINE!
Oh this is so beautiful - the songs, the respectful audience and her pristine evocative voice! There's an almost gospel-like quality in the songs Kumbaya, Gospel Ship and the eery Lady Mary, while the Portuguese song Até Amanha is an uptempo, singalong ditty and Pretty Boy Floyd soars above the clouds. This is pure poetry, infused with a spirit of transcendence. A very sensitive and moving listening experience. ... Read more

Amazon.com

Leo Kottke has peppered his oeuvre with live albums, which is befitting since his extraordinary instrumental technique and droll humor make him a natural (albeit low-key) audience charmer. This 15-song set from a 1995 Boulder, Colorado, concert finds the guitarist focusing on late '80s and early '90s albums. He draws from 1986's A Shout Toward Noon (check out his cover of Duane Allman's deceptively intricate "Little Martha"), '88's Regards from Chuck Pink, '89's My Father's Face, '90's That's What, and '94's Peculiaroso. Kottke reaches deeper into his song bag to pull out "Bean Time" (from 1972's Greenhouse), but it's refreshing to hear him reexamine a particularly fertile period in his career while the original recordings are still fresh in his mind. The clear-as-lake-water audio quality also deserves kudos. As usual, Kottke's playing is beyond reproach and his between-song remarks are winning. --Steven Stolder ... Read more

Reviews (6)

simply the best
too cute for words and the picking is phemonenal as to be expected from the master of 6 and 12 string-a must have for any fan!

Even tho I was in Boulder at this taping, I'm not biased. .
This is an incredible CD! Yea, I was in Boulder at this show, and it was worth trudging through the snow to get to and from the performance that Easter evening. His musical talent is vast, and that talent comes shining through on this CD. His story telling between songs is a wonderful insight into who he is as a person. Without those between song stories, Leo's talent makes him seem other-worldly. Hearing the personal side of this performer is a warm and welcome addition, and is why this CD is one of my favorites.

Top 5 of over 700 CDs
I have over 700 cds (eclectic mix) and can say without a doubt that this is one of my favorites. He is musically brilliant, hilarious and entertaining. What a wonderful discovery. I've introduced this CD to many friends who are now huge fans. Catch him live if you can, he is the master of the 12-string guitar.

Kottke Demands To Be Heard Live
To hear Leo Kottke live is one of life's simple pleasures. One man, one guitar (and occasional vocal) and he transports you worlds you've never been to before. His playing is simply amazing! Most of this material dates from his tenure on the Private Music label, but he does include "Bean Time" from my all-time favorite album Greenhouse.

What makes Kottke's live albums a special treat is hearing his between-song stories. His deadpan humor when he recounts his father's military experience at teaching hand-to-hand combat is a hoot. Highly recommended

ONE OF THE BEST!
This is one of the best CD's I own. Great acoustic guitar music and great stories. The only thing better is seeing him play live. ... Read more

Amazon.com

Leonard Cohen recorded his last studio album--The Future--in 1992, so Columbia Records can perhaps be forgiven for continuing to mine the master tapes of his old live performances. The songs here are collected from two 1979 concerts at London's Hammersmith Odeon and Brighton's Dome Theatre. At that time, Cohen was touring in the wake of his Phil Spector-produced Death of a Ladies' Man album and was, to judge by the performances collected here, in fine form. His voice had not quite plummeted to the crockery-rattling depths captured on I'm Your Man (indeed, on "Memories", he positively yelps), and the backing band, including Jennifer Warnes on backing vocals, is terrific throughout. The songs, of course, are impeccable, including "Lover Lover Lover," "Bird on the Wire," "So Long, Marianne," and "Hey, That's No Way to Say Goodbye." --Andrew Mueller ... Read more

Reviews (15)

Belated Gift
We had always regarded Cohen more as a poet/writer than a musician. Whoops. Certainly he remains among the most literary of the singer/songwriters, as these songs will attest. But what makes this album a treasure is the amazing music. Recorded live in concert in Great Britain in 1979, Cohen and Columbia Records have bestowed this belated gift upon us. Cohen's voice is more melodic than we remember it, and so evocative. "Back-up singers" Jennifer Warnes and Sharon Robinson are much more than that title implies. And the musicians, particularly Raffi Hakopian on violin and John Bilezikjian on oud and mandolin, create a marvelous, cinematic soundscape for Cohen's rich and thrilling songpoems.

Almost like hearing them for the first time
I hesitated before I bought this album. The track listing didn't have many of my favourite songs, and Cohen had just put out a live album a few years back. However, I caved in and bought it. I'm glad I did.

The reason this album works is because of the quality of musicianship. It helps put to rest that myth that Cohen knows lyrics, but doesn't really write great music.

The music here really elevates what are, honestly, some of Cohen's lesser songs. I now have new respect for them and consider this album to contain the definitive versions. These versions are beautiful and some of the solos by the band take my breath away.

I'd probably recommend "I'm Your Man" or "Songs Of Leonard Cohen" as a first-timer's purchase. But for those of us who love the man's music, this is a great way to hear these tunes in a new light.

4.5 Stars....Leonard Cohen's Best Live Album
In 1979 Leonard Cohen (45 years at that time) was touring behind the just-released "Recent Songs". 22 years later Columbia released this album, and none too soon, as it proves to be the best live album of Leonard Cohen to date.

"Field Commander Cohen: Tour 0f 1979" (12 tracks, 63 min.) gives us a great mix of Cohen songs old and new. There are 4 tracks of the then-new "Recent Songs" album, including a great "The Guests". Leonard's back-up band is Passenger, a jazz-band which appears also on "Recent Songs, and they are outstanding throughout, perhaps nowhere better than on "Lover Lover Lover" which comes with an extended instrumental intro, just beautiful. The set includes of course old staples like "Hey That's No Way to Say Goodbye", "So Long Marianne" and "The Stranger Song", all from Leonard's 1967 debut album.

The question always has been whether Leonard was a great poet who happened to write some darn good songs, or whether he was a terrific singer-songwriter in his own right. This live album should answer that debate for once and all. "Field Commander Cohen" is a terrific testament to Cohen's songs and live preformances. Strongly recommended!

The Tallest And The Blondest Girl
This record has been in my car for months. Yes, a Leonard Cohen album to drive to and no, I am not insane. This set of hightlights from his 1979 tour is the best live document I've ever heard from the Field Commander. Rousing versions of the title track, "Lover Lover Lover", "Memories", and "So Long, Marianne" effectively break up the more familiar, somber Cohen some know and love. He is in great voice, and the band and overall sound is incredible. Leonard sounds genuinely interested in hearing the whereabouts of his gypsy wife. "The Stranger Song" is breathed new life with a huskier, more assured vocal and "The Smokey Life" has added movement, almost a swaying quality not as apparent in the reedy original. Personally, I don't need another rendition of "Bird On The Wire", but "Memories" is normally still bouncing around in my head until we say goodbye to Marianne. Consistenly exciting, this is a great live record and a must have for anyone wanting to hear an American original at his best.

Brilliant Performances
Leonard Cohen sings for the broken hearts. He sings for the losers, the cast aways, the rejected lovers and the renegades. His record are not the stuff of parties and bars; rather they must be played in dark rooms, in dark nights, when you are alone with your memories.

All this is to say that a Leonard Cohen live album seems remarkably strange as a concept. Concerts are happy celebration of popular music, not dark meditations on poetry.

Furthermore, the Leonard Cohen live album I have heard (Cohen Live), is interesting but often weak. While some old song are reinterpreted in interesting ways (most noticably 'There Is A War'), there are far too many overly grand, Kitchy and Las Vegas style renditions of otherwise great songs.

But 'Field Commander Cohen' is the stuff of legends. Cohen is backed up by an amazing band of musicians, who really draw out the greatness of these tunes. Every song here is better then the original versions, and some are remarkably so. Passanger manages to transform songs which, on Cohen's albums, are often little more then poetry with music, into real epic songs.

The album opens with the title track, a song from Cohen's 74 classic, New Skin for the Old Ceremony. FIELD COMMANDER COHEN has been a favourite of mine in the old version. In this new one, it is just stunning. The gentle drumming, the sublime back up vocals in the chorus, and the wierd but cool insertion of 'Rum and Coca Cola' into the song makes Cohen's meditation on a retired soldier (comes back to nothing special, like waiting rooms, and ticket lines, silver buillet suicides, messianic ocean tides, racial roller coaster rides, and other forms of bordom advertises as poetry) into a classic.

Next follow three songs from Cohen's then recent RECENT SONGS. of these THE SMOKY LIFE sounds almost like something out of Cohen's THE FUTURE, complete with low vocals. THE WINDOW is a slow poem song, while THE GYPSY WIFE, probably the best of these, is a great poem about a betrayed husband (but where... where is my gypsy wife tonight?), complete with wonderful violins.

LOVER, LOVER, LOVER, another great song from New Skin, is another highlight. The strong rythem of the song is a base for improvised guitars and ood solos. Cohen's voice is strong and passionate, and the rewritten lyric, especially in the new final verse, is truly powerful, and is an improvement on the already good song.

Next follows HEY, THAT'S NO WAY TO SAY GOODBYE. The version is solid rock good, better than the original (from SONGS OF LEONARD COHEN). Good violin solo comes in this song, which also has some truly great lyrics (Many loved before us, I know we are not new/ in city and in forest, they loved like me and you).

Possibly the single highlight of the album THE STRANGER SONG from Cohen's debut album is next. While the song is not bad in its original version, this version is simply stunning, although it is also sparse (I wonder if it is Cohen on the guitar here - if it is, he has certainly improved in the dozen or so years since 'Songs of') The lyrics of this song are so wonderful that it is useless to quote some - you must look them up yourself. Cohen's voice here is perfect too: dark, sympathetic, all-knowing.

From Recent Songs we get THE GUESTS, a solid song in which Cohen reflects on his relationship with his lover by looking at the party as a metaphor for his own experience.

Memories is a song from Cohen's collaboration with Phil Spector 'Death of a Ladies' Men'. Ilbegotten is the word for this song, which features simply dreadful lyrics, which make Cohen seem like an old, rather pathetic womaniser. Cohen wisely chose to retitle his song collection 'Death of a Lady's Man'. Memories does have a strong if rather straightforward melody, and great Sax playing.

'Why Don't You Try' is the third song from Old Skin. While I didn't care for the song in the album, this version is wonderful, the instruments really drawing out the song, and Cohen's vocals strong enough to deliver this challanging piece. The only draw back is the irritating back up vocals which seriously damage the enjoyment.

Honest to god, I fail to see why 'Bird on the Wire' has to appear on EVERY SINGLE LEONARD COHEN LIVE ALBUM. I mean, it's a good, popular song, but so is 'Suzanne' for instance. The version here is again weaker then the original, because 'Bird' is a simple song, requiring no guitar solos or any complicated instruments. However, this is a much better version then the one in Cohen Live.

Finally, the album ends with one of Cohen's best songs, SO LONG MARIANNE. The direct song has a wonderful melody, is vastly aided by great playing by all, great vocals (probably the best use of backup vocalists in the album), and of course, wonderful lyrics (You know I'd love to live with you. But you make me forget about so much. I forgot to pray for the angels, and the angels forgot to pray for us).

I was noy yet born when cohen performed these songs in concert. But I truly wish I could have attended. Until someone builds a time machine (and even after), this is a truly great record. ... Read more

Album Description

Taken from the 2003 album 'O'. Three non-LP tracks, 'Cannonball', 'Amie'& 'Blower's Daughter', recorded live at Union Chapel . 14th Floor. 2004. ... Read more

Amazon.com

In the mass of singer/songwriters that seem to surface weekly it is easy to forget that older masters of the craft still walk among us and offer vital work. Janis Ian’s brilliant 2000 release God & the FBI got lost in this glut--more’s the pity. Working Without A Net sums up a career to date that while producing the justly famous "Society’s Child," "At Seventeen," and "Jesse," also given us such lesser known gems as "Love Is Blind," "Boots Like Emmy Lou’s," and many of the others included here. Over a decade’s worth of live performances reveal an emotionally wrenching singer, a fine guitarist, and a remarkably consistent writer. Hopefully Working Without A Net will make people want to go back and explore gems like Breaking Silence, and the aforementioned God & the FBI. At the very least it raises the bar for the current crop of would-be troubadours. --Michael Ross ... Read more

Reviews (17)

Society's Child is also "Great" live !
This 2CD set is brand new(2003)and the live 2 track recordings are from 1990 -2003. The excellently recorded songs are from over 30 yrs of a fine collection of the supurb songs most written by Janis herself. These songs take you all the way back to her first hit "Society's Child" when she was 14 years old. Excellent Sound, Unbeatable Singing, and No Waste of Track Room, both CDs are loaded with real treasure. What more can be said ! For the person that does not know much about Janis Ian buy this set, it has most of her famous songs and it's a great place to start !"Enjoy"

Who needs a net when you can soar like this?
Stop reading these reviews and order this CD! If Janis isn't coming to your town, this is the next best thing to seeing her live. She is authentic, warm, funny and amazingly gifted.

Her songs have a social consciousness without being preachy. Who do you think paved the way for Suzanne Vega, Alanis Morisette, and the rest of those female singer-songwriters? Janis wrote the book on great writing. She knows how to weave a lyric that lingers for days around your heart.

This is a woman whose had an amazing 40 year career and shows no sign of slowing down. With age usually comes wisdom. Janis was wise beyond her years as a teenager. I think she has many great songs left to write, but this CD gives you a great overview of her music.

You walk into her show wondering how you'll be entertained by a four foot nothing middle aged Jewish lesbian. Buy the CD and you'll understand. JANIS ROCKS!

Unlike other "live" CD's.
Unlike other live CD's, this double-CD set is really "live" - recorded direct to 2-track, without edits.And isn't it wonderful to really be able to sit in on a Janis Ian concert?Ian makes her feelings about downloading and home taping known with her choice of the final track, her own version of "These Boots Are Made For Walking", which was recorded on minidisc by a fan sitting next to the mix board!
If you loath the RIAA policies, you should support Janis Ian, and read the article "The Internet Debacle" on her website at www.janisian.com!!!!

Super Live Set
I've enjoyed some great 2 CD live sets such as Bonnie Raitt's "Road Tested," Laura Nyro's "The Loom's Desire" and the James Taylor "Live" set.Janis Ian's "Working Without A Net" ranks right up with the best.First of all, a prerequisite for me, the sound quality is excellent.In the excellent notes in the booklet, she details how this was recorded on two-track, not multi-tracked and edited and cleaned up in the studio.What we hear is what happened live.

From the opening drums on "This Train Still Runs" and the train whistle blowing, we can tell we're in for a great bash."Fly Too High" was not one I was familiar with, but it's great jazzy rendition written with Giorgio Moroder makes me hit repeat.The hits "Jesse," "Stars," & "Society's Child" shimmer like familiar jewels in new settings.The humor songs "Boots Like Emmy Lou's" & "Cosmopolitan Girl" are great fun."Honor Them All" which I first became acquainted with on the Mothers Against Drunk Drivers CD works well as recorded in Japan.Janis talks about feeling sad when listening to "Silly Habits" because she injured her hand & will never play piano again as she did that night in Holland.The CD concludes with the wacked out version of "These Boots Were Made for Walking" which is great fun.

Janis writes, "The relationship between performer & audience at a live show is fascinating, energizing, amazing.A good audience feeds you, makes you want to exceed your best.And a good performance feeds the audience, making them feel that you're speaking to them directly."Janis indeed accomplishes this on "Working Without A Net."She & Oh Boy Records have picked some blockbuster performances from her many live tapes.Bravo!

What Janis Ian fans have waited for
This is a CD that captures the experience of Janis Ian in concert.Those who know Janis' music and concerts understand the depth of her writing and performances.From the inspirational This Train Still Runs through the power and emotion of the classic Society's Child and Tattoo, this CD shows the range of talent and hard work that have made Janis Ian one of music's most worthwhile listens. ... Read more

Album Description

The most comprehensive portrait of one of England's finest singer/songwriters. A deluxe five CD long format box-set. Includes such previously unreleased gems as 'Silver Threads & Golden Needles' (outtake from 'Fotheringay'), 'Losing Game' ((Duet with Jess Roden), 'She Moves Through The Fair' (live duet with Dave Swarbick), plus many alternate takes & demo versions, with & without Fotheringay, Fairport Convention, & more. 56-color booklet with a forward by Richard Thompson plus pieces & remembrances from Jim Irvin (MOJO), Joe Boyd, John Renbourn, Linda Thompson, Pete Townshend, & more. Fledg'ling. 2004. ... Read more

Reviews (5)

Absolutely sensational retrospective of an overlooked artist
Sandy Denny is one of the best artists the UK produced in the 60's and 70's, yet so few people have heard of her in the USA that it borders on disgrace. IF people know her, they know her as the one guest vocalist Led Zeppelin ever used (on The Battle of Evermore). This underrated woman, whose second written song was "Who Knows Where The Time Goes", was a popular folk singer by the time she joined up with the Strawbs for an album, and shortly thereafter, the Fairport Convention for 3 albums (all considered classics) before starting her own highly acclaimed group Fotheringay, following that with 4 solo albums and a brief return to Fairport. This box set covers all of this ground, though it may find you scrambling to locate the original releases to hear the tracks that could not be included due to space reasons. It includes alternate versions of several songs, and many unreleased versions, including 3 of "By The Time It Gets Dark", a song that should have seen the light of day when her fourth solo LP, Rendevous, was released, which nevertheless has been covered by several artists to date.
Who knows why Sandy is not well-known. She died tragically young at a time when her career was in a lull. There was a tendency on the part of her producers to add a lot of ornamental flourishes to her music, and some of that causes these works to age more than they would have, which may be contributing to reluctance of radio stations to air the songs. But to hear the songs and realize that their quality is so good, and they're being sung by quite possibly the best female singer to sing popular music (and that is NOT an exaggeration), it's easy to forgive added strings and other similar indulgements. To help offset this, disc 5 is made up of almost entirely simple demos of Sandy with guitar or piano, mostly unreleased.
As Richard Thompson put it in the liner notes, practically every artist he knows whose work he respects highly has Sandy's music in their personal collections. There is a very good reason for that. Some of Sandy's work can correctly be called some of the best popular music has ever had to offer. Dive in and enjoy.

Timeless Beauty
It saddens me that Sandy Denny is so little known here and was so seldom played on the air. The first time I heard her voice, I was absolutely riveted and was instantly on a mission to obtain as much of her work as I could. Not only was her voice purely beautiful, she conveyed tremendous emotion, and a hint of sadness, in every phrase, almost as if she had some secret foreknowledge of her early and tragic death. She was a wonderful song-writer and her collaborative efforts with other artists, especially Fairport Convention and Fotheringay, were beyond brilliant.

I highly recommend this set to anyone, whether you have heard all of Sandy's work or not. There are so many treasures in this set (the demo disc, number 5, is a joy to listen to), the design of the whole package is functional and also delightful to look at. The introduction by Richard Thompson is a great piece of writing, and the biography and photographs are wonderfully done. The biography was honest about who Sandy was...a flawed gem who had talents and appetites larger than life... and I was left with no doubt that anyone who knew her loved her.

One fascinating fact was that Sandy's casual singing of Scottish folk songs that she had learned from her father influenced the Fairports and Richard Thompson to go in a Celtic direction. I wonder what the state of Celtic influenced and even world music would be today without her seminal influence. Another fascinating fact was that she lacked self-confidence and always had stage fright.

Yes, there are songs I have heard before...and I am glad of it. I will never tire of listening to Sandy Denny's angelic voice and it is good to know that this tribute exists....and that I have it. It is worth every penny and then some.

Sandy Denny: England's Finest Folk Singer!
This is definitely a great boxful of treasures. I have had inferior cds of some of the material in this collection and the sound quality is vastly better in this set. What I love are the home demos. Sandy's voice is so pure and beautiful that all she needed was her piano or guitar. These previously unreleased demos are a treasure. It's really like hearing Sandy singing in person. There are so many great songs and that includes alternative outtakes. Sandy Denny deserves this great tribute to her incredible musical legacy. I recommend this set without any hesitation. It is worth the price! It truly is,because Sandy is gone but here is the timeless treasure of music she left for us. So much in this set has never been released before and it is wonderful that they are now available to those of us who are touched by the great talent of the late Sandy Denny.

Indespensible!
A remarkable overview of an overlooked yet brilliant performer and writer!Even if you own her entire catalog, this one should be added as well.Yes, certainly for the unreleased material, but even more for the loving approach and design of the track sequencing.The success of introducing Reynardine out of A Sailor's Life is not unintentional - Fledgl'ng knows what its doing.Songs flow into each other with an ease and logic throughout.The third disc, alone, will take your breath away.

A retrospective with perspective.Buy this one for the soul - your's or someone else's!

Essential recordings for Denny fans new and old
This fine box set from the U.K. displaces the (sadly) discontinued "Who Knows Where the Time Goes?" as the definitive survey of Sandy Denny's lamentably short career.It takes the listener from her early days as a traditional folk artist, through Fairport Convention and its offshoots (Fotheringay and the Bunch), and ends up with her later solo recordings.While any summary of Denny's output will suffer from omissions, this one is as good as it is likely to get.

Obviously, the selections from the early Fairport Convention years only brush the surface - anyone who fancies themselves a fan of Denny or Richard Thompson should own the individual albums.The same goes for the solo albums, although the coverage "A Boxful of Treasures" provides is very good.The fifth CD which is a collection of mostly demos and a few live recordings is a wonderful supplement.When considering a five CD set, it is silly to identify individual standouts - we all have our favorites in the Denny catalog.It is enough to say that there are, in fact, many great performances here.

The short statement from Richard Thompson which begins the accompanying booklet says what needs to be said regarding the fact that Denny's work is largely unknown to most modern listeners - some (at least) of whom should know better.One continues to hope that the contemporary music community will open its eyes to one of the greatest female singer-songwriters to ever record.Even if they are three decades late in their realization. ... Read more

Album Description

1973 album comprised of live recordings made in 1970 & 1972 in London, Brussels, Paris, Berlin, Isle Of Wight and Tennessee. 10 tracks, including 'Minute Prologue', 'Passing Through', 'You Know Who I Am' and 'Bird On The Wire'. A Columbia release. ... Read more

Reviews (10)

RAW & COMPELLING
Live Songs is one of his early classics and should be part of every fan's collection. Please Don't Pass Me By with its spoken introduction is harrowing, Passing Through ("glad that I ran into you") is delicate and yearning and Tonight Will Be Fine is unsettlingly erotic. There is an intensity here that complements the studio versions very well, a side of early Cohen that fans will miss out on if they don't own this album. Some of this rawness later manifested on the Phil Spector-produced Death Of A Ladies Man to the consternation of many of Cohen's fans. But it was always a part of his musical make-up, as this album demonstrates. In some ways, Angels Of Light's album New Mother reminds me of the mood of Live Songs.

Just about 5 stars
Although not the world's most invigorating live performer, Leonard Cohen profoundly lonely poetic masterpieces come across on stage well, in their manner. This early, often overlooked live masterwork is something that any Cohen fan will have to own. The live renditions of classics like Bird On The Wire, Story of Isaac, and Tonight Will Be Fine, etc., are competent, but not readily improved over the studio versions. On the other hand, it's the live renditions of previously unissued songs that make this album so noteworthy. Cohen's version of Passing Through has an odd sing-along ominence, and two masterpieces crop up later in the set. The first of these, the 13-minute Please Don't Pass Me By (A Disgrace) is sort of an odd narrative poem set to music, with its sing-along chorus that is undeniably profound. This is unquestionably the high point of the CD, and makes it a worthwhile purchase for Cohen fans on account of it alone. The other is Queen Victoria, a classic poem of his, performed live here-Cohen sings it in a vaguely touching way, a fitting close to the set. Although not the first album of his you should pick up, this is one you'll definately want to own after you've been primed in Leonard Cohen.

Please Don't Pass me By (A Disgrace)
I first heard this album, in particular, the song "Please Don't Pass Me By", back in ~ 1973. It was on a late-nite FM radio show, on a now non-existent station out of Milwaukee, WI, USA. I'll never forget that song, the emotions it drew out of my soul; shame, sympathy and anger... The whole gamete of emotions that I was capable of feeling!

Leonard Cohen's voice ripped right through my soul, stirring feelings that I found hard to control. The perfect combination of Cohen's voice and lyrics are impossible to describe in this song of Disgrace, only feelings can come close to relaying the affect it had, has, on me. I am so thankful that I was able to find this song on a CD; my Vinyl copy disappeared years ago, lent-out and never found its way back.

I highly recommend this CD to any fan of Leonard Cohen, and to fans of many of the 60's and 70's "Folk" music artists.

Vinyl
Haven't heard the imported cds, but the vinyl sounds very good. Along with his first three albums, this is essential Leonard Cohen. The previously unreleased material is interesting and the songs from "Songs From a Room" sound excellent live, I believe better than the studio versions. Go for it.

Cohen at his sloppiest, bleakest, finest hour
This Columbia import has a 'made in Australia' sticker on it, and was the '13.49' version offered in the Amazon catalogue. I have to wonder about the quality of the '17.99' version, because the cheaper one sounds awful compared to my somewhat distant memory of the vinyl issue. This Australian import sounds like it was recorded in a shoebox. I had to wonder if my receiver had suddenly pooped out. But, no. Thus the meagre three stars for an otherwise utterly unsettling masterpiece. Each live version of a previously recorded song improves upon the original. The percussionless band(s) manage to be spare and full at the same time. You catch snippets of Charlie Daniels and Jennifer Warnes before they were famous. And Cohen has never sounded more psychologically naked and unhinged. Try to imagine Dostoevski's anti-hero from Notes From Underground doing punk rock, and you'll get an idea of his vocals. At times, he sounds worn out and sonorous, as in Issac & Abraham. Elsewhere, like in Tonight We'll be Fine, he tears his voice to shreds.

To better illustrate the poor technical quality of this CD, the vinyl version picked up nuances like going from the echoey sounds of the concert hall to the up front sound of the Tennessee motel room of his career defining Queen Victoria. Well, this is lost in the ubiquitous 'shoebox' quality of the CD. I do not blame Cohen; I blame whoever mixed this Australian import.

I used to listen to this a lot late at night when I was single. Sometimes half asleep, Please Don't Pass Me By would get me weeping, it is so bleak and yearning at the same time. Now, some twenty-five years later, with a wife and two kids, I have listened to this whole album save that one track: 13 plus minutes of a magnificent, shimmering, wondrous descent into personal hell. More than a song, it's an ordeal. The finest moment in an artist's long career. Love it! ... Read more

Album Description

Japanese exclusive CD reissue of the latesinger/songwriter's 1977 live album. Contains previouslyunreleased versions & tracks. 16 tracks. ... Read more

Reviews (7)

Revelatory: God Bless the Japanese!
"Season of Lights" was not my favorite Nyro LP. However, until I read Michele Kort's book "Soul Picnic: The Music & Passion of Laura Nyro" I wasn't aware that there was another longer version of this concert album. Columbia Records comes off as a chop shop with what they did to the American release of this record. The Japanese CD is nothing short of revelatory. For Laura's tribe, it is REQUIRED! :)

The full concert has 16 tracks instead of 10. It includes the only recording of "Morning News." Laura made many trips to Japan, loved their country and music, and was particularly influenced by them on "Smile." However charmingly, the Japanese booklet often gets the words wrong. In "Morning News" Nyro sings "Freedom sang how you shine to the critical end of the corporate design." The booklet reads, "Freedom sang how you shall end to the critical life of the corporate design." Nyro's lyric is chilling, particularly given her struggle to maintain artistic control over her music.

Perhaps worst of what Columbia did on the American release was cutting the instrumentals on tracks it did release. "Timer" lets the band's percussion section loose and comes off with a hot jam that could rival the best of Santana. On "Captain Saint Lucifer" there is a whole section of horns and hot guitar from John Tropea that makes this version shine. Michael Mainieri does a great solo on the baliphone on "The Cat Song" that brings the magic of the live performance to us.

"Sweet Lovin' Baby" is included on the Japanese release. On "New York Tendaberry" Laura sang the song "I belong to the man," on "Season of Lights" she sings, "I belong to myself." The instrumental interlude on the "Smile" track has been split and given the name "Mars." Both of these were deleted in the American release as was "Midnite Blue," another great Nyro gem.

For those of us who wonder at the music of Laura Nyro, this release brings the magic of Laura's live shows back to life. Don't miss out! God bless the Japanese!

There was nothing Better than Laura Live
"Season of Lights," a live album, was released the year after the monumental "Smile" album. I did not see Laura Live until the 90's at the Mayfair Theater in Santa Monica, CA (Joni Mitchell was in the audience at one show I attended!). She was thrilling as she played for hours just her and a small group of musicians. Part of the show was also her alone with a piano. Laura's studio albums are, needless to say, excellent representations of her many talents: singer, musician, lyricist, arranger. But seeing Laura Nyro live is what really ignites her songs. Many times a musician live cannot duplicate the excitement of his or her studio albums...Nyro's live performances far surpass her studio performances. What we have on "Season of Lights" are 16 achingly heartfelt performances of her output circa 1977. These songs are performed like it was the last time she would be on stage... ever. She always gave her all and she does again herein. You can count on one hand performers that are in Laura Nyro's league and one was in attendance on that summer night at the Mayfair Theater in Santa Monica in 1994.

Mark of Greatness
When an artist is as magnificent onstage as they are in the studio, you know they are a true master. Such is the case with Laura Nyro. I absolutely adore this album. I wish her other live album (the virtually impossible to find Bottom Line one) could somehow be paired with this one, because it's interesting to see her develop with time. This album captures the very tail end of Laura's greatest period of creativity (the "Eli & the 13th Confession"-"New York Tendaberry" phase) which was right before her period of songwriting that tended to focus more on issues (motherhood, feminism, Native American and animal rights, etc.) and at times felt a little more heavy-handed than her earlier work. Definitely a good buy.

Magnificant, octives, ranges and lyrics, soul,funk,jazz...et
Never before have I heard a songstress like Laura. I have followed her since the late 60's, and I still listen with emotion.. This woman has spanded the times with her own following.... and I just found out she passed 2 years ago, I am still crying that I didn't even know until two years later!!! I will miss you girlfriend!!!

A must for all Laura Nyro fans.
What an amazing find, a newly released version of a classic Laura Nyro album, and the best treat of all, never before heard songs that will make you weep. I feel truly blessed to have been in attendance at one of the venues this recording was made. It brought back bitter sweet memories of a singer I so very much miss. ... Read more

Reviews (4)

Engaging--The Trio in Concert
Having heard the Kingston Trio close to a dozen times in concert, I first saw/heard the Stewart configuration of the Trio in 1967. College Concert is a genuine experience of how engaging the Trio really was in concert. Laughter was almost as much a part of the experience as the music itself, as they were fabulous showmen, and College Concert is an example of the concert experience. Musically, even though John Stewart was just months into the group, the music was tight, balanced, and infectious. I have heard the "Concert" album literally hundreds of times, and it never grows old. Hearing it on CD is even better than vinyl as the sound is more accurate and lifelike. What I find really remarkable is the sound they managed to produce with but one microphone for voices AND instruments alike. This album is the real deal if you want to relive the Trio in concert, or experience them for the first time.

Close-up is the first of the albums with John Stewart. As with most Trio albums, there is/are one or two songs that don't "grab me", but the vast majority of the album is another example of the Trio as masters of their style of music. They have different international flavors included among the repertoire-- again typically Trio--and their voices/harmonies/instruments are well rehearsed, finely tuned, and wonderfully exhibited here. Their version of Reuben James, arguably, might be the very best of any recording they put on record.

If you had to choose one of their double album CD's to sample the Trio, this would be one of two I would recommend for starters. Should folk music be something that beckons you, the music will be engaging as promised, and you'll be wondering which CD to purchase next.

A classic
"College Concert" was a major seller for the Trio. It was their second release after the departure of the immensely gifted Dave Guard and the arrival of the equally gifted John Stewart. Here, it is paired with that first Stewart-era recording. The results are mixed. The performances on "College Concert" are still superb, though the humor and banter now seem dated and unnecessary. The "Close up" recording is really, really good early 60s folk music, but often remind me how much Dave Guard's contribution was missed. All in all, though, it is a worthwhile purchase for the KT fan.

John Stewart's debut KT Albums
No question "Live from the Hungry i" is a superb album. You'll be amazed to find however, that the College Concert is every bit it's equal. Plenty of humor, great songs and better sound than the Hungry i, it is a solid album all the way through. "Close Up", is I believe, John Stewart debut album with the trio. They didn't miss a step in replacing Dave Guard. The KT sound with Stewart is different than with Guard, but no less satisfying. They write a lot of their own material on this one and the songs are well executed. You'll enjoy having this in your collection. Also, you can't beat getting two albums for the price of one!!

Kingston Trio: Close UP/College Concert
I enjoy their songs and the music. You want to sing along with them no matter where you are. I grew up with their music and it never seems to get old. Even my children enjoy them. I have always loved "Where have all the flowers gone", "MTA", and oh yes "Laredo". Actually I love them all. I have all the albums and now I'm collecting the CD's. ... Read more

Reviews (18)

DF really cuts loose on this CD
The energy level of this CD and Dan's guitar playing are both off the charts! It grabs you right from the start with the uplifting, toe tapping "Magic Every Moment" and "Songbird". Then he brings it down a bit with the "something old" still carrying that energy with sweet harmonies and his famed acoustic guitar playing. "The Innocent Age"-- precious, beautiful harmonies between Dan and Timothy B. Schmit. "As The Raven Flies" -- a bit slow, but great (electric) lead guitar. "Hard To Say" , "Make Love Stay", "Changing Horses" and "Looking For A Lady" -- love them all, great presentation vocally and rhythmically. I really loved hearing these songs of the 70's performed with more maturity both musically and vocally. I love that lower, seasoned voice. Well done!

Then somewhere between "You Better Think Twice" and "She Don't Look Back" I found myself lost in FANTASTIC guitar and GREAT vocals. I love that rassssssspy blues thing going on! Dan really cuts loose with these tunes. His lead guitar ranging from a down home country acoustic to blues to rock. Is there anything this man cannot play! "You Better Think Twice" -- this is a very high energy tune. You cannot sit still with this one (great acoustic lead). "Don't Let That Sun Go Down" -- WOW, this song (and performance) is exceptional, truly a sample of the amazing songwriting we have come to know . And then some blues, oh baby, fantastic! Great acoustic slide on "Statesboro Blues". The electric lead on "Blow Wind Blow" blows me away, so fast and fluid. And this man can sing the blues like blues should be sung! "She Don't Look Back" is really rockin, again excellent guitar. Then Dan introduces "Here Comes The Sun" saying it's "just for fun", mellowing you in a way only a Beatles tune could, helping you to regain your composure. He does the Beatles so well. This CD is a wonderful "live" experience. I loved it! Thanks Dan!

I realized I haven't said much about the other musicians featured on this CD --their excellent contributions help make it all come together, but Dan is definitely the star on this album as far as I'm concerned.

A Forever Keepsake ~
Fans will be thrilled to once again "attend" a rock and roll band concert of Dan Fogelberg's! It is so real and so raw that you feel like you are sitting in the crowd soaking up every note. I love the rough edges to it -- just like it is when you watch Dan jam with his incredible guitar playing and growling those unbelievable blues. I particularly enjoyed the new treatments of the older classics "The Innocent Age", "Changing Horses" and "Looking For A Lady." "Don't Let That Sun Go Down" -- there aren't words to describe the power of that song. I am so glad Dan finally released it. "You Better Think Twice" is fantastic. And, well, the blues is the blues and Dan does them to perfection. This CD is filled with incredible energy and amazing talent. Thanks, Dan, for giving us this keepsake of your concerts to keep those memories of the concert experience alive in our hearts!

Very Good
Dan Fogelberg's chart-busting days are long since behind him, but he retains a loyal following and is terrific in concert. This package is made up of concert performances in the early 1990's, and Fogelberg makes clear in the liner notes that no studio enhancements were used whatsoever. And there is the occasional squawk of feedback here and there, but the sound quality is excllent and the playing is tight. If nothing else, the songs sound even more authentic than they would were they doctored up.

The set list is a true grab bag of Fogelberg favorites, as well as some real surprises. "Looking For A Lady" is from his 1972 debut and is somber and well done--I caught him in concert in 1993, and he used the same "this song is old enough to drink" line when introducing it. "Hard To Say" sounds fine, although Glenn Frey's harmony vocal line would have been nice--Fogelberg does it himself. Fogelberg offers a fine slow blues in "Don't Let That Sun Go Down," and he really cuts loose on the Allman Brothers "Statesboro Blues." Does our hero have the pipes for the song? Not really, but the slide guitar sounds good, and taken in the spirit its intended, it's enjoyable.

What Fogelberg is really built for, however, is the cover of "Here Comes The Sun." That sounds great, as does his own "The Innocent Age" and "As The Raven Flies." There's nothing here which will disappoint long-time Fogelberg fans, and many will prefer it to the double-length, live "Greetings from the West." And it's a fine place to start for new fans, since so many sides of this terrific veteran performer are covered.

Like being there live!
This is a wonderful compilation of live songs performed by Dan Fogelberg with various band members during the 90's. I had to the good fortune to see three of his shows during that time and always made a list of the songs played each night. Afterwards I would create a cassette of the songs available to re-live the concert. This record includes some previously unreleased material and it puts me right back into one of those seats again.

Dan's incredible versatility and power as a peformer is showcased here. In addition, his breadth as a musician is demonstrated again & again. Songs like "The Innocent Age" and "Make Love Stay" are unmatched in lyric and melodic composition. And then the power and raw emotion of "Don't Let That Sun Go Down" is indicative of a side of Dan's music of which the Top 40 listener is unaware. And then his tip of the hat to the Beatles in "Here Comes The Sun" reminds us of why we all were influenced by their sound.

For anyone who wants to experience Dan Fogelberg in Concert and glimpse the variety of his talent and his ability to reach out and hold an audience, then this album will put you right there! A definite 'Recommended Buy'

nice for fans
Not a bad cd. Though I heard this was recorded in the early to mid 90's, I do not recall hearing many of these songs performed live. Dan's setlist does not change much period, so many of these must have been one offs. The inclusion of 'Changing horses' makes it worth the price alone.'Looking for a lady' and 'as the raven flies' only sweeten the offer. A few other surprises are when Timothy B. Schmidt joins the fun for old Poco nugget 'You better think twice.' And a "where did that come from" reading of 'Statesboro blues.' Mr. Harrisons 'Here comes the sun' ends the acoustic set nicely. I probably would have rated this higher if it weren't for the inclusion of a few tunes that need not be here.

I am assuming Dan knew this would be largely a "fans only" disc thus I do not see a valid reason for the inclusion of 'Make love stay' and 'Hard to say' which make their umpteenth appearance here. They could have, should have, been left off.

I would reccomend any of Dan's 70's catalog first. But if you are already a fan then this should do nothing to change that. One other thing is that this album is on a tiny record label (Chicago records) so it may be wise to pick this one up before it dissapears!! ... Read more

Reviews (3)

Live and Pickin' is Kickin'
My dad introduced me to this album on vinyl when I was 5 yrs old.I used to love the train sounds on Streamline Cannonball and tried to imitate on my harmonica.When CD burners came to our computers a few years back I took the time to painstakingly dub track by track this album from vinyl to CD (scratches and all).It was unreleased on CD at that time.Now, fortuately you folks don't have to do what I did.I'm ordering.

None Better
I've listened to, owned, and own all kinds of Doc Watson, met him backstage, saw him with different folks and I'm here to tell you: Doc & the Boys is simply the best Doc and Merle you can get your hands on.Don't even think about it. Get this CD.

Waited and waited
My husband has been waiting for this wonderful album to come out on CD for years.When it did, he said "THIS is what I want for Christmas!!" ... Read more

Reviews (2)

One of the most powerful voices ever recorded
You have to know Odetta, and this is the best album for getting to know her -- so there you go!

Odetta has one of the most powerful voices ever recorded. Thank goodness we live in an age when we have recording capability! Just think if she had lived a century earlier -- her voice could not have been immortalized for future generations to witness.

She sings folks songs with conviction, humor, and sheer strength.

And she's actually, in my opinion, a little better as a live performer than a studio one -- somehow her passions really cut loose in front of an audience. No restraint. So this is an excellent album to start with.

Best songs to skip to when you first turn her on: TIMBER, FREEDOM TRILOGY, and JOSHUA FIT THE BATTLE OF JERICHO. Once you listen to those, you'll be properly blown away, and you can go back and get started on the rest of the wonderful album. Let those songs be your incentive!

Odetta is one of the best
Odetta sings with the voice of folk, blues, and the heart. If you own only one album by Odetta get the christmas album with spirituals. Then you will definately want to make this the second CD of Odetta's you have. I have loved this album, cassette, CD for years. Odetta is one of a kind. ... Read more

Amazon.com

On her first live collection in nearly a decade and a half, Texas country-folk queen Nanci Griffith and her longtime band, the Blue Moon Orchestra, bring renewed middle-aged gravitas and introspection to original back-catalog Griffith favorites like "I Wish It Would Rain," "Listen to the Radio," and "There's a Light Beyond These Woods." Griffith brings similar grace and authority to songs by others--John Prine's "Speed of the Sound of Loneliness," Townes Van Zandt's "White Freight Liner," and Dylan's "Boots of Spanish Leather"--that she's nearly made her own over the years. On various cuts she gets able assists from musical compatriots Emmylou Harris, Tom Russell, and Andrew Hardin. Though the four new songs (make that eight new songs if you fall for the clever marketing snag and shell out the extra dough for the concert DVD) don't immediately resonate with quite the same vitality as the aforementioned oldies, they'll no doubt grow on Griffith fans in years to come. --Bob Allen ... Read more

Reviews (14)

Winter Marquee
This disc adds little new to Nanci Griffith's corpus. Chances are you've already heard most of these songs. But there's a certain spark in live folk and country that makes this CD eminently worth listening to.

Recorded (the liner notes don't say where) on the "Clock Without Hands" tour, this CD features both recent and older. It brings tunes like "Listen to the Radio" back into play, and it also allows her to try on the music of others. She covers classic songwriters like Phil Ochs and Bob Dylan, and current major names like John Prine and the late Townes Van Zandt.

Griffith is one of those gifted musicians, rare in this day of teen-pop and boy bands, who sounds as good live as in the studio. It's a joy to listen to her swing through the tracks, plainly loving making music as much as we love listening. She's backed by a skilled band who fill out her sound, and they really help her sound good.

This is the kind of CD you can stick in the player and listen to over and over again. I have, in fact, done so. I recommend you do the same.

I wish I had been there
What a great concert that must have been. I have seen Nanci Griffith live three times and each time has been magical. That feeling comes through in this CD. On first listening to this CD, I missed the stories that are so much a part of her concerts. However, now that I have listened to the CD non-stop for a week, I must say I love just having the music. Nevertheless, I will be buying the DVD to get the stories.

Although a lot of these songs are songs that she has recorded before, she brings something new to each version. One of my favorite songs, "Boots of Spanish Leather," is unbelievably beautiful on this CD. It starts out with just Nanci and the guitar and builds slowly to a crescendo of voices and instruments. "There's a Light Beyond These Woods," is even more poignant than before now that Nanci is older and wiser. Although the whole album is fantastic, I would buy it just for those two songs.

Get this album!!!

She's still got it
After two disappointing albums from Nanci Griffith, "Winter Marquee" is a delightful surprise. Not to mention a definite improvement over her one other live album, "One Fair Summer Evening," which I give five stars for performance but one star for sound quality - that one always sounded to me like the final mix was phoned in. This time around, Griffith and friends are in fine form and it feels like you're in the audience.

Most of the songs are among her best-known ones, but Griffith is one of those performers who can make even old favorites sound fresh on stage. Classics like "I Wish It Would Rain" and "Listen To the Radio" are just as addictive here as the first time you heard them, and "Gulf Coast Highway" (never among my favorites from her catalog, but I know I'm outvoted on that one!) gets yet another righteous revival. "I'm Not Drivin' These Wheels" and "Traveling Through This Part of You" get my votes for this collection's biggest revelations; the studio versions of both were always a bit forgettable for me, but the performances here are irresistible.

The covers are also terrific. This performance of John Prine's "Speed of the Sound of Loneliness" tops both the original and Griffith's previous recording of it, but Julie Gold's "Good Night New York" really steals the show. Written years before 9/11 as a tribute to past generations of immigrants, it unavoidably has more than one meaning now. There is only one new original song featured here, "Last Train Home" (at least I think it's new), but it's a scorching Texas tale which features some of her all time best lyrics, guaranteed to make good use of your "repeat" button. Here's hoping she's written more songs like this one for the next album - and in the meantime, this one is a more than welcome addition to her collection.

Same old Nanci!
This album is well played, well sung and enjoyable. However there's nothing new on here that we haven't heard from Nanci before. There's no outstanding live versions of tracks we've heard before (The live version of love at the five and dime from "One Fair Summer Evening" fills out and expands the song from a short album filler to a titanic tale of love found lost and found again), and the new tracks don't tug at the heartstrings or linger long in the memory (although her previous studio album clearly showed that she can do that with (for me) "Armstrong" being one of the best songs she's ever sung.

I think one of the reasons may have been the dropping of the narrative between songs which were such a highlight of "One Fair Summer Evening" - talk to any Nanci fan about popcorn machines and you'll bring back the whole introduction with references to vanilla cokes and getting off the bus at South Austin. Buy the DVD instead! I'm going to

Same old lovable Nanci!
Nanci has always excelled in her live performances, connecting with each audience in a way that seems impossibly intimate, yet with a winsome self-affacement that bowls them over every time. Although recent albums -- both studio and live -- have slowly crept towards a by-rote professionalism, this concert album is a decisive return to form, showcasing all that is best about Griffith's live persona. Its acoustic roots run deep; the tinkling piano riffs are held in check, her vocals are impassioned and direct. After gliding through some of her best love songs, Griffith gets a little bogged down in earnest folkie political material -- maybe a song or two too many in that direction, but you do get that she's really sincere about this stuff. Anyone who's seen her live will be enchanted by this new album; it really conveys that certain something that sets Nanci above the crowd. Recommended! ... Read more

Reviews (12)

Master Folk Singer/Storyteller
This CD is a folk song gem. The songs are a wonderful combination of humor and haunting recollections of growing up in the midwest. Greg Brown does not take himself too seriously, and in doing so, says a lot. My favorite song is the one about fishing on the Laughing River "way, way, way up in Michigan."

To the Man who Trapped my Breakfast...
Often we ask, "Is there anyone here in charge?" The obvious answer is, "Yes, Greg Brown." He is definitely in charge of the northern midwest tour of the U. S. in the 1960's & '70's. He will assure you that the "drop-drill" taught us the easiest way to the root cellar, as in "Canned Goods"... while at the same time making you cry in memory of Grandma, catching a Grayling for her along the "Laughing River". Someone we all know will "...Drive Me Crazy" enough to make HIM want to romp with "Billy from the Hills". Yet on occassion "I Don't Want To Have A Nice Day" and Greg helps us to make that point crystaline clear. How reminiscently "Au Pointe" and so soothing! Thanks Greg.

Possibly Greg Brown's Best
This is a marvelous album! Everyone agrees Greg's deep DEEP voice is amazing to listen to, and his performances are humorous, poignant, and honest, but the writing on "Canned Goods" is absolutely the best thing he has ever done (IMHO). It is so lovely and nostalgic and funny and sad that I cry every time I listen to it (which is why I can't play this album in public). And the comic bite of "Just by Myself," and "I Don't Want to Have a Nice Day" is like the best Mexican food, sharp, spicy, and just delicious. I am a huge fan of Mr. Brown, have many of his CDs, and for my money this is the best one (yet). If you've never heard this brilliant folk singer songwriter, buy this album, and if you are a fan and don't know this one, lucky you for what's in store.

A Warm Summer Rain
His voice is like the rumbling of a thunderstorm as it sweeps over the prarie miles away. His lyrics are as simple and as true as an ancient mid-western farmer. His guitar playing makes you feel like you are sitting on a front porch during a warm summer rain. For anyone who enjoys folk, rock, or just some down-home strummin and a pickin, "The Live One" is a must-buy CD. His lyrics are at times playful, at others powerful, and always beautiful. His masterful guitar playing and stomach rattling voice all come together to create an "every-song-is-great" CD.

Classic folk sound
Listening to this album, I get the feel of being in an intimate little midwestern coffeehouse - the next best thing to actually being at the concert. Greg Brown's lyrics are nostalgic (Canned Goods, Laughing River), funny (I Don't Want to Have a Nice Day, Just By Myself), and personal (Spring Wind, You Drive Me Crazy). The cover of Van Morrison's Moondance on the last track is fantastic. I love Greg Brown's deep bass voice, and his talented guitar playing. If you're a folk fan, definitely buy this album. ... Read more

Album Description

1997 EMI release featuring hits like 'Time Passages', 'If ItDoesn't Come Naturally, Leave It', 'Nostradamus Part One', 'Year Of The Cat', 'On The Border' and more. 11 tracks total. Also features new artwork. The album is comprised of live tracks from his 1981 RCA album 'Indian Summer Live'. ... Read more

Reviews (5)

A Great Live Album
Like the editorial review says, Live at the Roxy comprises the live tracks from the three-quarters live Indian Summer LP. If you want the studio tracks from Indian Summer on CD, you have two choices, and they're both 24 Carrots. The U.S. Razor and Tie edition of 24 Carrots gives you three bonus tracks ("Indian Summer," "Pandora" and "Here in Angola"), while the U.K. EMI release has all five (adding "Delia's Gone and ""Princss Olivia"). Unfortunately, both versions of 24 Carrots are long out of print and can get pretty pricey.

Al Stewart recorded some truly great studio albums during the 1970s, but he was and is at his best live. And Live at the Roxy contains excellent live versions of all of Al Stewart's commercial hits plus a few others that didn't get played on the radio, but are nonetheless fine songs. The quality of the recordings is excellent and the performances are very lively and tend to surpass the original studio versions. "Running Man," "Soho (Needless to Say)," and "Roads to Moscow" are real standouts in this area.

The only flaw in this otherwise impeccable album is "Clarence Frogman Henry," which is a bit of a shaggy dog story that gives a bit of the flavor of the between-songs banter at Stewart's concerts, but unlike the songs, once you've heard it once, it ceases to be of any interest. But it's short and easy to skip, and the rest of the album is superb.

This was the last gasp in America...
Riding the wave of popularity in America following "Year of the Cat", Live at the Roxy was Al's last stand in America. His next release was three years away, but luckily, Live at the Roxy gave listeners a lot for their money. This album captures Al at the peak with Shot in the Dark and Peter White backing him. This album brings all his best to his fans along with great asides and songs lost in the glare of "Cat" fame. Here too is "Rihad" and a look at Al's great talent as a story teller par excellance!

(The orignal double album included one studio side of great songs -- these are now available as special additions to 24 K/Parrots.)

Where's the studio stuff?
These live recordings are fantastic! However....

When "Indian Summer" was originally released in 1981, it featured three sides of live material and a fourth side of original studio material. I understand that there's only so much that one can fit onto a compact disc. However, that first side of studio material is sorely missed.

An excellent live album
This is a must-have for all Al fans. The quality of the recording is excellent, almost studio-like, crisp and clean, but distinct from the studio recordings.

One of the finest and yet underated live albums recorded
Throughout the pop era Al Stewart has always been overlooked by mainstream audiences. Admittedly, his mystical sometimes bizarre lyric content is not what you typically find on radio. Yet with critical acclaim, Al Stewart has never been received enthusiastically by the mainstream. "Live at the Roxy" shows why he should be. This album was originally released as "Indian Summer Live" in 1981. It stood out at the time because of it's intimate "club atmoshere" when other artists were trying to capture the "arena energy". Al Stewart is a live musician. His work is best performed in front of an an audience versus in a studio. Live at the Roxy should be a standard for other live albums. The musicianship is impecable, including guitarist Peter White. The recording sounds as if it was recorded in the late 90s versus the early 80s. I am sure you are familiar with Year Of The Cat and Time Passages. These songs take major steps forward when performed on this album. Do not overlook the other tracks such as Running Man and On The Border. This re-release is long overdue. This is a live concert that you can lose yourself in. It creates a "you are there" feeling. Isn't that what live albums are supposed to do? Other artists desiring to record a live album should take note of AL STEWART LIVE AT THE ROXY. ... Read more