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Though probably of zero interest to anyone not already a fan, this set definitely has its virtues. The now-legendary Lubbock group lasted less than a year and played about a dozen gigs while releasing one barely distributed album before Joe Ely, Jimmie Dale Gilmore, and Butch Hancock split up to pursue solo careers. Yet their recent reunion spurned enough interest to force to the surface this rather drab recording of an Austin show. What's most apparent is that this was Jimmie Dale's band--Ely gets minimal leads, Hancock none--and perhaps rightly so. Gilmore turns in a stirring cowboy rendition of Sam Cooke's "Bring It On Home to Me," for one. And as that title indicates, this was an eclectic band for its era; they were into songs, period, and they went all over the musical map (folk, honky-tonk, country blues, Cajun, modern singer-songwriter) for 'em. The fact that they hardly cut any of these on their studio album or subsequent solo efforts makes this a bonanza for their already established following. --John Morthland ... Read more

Reviews (1)

A perfect portrait of a real hard-country Texas bar band.
What an amazing document of this legendary alt-country band, live in action during its faint, glimmering, short-lived first incarnation. These recordings were apparently made in front of an audience of less than a dozen people, the sum total of the patrons of a teensy Texas watering hole known as the Knite... You'd never know it was a near-empty room, though, from the intensity with which the threesome tackled each and every song. They were clearly a powerful, powerfully earnest band, covering oldies and adding new tunes to the hard country canon... These soundcheck recordings are remarkable for a variety of reasons... First off, songwriter Butch Hancock doesn't sing at all, while Jimmie Dale Gilmore was the main vocalist, surprising in itself, but made even more remarkable when you hear Joe Ely's vocals cut through on a couple of tunes -- Ely, the growling, grizzled road-warrior-to-be, singing with a high, youthful, almost nervous voice, singing beautifully, with a sincerity that matched the music. Although the studio album that came out of this group's first year was a bit on the reserved side, these live recordings are passionate and compelling: this is what a real 'billy band sounded like, back in the earliest days of the "outlaw" era. And it was mighty fine. Highly recommended! ... Read more

Amazon.com

When a dozen of these songs were released on the first (1987) issue ofHeyday, Fairport'soriginal producer, Joe Boyd, revealed that almost 20 years earlier he'd vetoednumbers like Leonard Cohen's "Suzanne," Johnny Cash's "I Still Miss Someone,"and the Everly Brothers' "Gone, Gone, Gone" from consideration for the LPs Unhalfbricking andLiege And Lief on thegrounds that "Americans did these sorts of songs in their sleep better than anyEnglish band could hope to." Any view from 30-odd years later is likely to beobscured by rosy clouds of nostalgia, but Boyd's opinion seems vindicated,especially now that the album has been extended with tracks from the Britishtradition--such as "Nottamun Town," "Reynardine," and "Tam Lin"--thatdemonstrate what Fairport really did well. Also added to the '87 album are acouple of touching originals bySandy Denny performed assolos, "Fotheringay" and "Autopsy," and an appealingly ramshackle go atRichard Thompson'sbayou-blues "Cajun Woman." --Tony Russell ... Read more

Reviews (3)

No American band can do these songs equal justice
The Amazon reviewer neglected to mention what else producer Joe Boyd said in his liner notes: "And of course, now I am forced to admit it is hard to find an American band who can do these songs equal justice." Indeed. Anything Sandy Denny and Richard Thompson did during their brief association is worth hearing, particularly their work together in Fairport Convention. To me, on the early tracks the band seems amazingly at ease with a wide variety of material, from Johnny Cash to Joni Mitchell. It's not ground-breaking, but there are a lot of lovely moments, among them the slightly bizarre acid-rock version of I Don't Know Where I Stand; Denny doing Cohen (although she only gets to sing half of each song, sharing the lead vocal with Ian Matthews-- her contribution to Bird on a Wire is especially wonderful); Denny's gorgeous a cappella intro to Percy's Song; the silly hippie vaudeville (with trade-off vocals by Denny and Thompson) of If It Feels Good You Know It Can't Be Wrong to name but a few. It is definitely folk-rock-you get the feeling they wanted to be England's answer to the Byrds-but for the most part it's not the British trad-folk rock that Fairport specialized in after Unhalfbricking. It's great stuff, though-I tell ya, Reno, Nevada woulda been a Top of the Pops hit if they'd done a studio version. This "Extended" version includes material from the entire span of the Denny-Thompson edition of Fairport, including-in addition to all the songs that never appeared on an official Fariport release-- live versions of two songs from What We Did on Our Holidays, four songs from Unhalfbricking and two songs from Liege and Lief. Personally I thought the latter were a bit of a disappointment, especially considering they were the main reason I bought the CD. On Reynardine they expertly recreate the spooky atmospherics of the studio version, but Tam Lin sounds like the band, Denny especially, is just struggling to get through a really, really long song (Ashley Hutchings warns in the liner notes that these were "very early outings for these traditional songs.") That is, until the very end, when Thompson and the band start to jam like crazy people, like they're relieved they got through all those verses and want to let out all that pent-up energy. I wish the engineer had waited another minute or two before fading the track out!

For fans of Fairport's singer-songwriter period
This is a pleasant but non-essential souvenir of Fairport Convention's early days, when a large part of their repertoire was covers of American singer-songwriter material. The recordings were made for BBC radio broadcasts. Ten of the twelve songs are cover tunes, of which two (Dylan's "Percy's Song" and Joni Mitchell's "I Don't Know Where I Stand") have previously appeared on Fairport albums. There's some Leonard Cohen, some Everly Brothers, a little Byrds... A highlight is "Some Sweet Day". Of all the Fairport albums, this one has the least connection to the band's later folk-rock sound.

(1=poor 2=mediocre 3=pretty good 4=very good 5=phenomenal)

An absolute must for all Fairport fans
I have just traded my original copy of Heyday in now that I have this one.

The value of this album is the live versions of the songs that the band recorded on their studio albums and which have not been generally available.

Fairport Convention in performance have often been an entirely different animal to the studio band and I can testify to that having seen them in such disparate venues as Fusion, Sunderland and Newcastle Poly.

Tracks 1 through 12 sound good but the style does not suit the band in retrospect. Importing new and upcoming songwriters' songs certainly brought a breath of fresh air to the British scene and served an important purpose in reawakening our own roots but despite the beauty of the singer's voices, the approach is still borrowed and although sounding authentic does not really gel. Please don't mistake me, I love those songs and the performance but I prefer the later material.

My greatest joy in owning this CD comes from having a live version of Tam Lin which I have always preferred to the crowd favourite of Matty Groves. It is a little different to the studio version but is awesome. Other standout tracks are Autopsy and Reynardine. Later period Fairport with probably their most powerful lineup is a joy to listen to even when they are playing their Top of the Pops Si Tu Dois Partir. The playing is a delight, the singing amazing and the tightness of the band and their empathy with the other band members is clearly evident.

An excellent album and an absolute for all Fairport fans. ... Read more

Amazon.com

Traditional Irish musicians commonly are fond of medleys of jigs and reels, but few have been so relentless in combining compatible melodies and rhythms as County Clare fiddler Martin Hayes and American guitarist Dennis Cahill. The centerpiece of this album, recorded at Seattle's Tractor Tavern, is a 27-minute semi-improvised suite incorporating fragments of 11 distinct tunes. American folk music fans with attention spans more attuned to Woody Guthrie than Philip Glass might prefer the more concise five-minute pairing of "Carraroe" and "Out on the Ocean," or the jazzy six-minute coupling of "Dowd's No. 9" and "Come West Along the Road." As the old advertising jingle goes, "It's not how long you make it, it's how you make it long." --Rick Mitchell ... Read more

Reviews (12)

Virtuoso fiddle & guitar
I just saw Martin and Dennis at the Tractor Tavern in Seattle Saturday night at a CD release party for this album (it was recorded at the Tractor a year ago). I'm pretty new to Irish music and don't pretend to understand how it is structured but I know incredible music when I hear it-These two have an almost telepathic sense of each other when they play-and their music is brilliant! Whether you are an Irish music fan or just appreciate great playing for its own sake, check this one out!

The Tradition Comes Alive!
I finally got the new Martin Hayes/Dennis Cahill album, Live in Seattle. And I'm here to tell you: Yes, Edna, it *does* capture the awesome spirit and flavor of their live performance.

This album beats their previous effort hands down. It displays their artistry, both in slow melodic tunes and in foot-stomping, table-thumping, driving-beat fireworks.

Of special note is track 2 -- an 11-tune set that displays vintage Hayes and Cahill in all their glory. It runs the gamut from slow tunes with crystal perfect articulation and timing, up to heart pounding racing rhythms, back to soulful melodies, and finishes with a finger-blistering inspiration to movement. I swear these guys could run marathons on their fingers.

This is music. Real music. As it was meant to be played. Unlike many live albums, crowd noise never interferes with the music. Instead, it punctuates the music, accents it, and adds to the total experience, rather than taking anything away. If you've seen them in concert, this album will put you right back there. It's a treat you don't want to miss.

It doesn't get any better than this
I own (and love) Hayes' two previous CDs, so I was rather ambivalent about purchasing this one, given that too many "live" albums are just a rehash of previously recorded material punctuated with applause. Fortunately, I sent for the CD anyway, and it's a revelation. Irish music arose in an environment that fostered an intimate connection between performer and listener; while tradition was respected, spontaniety and the imprint of the musician's personality were equally valued. Working within traditional Co. Clare fiddling style, Hayes teases out the nuances of each tune, from thoughtful to lighthearted to downright raucous; Cahill is a perfect ally, providing both support and (at times) contrast in his solo passages. What I find remarkable about the 27-minute set is that it doesn't SEEM that long: it's a drama in a dozen acts, and although the emotions cover a wide range, the tension never flags. (Contrary to my expectations, most of the CD is new material; I recognized only a few tunes from Hayes' earlier recordings.) The performances are so polished that I was surprised at times to hear applause; in general, the audience was so in tune with the performers that they didn't whoop and holler at inappropriate moments. This is Irish fiddling at its finest, and the recording is generally very well done. (My one complaint: whatever possessed them to fade out at the end of the last track? It destroys the concert "feel" and doesn't do justice to the tune.)

Moving playing of the highest order.
It takes quite a CD to get me to go to the effort of writing a review. However, having noticed that most of the well-deserved positive reviews received by this excellent CD come from fans of Hayes and Cahill, I decided to provide an outsider opinion. I am primarily a classical musician (a pianist) and I certainly wouldn't consider myself expert in Celtic fiddling. In fact, I'm not sure quite why I bought this CD in the first place. Sure am glad I did. This is music making at the very highest level. The 27+ minute medley of 11 tunes should be required listening for anyone who has ever tried to play, for example, a Bach Partita. This is truly playing which moves the listener, both physically and emotionally. Very highly recommended!

Bravo!
This CD is, by far, my favorite and I own tons of Celtic music CD's. I've seen Hayes and Cahill many times in person, and this CD captures the thrill and excitement of a live performance. I've been a friend and fan of Dennis Cahill from his days at Shannon's Landing Pub and other Chicago area venues. When Martin Hayes joined him as Midnight Court, I knew there was something special going on, even if they didn't realize it right away. Don't pass up an opportunity to see them in person, but buy the CD - you won't regret it. ... Read more

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This double live CD, recorded with the Dukes on their tour supporting Earle's 2002 album Jerusalem, takes its title from "John Walker's Blues," Earle's song about John Walker Lindh, "the American Taliban"--a song that got him Dixie Chick-ed off adult contemporary and country rock stations across the U.S. Subtitled "an audio documentary," the album coincides with the release of a feature film that follows Earle as he tours, mounts a play, and campaigns against the death penalty. Earle talks quite a bit between songs; his monologues are affable, entertaining, and leftist. Along with WoodyGuthrie and D.Boon, Earle's one of those rare musical activists who understands that successful political songs must have music that's exceptional and politics that are personal. There are extraordinary renditions of some of his finest soapbox songs, including "John Walker," "Harlan Man," "Christmas in Washington," and "Billy Austin." A couple of tunes that sounded stiff on Jerusalem--"Ashes to Ashes" and "Conspiracy Theory"--receive far better, and more rocking, treatment here, while "Copperhead Road" is turned into a Scots-Irish reel, which works surprisingly well. The highlight is a take-no-prisoners cover of Nick Lowe's "(What's So Funny 'Bout) Peace Love & Understanding." --Mike McGonigal ... Read more

Reviews (28)

A solid live album with a great Townes cover!
I have to throw in my two cents worth regarding Earle's "John Walker Blues". Contrary to what some of the critics here have stated, "John Walker Blues" is NOT over-simplified or anywhere akin to the jingoistic dreck put out by other "country artists" like Toby Keith.

Politics aside, I think it's crucial to remember that it takes a sophisticated writer to 1) humanize a demonized figure, 2) create a complicated sympathetic character, and 3) attempt to understand the point of view of characters we often don't relate to. To do so is not to simplify. In fact, it complicates the whole affair by forcing us to consider the HUMAN involved in the story.

Steve Earle has made it very clear that he doesn't support what John Walker Lindh did. Rather, his song is an attempt at UNDERSTANDING why someone like Lindh might do such a thing. It's easy to jump on the simplistic jingoistic wagon that Toby Keith did. It's not so easy to hold the mirror up and consider how we (as a culture) might be implicated in his tragic turn.

And while you might disagree with Earle's musings over what might have turned Lindh away from the American way of life, it's another matter to write off his approach as simplistic. Earle is pointing out that life is not so neatly divided into black and white, or right and wrong. Instead he points out that sometimes the very things we say we want are what destroys us in the end.

That said, this album is a must-have for Steve Earle fans due to the incendiary versions of "Ashes to Ashes", "The Unrepetant", "Amerkia (V 6.0)", "Jerusalem", and the infamous "John Walker Blues"; the short acoustic bluegrass set that includes an absolutely rocking electric version of "Harlan Man"; the singer-songwriter heavy disc two with a wonderful cover of Townes' "Rex's Blues" as part of a medley with the Townes eulogy "Ft. Worth Blues"; his five minute introduction to "Christmas in Washington" which actually adds to the power of the song; and his son Justin's respectable studio recording of an original tune.

This is a great album for the already converted fans who are interested in getting rawer versions of some of his more recent work as well as some rare nuggets. Casual listeners will want to stick to the studio albums!

instant classic
Steve Earle continues his remarkable winning streak with this live album. There are things you can quibble about: It could have been longer, and there are a few songs that I would have personally liked to have heard ("Taneytown," for example). But, it's hard to complain about a two-disc live album from America's most vital singer-songwriter, on his most eventful and controversial tour ever, the latter aspect which just serves to accentuate the urgency of Earle's socio-political muse.

An Earle concert is like getting at least three different bands (the loud one, the quiet one, and the bluegrass one) in one, and this album reflects that. It all fits together beautifully. Of course, Steve does his (mostly political) monologues as well, but they are funny and to the point, while overall he keeps the focus squarely on the music. And, that part is just terrific--the songs are all worthy alternatives to their studio versions, and in some cases (The Unrepentant, Ashes to Ashes, Billy Austin, Conspiracy Theory, to name a few) they are marked improvements.

The record closes with a furious take on "What's so funny 'bout peace love and understanding," and a beautiful little tune called "The Time you Waste" by Steve Earle's son Justin. The whole thing is great, intelligent fun from start to finish.

5 Stars for Guitar Town, Lose a Star for Each One Since
Which should place this one into negative stardom...Oh boy, saw him live in NYC in 1997 and it was a disaster. With his talent long since AWOL, he's turned to politics that puts him in favor with the elitists in the recording industry, academia, mainstream newspapers, and well-to-do socialists. Siding with the political issues of agenda setters in the mass media is not brave, folks, and don't pretend Earle is singing for the common man. I've got two words to replace the respect I had for Earle circa 1986: Gary Allan! He's the real deal, and someone who is far more melodic, accessible, and fun. Dwight Yoakam also stands as a lesson to Earle in how authenticity matters.

Preachin' to the choir
The problem that seems to plague Steve Earle is that he is not nearly as clever and smart as he seems to believe he is. Unfortunately, most of his fans, especially the newer ones that probably think 'Guitar Town' is a cute little cover song during his set, lap up his misinformed diatribes and sermons on stage as gospel truth while those there for the music roll their eyes. So, Steve read a couple books about Islam and Judaism and wants to tell you about it...he's still against the death penalty....he's an advocate for free speech, although I've been to two shows where he asked people to leave when they asked, 'what about the victims?' during one of his anti-death penalty speeches. Earle is no longer a singer-songwriter, he's an activist that just happens to write songs.

'Jerusalem' was a spotty album at best, and the material does no better when presented live. 'Amerika 6.0' sounds like an outtake from 'Transcendental Blues', a warmed over and slower 'All Of My Life'. And that is the issue with all of Steve Earle's recent releases, they are uninspired and tired, like he's trying to channel John Mellencamp during his 'Uh-Huh' period or something.

While I don't agree with Earle's politics (as I stated earlier, Earle has no original thoughts or insight, just what he's read and overheard makes it into sound bytes and his songs), and he's a hypocrite when it comes to free speech, I just wish he would go back to writing great songs. I suppose that's what disappoints me the most about Earle these days. Listening to Steve Earle now is like watching a once great athlete fail on the field and come up short. It's sad, it's heartbreaking, but hey, we can all say, 'Remember when...?'

Excellent
This CD is well worth the price. it's one of the best live sets you could even hope to hear him play, much less own. Perfect mix of rock, blues,bluegrass (real bluegrass),and country. All done with motivated speeches and cuthroat honesty. A must have. ... 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)

Classic, mellow SF pysch-rock
Like their East Coast counterparts, John Sebastian and the Lovin' Spoonful, Jesse Colin Young and the Youngbloods were a psychedelicized hippie jug band that successfully wed their folk music roots with a profound pop savvy. Their peace and love anthem, "Get Together," was a chartbuster in the Fall of '69 (and remains a staple of classic rock radio to this day), and having scored a Top Ten hit, the San Fran-based Boston expatriates became a hot item at the dawn of the new decade. They signed with the counterculture-identified Warner Records, with a deal that gave them creative control over the albums on their newly-formed Raccoon imprint, and this cleverly-titled, spacy live album was their first release. Yeah, maybe it wasn't the commercial success the Warner suits hoped for, but it sure shows the band in fine form. Their country-roots side is largely subsumed to a mellow space-jazz/jam band style, all full of love and peace vibes. Anchored by Lowell "Banana" Levinger's dreamy keyboards, the group grooves through several of their best-known songs, as well as other, loosely-formed new tunes -- perhaps as professional and competent as hippie rockers got, back in the day. Those who hate stoner bands will find plenty to roll their eyes about here, but anyone with an open mind, and an ear for starry-eyed, rambling melodies, will find this quite pleasant. ... Read more

Album Description

Their music is as diverse as their cultures...from the Mediterranean, Canada, Scotland, and the United States, four artists of the steel-string guitar create a spellbinding acoustic journey into a world of Celtic, Blues, Jazz, Folk, Traditional, and original music of the world.This CD is an exhilarating interplay of solos, duos, trios, quartets...a powerful new experience in Acoustic Guitar Ensembles. ... Read more

Reviews (1)

Men of Steel is Fantastic
This is a MUST have for any acoustic guitarist's collection. With Beppe Gambetta, Tony McManus, Dan Crary and Don Ross, there's something on this CD for everyone. I can't stop playing it! It's a live recording and you can really feel their energy. I highly recommend this one. Some good ol' flatpickin, some of Beppe's cool style, some DADGAD from Tony and fingerstyle blues from Don and that awesome giant Dan Crary's magic 12-string work are what you'll get with plenty of soulful playing. Gotta love it!! ... Read more

Reviews (4)

Wish the Album Was Out of Date
Unfortunately for us (and the world), many of the songs on this album are still quite timely. The Bush Administration is reinstating the Bracero program, liberals (Democrats) are still selling us out, and altogether too many people are comfortable with the US being the Cops of the World. Ochs covers all of those topics in a manner that balances cynicism and commitment to change.

do you think you've read today's paper before?
Do wars in Afghanistan, the Phillipines, and maybe Chechnia seem vaguely familiar? When the NY Times says (as it did on the front page 3/5/02) that the numerically and qualitatively superior American forces will eventually defeat the enemy, do you feel that you have seen this before? Are you feeling oddly out of step with the rest of the country?

Then perhaps it's time to revisit this CD - especially if you still have it in record form. "Cops of the World" has never seemed so fresh or appropriate. "Love me I'm a liberal" has the right sentiment, but it's a little old. "Changes" is still beautiful.

Buy it.

An important and vital voice, still relevant today.
This album was my introduction to Phil Ochs. I was 14 years old when my brother brought home the album. To say that I was stunned is a huge understatement. I was floored.

The anger, the eloquence, the irony and the hope in Phil's words and in his voice cut through me then, and cuts through me now, 31 years later. How can you listen to "Love Me, I'm a Liberal," and not realize that those same people live in our neighborhoods even today? How can you listen to "Canons of Christianity" and not recognize the same hypocrisy today? How can you listen to Phil's wonderful casting: "John Wayne plays Lyndon Johnson and Lyndon Johnson plays God," and not laugh from amusement and the grim reality of the truth of that line?

And then, almost eerily, Phil delivers his epitaph 8 years early on "When I'm Gone." Hearing the song today still sends shivers through me.

He left us far too early, but Phil Ochs left behind a wonderfully rich legacy. Buy this CD if you haven't already. You will not regret it for a minute.

folkie ochs at his best
this is probably ochs' best collection of songs. and even though its been revealed that its not live at all, it still hangs together pretty well. his in between patter is still very funny and songs like ringing of revolution, canons of christianity, and the wonderful love me i'm a liberal (covered to great effect by mojo nixon and jello biafra) are terrific. until someone releases rehearsals for retirement on cd, this is the best phil you'll find. ... Read more

Reviews (4)

Still a great blast of joy!
Ok so first of all, I'm a straight female... and this music is for and about 'women'... on the surface. But at a deeper level, the quest women undertook to come out of the closet as lesbians, is about the bigger process of humans in the process of expanding humanity. I loved this music the first day I heard it in the '80s in a health food store in Vermont, and now, 20 years later, even after so much blessed evolution of humanity and women and lots of other good stuff (thank Goddess!), this music is sill just as powerfully vibrant, full, rich and beautiful. Crank it up and let the goosebumps drive you into your own version of nirvana!

Thank you Meg and Chris and all of you Beautiful Souls, for bravely and wonderously and lovingly opening up the world more for ALL of us humans-becoming-human. Namaste!

Meg & Chris ca1982
This was the "SoundTrack" of my coming out around 1982. This album was a piece of me and an inspiration.

Outstanding & energetic music from two of the best!
This was my introduction to women's music a couple of years ago--and it's as fresh and meaningful as it must've been when it was recorded! I couldn't play it enough. The energy, the joy, the love, the determination of these two--two of the founders of women's music--come through and carry the listener along. This is still one of my favorite albums--don't miss it!

A break-through for women's music
The concert by Meg and Cris at Carnegie Hall was a break-through for women's music. The genre was begining to come into its own and be recognized. Women's music began to give feminists and lesbians a sense of belonging and an art form for expression. ... Read more

Reviews (5)

Joan Baez Indigo Girls Sing Bob Dylan
Joan Baez and Indigo Girls' rendition of Bob Dylan's "Don't Think Twice" is the most awesome cut I have ever heard of this song. Their guitar work is extraordinary. The Indigo Girls blending with Joan Baez's vocals makes one wish that the Indigo Girls had been on the 60's scene with her. I would purchase this CD even just for this song.

My first Joan Baez recording
I have followed her throughout her career, and there are many Joan Baez songs I 'like'. This was the first CD by Ms. Baez I purchased, though. Ms. Baez' voice has aged very well, at the age she is now she is much more pleasant to listen to.

My very favorite on this CD is the recording of "Don't Think Twice", which she performs with the Indigo Girls, but there is no one who does justice to Dylan music as well as Ms. Baez does. It's become one of my favorite CDs.

Aging Well
I love this album. I've always loved Joan Baez, but thought that sometimes her recordings were a little stiff (I didn't want to hear more than a couple of her songs in a row). But this recording is refreshingly ragged and relaxed. When I first heard her sing "Don't think twice" with the Indigo Girls, I felt like the song was new again, as it always should have been. If you love Joan, if you love folk music, I highly recommend this cd.

A good summary of a noteworthy career
This is an ideal intro album for those wanting an album that covers the range of Baez's career, but one that also updates the material she had recorded on Vanguard pushing 40 years ago. The duet/coffee house approach with assorted artists works well with the women Baez chose to include on this album; among my favorites are the duets with Tish Hinohosa, the Indigos, and Dar Williams. If you haven't listened to Baez for a number of years, this is the album to reintroduce you to what is still the best voice in the business. The years have been extraordinarily kind to her voice, as evidenced in this album.

Simply beautiful
Joan's duet with Dar Williams, "You're Aging Well", is worth the price of the album ... Read more

Reviews (8)

The real deal.
Great acoustic versions of some of Phil's best songs. "The Scorpion Departs But Never Returns", Pleasures of the Harbor" and my favorite Phil Ochs song, "William Butler Yeats Visits Lincoln Park and Escapes Unscathed". Sounding just great all stripped down with just Phil and his guitar. True, Ochs does forget some words here and there making him almost...human. I saw Dylan twice(so far) and he forgot the words to some things too. One thing I really like about Ochs is the amazing things he says between songs. Really great observations of life in America that ring just as true today. How'd he do that? The much underated guitar playing just shines here. This guy had talent. And don't ever forget the songs. I won't.

Honest and heart-breaking
A truely honest and edgy performance from a singer-songwriter battling his demons and the contradictions of the 60s. He may humm some of the words, but "There But for Fortune" and "Pleasures of the Harbour" cut to the soul. This music is not wallpaper ... it demands attention.

His best album
It is extremely frustrating to see poor reviews of this album. I believe this is by far Phil Ochs's best album. Phil was extremely affected by the events in Chicago, and this heartfelt album demonstrates the emotions that he was feeling. He put every ounce of energy into his songs, with every bit of anger or depressed feelings that could to win over the audience and get them to take an even stronger stand against injustices and lack of freedom. In other albums, in contrast, he sang songs with a mood of passive acceptance and hoped the audience would leave having learning something positive. While in this album he consistently said at the beginning of songs "I don't remember the words [or the lyrics] to this song," it takes a closed-minded critic to mock that instead of simply enjoying the messages that he had to offer.

Ignore Ignorant Bad Reviews Below
This is definitly Phil Ochs at his best, at least as far as his live stuff goes. If you compare the versions of There but for Fortune and I Ain't Marchin Anymore to others versions, they blow them out of the water. Sure a few of the songs work way better in the studio (Pleasures of the Harbour, the Chicago song), but the added stage intros make up for it. The version of the Highwayman is intensly great.

Not quite there, at all
Oh dear. A disheartening, disappointing album that should never have been released. Phil Ochs, obviously shattered by the events in Chicago, stumbles through his live show, rambles through his between-songs introductions, rarely making sense, and -- especially on the slower songs -- loses the tune entirely. Saved by a stunning version of "Another Age" that renders this song timeless (someone, quick -- cover that tune!)and an equally brilliant "The World Began in Eden and Ended in Los Angeles", but otherwise his version of "The Scorpio Departs But Never Returns" is distressing, and he absolutely murders "Changes", veering off-tune repeatedly. This could not have been a pretty sight, and Michael Ochs' observations on the concert are far, far off of the mark. ... Read more

Reviews (5)

Fine performance but song selection weak overall
At the time of its release, I was excited to hear that Fogelberg was putting out a live album... until I actually saw which songs were included on it. While I enjoy several cuts from this album, overall I am dissapointed with the song selection. There is nothing from "Home Free" or "Nether Lands," albums that include some of Fogelberg's best songs. Not only are these two records ignored, but many of the songs that are included are ones that are not among his best. Indeed, this live performance felt a little too much like a "Greatest Hits" album, one that usually does not include the best material an artist has to offer but, instead, includes songs that received the most radio play. There are, however, fine moments in the performance, one being Tim Weisberg's guest appearance for three tunes and another being Fogelberg's surprising display of acoustic slide ability on "Road Beneath My Wheels." Fogelberg needed to put out a live album at this time in his career. It's just too bad that he did not spend more time deciding what and what not to include on it.

Enchanted
I have been a Fogelberg Fan since the mid '70's and his work still does something for me. This live albun covers an evening that held me enchanted and enthralled as I listened to all the old favorites (and some new favorites!) with a fresh twist. This is his second best album next to "The Innocent Age"

A Gem Among Live Albums
Listening to this album "over & over" again (to use one of its track titles) still makes me sad that Dan never supported his European sales with the odd tour over here. Having been a Fogelberg Fan since 1977, I was thrilled by this release in 1991. It captures Dan Fogelberg doing what he does best, enchanting the audience with his musicality and his emotions. This is a brilliant live album that will never sound "dated", and I also highly recommend the excellent video version of this (again, sadly only available in the US format which will not play on standard European VCR's).

High-energy live performance that covers his best
This Cd is one that I can listen over and over again. In fact I bought CD and tape so that I can listen everywhere.

One of the best live recordings of all time.
Live music is hard to recreate on a plastic disc but this album is as close to being at a show as it can get. the extended version of "The Power Of Gold" shows the Dan Fogelberg can rock with the best and on "Old Tennessee" he proves that a man and Martin can speak volumes with just 6 strings and great lyrics. ... Read more

Reviews (14)

The Best of Sonia Dada
"Lay Down..." is truly the best of Sonia Dada, for one simple reason - this is a band that sounds better in a live setting.For those unfamiliar with the group, Sonia Dada is a rock band with a great hard-edged soul/R&B flavor, which is only improved by the addition of a horn section on these performances.And, their high-octane cover of "I Wanna Take You Higher" alone is worth the price of admission.A great live album.

Can't get enough of Sonia Dada
This is a classic cd.Sonia Dada's style will keep you rockin down the street as you TURN IT UP and sing along with You Ain't Think 'Bout Me or Anna Lee.

You Must See Sonia Dada Live!!!
I confess that until last Sunday, I had never heard of Sonia Dada.But,as fate would have it, I found myself at a free concert in Watertown, WI ofall places!And it was there that I fell in love with Sonia Dada.Trustme when I say that if you see them live, you'll feel the same.

And assoon as they were done performing, I raced over and bought this album.Andwhile I have a feeling that this album will stay in my CD player for manyweeks to come, nothing compares to seeing them live.They are absolutelyfabulous!!!!The energy coming off of that stage is something we shouldall tap into.If you enjoy music that makes you want to get up and danceor sing at the top of your lungs or get in your car and drive off into thesunset, then this album is for you.

I'm hoping they will make it out toCalifornia soon.And when they do, I'll be there!

A Day At The Beach
Sonia Dada is the most feel good group I've ever heard. A most interesting blend of gospel,blues, jazz and rock I've heard in years. Play it loud on a sunny drive and I promise you will have a smile on your face!

sonia dada lay down and love it live
A must-have for anyone who loves blues, gospel, soul, rock or any other feel good music.Any sonia dada cd will make you fall in love, but the live album captures their spirit best.One of my favorite albums of alltime! ... Read more

Amazon.com

The intimate setting of the University of Texas facility where theAustin City Limits television show is taped proves the perfect venue forsinger-songwriter Kate Wolf. Wolf shines whether stretching out on up-temponumbers such as "Picture Puzzle" and "Like a River" or focusing on her trademarkacoustic ballads. It's a comfortable performance, scattered with stories and gentlejokes. Nina Gerber adds extra instrumental spice and Tom Diamant throws inspot-on harmony. Recorded a year before her death, An Evening in Austinincludes such Wolf favorites as "Give Yourself to Love," "Friend of Mine," and"The Redtail Hawk." It's equally effective as an introduction or an overview of amuch-missed artist. --Alexandra Russell ... Read more

Reviews (4)

Kate Live, Kate Live, Kate Lives, Kate Survives kate live
Kate's "Red Tailed Hawk" will always be inscribed on my brain its beauty its realness, its aptness, and the reality of the golden rolling hills of California. So perfect and beautiful even though I never had a tape or LP or a CD of it until 12 years after it came out, until after we lost Kate. Still its power comes to me as it did in 1977 on an old radio sitting in an Oakland apartment, the signal fighting its way all the way up from KFAT ("because we need the bucks) down in Gilroy.

The vision of California that Kate weaves on all her records is preciseless, unique real, and a treasure even if much of it is sweetened myth.
Even if you have her regular recordings, Kate's live recordings are always so special, with extra nuances of the song she's giving to the audience that she's feeling a different moments. Kate was so wonderful and she still is here and all her great recordings.

I feel so bad that I lived in San Fransisco and Oakland and travelled up and down California and the West Coast in the late 1970s and early 1980s when Kate was doing her best work and only saw her sing once.

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

Excellent Live CD
Austin City Limits was the first time I had heard Kate Wolf and I was hooked. I hadn't heard of her passing till a few years later when Mary of Peter Paul and Mary mentioned what a great talent she was. I have bought many of her CD's since that Austin show and a few of her Videos too and I get info from her website.

One of the best albums I have ever listened to.
An evening in Austin was my favorite Kate Wolf Album. The songs are relaxing and catchy. An evening in Austin has all of my favorite Kate Wolf Titles. I am 13 years old and I went around for weeks after I heard Green Eyes played at a restaurant. It took me practically forever to find out that it was kate wolf, and I was amazed that so few people were farmiliar with her musoic, it is SO relaxing.

My favorite album
This is my favorite album to listen to in every mood. Kate Wolf's voice is true and honest. She sings mostly her own stuff and the mood goes from exuberent to pensive. This was recorded for the program "Live at Austin City Limits" and like all good live albums includes the audience as participent in the music. Kate Wolf is under-recorded as a songwriter, but this album highlights some of her best stuff. ... Read more

Amazon.com

Folk music is supposed to be the sound of people describing their own lives and communities, but how many of the countless folk singers from the suburbs sing about private schools and country club dances? Loudon Wainwright III does. Country clubs are too easy a target for anger, so on this live album, Wainwright pokes fun at the absurd customs of "Westchester County" where he grew up. He's a very funny guy, and the album's 19 songs (not to mention the between-song patter) wring new laughs out of such well worn subjects as Christmas, swimming pools, Elvis Presley, and sex. Wainwright isn't much of a singer, and he's less of a guitarist, but he's a clever wordsmith with a real knack for pushing the inherent absurdity of common situations out into the open.Career Moves is divided between unaccompanied songs and those performed with fiddler/mandolinist David Mansfield and banjoist Chaim Tannenbaum. Six of the songs have never been released on an album; the other 13 are drawn from all phases of a 25-year career. All in all, the album makes a good introduction to Wainwright for newcomers and a fine summary for old fans. --Geoffrey Himes ... Read more

Reviews (7)

Wonderfully Sarcastic, tongue in cheek humor
Louden is an excellent songwriter. Most of the songs on this album are a dry, sarcastic humor ("I'd Rather be Lonely") or witty "Suddenly it's Christmas". "Westchester County", which has a sound byte above, is a good example of his singing voice.

A good example of his wit is "Suddenly It's Christmas" ... seven weeks before the day. When they say season's greetings, they mean just what they say ..." Or "A Fine Celtic Name" where he sings about the various ways his name has been misspelled. "The Acid Song" is hilarious even if you have never taken acid (or especially if, I guess).

Loudon knows how to do it
First of all, I don't think Mr. Himes is a big musical expert, if he's saying Loud is a bad guitarist and singer. He is a brilliant singer and guitarist, perfectly in tune with his songwriting skills. Second: I don't see how everybody sees him as a merely *funny* guy. I think he's not *funny* (in the classic sorta way) at all; he's more on the sarcastic side, which *is* funny, but at the same time hardweighty painful. Take One Man Guy as an example; you can't say it is a funny song, do ya? It's bitterly sarcastic, I'd say. Anyway, this CD is great. I strongly recommend it.

Nearest thing to being there.
If you can't get to a Loudon Wainwright concert, you should buy this CD. It is almost as good as being part of the audience at The Bottom Line in New York. The quality of the recording makes this live compilation as good as any produced in a studio. Loudon walks with you through his musical history with the older tunes mixed in with his more recent works. When he is joined on stage by some of his regular backing musicians, they perform together like a well oiled machine to give new and lively renditions of some of his classic songs.

This is a must for any serious Loudon Wainwright fan to have in their collection.

The BEST place to start with LW III
After reading the previous reviews I wanted to add my comments. I feel this album is the best place to start listening to Loudon Wainwright III. First because it is LIVE and he is a great "live" performer. Second because it contains a good sampling of "something old, something new". If you don't like LW III on this album you are likely to not like any of his other stuff. Some of his earlier studio work was over produced, while others thought that his "live" and solo work was too "empty" with just a guitar backing. He even put out a 1/2 studio, 1/2 live album to try to please both factions of his fans.

He is a VERY funny writer and at the same time insightful. He can poke fun at the most unexpected targets; his favorite seems to be himself. Some songs are hilarious and others "straight from the heart". ALL are well written. His words are well chosen and most of his melodies are pleasant and memorable, some are wonderful.

I disagree with Geoffrey Hines. I think Loudon's voice is just fine and his guitar playing is distinctive (I can listen to 4 bars of playing and know it is LW III) and proficient.

All I can say is, if you want voice buy Pavoratti, if you want guitar buy Knopfler, if you want a really good album that you'll listen to again and again, buy this CD.

Almost captures the feel of a live performance.
Loudon is a singer-songwriter-PERFORMER, with a much heavier emphasis on the PERFORMANCE aspect than is commercially profitable in this day and age. When Loudon's on-stage, he's there, he communicates, his audience feels the connection (except, I suppose, on a "day off", as his song "Home Stretch" describes).

This CD almost manages to capture that feel, with its inclusion of between song banter, short dialogues involving audience requests, and his deft maneuvering from comic to serious and back again. The musicianship is definitely there, showing what a man with a guitar (and occasionally with a couple of his friends) can do.

It's not quite "being there", though, and the album suffers a bit for it. More of a condemnation of this album--which is a solid overview of a 25 year career, along with some otherwise unavailable comic gems like "Happy Birthday, Elvis" and "Tip That Waitress"--though, this should be taken as a recommendation to go see "the ol' Loudo" when he comes to your town.

By the way, the lyric in "Tip That Waitress" is "her brother's a quaker, her dad was in 'nam." ... Read more

Reviews (6)

Good Live Set
The reissue of Al's legendary "Blue Album" is somewhat of a surprise, though a well received surprise. This CD documents Al's golden years of the late 1970s when the record buying public saw him as a nice break from the disco extravaganza. What we have here is a nice 'greatest-hits-thus-far-live' set. The songs are duplicated almost 100% as their original studio counterparts. Though I will say that the live version of "Sirens of Titan" blows the studio version out of the water.

There is one point in "Roads to Moscow" that Al's voice breaks a little, but then again, this album was never officially released when it was first pressed in 1979 and I'm not sure if this release was authorised by Al. Still, it's a great listen if you're a collector. Chances are, though, if you have "LIVE AT THE ROXY" you have a more comprehensive live collection.

The BEST Al Stewart Live album
I always lusted after the Radio Concert Album, and was not disappointed when I purchased this. The big surprise on the cd is that two songs I never thought were among Al's best, Life in Dark Water and Valentina Way are the best tracks on this cd. The band is excellent, and I much prefer these recordings to the Indian Summer/Live which were dreadfully doctored (orchestral overdubs) no doubt under the guidance of wonder boy Clive Davis who's Arista dumped him from the label shortly before or after Indian Summer! I think this is a very worthwhile collection of Al in his prime with a great back up band. Buy it and be happy.

Great live cd
It's really great to see the legendary "Blue Album" put on cd.
I find the recording good, especially since it is 24 years old.
The thing I liked the best was Phil Kenzie's sax solos on "Song
on the Radio". Some of the notes he hits are just incredible.
This is about the most bang for your buck that you could possibly get.

A quality cheapie
Al Stewart's "Time Passages Live" is one of those discs you see and think, "What the [heck] is this?" A [...]live disc that says on the cover, "Year of the Cat. Time Passages. On the Border. And More!"; no liner notes at all; and, incredibly, a misspelling of "Time" on the spine. Ignore all that. This truly is a fine live disc from Stewart's most productive period. The nine-song concert disc recorded in Chicago in 1978 has good sound and a couple unlikely live nuggets to go with the expected hits. Most of the songs are as good or better than their album versions. Certainly "Sirens of Titan", "Life in Dark Water" and "Song on the Radio" are punchier and better. What a treat to have live versions of those first two. There's a nice two-minute plus piano intro to a strong version of "Year of the Cat" followed by, of all things, the "Pink Panther" theme, a sax solo that morphs into an all-band rocker. "Time Passages Live" is [...], yes, but very worthwhile.

A great live album from Al's popularity peak
The rare Blue Album had 8 of these 9 cuts. A great version of Sirens of Titan was added. This is a well-recorded, budget-priced release. It has no printed info except for the song titles. Several of these cuts were available on the UK Russians and Americans CD, which is now OP. The remastered YOTC, which is great, has this version of On The Border as one of the bonus cuts. ... Read more

Reviews (1)

The Next Best Thing To Being There...
I was too young, not even in high school yet, and in the wrong place (the East) at the time this remarkable evening of music by Bud & Travis, at the height of their powers, was recorded, but this has to be folk music heaven at its best.

Even for one who wasn't there, for all those like myself who loved this group and its music, it gives chills...and then provides thrills as it did when it was originally released as separate vinyl offerings, one memorable double lp long ago entitled Bud and Travis In Concert, and a second album of more offerings from the Santa Monica concert of March, 1960 spurred by its predecessor's popularity, In Concert Volume 2. So on these two CD's are combined 6 vinyl sides' worth of music, so this is actually a pretty good deal for your money.

With the whole show now here from start to finish, and the recording(s) take on a new quality of intimacy for the sake of that authenticity. All the original between songs humor, patter and intro descriptions for the various songs (they did sing quite a variety of things indeed that night) is included here, and in separate tracks, so one can pretty them out if one just wants to listen to the performances (music) by themselves.

This concert recording was/is indispensable for lovers of the folk boom times of the late 50's/early 60's; this is real quality, and I don't know how to convey it, even by half. Bud and Travis were special talents, less commercial in their approach, and going for more steak and less sizzle, but very polished nevertheless. Theirs was a vibrant, and well-rounded act, most of all, which didn't stoop for greater popularity at a cost to art. Here they were loved and rewarded for staying close to their muses, and the audience responds heartily at the close of the songs, in their Southern California home base.

Adding to the Best of CD which came out over 4 years ago, now we have one more Bud and Travis CD. It is great to hear their live versions, their own arrangements and visions for songs like "Delia's Gone", "Raspberries, Strawberries" (a song which they found and translated from the French), "They Call The Wind Mariah" in a full high-energy but folk treatment, "Bonsoir Dame", "Suzanne, Every Night When The Sun Goes Down", "Cloudy Summer Afternoon", a noble version sung in Spanish of the great Mexican love song "Malaguena Salerosa", a firey "La Bamba" with real Latin feel, and a hilarious, mock-disputed version of "Sloop John B." near end of the concert, in which they send up the song and themselves and just about everything else.

This CD is like a great lost love back from the grave for folk-boom fans. It is worth the price, and the effort it will take to special order it here or elsewhere, before it becomes more widely available. There are nice extensive liner notes on developing the re-issue, including commentary from one of the pair still with us, Travis Edmonson (!).

One Thomas Straw, the webmaster for the Bud & Travis site, ..., tells me that if this sells well, then Folk Era may consider re-issuing the entire wonderful catalog of Bud & Travis. That would truly be a gift from Heaven. ... Read more

Reviews (12)

Not a good showing
this is a poor representation of a great artist. Steve Earle should have put out a better live CD than this. There are some real flaws in the editing and some of the selections were poor choices. Stick with his studio stuff, you will not be disappointed there...

Not one of Earle's best
There is a generous amount of music--over 74 minutes which is a lot for the typical Steve Earle CD but you can find better renditions of these songs on his other CDs. Get Guitar Town and Copperhead Road if you want to hear most of these songs done in a studio. Also, I had eagerly anticipated hearing Earle's version of Dead Flowers but it isn't nearly as good as the original by The Stones.

Raw and ragged
This is a loose collection of live Earle music circa 1991. The band is just going through the motions and Earle's voice is at its most ragged, but it still remains an interesting time capsule of where Earle's career was at the time and some of the songs really thrive in the live setting. A good summation of Earle's earlier work and glimpse of an artist close to the edge of self destruction. Probably not the best example of his ability but an intriguing look at an artist whose life has had more than a few ups and downs.

Interesting Live CD
Recorded during a Canadian tour of the early 90's, this appears to be a fan's dream: a greatest hits package recorded live with Earle and the experienced Dukes performing at their peak-Earle, however, was in the depths of his drug addiction during this tour, so the performances are restless at best. A live reference to an incident in Ottawa points to Earle's growing spirit of social conscienceness. His stellar writing rescues this project, with new tour staples such as the anti-death penalty anthem "Billy Austin," the auto-biographical "I'm The Other Kind," and "West Nashville Boogie," (all from "The Hard Way") providing shining moments. A teasing "Guitar Town" is tell-tale: there are only shreds remaining of the exhuberant 27-year-old laureate who took the country and rock communities by storm only 4 years earlier. Most frightening is a transcending, gut-level version of Jimmy Rogers' "Blue Yodel #9," showing that Earle remembers from whenst he came, but leaving the listener wondering where Earle is going. Or if he'll survive the journey.

One of my favorite live-recordings ever.
This is THE essential Steve Earle recording. The set is stellar and the Dukes just flat-out rock live. Steve may have been a strung-out addict at the time but he sure does deliver. In fact, there isn't a trace of half-assing here. He does it all with heart and the gruffness in his voice gives tunes like "Billy Austin" an even bigger impact. I really loved the live version of "the Rain Came Down" and "Fearless Heart" has never sounded better.

This is one of the first cds I ever bought (I was eleven) and after a decade, it has yet to lose it's charm. The only difference, is now, I'm quite a bit older and the songs have much more meaning. ... Read more

Reviews (3)

Sweet as Wine
Yes, sweet as wine indeed. The instrumentation, the arrangements and the harmonies are all superb. Here each part shines, and each song a gem. They should go along with the classical music. Despite the fact they had got older, I find the second Carnegie Recital even better. It's really a shame that such music should ever get dusted. I also bought some Peter Seeger's solo album, not quite as interesting. Fans of Peter, Paul & Mary should be delighted to hear them if they haven't hear them.

The Best of the Best
The group that really lit off the folk explosion of the late 50's and 60's was the Weavers. They were the definitive folk group. With Pete Seeger, Ronnie Gilbert, Fred Hellerman and Lee Hayes, the Weavers created a new musical idiom and set an entire generation singing and playing guitars. When Pete Seeger left the Weavers, there was unbelievable dismay among their fans - me included. Then, in April of 1960, I went to to Carnegie Hall to a concert of the re-constituted Weavers - with Erik Darling replacing Pete Seeger. I could not believe what I was seeing and hearing. With Erik, the Weavers had actually become BETTER!!! The musical selections, the harmonies, and especially Erik Darling's banjo and guitar playing. (Within a week I had gone out and found a 5-string banjo in a Bronx pawn shop which I bought. I didn't have the faintest idea of what to do with it and there weren't many banjo players in the Bronx but 40 years later, I'm still playing.) The Weavers were the BEST. With Erik Darling they were even better - the BEST of the BEST. THis CD captures the essence of those magical days. This is the only recording I have ever thought enough of to give as a gift to people I really care about. I have only had one person not thank me profusely after listening to it (I married her - but not for her musical tastes). Listen to Erik's guitar on "Bill Bailey"and his banjo on "Bowling Green". IMHO, this is the best recording to come out of the folk genre. Kick back, sing along and enjoy.

Better than the record. This is a "must have".
What can you say about the Weavers that has not already been said? Traditional, fun, entertaining, educatioinal, humorous and for us baby boomers: nostalgic. Because of this album, I am a professional bluegrass banjo musician. I used to stand in front of a mirror and pretend that I was playing the five string banjo to Erik Darling's "Bowling Green" when I was only 16 yrs. old. Later my fraternity Brothers and I would practice the harmonies and sing "Virgin Mary" over and over again. All of these songs on this album are prescious and deserving of high compliments and praise. The best praise I can give it is: This CD is better than the record, and when I close my eyes and listen to the songs, I am sixteen years old again. This is a must have for any folk song enthusiast, it just does not get any better than this. The audience clapping, and singing along and the pure sounds of those beautiful harmonizing voices, and the fantastic instrumentals. BUY THIS CD AND BE HAPPY-HAPPY-HAPPY. ... Read more