Roadworks, Vol. 1 [Live]

roadworks, vol. 1 [live]

Track Listings

1. Other Fool

2. K9 Suite: Un Chien d'Espace/Astral Travelling/Sirius Rising/The Rounder

3. Super/Wheel: Superstooge/The Wheel

4. You Lied

5. Black to Comm

6. Words of Wisdom

7. Vortex Surfer

Roadworks, Vol. 1,Motorpsycho,Stickman,Hard Rock,Indie Rock,Norway,Pop,Rock,Rock/Pop

Roadworks, Vol. 1 [Live]

The Bootleg Series, Vol. 4: Bob Dylan Live, 1966: The "Royal Albert Hall Concert"

Average customer rating:

Bob Dylan: 1966 Royal Albert Hall
Must have
Monumental
Bob Dylan at his best.
big dylan fan

The Bootleg Series, Vol. 4: Bob Dylan Live, 1966: The "Royal Albert Hall Concert"
Bob Dylan
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Contemporary Folk | Folk | Styles | Music

Singer-Songwriters | Contemporary Folk | Folk | Styles | Music

General | Folk | Styles | Music

Contemporary Folk | Live Albums | Folk | Styles | Music

General | Pop | Styles | Music

Singer-Songwriters | Pop | Styles | Music

Pop Rock | Pop | Styles | Music

Blues Rock | Rock | Styles | Music

Folk Rock | Rock | Styles | Music

General | Rock | Styles | Music

Folk Rock | Live Albums | Rock | Styles | Music

General | Live Albums | Rock | Styles | Music

General | Classic Rock | Styles | Music

Pop | Styles | Blowout Music | Stores | Music

Classic Rock | Styles | Blowout Music | Stores | Music

Rock | Styles | Blowout Music | Stores | Music

All Blowout Music | Blowout Music | Stores | Music

More Titles at Least 25% Off | Blowout Music | Stores | Music
Similar Items:

Bob Dylan Live 1975 (The Bootleg Series Volume 5)
The Bootleg Series, Vols. 1-3 : Rare And Unreleased, 1961-1991
The Bootleg Series, Vol. 6: Bob Dylan Live 1964 - Concert at Philharmonic Hall
No Direction Home: The Soundtrack (The Bootleg Series Vol. 7)
The Times They Are A-Changin'

ASIN: B00000D9TO
Release Date: 1998-10-13

Tracks:

She Belongs To Me
Fourth Time Around
Visions Of Johanna
It's All Over Now, Baby Blue
Desolation Row
Just Like A Woman
Mr. Tambourine Man

Tracks:

Tell Me, Momma
I Don't Believe You (She Acts Like We Never Have Met)
Baby, Let Me Follow You Down
Just Like Tom Thumb's Blues
Leopard-Skin Pill-Box Hat
One Too Many Mornings
Ballad Of A Thin Man
Like A Rolling Stone

Amazon.com's Best of 1998

Nineteen ninety-eight: The same year he dances with Soy Bomb at the Grammys, his record label finally issues Bob Dylan's ultimate live document. A classic case of not giving the audience what they want but what they need, Mr. Dylan's oft-bootlegged 1966 gig begins with lovely and supple folk that foreshadows folk music's turn from protest song to introspection. The album's true highlight is the legendarily ill received and rocked-out electric set, with Dylan backed by members of the Band. There are too many perfect, on-fire guitar solos by Robbie Robertson to count, and Dylan himself responds to the audience's angry bewilderment with equal parts menace, grace, and brilliance. --Mike McGonigal

Amazon.com essential recording

The greatest live recording in rock & roll history was--officially, at least--buried in the vaults of Columbia Records for more than a quarter of a century. But no more: Live 1966: The "Royal Albert Hall" Concert has surfaced on two discs mixed and mastered from three-track source tapes that put the myriad pirated recordings to shame. More important, Live 1966 documents a momentous artistic showdown between a willful, inflamed, and utterly fearless performer and his headstrong core following. The Dylan of the mid '60s had made the leap from socially conscious voice of his generation to surrealistic electric poet, a transformation that was met with contempt by a vocal element of his audience. The most telling moment of the recording centers on the standoff: A folk zealot in the audience shouts, "Judas!" earning cheers from the contentious crowd. Dylan responds by snarling, "I don't believe you. You're a liar," then turns to his group, the Hawks (soon to become the Band), and, as the intro to "Like a Rolling Stone" takes shape, commands, "Play loud!" A crucial moment and, time has demonstrated, the correct call. --Steven Stolder

Customer Reviews:

Bob Dylan: 1966 Royal Albert Hall.......2007-07-06

I resisted buying this CD for a long time, because I have a bad habit of assuming that overhype = bad. In reality, of course, overhype usually indicates that something is good, and worthy of hype, just not so MUCH hype. I finally bought it, mainly because it was one of the last real holes in my Dylan collection. I never, ever expected it to be a 5-star CD.

But it is. The whole audience/Dylan interaction is every bit as fascinating as its legendary status suggests. In fact, it's all so perfect, it's hard to believe it wasn't planned: the "Judas" cat-call comes right before the very last song; and what is the last song? Only the all-time greatest Dylan classic, "Like a Rolling Stone." Dylan's response, too, is great. It's not witty at all--in fact, it reveals that the "Judas" accusation really caught him off guard. He is silent for about 10 seconds, just keeps on fingerpicking the intro to the song, and then he leans into the microphone and says in an even tone, "I don't believe you." It seems like he had to spend about 10 seconds to even convince HIMSELF that the Judas charge wasn't true! Then he delivers his verdict very calmly. But after thinking about it for another five seconds or so, he becomes more self-assured, and yells, "You're a LIAR!" People think of this concert as a defining moment for the Cult of Dylan, but when you listen to it, it seems like it was really a defining moment for Dylan himself. He may have decided, on that very stage, that he would never turn back from his rock experiment. He was plugged in for good.

So, if you are buying this set for the novelty factor, you'll get you're money's worth. However, the first disc--the acoustic set--is a real treasure, probably even the better of the two discs. I don't own much live Dylan, so I can't compare to other concerts, but in comparison to the studio versions this stuff is really great. I mean, solo acoustic versions of Blonde on Blonde songs sounds awesome, but it is even awesomer than you think. "Just LIke a Woman" and "Visions of Johanna," in particular, are way better here than on the original albums they came from.

All in all, despite my original expectations, this is a 5-star CD. Get it soon.

Must have.......2007-06-09

This is a must have for anyone interested in rock and roll hisotry. Someone earlier said it's not worth listening to multipule times, but I disagree. This is one of my most played CDs ever, every track being a great version of the original. "Like a Rolling Stone" might be even better live, with so much energy from Dylan and the band. Any Dylan fan will love this!

Monumental.......2007-05-04

A Dylan fan is occasionally asked what album they would recommend to someone who is interested but not yet sold on Dylan. With 40+ albums representing a wide range of work it is almost impossible to limit a choice to one album.

But this -- more so than any studio album may be the place to start. You get some of the highlights of his 60's legendary trilogy (HWY61, Brining It All Back Home and Blonde on Blonde). This is Dylan at his absolute peak. He's done other phenomenal work -- but nowhere else is this so clearly heard as in the two sets that make up this concert.

This is arguably one of the greatest single act concerts in the history of rock and roll. It is also an important milestone in the history of one of rock's and culture's more important contributors in the last half a century.

Bob Dylan at his best........2007-03-17

Not only is this a great live album, but it's also a slice of Rock and Roll history.

The first disc is Dylan, acoustic guitar, and harmonica. It's classic folk era Dylan.

The second disc is Dylan backed by the Hawks (later known as the Band).

There was a major backlash by folk music fans, because they didn't want to hear Dylan with electric gutars and drums.

SOme of the songs are booed and one fans even calls Dylan "Judas", which Dylan responds to by finishing the concert by having the Hawks play "Like a Rolling Stone" "f*cking loud".

big dylan fan.......2007-03-14

I got this after loving "Visions of Johanna" live acoustic from "Biography." I like having acoustic version of some classics. "Just like a Woman" and "Tambourine" are my favorites. ("Visions" is better on "Biography") The long drawn out harmonica is interesting. On the second cd, the electric cuts, I think people are looking at this with I
love Dylan rose colored glasses. All it is is an important historical document. By any stretch it is not great music and will not bare repeated listening. I agreed with the crowd even though my favorite Dyan albums are Blond on Blond and Modern Times. It's awful, even the song selection is lame. The few times Dylan says anything he sounds like a stoned nerd. (Also, by the way, from some of the included pictures, I now know what they are talking about when they say that in the Dylan biographical movie a woman is going to play him for a few years of his history.) So anyway, it is impossible to give Dylan less than four stars, but I would buy this only if the first cd might hold your interest.

The Bootleg Series, Vol. 6: Bob Dylan Live 1964 - Concert at Philharmonic Hall

Average customer rating:

Another golden Bobby D
It;s Life and Life Only
"Hope I Never Have to Make a Living"
Terrific early Dylan
love it

The Bootleg Series, Vol. 6: Bob Dylan Live 1964 - Concert at Philharmonic Hall
Bob Dylan
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Contemporary Folk | Folk | Styles | Music

Singer-Songwriters | Contemporary Folk | Folk | Styles | Music

General | Folk | Styles | Music

Contemporary Folk | Live Albums | Folk | Styles | Music

Revival | Folk | Styles | Music

Singer-Songwriters | Pop | Styles | Music

Pop Rock | Pop | Styles | Music

Folk Rock | Rock | Styles | Music

General | Rock | Styles | Music

Folk Rock | Live Albums | Rock | Styles | Music

General | Live Albums | Rock | Styles | Music

General | Classic Rock | Styles | Music

Pop | Styles | Blowout Music | Stores | Music

Classic Rock | Styles | Blowout Music | Stores | Music

Rock | Styles | Blowout Music | Stores | Music

Alternative Rock | Styles | Blowout Music | Stores | Music

All Blowout Music | Blowout Music | Stores | Music

More Titles at Least 25% Off | Blowout Music | Stores | Music
Similar Items:

Bob Dylan Live 1975 (The Bootleg Series Volume 5)
The Bootleg Series, Vol. 4: Bob Dylan Live, 1966: The "Royal Albert Hall Concert"
The Bootleg Series, Vols. 1-3 : Rare And Unreleased, 1961-1991
No Direction Home: The Soundtrack (The Bootleg Series Vol. 7)
Bob Dylan - No Direction Home

ASIN: B0000DG069
Release Date: 2004-03-30

Tracks:

The Times They Are A-Changin'
Spanish Harlem Incident
Talkin' John Birch Paranoid Blues
To Ramona
Who Killed Davey Moore?
Gates Of Eden
If You Gotta Go, Go Now (Or Else You Got To Stay All Night)
It's Alright, Ma (I'm Only Bleeding)
I Don't Believe You
Mr. Tamborine Man
A Hard Rain's A-Gonna Fall

Tracks:

Talkin' World War III Blues
Don't Think Twice, It's All Right
The Lonesome Death Of Hattie Carroll
Mama, You Been On My Mind - with Joan Baez
Silver Dagger - with Joan Baez
With God On Our Side - with Joan Baez
It Ain't Me, Babe - with Joan Baez
All I Really Want To Do

Amazon.com

The brooding Bob Dylan of the 1966 live collection in the Dylan bootleg series gave way to an even more hooded character on the second live bootleg album from 1974. Which makes the jump back to a younger Dylan in this set all the more jarring. Here is Dylan as an eager-to-please 23 year old with nothing between him and his worshippers but a guitar, a harmonica, and, for four songs, his lover, Joan Baez. In marked contrast to the acerbic electric Dylan of the mid-'60s and the tight-lipped living legend of the mid-'70s, here is Dylan as entertainer. Joking and bantering with the crowd, Dylan deals up some favorites ("The Times They Are A-Changin'," "Don't Think Twice, It's All Right"), but is already shedding his earnest folkie persona; imagine another artist a mere two years into his career declining to perform a hit on the scale of "Blowin' in the Wind." But Dylan was moving fast. Having completed the last all-acoustic collection of his early years three months before the Philharmonic concert, he would record the half-electric/half-acoustic Bringing It All Back Home three months later. Three of the four acoustic songs from that album are presented here, as are a handful of then-unreleased songs, including "Talkin' John Birch Paranoid Blues," "If You Gotta Go, Go Now" (which was soon given a rock arrangement), and a protest-period remnant, "Who Killed Davey Moore?" Had Concert at the Philharmonic Hall appeared the year it was recorded, it would been seen as a respite for folk fans to catch their collective breath before Dylan reappeared in his rock & roll Rimbaud guise. Heard for the first time decades later, it's simply a testament of his gifts as a showman and songwriter. --Steven Stolder

Customer Reviews:

Another golden Bobby D .......2007-05-07

This is THE Bob Dylan that I cherish - if you really dig some of the eariler, folksy "Times they are a changin" Bob Dylan then this is a great album for you.

The duets with Joan are an added bonus - with a bit of Dylan's wit and humor showing through. We are also treated with a (small) amount of stage banter from Dylan - something which was regretably absent when I saw him in 2003 in concert.

It;s Life and Life Only.......2005-10-12

For me Dylan was always there but I didn't get it. I mean Johnny Cash told me that Bob Dyaln was a great song writer, But I just never got what all the Dylan fuss was about.
Then I check out this cd.
Now I get it. Man do I get it.

"Hope I Never Have to Make a Living".......2005-09-21

This late in Bob Dylan's career, it seems that Colombia is content to release (and profit from) a perennial bootleg album. For diehard fans there are reasons to buy and cherish all of these, not all of them healthy. For your casual fan however, some releases are better than others.

Unlike the other releases, Vol. 6 lacks a distinctive sound that made the other volumes so engaging. First, there was Vol. 1-3 (one release). This three-disc set blazed the trail by making available live and unreleased cuts that spanned Bob's entire career; these discs reveal just how deep Dylan's musical veins run. Vol. 4, The Royal Albert Hall Concert, is essential because it captures Dylan at the height of his creativity in 1966. These two discs pack in an otherworldly, heroine-fueled, Rimbauld-esque vision that is still shattering rock and roll music today. One can feel in these performances the psychological tension (created in part from the times, but more from an artist in the process of shedding skins faster than he can grow into new ones). Vol. 5, The Rolling Thunder Revue, also captures another pivotal era in Dylan's career, this time that of a thirty-something icon's last stab at youth. Again, there is an intensity to the performances, to his voice, to the rolicking play of talented musicians.

Lastly we arrive at this collection, the Halloween Concert. What does it lack? For one, passion. The performances feel forced. Dylan is shaking off the albatross of being a "protest singer," and about to embrace (lyrically) the subjective and personal. When we do get these newer songs, like "It's all Right Ma" and "Gates of Eden" the listener feels this intensity. But the older songs, wich make up most of the set, are not performed with much passion or conviction. Dylan's voice whines and sounds distracted. The short set performed with Joan Baez is particularly disappointing, as all sets with her were. Joan, for all her talents as a singer, stands in too much contrast to Dylan's ideosyncratic voice. Song birds are beautiful and bull frog croaks are beautiful -- but not on top of one another. You can understand, listening to their shaky duets here, why in a matter of weeks Dylan would not allow her with him on the stage anymore.

Perhaps the most interesting aspects of this album are Dylan's monologues and dialogues with audience members between songs. He giggles and bandies absurd sentences, sounding very childish in the process, cannabis induced of course. He plays games, at one point playing the same chords over and over, pretending as though he has forgotten the first words to the song.

For an all acoustic concert Columbia would have been wiser to release something from 1963, a time when Dylan still felt connected to the songs we was performing. Here he spends too much time on material he'd rather leave behind. One exception it his rendition of "A Hard Rains a Gonna Fall," certainly the most intense cut on the record.

All in all, my intention is not to disparage this recording. After all, it is a complete Bob Dylan concert recorded during his hey-day. But considering the wealth of other material available, the previous bootlegs should be purchased before this one. That being stated, for fanatics like me, it is still a must, and beats the pants off "Knocked Out and Loaded" and "Down in the Groove," two albums only a mother could love.

Terrific early Dylan.......2005-01-12

Terrific, eh? Four stars, eh? Yes, I know, Dylan-philes everywhere are already seeing me in hell, but I'm just trying to be fair and balanced. So sue me.

Another legendary Bob Dylan-concert which has been available as a bootleg for decades, the so-called "Halloween Concert" is not quite as accessible (or essential) as "Bootleg Series" volumes 4 and 5, the 1966 and 1975 concerts.
This is strictly acoustic material, just Bob Dylan, his guitar and his harmonica rack, and not everybody who like band-backed Dylan enjoy his earliest solo stuff. And while there are plenty of warm, wonderful performances here, there are also a couple of performances, including an 11-minute "It's Alright Ma", which are mostly for diehards.

But if you're seriously interested in the acoustic Bob Dylan, this concert is a must-have. The sound is spectacular, wonderfully realistic and immediate, and the transfer is extremely clean. The packaging is lavish, featuring a fine essay, numerous photos, and discographical information, just like the previous issues in this series. And there are some truly stellar performances here...104 minutes of music, including a wonderful, sensitive performance of "The Lonesome Death Of Hattie Carroll", an acidic "With God On Our Side", and a lovely, melodic "If You Gotta Go, Go Now (Or Else You Gotta Stay All Night)".
Joan Baez guests on four songs on disc two. Dylan and her fool around on an enjoyable "Mama, You've Been On My Mind", and Baez sings a thoroughly beautiful "Silver Dagger" which is worth the entire second disc.

There are protest songs here, alongside "talking blues", folk, love songs, and humorous narratives. Great renditions of "Spanish Harlem Indident", "Mr Tambourine Man", "To Ramona", "The Times They Are A-Changin'", the definitive solo performance of "I Don't Believe You (She Acts Like We Never Have Met)"...
And Dylan himself is is high spirits, relaxed, friendly and funny.
This is a must-have for fans of Dylan's acoustic period, and even those who already own the bootleg should consider replacing it. To me, these performances are often better than the solo numbers on the 1966 album, and several of them are equal to the magnificent acoustic songs on "Live 1975".
4 1/2 stars. Highly recommended.

love it.......2005-01-08

One of my favorite Bobby D albums.If you're into his early sixties stuff you'lle love this album.I wasn't alive during his heyday so i love having live stuff of his.So go out and buy it... go on.. go. HURRY!

Average customer rating:

It nearly drives me crazy..."
it's really lovely
Amazing.
No collection is complete without it
THE BEST Velvets Album

1969: Velvet Underground Live, Vol. 2
The Velvet Underground
Manufacturer: Island / Mercury
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

Proto Punk | Hardcore & Punk | Alternative Rock | Styles | Music

Alternative | Live Albums | Alternative Rock | Styles | Music

General | Live Albums | Alternative Rock | Styles | Music

General | Pop | Styles | Music

Pop Rock | Pop | Styles | Music

General | Rock | Styles | Music

Alternative Rock | Live Albums | Rock | Styles | Music

General | Live Albums | Rock | Styles | Music

General | Live Albums | Classic Rock | Styles | Music

1969: Velvet Underground Live, Vol. 1
VU
The Velvet Underground
White Light/White Heat
Bootleg Series, Vol. 1: The Quine Tapes

ASIN: B000001FOE
Release Date: 1990-10-25

Tracks:

Ocean
Pale Blue Eyes
Heroin
Some Kinda Love
Over You
Sweet Bonnie Brown/It's Just Too Much
White Light/White Heat
I Can't Stand It
I'll Be Your Mirror

Amazon.com

It's the rarest of live albums whose songs add anything to the majesty of the original studio recordings. This one adds immeasurable data to the Velvet's story. Without 1969: Live we might never have known that they were more than just an art outfit, that they could actually rock with fury. Check out Reed's strumming on "What Goes On" if you want to have your mind blown. None of these staples of the V.U. catalog can be truly known without hearing these fully formed, fleshed-out versions, so for history's sake alone we must treasure this. History's tragedy of course is that we get to hear the excruciatingly light applause--it sounds like there's only 10 people in the room at some points--after each course in ass kicking. They were wrongly under-appreciated in their time, and for this we must all pay forever by playing this record constantly. --Gene Booth

Customer Reviews:

It nearly drives me crazy...".......2007-01-04

The Velvet Underground's lack of commercial success is proof positive that the record-buying public has no idea what it's doing. Not only was Lou Reed one of the greatest songwriters and guitarsts of the 60s, but he was at the head of one of the most accomplished musical groups ever assempled: Drummer Maureen Tucker was capable of turning simplicity into a thing of great beauty, lead guitarist Sterling Morrisson was worth a few thousand Jimmy Pages, while multi-instrumentalists John Cale and Doug Yule (the latter was hired to replace the former after he left the band shortly before this album was recorded) excelled on everything from the electric organ to the electric viola.

Recorded in the early days of Yule's tenure with the group (but released much later than that), the two volumes of Live 1969 show the Velvets moving away from the experimentally inclined post-psych of their first two albums and towards a more direct, rock and roll-oriented sound. The Velvets, fantastic rock group that they are, sound awesome on these two records: They're capable of both astounding, energetic jams ("Ocean" opens this volume gorgeously, awash in swirling drums and guitars, while "Heroin" is a cathartic, explosive epic that shows off the group's more experimental edge), gorgeous ballads (The version of "Pale Blue Eyes" found here is every bit as heartbreakingly beautiful as the studio rendition, while "I'll Be Your Mirror" closes the proceedings on a haunting, ethereal note), and straightforward rock 'n' roll ("Sweet Bonnie Brown/ It's Just Too Much" is pure speed-addled rockabilly insanity, while "White Light/White Heat" is an explosivly greasy master stroke).

Still, my personal favorite moment on the album is "Over You," one of the group's most under rated and overlooked tunes. At a painfully brief two minutes and seventeen seconds, "Over You" whispers it's way through a couple of simple, understatedly beautiful verses, a delicatly emotional chorus, and a downright haunting guitar solo. This hidden gem is the very definition of beauty-in-simplicity, and it's one of rock's many unheralded masterpieces.

Anyway, both volumes of Live 1969 are fantastic. Anyone with the slightest interest in rock should give them both a listen.

it's really lovely.......2006-02-27

This LP in it's original Double-album form was one my favorites of the era (the early seventies being a little sparse and sometimes unoriginal), but when the CD's came out, they split the thing into 2 separate discs. So this one has lots of dreamy, drug induced pop ("pale blue eyes', "I'll be your Mirror') , and some atmospherics ('Ocean')as well as the classics ("Heroin, White Light/White Heat').
Good for fans, good for people who liked their studio stuff, also.

Amazing........2005-01-17

Basically, if you're into the vu, you'll be into them live. There's almost no other way of looking at it. Their live performances are the most innate I've ever heard. So, if you're having some sort of dilemma regarding which live albums to spend your hard earned currency on, here's a suggestion: 1969: The Velvet Underground Live Vol.'s 1 & 2, Live at MKC, and the Quine Tapes. Those are the best live performances I've heard from the band. My personal favorite is the 1969: The VU Live Volume 1, but it's all personal preference.
I suppose I've gone off on a bit of a tangent - forgetting this was a review for 1969 Vol. 2. Well, the album is amazing. You're really doing yourself an injustice by not buying it. Trust me, the technicalities don't need to be described: just buy it, listen to it, and be inspired by it.

No collection is complete without it.......2003-05-09

The version of "Ocean" on this album is mind-blowing. You have to buy the CDs just for that. The rest of the Vol. 2 CD is excellent, as is Vol. 1, but that recording of "Ocean"...oh, it's impossible to do any justice to it here.

THE BEST Velvets Album.......2003-04-30

This is one of the rare cases when volume 2 is better than the first. Of course, it would be best to buy both but if you have to pick one, pick this volume.

This is the album that made me really appreciate the Velvets. I love live music and this album really captures the band as they were meant to be heard -- Jamming, Moody, Rock and Roll. The first 3 songs especially (Ocean, Pale Blue Eyes, and Heroin) have reverberated in my musical memory for a very long time.

Tracks:

Waiting For My Man
Lisa Says
What Goes On
Sweet Jane
We're Gonna Have A Real Good Time Together
Femme Fatale
New Age
Rock & Roll
Beginning To See The Light
Heroin

Amazon.com

Originally a two-record set, this live recording has been split and released as separate albums, volume 1 and volume 2. No matter, it's an essential document of one of the finest and most innovative rock bands of all time. 1969: Live catches the band at a juncture in their career, still reeling from the departure of John Cale and settling into the addition of multi-instrumentalist Doug Yule, who would help the band find their rocking heart. Thank god that Maureen Tucker was still around--her inspired, primal drumming makes this recording such a delight. Her quiet thumping on "Lisa Says" is understated and touching, and her timpanic, thunderous rolls on "New Age" are nothing short of awesome. Lou Reed is particularly loose and chatty, more comfortable with his voice as he stretches to hit some tender passages. And the version of "Rock and Roll" here is perhaps the finest of all it's many versions, epic in scope and focused in intensity. --Tod Nelson

Customer Reviews:

Postcolonial flashback.......2006-11-05

Born in India in 1976, I heard this group in 2006 after graduating from an art school in the US, the way I could associate with these voices only confirms time-space-less-ness of good music at large!

Late Velvet Underground live.......2006-11-03

This disc is consistently good. It reflects the late Velvet Underground which is indisputably Lou Reed's band. I can't imagine why they ever tried to make a studio record after Lou Reed left, but apparently they did.

Each of the four Velvet Underground studio albums is a very different experience. Although this live disc pulls material from all four albums, it is played through a post-Loaded prism which is usually more straightforward rock-oriented. They play rock as well as anyone, but I still think the dynamic between John Cale and Lou Reed was what gave their early work such a special quality.

That said, a lot of these songs are played to the point where monotony becomes positively trance-inducing, and with a casual, absolute conviction that you won't find many places.

Better live than in the studio.......2006-10-08

These two discs rank right up there with the Heartbreakers' "Live at Max's Kansas City" as some of the best live music ever recorded. The band is loose, John Cale is gone, and the VU sound comfortable being a rock and roll band. The flawed sound just makes it all the more poignant. I agree that some of these versions are better than the originals. One difference from the original LP is the version of "Heroin". The original is on volume 2. I still like the one on volume 2 better, but this one is different enough to be interesting, a little more urgent. These might be the albums I'd take on a desert island.

If your Looking for a "Live" performance of the The Velvet Underground...........2006-09-08

Apparently, the story goes, that one of "Maureen Tucker's" (Velvet's Drummer), biggest regrets, in her tenure with the band, was that there is a distinct lack of quality `Live' performances of the band. And a quick peruse through the bands discography points to this being the case, with only a small handful of releases available and most largely lacking a suitably reprehensive documentation, of the band at a key point in their existence, as one of the most progressive and influential Proto-Punk, Experimental-Rock, and druggy Rock & Roll acts to ever take to the stage. And so, this is...far and away, the best `Live' Document of the bands performances, with each member giving the songs here a grittier and more dramatic/ aggressive feel. Arguably what this means is that the tracks that most will only be familiar with via the studio albums, will be surprised at how different some of these slightly re-jigged `Live' performances are. Whether it's the hypnotically slow and detached drone of "Sweet Jane", or the beautifully dramatic ebb and flow of "What Goes on", lend each of these songs seem to have a more sleazy and precarious edge, that although the studio versions were certainly not lacking in, these versions feel more visceral, and truly representative of the band. Lou Reed, in particular...growls/sneers/scowls...throughout the more up-tempo numbers, and maintains a sombre/bittersweet/poignant tone whenever the songs necessitate are slow ballad-style. With his guitar work throughout being particularly impressive. But this isn't to take anything away from the rest of the band, whom give as committed a performance as Reed. With Sterling Morrison guitar work, chiming perfectly with Reed's to make for a truly thrilling rhythm section , and Doug Yule's contributions on bass, just about holding the whole thing together, like some dangerously out of control vehicle, with the wheels about to fall off.

But the band remain at their most impressive when working through the material that allows them to truly tear things up, and so on tracks like "Heroin", "I'm Waiting for the Man" & "Rock & Roll" get fierce and intense reworkings that differ slightly from the studio versions by being noticeably rawer, passionate and nihilistic...with the sense of hostility towards the audience, the listeners at home....Hell, virtually everyone!!??, and it's one of the key reasons, that so brilliantly illustrates why keen fans of bands / aficionados , are generally curious to check out `Live' performances of their favourite acts, just to hear that intensity that sometimes doesn't transfer as well on studio albums, as they do on `Live' recordings. And although The Velvet Underground were more widely known for being such a groundbreaking acts that although selling minor amounts of records by todays standards, went on to influence virtually any wannabe drug-f***ed guitar band, with a penchant for decedent lyrics. But this `Live' performance disk (as well as Volume 2), illustrates that the Velvet's were as staggering `Live' as they were in the Studio. This is almost certainly a release that is of no use to the casual fan, the Studio albums (or a compilation) with satisfy those with only a passing interest in the band. But for the keen fan, this is by far the best recorded document of the band `Live' output, and therefore remains an essential purchase.

it made me forget I hate texas........2005-06-17

Great album, "Waiting for my man" and "Lisa Says" are my favorite songs on this but "Heroin and "Rock n' Roll" are pretty close, all the songs are classics and played perfectly. I think my favorite thing about this is the beggining when they talk about the cowboys/eagles game.

Average customer rating:

FUN that grows on you . . .
You gotta love those boys!
This album is great
The last reviewer sucks
Bad Karaoke

Live, Vol. 2
The Avett Brothers
Manufacturer: Ramseur Rec.
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Country | Styles | Music

General | Bluegrass | Country | Styles | Music

General | Live Albums | Country | Styles | Music

General | Rock | Styles | Music

Pop Rock | Pop | Styles | Music
Similar Items:

Mignonette
Four Thieves Gone: The Robbinsville Sessions
The Gleam
Emotionalism
When the Sun's Gone Down

ASIN: B00096S2LE
Release Date: 2005-05-17

Tracks:

Pretty Girl From Annapolis
Love Like The Movies
Walking For You4. Do You Love Him
I Killed Sally's Lover
Smoke In Our Lights
A Lot Of Movin'
November Blue
Wanted Man
Old Joe Clark
My Last Song To Jenny
The Traveling Song
Offering
A Gift For Melody Anne
Complainete D'vn
Pretty Girl From Raleigh
Please Pardon Yourself

Customer Reviews:

FUN that grows on you . . . .......2007-06-02

This was the first Avett Brothers CD that I heard. I have never seen them live (although I will - in 2 weeks! can't wait!) I admit, there are times on this recording when they are pretty out of tune, and they are more yelling instead of singing. And the sound quality of the last couple songs is pretty bad. BUT, the sheer joy of playing for their fans came across so powerfully, and their raw energy just burst out of my speakers - and I was totally struck down with Avett Brothers fever. I have played this one ALOT. It's not for everyone, but if you want to take a chance on a "punk band with banjoes" give it a listen.

You gotta love those boys!.......2007-03-13

It doesn't get any better than TAB Live, trust me. If you've never seen them perform, you're missing out. Make it happen.

This album is great.......2006-11-16

This is my favorite Avett Brothers record. They are a wonderfully energetic live act, and this is the perfect gift for any youthful, open-minded bluegrass fan.

The last reviewer sucks.......2006-05-09

The Avett Brothers put on one of the best live shows I have ever seen. Don't let your jealousy get the best of you, buddy.

Bad Karaoke.......2006-04-30

It's like paying $15 to listen to karaoke in a bar full of drunks. The picking is good (just like karaoke) but the Avetts insist on opening their mouths and trying to sing (just like drunks at a karaoke bar). One of the brothers even screws his voice up on purpose just to make the bad worse.

If you are in to this stuff, I would recommend that you spend the $15 at the nearest karaoke bar, at least then you get some beer out of it.

Average customer rating:

2nd part of a great Live show
Not on the level of Live Cream but still pretty good
Subtract a star for Steppin' Out
Not as good as it could've been, but hey, it's still Cream!!!!!!!!
A Big Disappointment

Live Cream, Vol. 2
Cream
Manufacturer: Polydor / Umgd
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

Blues Rock | Rock | Styles | Music

General | Rock | Styles | Music

Blues Rock | Live Albums | Rock | Styles | Music

General | Live Albums | Rock | Styles | Music

General | Hard Rock & Metal | Styles | Music

Hard Rock | Hard Rock & Metal | Styles | Music

Psychedelic Rock | Classic Rock | Styles | Music

Album-Oriented Rock (AOR) | Classic Rock | Styles | Music

General | Live Albums | Classic Rock | Styles | Music

Pop Rock | Pop | Styles | Music

$7.99 and Under | Blowout Music | Stores | Music

Pop | Styles | Blowout Music | Stores | Music

Classic Rock | Styles | Blowout Music | Stores | Music

Rock | Styles | Blowout Music | Stores | Music

Alternative Rock | Styles | Blowout Music | Stores | Music

Hard Rock & Metal | Styles | Blowout Music | Stores | Music

All Blowout Music | Blowout Music | Stores | Music

$7.99 and Under | Prices | Blowout Music | Stores | Music

More Titles at Least 25% Off | Blowout Music | Stores | Music
Similar Items:

Live Cream
Goodbye
Fresh Cream
BBC Sessions
Disraeli Gears

ASIN: B0000067L6
Release Date: 1998-04-07

Tracks:

Deserted Cities Of The Heart
White Room
Politician
Tales Of Brave Ulysses
Sunshine Of Your Love
Steppin' Out

Customer Reviews:

2nd part of a great Live show.......2006-11-04

I was suprised that Polydor separated this Live concert into 2 LPs.
I was more suprised when they released it on CD and did they same!
Well they got it right anyway. The sound is great, crisp and thundering. Turn this one up!
They put some of the less well known Cream on this one: Deserted Cities of the Heart, Politician and Steppin' out. I suppose that's why Vol. 1 sold more. As a compliment they included the classics: White Room, (a scorching rendition), Tales of Brave Ulysses and Sunshine of Your Love. From the first song this one smokes. If you like Clapton and if you like to hear long versions of old songs, this one is for you!

Not on the level of Live Cream but still pretty good.......2006-10-18

Released in 1972, Live Cream Volume 2 was the second posthumous live album released after the supergroup announced their breakup in 1968. Apparently, the band was still missed as like their first live album, Live Cream, it would reach the Top 40 in the U.S. However, the difference between them is evident almost from the get go. While Live Cream showed the band at their magical jamming best, Volume 2 reins in the excitement as the live tracks stay close to the originals. That's not to say that it isn't a strong album as the excellent interplay between Jack Bruce, Ginger Baker, and Eric Clapton is still intact and the performances are still very strong. The opening track, "Deserted Cities of the Heart", is by far the most energetic song here as the band's performance sounds like a train that threatens to run off the tracks. Even though it clocks in at less than 5 minutes, the performance makes you look forward to the passion and experimentation that made the live disc of Wheels of Fire, Live Cream, and even the live songs on Goodbye so special. However, the band plays it straight for the next four tracks, particularly on "White Room" and "Politician." The album does redeem itself a little with Clapton's wah-wah solo on "Tales of Brave Ulysses" and the long closing jam on "Sunshine of Your Love." The closer "Steppin' Out" is not only Clapton's showcase but also the main reason to pick up the album. Easily one of their best live tracks, Clapton lets out a long bluesy solo for the first 4 minutes as Baker and Bruce change things up throughout. However, the best is yet to come. While Bruce takes a seat, Clapton lets out an a capella solo for around a minute before Baker slowly works his way in. As the track continues, Clapton's playing changes moods throughout while Baker's drumming provides the perfect accompaniment before reaching its dynamic end at the 13:38 mark. All told, while this is a fine live release, it's not quite on the level of their other live releases. However, if you can't enough of Cream, this won't disappoint you.

Subtract a star for Steppin' Out.......2006-02-03

Sorry, but it's true. Steppin' is a clever combination of long (nearly fourteen minutes) and boring (It loses steam about three minutes in). But once we get past that one minor gripe, this is actually a good album. They burn through Deserted Cities of the Heart, Tales of Brave Ulysses, Politician and Sunshine of Your Love like it's nobody's business and cut an enjoyable version of White Room (needs the cellos, though). Too bad Steppin' stretches for an eternity-and-a-half, the rest of the album is fine and highly recommended.

Not as good as it could've been, but hey, it's still Cream!!!!!!!!.......2005-12-17

Much like the first Live Cream album, this Volume 2 was released as a "quickie" album to milk Cream's ample fan base of their cash. That statement may sound a bit harsh; however, the music is DAMN good for being part of a rip-off album released without the consent of Eric, Jack and Ginger.

The album starts off very slowly, with the first three tracks coming from what could be construed as Cream's worst recorded concert performance: Oakland 10/4/68. That night was the group's first show in nearly four months and they hadn't had a decent rehearsal since June 1968. Most of the music from that concert is sub-par by Cream standards (especially the still-unreleased "Passing the Time" from that night) but better than many bands at their peak. "Deserted Cities" is out-of-tune and inferior to the WOF studio (it doesn't work as effectively without Bruce's cello lines), "White Room" isn't all that hot either, but "Politician" is definitely an improvement in terms of energy and technical precision, and though the orgy of soloing guitars of the WOF version is missed, this tune works very well live.

The next three tracks were recorded in March 1968 at the same Winterland shows that produced the live disc of WOF. The Winterland performances are Cream at their absolute peak, the polar opposite of the sub-par Oakland show. "Tales of Brave Ulysses" and "Sunshine of Your Love" are superlative, energetic performances and are among the best versions I have ever heard of these songs. The obvious highlight of the latter tune is the ending jam on the song's final A major chord, though it is rather short compared to other performances of the song (a 17 minute version with a 12 minute (!) ending coda is available on bootlegs).

Which brings me to "Stepping Out," the highlight of the entire album. At 13 minutes, it's definitely not for anyone with little or no patience, but this is certainly a great Eric performance. It's not the best performance of this Clapton solo piece (that would go to Brandeis), but it certainly is respectable and a welcome addition to the live Cream cannon.

Now, of course, there will always be gripes over this album, since it obviously, as stated before, was quickly thrown together with little regard to Cream fans. However, the excellent quality of these recordings must be cherished, since soundboard recordings of Cream in the '60s are a rarity and most fans like me have to listen to poorly-made, hissy audience tapes to hear Cream in their full live glory. Forget the 2005 reunited Cream and take a gander at this. It's well worth getting.

A Big Disappointment.......2005-08-02

Aside from the last track, "Steppin' Out," this disc really doesn't have much to offer. "Steppin' Out" is the only jam on the CD, and I really think that they could've done a better job putting this compilation together. I rate this CD mediocre at best, because Cream was so great live (or at least they were supposed to be) and I think that they did a terrible job of making an album that was supposed to be representative of their live performances.

For me, the biggest disappointment was "White Room," which is only 5 1/2 minutes long. I really wanted to hear a long jam. But oh well.

If it weren't for "Steppin' Out," I would want my money back.

As for my recommendation, I think that your money would be better spent somewhere else. You'll be paying 10 bucks (at least), and really, only one song is worth it. Buy something else.

Average customer rating:

Live at the Kennedy Center: Vol. 2
Mulgrew Miller
Manufacturer: Max Jazz Records
ProductGroup: Music
Binding: Audio CD

Bebop General | Bebop | Jazz | Styles | Music

General | Jazz | Styles | Music

Modern Postbebop | Jazz | Styles | Music

General | Live Albums | Jazz | Styles | Music
Similar Items:

Live at the Village Vanguard
Live at the Kennedy Center
Pilgrimage
Kids: Duets Live at Dizzy's Club Coca-Cola
Night & the Music

ASIN: B000P46QAO
Release Date: 2007-05-22

Tracks:

Song for Darnell
Grew's Tune
Farewell to Dogma
Old Folks
Eleventh Hour

Album Description

In the fall of 2002, the prestigious John F. Kennedy Center for the Performing Arts (Washington, D.C.) opened an intimate venue, The KC Jazz Club, on the roof level of its facility. The Club celebrated its opening with two weekends of selected MAXJAZZ artists. The highly acclaimed pianist, Mulgrew Miller, and his trio featuring Derrick Hodge (b) and Rodney Green (d) were the featured performers on the Club's opening night, Thursday, September 5, 2002. MAXJAZZ is proud to present the second of two sets from that magical evening recorded by the late David Baker.

Volume Two begins with Miller's intro on his composition Song For Darnell, written for his son. It doesn't take long for the trio to pick up where they left off in the first set. The trio moves through the composition with great energy highlighted by the sparkle of Miller's playing and Hodge's impressive solo. Grew's Tune by Miller is a hard-swinging song that contains intricate runs by Miller squeezed in between some robust chords and phrases that have his signature stamp. Green's steady ride keeps the group moving forward with great drive. Miller's intro on his composition Farewell To Dogma slows the pace. He and Hodge then offer compelling solos on this intricate piece. The standard Old Folks by Hill and Robison showcases a wonderful intro by Miller on this exquisite version of the classic ballad. The evening comes to a close with Miller's composition Eleventh Hour. The first five minutes feature Miller playing a soulful blues solo before the trio joins in and burns to an exciting finish.

Live at the Apollo, Vol. II
Average customer rating:

Dissapointed

JAMES and the FLAMES.....PURE DYNAMITE !!

Should have left well-enough alone

Excellent

A Funk Is Born

Live at the Apollo, Vol. II
James Brown
Manufacturer: Polydor / Umgd
ProductGroup: Music
Binding: Audio CD

Classic R&B | R&B | Styles | Music
General | R&B | Styles | Music
General | Soul | R&B | Styles | Music
General | Funk | R&B | Styles | Music
Classic R&B | Live Albums | R&B | Styles | Music
Soul | Live Albums | R&B | Styles | Music
General | Live Albums | R&B | Styles | Music
Similar Items:

Live at the Apollo

Revolution Of The Mind( Live At The Apollo, Vol. III)

Say It Live And Loud: Live In Dallas 08.26.68

Love Power Peace

Foundations Of Funk: A Brand New Bag: 1964-1969

ASIN: B00005LKFC
Release Date: 2001-06-26

Tracks:

Introduction To The James Brown Show - MC Frankie Crocker
Think - James Brown/Marva Whitney
I Wanna Be Around
James Brown (Thanks)
That's Life
Kansas City
Sweet Soul Music - Bobby Byrd
It's A Man's Man's World
Caravan - James Brown/The James Brown Band

Tracks:

Introduction To 'Star Time' - Frankie Crocker/Sad Sam
Money Won't Change You/Out Of Sight
Bring It Up
Try Me
Let Yourself Go
There Was A Time
I Feel All Right
Cold Sweat
Prisoner Of Love
My Girl (Instrumental Interlude)
Maybe The Last Time
I Got You (I Feel Good)
Please, Please, Please
Bring It Up (Finale)

Amazon.com

Thanks to the paradigm-shifting success of his first Live at the Apollo LP from 1963, James Brown and the famed Harlem theater were all but synonymous in the '60s. By the time Brown recorded there again in early summer of 1967, his music had undergone tremendous changes, as revolutionary for R&B as John Coltrane's sheets-of-sound approach was for jazz. This second Live at the Apollo caught Brown giving full stick to both his classic soul-ballad style and the funk his band was developing practically in front of the crowds' ears. Even better than previous issues is this terrifically remastered version. It adds nearly 25 minutes of previously edited tape, most significantly the pivotal "Let Yourself Go"/"There Was a Time"/"I Feel All Right" funk workout and an "It's a Man's Man's Man's World" that extends to a third of an hour here. The revisions add to the you-are-there feel of one of Brown's must-own albums, as do photos and credits that acknowledge everyone from stellar players like Maceo Parker and Clyde Stubblefield to the troupe's hairdresser and Learjet pilot. --Rickey Wright

Customer Reviews:

Dissapointed.......2006-11-06

One of the main reasons I purchased this CD was because of the song "Money Won't Change You." This song is listed as #2 on Disc Two and it is not there! I checked all of the songs on this 2 Disc CD and "Money Won't Change You" is no where to be found. I would appreciate some feedback and an exchange on this CD as it is not what I expected nor paid my hard earned money for.

JAMES and the FLAMES.....PURE DYNAMITE !!.......2006-10-13

THIS IS ONE OF THE BEST LIVE ALBUMS EVER RECORDED...dynamic and powerful...It was surpassed only by LIVE AT THE APOLLO, VOLUME ONE That is quite an accomplishment for any group ..yes- but for an R&B group...unprecedented ! And yes, JAMES BROWN AND THE FAMOUS FLAMES are,or at least WERE..a VOCAL GROUP ! There's been a great deal of CONTROVERSY and CONFUSION over the last 40 years as to just who the FAMOUS FLAMES were.Were they a BAND?...or were they a VOCAL GROUP ? Many writers and music historians still DONT KNOW .. To this day they still mistakenly write in article after article that the FLAMES were a BAND..that FRED WESLEY, MACEO PARKER , SINCLAIR PINKNEY..AND OTHER BAND MEMBERS were the FAMOUS FLAMES...WRONG!! IT'S TIME TO SET THE RECORD STRAIGHT RIGHT NOW ...The FAMOUS FLAMES were originally a combination vocal/instrumental group from Georgia fronted by singer /musician BOBBY BYRD...who actually was the man who discovered JAMES BROWN..while he was still in a Georgia Juvenile Detention Facility..BOBBY's family sponsored his release and James and his FORMER cellmate/friend JOHNNY TERRY joined Bobby's group..this was the group,(the original FLAMES), that originally recorded PLEASE PLEASE PLEASE and several other songs over a two year period in the mid '50's..but that group broke up...around '58 James RE-FORMED THE FLAMES ..this time as a straight VOCAL GROUP ....BACKED by the old JC DAVIS outfit...which became the first incarnation of what would become the JAMES BROWN BAND...But the FLAMES were always a SEPARATE ENTITY from the band ...THEY WERE A SINGING GROUP.After several members came and went over a period of 2-3 years,Original members BOBBY BYRD and JOHNNY TERRY rejoined the group...and new members BOBBY BENNETT and the late LLOYD STALLWORTH were added..TERRY (who was the co writer of PLEASE PLEASE PLEASE along with JAMES} eventually left the group ...and the remaining members- BYRD, STALLWORTH, AND BENNETT became the best known and remembered FAMOUS FLAMES lineup...this is the group on this album and that was featured in two Hollywood motion pictures: SKI PARTY (part of the famed "BEACH PARTY" series of movies featuring FRANKIE AVALON}and the 1964 concert film "THE TAMI SHOW " where they and JAMES stole the show from THE ROLLING STONES ,THE SUPREMES , and everyone else.THE FLAMES also appeared with James on the ED SULLIVAN SHOW TWICE ,dressed differently than the band, and ,sadly,uncredited.JAMES has made it clear in his autobiography and even on the DAVID LETTERMAN show that "the FAMOUS FLAMES are not a band - they're a SINGING GROUP " ...yet many writers and music historians still DONT GET THE MESSAGE.This confusion has persisted to this day... and has cost the FLAMES a possible spot in the ROCK AND ROLL HALL OF FAME along with JAMES.,which they so richly deserve. THE FAMOUS FLAMES are one of the great UNSUNG GROUPS in rock & r&b history .Though they sang with JAMES on such big million selling hits as PLEASE PLEASE PLEASE, TRY ME,I'LL GO CRAZY, OH BABY,DON'T YOU WEEP, THINK, BEWILDERED,and others, Their faces never graced a single album cover, and most fans today don't remember that they even existed !! Everyone today only talks about JAMES AND THE BAND. They deserved much better.THE FLAMES were a POWERFUL SINGING GROUP, WITH TIGHT HARMONIES , AND DANCE STEPS THAT WOULD PUT EVEN THE HIGHLY TOUTED TEMPTATIONS TO SHAME !! DON'T BELIEVE IT ? ASK ANYONE WHO'S SEEN THEM WITH JAMES AT THE APOLLO !! In 1964, THE FLAMES stopped recording with JAMES in the studio...but they continued performing on stage with him for another 4-5 years... and their name still appeared on the records ,so most thought people thought the name applied to the band. Although THE FLAMES played an important ,CO STARRING ROLE with JAMES on the the 1st two live albums , LIVE AT THE APOLLO (VOL 1 ) AND PURE DYNAMITE:LIVE AT THE ROYAL, by the time this album appeared ,they were relegated to THIRD BANANA STATUS behind JAMES and the band.On the original album release , KING RECORDS even went so far as to cut their name from the show's original introduction !! At least now , on the EXPANDED CD RELEASE, THE FAMOUS FLAMES' name has been rightfully restored to it's proper place. Hopefully ,one day, THE FLAMES THEMSELVES, BOBBY BYRD, BOBBY BENNETT, LLOYD STALLWORTH, AND JOHNNY TERRY, will be restored to THEIR rightful place in music history.

Should have left well-enough alone.......2005-10-13

Get the original version of this album, rather than the remastered version. The first is tight and powerful; the second adds a bloated, interminable version of "It's a Man's Man's World" and some tepid instrumentals for his back-up dancers. If you buy the remastered version, you'll be hitting the skip button more often than you should on a live James Brown album.

Excellent.......2005-04-20

If you were to get one live album in your life, make it this one. It just blows volume I out of the water.

Highlights include "It's a Man's World", "Sweet Soul Music", "Kansas City", "Let Yourself Go", "Bring It Up", "I Feel All Right", "Cold Sweat", "Prisoner of Love" (except the orchestra and the backup vocals), and the Best Song Ever, "There Was a Time".

However, there are a couple overly-orchestrated tunes, such as "I Wanna Be Around". Don't ask me why. But you should still just get the album. Every song is at least listenable, and there are many gems.

A Funk Is Born.......2005-01-16

James Brown has made four albums at Harlem's Apollo, the first in 1963 introducing the James Brown Show to a whole new audience and staying in the top selling lists for well over a year. By the time of this second album, selected mainly from the second of two shows recorded during a record-breaking 10-day run in June 1967, he had played there a further 200 times and claimed to know the stage so well he would recognize it blindfold from the sound of the fans in the balcony.
The concerts caught the James Brown Band at an important transitional phase. The previous month Pee Wee Ellis had taken as over musical director and with Maceo Parker recently restored to the line-up on tenor sax the music had taken a new, more funky direction (at a time when funk didn't exist), as demonstrated on the first groundbreaking piece they had recorded together that same month, Cold Sweat. James Brown did not waste the opportunity to bring his audience up to date with his sound, performing new titles such as Cold Sweat and Let Yourself Go, the current single.
However, less than two minutes into the latter song the Band go into an extended locked groove jam called There Was A Time, with both Clyde Stubblefield and Jabo Starks whacking out the tempo on twin drum kits, plus bongos by Ronald Selicoe, and this soon developed a life of its own when an edit of the performance appeared as the B-side of the next single, I Can't Stand Myself (When You Touch Me). It did better in the R&B charts than the A-side, reaching number 3, and boosted sales of this legendary live album. The liner notes claim that this track "may well be the single most riveting Brown performance on record."
However, James Brown was off to Las Vegas the following month and also had an eye for the mainstream, so as well there are violin-filled renditions of standards like That's Life and I Wanna Be Around, which owes as much to Tony Bennett as it does to Dinah Washington.
This two CD set reconstructs the original set-list as far as is possible, restoring material edited from the original 1968 double-album because of running-time constraints, including in their entirety Sweet Soul Music from Bobby Byrd's set and the James Brown Band's revival of Duke Ellington's Caravan, and edits removed from longer pieces such as It's A Man's Man's Man's World, There Was A Time, I Feel All Right and Cold Sweat, with its Maceo Parker sax solos, all taken from the four-track remote recording master tape

Romance Of The Violin (Live From New York In Concert)

Average customer rating:

Excellent performances, both audio and video
Great music, lousy format!

Romance Of The Violin (Live From New York In Concert)
Joshua Bell
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Preludes | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Voice of the Violin
Ladies in Lavender
The Essential Joshua Bell
Joshua Bell - Gershwin Fantasy
Tchaikovsky: Violin Concerto [Hybrid SACD]

ASIN: B00076ZZB6
Release Date: 2005-02-08

Tracks:

O mio babbino caro from Gianni Schicchi
The Girl With Flaxen Hair
Nocturne
The Swan
Serenade
Casta Diva from Norma
Andante from Piano Concerto No. 21 in C Major K. 467
Dance of the Blessed Spirits from Orfeo ed Euridice
Nocturne from String Quartet No. 2 in D Major
Songs My Mother Taught Me
Pur ti Miro from 'L'incoronazione di Poppea
Elegie: O doux printemps d'autrefois
Trerei

Album Description

CD AUDIO SIDE: Entire Album

DVD SIDE: * Entire album in Enhanced LPCM Stereo * Video of highlights from Joshua Bell Romance of the Violin Live from Lincoln Center with the Orpheus Chamber Orchestra * Complete Discography This disc is intended to play on standard DVD and CD players. May not play on a limited number of models.

Customer Reviews:

Excellent performances, both audio and video.......2007-01-09

I was delighted with this Dual Disc. Performances are excellent, both audio and video. Recording quality is very good.

I must report some problems with CD side (cracks) on older CD player.

Great music, lousy format!.......2007-01-03

I love the music, but was VERY unhappy to be unable to play this CD on my computer. The DVD side works okay, but I can't load this to itunes on my macintosh. And I can't load the DVD to my computer and store this disk at home. If I had it to do over, I'd buy the plain vanilla CD!

Genesis Live: The Way We Walk, Vol. 1 (The Shorts)

Average customer rating:

A collection of hits, that I am a bit tired of...
SLOPPY, BUT GOOD++
Better than being there
Yes it's more Commercial than Old Genesis, but its very good
Bad live cd

Genesis Live: The Way We Walk, Vol. 1 (The Shorts)
Genesis
Manufacturer: Atlantic / Wea
ProductGroup: Music
Binding: Audio CD

General | Pop | Styles | Music

Soft Rock | Pop | Styles | Music

Pop Rock | Pop | Styles | Music

General | Adult Contemporary | Pop | Styles | Music

General | Rock | Styles | Music

Progressive Rock | Progressive | Rock | Styles | Music

Progressive Rock | Live Albums | Rock | Styles | Music

General | Live Albums | Rock | Styles | Music

Album-Oriented Rock (AOR) | Classic Rock | Styles | Music

General | Live Albums | Classic Rock | Styles | Music

4-for-3 Classic Rock | 4-for-3 Music | Stores | Music

4-for-3 Pop | 4-for-3 Music | Stores | Music

4-for-3 Rock | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
Similar Items:

Live: The Way We Walk VOLUME TWO: THE LONGS
We Can't Dance
Serious Hits...Live!
Three Sides Live
Live

ASIN: B000002IUU
Release Date: 1992-11-17

Tracks:

Land Of Confusion
No Son Of Mine
Jesus He Knows Me
Throwing It All Away
I Can't Dance
Mama
Hold On My Heart
That's All
In Too Deep
Tonight, Tonight, Tonight
Invisible Touch

Customer Reviews:

A collection of hits, that I am a bit tired of..........2007-02-18

This cd contains the "hits" from the band, under Phil Collins era, I have to say that I'm a bit tired of hearing these songs, but also, most of these live versions are "refreshing" to hear in a different version.
I prefer these versions to the original ones. The sound is pretty good for a live release. That's All folks !

SLOPPY, BUT GOOD++.......2006-05-21

I don't know what it is with me and Phil Collins/Genesis; their syruppy-synth-soundscapes just kinda stick to my heart like sap, I guess. And what can you possibly say to justify Phil Collins' place on the pop-charts? He's an amazing vocalist, unique and emotive; the songs on this CD are just as dark as anything Genesis has written, with a bit of up-beat pop thrown in between; the basic difference between Phil Collins' solo career and the music of Genesis is that Phil Collins has mostly been a nice-guy-pop-act and Genesis has tended toward more brooding dark-room songs. Even songs like "Invisible touch" and "Jesus He KNows Me" are at least a tad bit cynicle ("Jesus He Knows Me" has a social message, so it's obviously more darker, at least in the lyrical range; it's not slow, so people tend to think it's a "positive" song). So given that information, this CD is basically a collection of top-hits by the band kinda re-imagined. Even the songs that this concert is supposed to be part of a tour for (We Can't Dance) sound a little different than the album versions and that's what makes this album worthy of fitting into a CD collection. The opener sounds kinda out of breath altogether, not just vocally; which is odd, b/c I think they opened the actual concert with that song ("Land of Confusion"), but either the wheeziness (spelling??) gets taken care of or it's just less noticeable as the CD progresses into other songs...I don't know; perhaps Collins sounds breathless as a way of connecting with his fellow middle-aged audience-members (they say Genesis was trying to connect with a baby-boomer market when they did INVISIBLE TOUCH in 1986). I'm no middle-aged man/boy/??, but my father (who was in his 20s at the time) was said by my mother (also in her 20s at the time) to have LOVED Genesis and I guess he listened to them quite often. I was describing the synth opener of a 1972 song called "Watcher of The Skies" (back when Peter Gabriel was lead singer, for those of you that don't know too much about Genesis) to my mother (I had bought the CD Foxtrot out of curiousity) and she said she thought she knew what I was talking about. And earlier in my life (not long before, a couple yrs tops - I'm 22 now) I bought SELLING ENGLAND BY THE POUND and was almost SURE I recognized one of the synth-lines or whatever they're/it's called in "The Battle of Epping Forrest"...so based on those two facts, I'm pretty sure my father (who abandoned me and my family when I was 7) loved Genesis. And my mother couldn't stop listening to INVISIBLE TOUCH, their only "really good" album according to her. So I think that's probably why the syruppy-sweetness of this music and most of all else by this band sticks to my heart like sap, so to speak. So anyway, I doubt I changed anyone's totally biased opinion about this album or the band, but I hope I made myself clear as to why I am the way I am, in case anyone who knows me reads this!

Better than being there.......2005-02-23

I saw Genesis on the "We Can't Dance" Tour in Hannover, Germany. And while I certainly was completely blown away by that concert, this record delivers even more of what a Genesis concert should be like.

Yes, I admit that I'm no fan of their earlier stuff. Matter of taste, surely. Also, it was just before my time. Anyhow, what I liked most about "The Way We Walk Vol. 1 - The Shorts" was the absence of all those older, overly lengthy, artistic songs that don't really mean anything to me. Precisely what other reviewers here lamented -- that everything on this record comes from just three albums, namely "Genesis", "Invisible Touch", and "We Can't Dance" -- makes it so great for me; for as far as I'm concerned, Genesis before those is rather uninspiring.

The performances are just as great as could righteously be expected. I think that the energy from the (quite audible) audience really adds nicely to the band's, especially of course in the Phil Collins trademark back-and-forth singing contest with the audience at the beginning of "Throwing It All Away", but also quite notably at the beginning of "I Can't Dance" (watch out for the audience's reaction to the "boing" sound!). Subtly altered lyrics, mostly a little naughtier than the originals, add to the personal feeling -- it feels like being there. And that "I Can't Dance" was recorded before a German audience, as becomes clear from the shouts of "Zugabe! Zugabe!" (encore) at the end, just means the last bit of delight for me. Hey, I might have been there after all!

If you insist that something negative must be said about this record, I'll admit that I didn't care for the long-winded endings of "No Son of Mine", and especially "I Can't Dance". I keep thinking, "come on, man, that's enough", but on and on he goes. But that's a really minor nuisance. No reason to cut down the five star rating.

If you're from the same generation as I am -- us who grew up with the sinister "Ha ha! Ha! *rowr*" from "Mama", the Spitting Image puppets from "Land of Confusion", and the Levis spots that got so brilliantly defaced in "I Can't Dance" -- this is The Essential Genesis Record. If not, kindly disregard this review.

Yes it's more Commercial than Old Genesis, but its very good.......2004-11-02

When it comes to the rock band, Genesis - I think this band is often unfarily criticized for going "commercial". Yes, the band did move into more of a pop-music direction in the 1980s, but I think they added a breath of fresh air to the pop music and paritcularly 80s landscape. As a result, Genesis picked up a lot of new fans - many of whom probably went on to appreciate many of their earlier works. The album, "The Way We Walk - Volume 1: The Shorts" presents a collection of 11 live tracks from what is considered the commercial/pop era of Genesis.

When I look at Genesis as band, I see four distinct phases the band has gone through. Phase 1 is the Peter Gabriel Era. This spans from 1969 ("From Genesis to Revelation") to 1974 ("The Lamb Lies Down on Broadway"). It was during Phase 1 that Peter Gabriel was the lead vocalist and Genesis could easily be categorized as a progressive Rock band. Phase 2 is the Early Phil Collins Era spanning from 1976 ("A Trick of the Tail") to 1982 ("Three Sides Live"). In this era, Phil Collins took over as lead singer. The band was still very much a progressive rock band, but as the progressive rock landscape would change - so would Genesis. This might indirectly have led to Phase 3 which is the Late Phil Collins Era from 1983 ("Genesis") to 1993 ("The Way We Walk Volume 2: The Longs"). This is the commercial/pop era that I referred to earlier. At this point, there would be a lot less progressive rock flavor to Genesis' music. The fourth phase, Phase 4 is the Ray Wilson Era. This was when Ray Wilson took over as lead vocalist for Phil Collins. There would only be one album in this era - 1997's "Calling All Stations" and it seemed like Genesis tried to recapture some of their progressive rock roots - but 90s style. "Calling All Stations" would do poor commercially and Ray Wilson would take the fall and be asked to leave the band.

In Phase 3, Genesis would grow more and more successful commercially with each album release. Some of this probably would do to the fact that Phil Collins' solo career was also taking off. The last studio album that Phil Collins would do with Genesis was "We Can't Dance". It was a huge commercial success and resulted in a hugely successful World Tour. Naturally, the band decided to capitalize on the success of that World Tour by releasing a live album and video. Genesis had done live albums before ("Three Sides Live", "Seconds Out", "Genesis Live"). On each live album, the focus of the live material would on the studio releases that had not been done live up until that point. Genesis had not done a live release for Phase 3, thus "The Way We Walk" would have a focus on this material. For this live release, Genesis would employ a unique formula - they would release the material in a two volume set called "The Way We Walk". Volume 1 would focus on the shorter (normal) length songs. Volume 2 would focus on Genesis' trademark longer songs. For the purposes of this review, I'll focus on Volume 1.

Normally when there is a live release, I prefer the album to be a live recording from a single concert performance. I prefer it to be delivered in the order in which the songs were actually delivered. By having things from a single night and in order - I feel there is continuity and the magic of the concert is captured perfectly. Since Genesis took this unique approach to the way they were presenting this live material, this was going to be very hard to do. However, the material was strong enough to overcome this. Yes, I still would have preferred a two volume CD that contained a night from the 1992 "We Can't Dance" Tour in its entirety, but the production and engineering isn't bad and it does a nice job at ordering the songs and giving the "quasi appearance" that this may be from one night (even though the ordering is shuffled). I also like the two volume approach - I find it very convienient to listen to either the "short" songs or "long" songs (depending on my mood)".

The most interesting song is "Invisible Touch". I always thought this was an "average" song for Genesis, but there is something about hearing this song live that blows me away. I love the way they end the song. I also love how they segue from "Tonight Tonight Tonight" into "Invisible Touch". Yes they made "Tonight Tonight Tonight" from a long song to a short one, but it works the way they performed this song and the segue. Similar to "Invisible Touch", I love Genesis' spin on "Throwing It All Away" - featuring Phil leading the crowd in a participatory "It away!" chant and Mike Rutherford's guitar is awesome in it. Two strong songs from "We Can't Dance" are "No Son of Mine" and "Jesus He Knows Me". Phil's performance of "Jesus He Knows Me" was very theatrical in concert when I saw him and on this recording it translates very nicely to audio. Not forgetting Tony Banks, his keyboards are spellbinding on "Mama" - as are Phil's vocals.

The liner notes are weak. There are no lyrics and nothing to provide insight into the Tour - or when and where these songs were recorded. The production credits are pretty light as well. There are some decent photos from the Tour included. Although this may be Genesis' "pop" era - there still is some excellent music and this excellent music translates very well to the live setting. There may be some "old-time" fans who don't like this material, but I think this will still appeal to the majority of end to end Genesis fans.

Bad live cd.......2004-06-29

Every song on this cd is a joke. Genesis used to be a good band, look into Genesis Live, Seconds Out, or Genesis Archives Vol. 1 for better live material.

Rock Music:

Rock Music

rock music