Features

• Live

Reviews (49)

a brilliant progressive rock classic,this is live
Welcome back by the great emerson lake and palmer is one of the best progressive rock albums i have heard.this contains gems like hoedown and jerusalem.get this with exit stage left a superb live album from rush.five stars.please ignore the one star reviewers and their moronic recommendations

ELP's greatest hour as a live band!
Many people say KISS' Alive was the live album that proved live albums were not pointless. WRONG!
In August of 1974, art rockers Emerson Lake and Palmer beat KISS to the punch when ELP released their classic Triple Live (you heard me right TRIPLE LIVE) Album Welcome Back My Friends to the Show That Never Ends, Ladies and Gentleman Emerson Lake and Palmer.
ELP was a trio of gifted musicians keyboardist Keith Emerson, bass player/vocalist and guitarist Greg Lake and drummer Carl Palmer.
This live album was recorded on the band's 1973/74 tour in support of their classic Brain Salad Surgery. The album contains only nine songs and is almost TWO Hours and is amazing.
First, after the stage announcer says the album's title the band launches into their sped up version of Aaron Copland's Hoedown from the "Rodeo" Suite and is faster than the studio version by a longshot. Next was Jerusalem and Toccata which were both better than their studio counterparts on Brain Salad released in December of 1973.
Next is the Tarkus Suite, where Keith was restricted to just two hands and avoids the synthesizer excess that characterized the studio album version and does a stellar job here. Also, Greg shows not only is he a great bass player but for the Battlefield segment he switches to electric guitar and does a barn-burning solo which is amazing before ending the section with a verse from the King Crimson song Epitaph making it better than the version on 1971's Tarkus. The ending Aquatarkus is extended by 10 minutes for great synth work from Keith.
Next is Take a Pebble which is split in half on two discs and during this track Lake does acoustic versions of Still...You Turn Me On and ELP's first big US hit 1971's Lucky Man. Is it not surprising to see how many acoustic versions you can find pre-MTV Unplugged? Then Keith does a great piano solo before ending Take a Pebble awhile later on the start of CD 2.
Next is a medley of the so-called filler tracks on Tarkus and Trilogy respectively Jeremy Bender and The Sheriff which is excellent.
Then, the 35 minute plus Karn Evil 9 Suite ends the album and is better than the studio counterpart by a longshot and has a superb Carl Palmer drum solo which seems like it goes on for ages and shows why Carl is the rock drummer's drummer next to John Bonham, Keith Moon and later Neil Peart. I mean how many humans can you see hitting two gongs and pulling a bell rope with teeth during a drum solo whilst the drum kit is spinning around, not many!
When this live album was released, Welcome Back became ELP's most successful album in the US as it reached #4 with a bullet(the first triple live album to do so) and also went Platinum(KISS' Alive only went Gold and puttered out at #8 and was mainly a studio album with crowd noises)!
Welcome Back My Friends is recommended!

Features

• Live

Reviews (38)

The Sad Downfall Nobody Saw
I think the most surprising thing about this album/video--other than Elvis' surprising appearance in it--is that NO ONE APPEARS TO NOTICE just how terribly ill he looked at the time.

Everyone cheers.Women fight for his scarves.People laugh at his silly stream-of-unconsciousness when flubbing lines to "Are You Lonesome Tonight?"
About the only time the show reaches the level of tragedy--and foreshadows the tragedy to come--was when he sang "My Way."Bloated, beaten, lost, Elvis lifts a song to dramatic heights, the way he used to with just his voice--but then did it with his sad, lonely life.

If you really want to see what made Elvis the King of Rock and Roll, check out the new DVD version of the 1968 "Singer Special" and the special edition DVD of THAT'S THE WAY IT IS.

Forever The King!
While Elvis was overweight at this point and slightly ill looking, that didn't take away from his talent.
After the famous "Also Spruce Zarathustra" (A.K.A "Theme from 2001: A Space Odyssey) , the instrumental piece Elvis has been using for some years to open live shows and the equally famous "opening riff", Elvis launches into "C. C Rider" (a better version of this can be found on Presley's "On Stage - February 1970" album, nonetheless he gives it his all here and it still works).

Over the years Presley's voice had matured from a young and high sounding hillbilly country rocker to a mature song stylus, but he could still rock nonetheless. His version here of "That's all right mama" (the first single he ever released) is performed very well.

"Are you Lonesome Tonight" (originally recorded 7 years after "that's alright mama") is another very well song. Elvis rarely sang this song straight (especially the depressing spoken part in the middle, fine on record, but it would have been boring for Presley-and maybe some fans-to sing this in concert for the 1000th time. Whether on this occasion he was attempting to sing it as it was on record, or he deliberately pretended he forgot the words or not, i'm not sure. However, it works well. The audience seem to share the laughter and Presley starts cracking jokes.

This album mixes Elvis hit's old and new. We have "Teddy Bear", "Don't be cruel", Jailhouse Rock" (a fine rearrangement that sounds more broadway than rock n roll), the immortal "Hound Dog", "I Got A Woman", "love Me", etc., etc. On a sombre note, Elvis' father, Vernon Presley, adds a spoken track on disc, thanking the fans for their kind words since the death of Elvis.
During the live performance Elvis actually mentions his father on stage and says "I like to introduce my father, he was sick for a while, but he's doing very well ... I really missed him, it's be a couple of years since he's been able to come on tour with me".

It may seem somewhat cheesy, but it's an emotional moment, especially as Elvis would never tour again.
The final concert on this tour was performed at Indianapolis' Market Square Garden on June 26th 1977. It would be Presley's last performance in front of a live audience. Less than 7 weeks later, The King was dead.

However, almost 3 decades later, he lives on, his records still chart, his concerts are shown on the big screen and small screen the world over to massive audiences, not a day goes by without several of his songs being played on the radio.

The reason for this above anything is the music he left behind.

An overall fantastic performance from the man who was, is and always will be king.

Editorial Review

Features

• Box set
• Live

Reviews (28)

Indulgent? No. Simple Because We Can? Yes!
This was the second Chicago album I ever heard... right after Chicago 17. Talk about culture shock! I first thought "how full of themselves can they be? Four albums?" Then, given the fact they sold out a week at Carnegie Hall and being the first rock band to do so then I understand. The packaging for the album was fantastic: a full booklet complete with all concert listings from '67-'71 and three posters. As far as the music, the venue has more to do with it than anything. Carnegie Hall isn't friendly to electronic amplification. The engineering is not quite up to par. On the first night, Peter Cetera stated the recording crew were still tooling with their amplifiers during the first night's concert. Shouldn't that have been done ahead of time?? "In The Country" sounds great, as does "South California Purples", "Introduction", "I Don't Want Your Money", and "I'm A Man". "25 or 6 to 4" does sound a bit slow. Kath sounds like he's just going through the motions on vocals on "Make Me Smile". His guitar work is great as usual. The stereo mix on the vocals is intriguing. The dialogue between songs is genuine; especially the part where a audience member requests "Make Me Smile" - Lamm says, "Keep sitting there man".
I believe the vinyl records sound better than the CDs. For an album of this magnitude, they should at least remaster it somehow and improve the sound a bit. There should be lots of master tapes for a week's worth of recording.
If you can get your hands on it, LIVE IN JAPAN is a better sounding album. Recorded at Osaka in '72, the double disc is not as good as "Carnegie Hall". Sony recorded the shows using 2 eight track machines, giving producer James Williams Guercio 16 tracks to work with. The sound is great but the playing is not as tight as it was in New York.
If you like live recordings, this is an interesting find. While not the greatest live album of the seventies (I believe that distinction goes to Neil Diamond's HOT AUGUST NIGHT), it is the best of Chicago's three live album releases.

An ambitious project
Over 3 hours of Chicago, most would cringe at the thought.
However this is a band that was in peak form with the legendary guitarist Terry Kath.
After Kath died (self inflicted) the band changed their direction for the worse.
This 3 CD set (with poor horn sound) is a concert recording covering the most interesting period of this large band.
Chicago never did anything small scale.
Some great songs througout however 3 CDs are too much to takein.
A 2 CD set would have been better.
The drum sound on this CD is my highlight, brilliant.

Features

• Live

Reviews (22)

Wright needs help
"Kenny G is often quoted as defending his crowd-pleasing sound as instrumental pop, not jazz (despite having taken his turn at the music of Ellington, Monk, and other masters on 1999's Classics in the Key of G). Whatever--you certainly know by now whether or not you like this stuff. The multiplatinum smooth-sax man, though, has charted a steady course of blandness broken only by the occasional obnoxious foray into something he seems to think is funk. This CD of popular favorites brings every emotion down to the level of the Weather Channel-ready "Songbird," which made G a radio staple in 1987: whether accompanying Sinatra via technology or defacing the memory of Sam Cooke with the egregious Michael Bolton, it's all white noise. --Rickey Wright "

Rickey Wright,Racist! and possible a Jew hater;and differently a low life.'Kenny G Live' is one great album.And right now I'm goung to On Demand at MusicMatch and listen to some more great music with Michael Bolton.

Kenny G. Live -- What Are You Kidding Me????????????
Pathetic -- You have to be kidding me if you are even reading this review.He is awful, consistenly out of tune, terrible, and basically a self absorbed "wanna-bee."You want to buy a Kenny G record, jump onboard with the World's Worst published musician..Give me a break and look fo something real...Please, Kenny Goerelic, better suited, Kenny D., as in DREADFUL.You SUCK!!!!

Features

• Live

Reviews (27)

The Eagles Live!
The Eagles Live is a killer double live album from released in 1980. The majority of the songs were recorded during the supporting tour for "The Long Run" album. Over half of the songs on the album are from "Hotel California" and "The Long Run". There are also a couple of Joe Walsh's solo hits that made the album, Life's Been Good and All Night Long. Eagles Live is a great album, the only downside is that there are only a couple songs from the first few albums, however if you're an Eagles fan, Eagles live is great addition to your collection.

Right before the 15 year vacation
Right before the 15 year vacation, we got this live release of the Eagles.Classic release, sounds great on cd.Although typical perfect "live" versions of some classic Eagles, Joe Walsh stands out as comical as he is and as talented as he is.Some definite high points include "Seven Bridges Road", a great live version of "Wasted Time" and Joe Walsh's "Life's Been Good To Me So Far"...a former friend of mine did me a favor by keeping my tape forcing me to replace it with the cd.If you have seen the Eagles in concert or if you are a fan, you will love this release.

Features

• Live

Reviews (17)

Ramones cover their own songs on Loco Live.
Even if you are a newcomer to the world of punk rock, you must be aware of the punk tradition of covering songs that came before...sometimes even decades before the current band re-recorded them.The new version is often harder, or faster than the original, and of course contains the new band's particular characteristics of style.Loco Live is an album of covers.The amazing thing is that the covers are done by the same band that did the originals--the ineffable RAMONES.

This album contains 32 of their best songs in all of their "live" glory.This record is unique in the fact that these are songs that you may have listened to for years, but you have never heard them quite like this.Recorded late in their career, Loco Live was an answer to those critics who had declared the RAMONES to be decrepit old men who gave what they could to Rock and Roll, but should now stand back and watch as a younger generation took over.The RAMONES refused, and rocked out this album in response.

I call this an album of covers because these songs are vastly different from their original recordings.Joey is at his bird-like best.So much so that at times he simply neglects the words in favor of whatever melodic throaty sound he can produce.Most of the time you simply can not understand him, unless you know the words by heart.For example, on Ignorance is Bliss, it sounds like he's saying "aneurysm" instead of ignorance is bliss.The words come out so quickly and with such a snarl, that it's almost incomprehensible.This record is faster, harder, and angrier than anything else the RAMONES put out, and that makes it a punk rock classic.

The only caution I have is directed toward the newcomer to the RAMONES music legacy.In order to fully appreciate this record, you need to know the words to these songs.(Much in the same way that you need to know the right lyrics to appreciate The Parasites cover of "It's Alive" where they sing the wrong lyrics as printed in the original liner notes released in Japan!) Anyway...if you don't know these songs, I recommend that you buy some collection of the RAMONES like "All the Stuff and More" or "Loud, Fast, RAMONES" or "Hey Ho, Let's Go Anthology" to get your bearings, and then throw caution to the wind with Loco Live.

This record rocks from beginning to end.Put it in and watch it burn a hole in your speakers.Loco Live embodies the spirit of Punk Rock like none other, and shows why punk bands today still dress like, sound like, and try to play like, The RAMONES!

MUY MUY LOCO!!!
Very good, very fast, very hard. Pure adrenaline from the begin to finish. After 32 songs the spanish punk rockers in Barcelona still loud: HEY HO LET'S GO!... so what can i tell you

American Punk Dreams
Picking "Loco Live" after at least two years in which I haven't heard it, I was impressed with the extent to which it still holds as a powerful Rock record.I've been listening to more sophisticated music these few years - blues, funk, experimental rock and some jazz.Yet I'm still attracted to the fast-and-loud, hard edge of rock music.I guess I'm a punk in my soul, and that, in order to enjoy the Ramones, you have to be one, too.

But I've also noticed things that I have never heard before - the transformation of the Ramones's musical style, and the way in which the Ramones was such an American band.

The cliché about the Ramones is how simple their music has always been - "no one can play three chords better" than the Ramones, and so on.But Loco Live finds the Ramones far away from the distorted bubble gum pop band that amazingly failed to conquer the world between 1977 and 1981.By the mid 1980s, the Ramones have evolved into a bona fide hard rock act, heavier and faster then anything they've done in the 1970s.

Listening to "I believe in Miracles" it is hard to believe I've never noticed it before.The song is downright blues-y.There is nothing of the bubble gum in "Love Kills" or "Mama's boy", and "Pet Semetary", the title song to the Stephen King movie, has riffs and mood that are as much hard rock cliché as the lyrics (don't let this sound like I don't like the song - it's fantastic).The early songs are sped up and toughened up, and are transformed into something like acid pop.Among the later tunes, the only one that resembles the innocence of the earlier days is "Palisades Park" an old fifties standard.Hell, they even open up the set with a play back of "The Good, the Bad, and the Ugly..."

I can't help thinking that this change has something to do with the changes in the United States in the 1980s.It seems that the Ramones have grown along with the mysterious zeitgeist, and the music, I believe, reflect where the US cultural scene, or at least some of it, was in the Reagan years.Certainly, the lyrics reflect that - "Bonzo goes to Bitberg (a.k.a "My head is hanging upside down") is about a controversial visit of Ronald Reagan's to a Nazi cemetery, and "Ignorance is Bliss" is an undoubtedly political tune.Joey prefaces "I wanna live" with something of a manifesto: "We believe in freedom... we believe in human rights".

Features

• Live

Reviews (18)

Rare cuts in concert
This concert is one of the last ones to feature Brian and Dennis both. It also is one of the last ones to still include material that was new at the time (it was taped 6/21/1980 in Knebworth, England) and because a few songs did better chartwise in the U.K. than in the Boys' home country, you get versions of "Lady Lynda" and "Cotton Fields". Despite those exceptions, though, the band had begun to turn into the "oldies jukebox" and most of the material is pre-"Pet Sounds".

Performancewise, it veers a bit but for the most part the vocals are good and the instrumental passion is there actually improving some songs over the studio versions. It's obvious that the band was still "working out" the set, though (Al Jardine asks "Are we gonna do a medley thing again?" prior to starting "Cotton Fields").

BEST MOMENTS:
Dennis shouting "Eat your heart out, Elton John!" as he took the piano spot for "Help Me Rhonda" (Elton was the headliner for his "Captain Fantastic" tour and debuted the album for the first time live that day). "Keepin' the Summer Alive" BURIES the studio version...the guitars smoke and the acappella break is tight. "Lady Lynda" was only on bootlegs in live shows before this and is good (Al's a little weak on some of the verses but the final group acappella coda shimmers..especially after someone (Mike?) shouts "one more time.." and they do it again)
"Do it Again" is tough-edged.Carl puts in a fine vocal on "Darlin'", "School Days" is fabulous live, and the "fun/sun" portion of the show sounds better than it often does. "Help Me Rhonda" benefits from a great Ed Carter guitar solo..Mike Meros on organ is all over the keyboard for "Surfin' U.S.A.".."I Get Around" is stellar..and an extended "Good Vibrations" has the crowd really into it.

VALLEYS:
The final encore on "Fun Fun Fun" is actually the WEAKEST performance of the 'encore set' (track 19 and up). "Barbara Ann" has a flaccid vocal from Bruce (I believe...it doesn't say but it SOUNDS like him). Mike is painfully nasal on "Be True to Your School". As others have noted, the CD should NOT have been named "Good Timin'" when it's not on the disc (Also, after the liners talk up "Santa Ana Winds" it's not wise to omit that track also. Two bad moves in choosing which ones made the cut)

BOTTOM LINE:
This is not their best official live show (that's "In Concert 1973") but it is the only non-bootleg to have "School Days","Cotton Fields","Keepin' the Summer Alive","Lady Lynda","Rock and ROll Music" or Dennis' version of "You are So Beautiful" and they all sound pretty decent. A good one to get AFTER you already have "In Concert 1973" and the twofer with "Concert (1964)/Live in London". It's only essential if you have those two and want more...

Good, but not great performance
A live show from 1980-- if I'm not mistaken, the last tour to feature Brian, Dennis and Carl.By this point, the Mike Love touring jukebox concept (i.e. play the same surf and car songs over and over again) was already in effect, but the Wilson brothers kept the set honest-- its a pretty good mix or early and later material.

The performance itself is extremely high quality-- by this point, the touring band was tight, and their execution is relatively flawless.The vocals are top notch, as you would expect (although Brian sounds a bit shaky here and ther).Highlights for me are pretty varied, certainly Mike's shout of "BRIAN WILSON!" after the first line of "Sloop John B", the new material ("School Days", new to the Boys at least and "Keepin' the Summer Alive") comes off really well, and Dennis' impassioned "You Are So Beautiful" are all really great, and there's really no going wrong with "Heroes and Villains" in my book.

Several tracks were cut from the live show-- "In My Room", "Good Timin'", "Catch a Wave", "Some of Your Love", "I Write the Songs", "Santa Ana Winds", and "Wouldn't It Be Nice"-- these I suspect would have distinctly improved the show, though they would have biased away from the surf & car stuff, which I suspect was the intent by the track selection.Personally, I would've rather had the whole show on a double, but that's just me.

Truth is, the show doesn't really grab me enough to make me come back to it over and over again.Good enough, but not great.

Very Good, But Shows Decline
This is historic cd, as it doucments the last time all 5 original Beach Boys (plus late bloomer Bruce Johnston) performing live on a UK stage together. It has some very good moments but also quite a few flaws. This documents the band's troubled leader Brian Wilson at his worst. He is essnetially a backing musician here, his chubby frame hidden behind a piano for the majority of the cd (he brifly moves over to the electric piano on "Help Me Rhonda", but that's not important), and he contributes brief lines on "Sloop John B" and "Surfer Girl". The rest of the band is in tip - top shape. Carl gives the single best liveperformance of his career with his stunning performance of "God Only Knows", Al gives us an interesting "Cottonfields"/"Heroes And Villains" medley, Mike Love owns the show, Bruce Johnston doesn't really contribute much, and Dennis performs a beautiful version of "You Are So Beautiful".

Features

• Live

Reviews (27)

The Concert of a lifetime- the best!!!
I bought this album a few years ago, and up till now, it is almost all I listen too! Now, the Timeless concert may have a little better song selection, but this concert was an intimate bonding, and instead of the usual "Greatest Hits", Barbra sang not so famous songs that relate to her, and that just happen to be amazing!
It starts off with a great Ouverture, reminding us of the fabulous songs in Barbra's repetoire. "As if we never said goodbye", the perfect opening song, starts of this enchanting evening, with a better lyric to accomodate the evening, and an amazing reorchestration. Then, after her hillarious remarks, Barbra swings to the funny yet true I'm stuill here/ Everybody says don't, and ends it with the best version yet of Don't Rain on my parade, with the greatest orchestration full of energy, making you want to sing along. The we relax with a wonderfull rendition of Can't help lovin' that man from Showboat, and then after talking about her early crush with the movie star, Barbra sings a delightfull duet, I'll Know with Marlon Brando. Then, the Barbra trademark People is sung with a great orchestration and a wonderfull energetic ending, which puts everyone in the mood which only Barbra can do.
Then, after a short Lover Man, we sit in on three therapy sessions separated by Will he like me, a great song from People, He touched me, a soft then strong ballad, Evergreen a very lovely love song, and a montage of three of Barbra's movies. Then, she sings a great The man that got away, followed by a newly orchestrated and brilliantly sung On a clear Day, to end a glorious first act.

Act two starts with an entracte, then The way we were, beginning offstage, then Barbra apeeras singing it, one of her greatest songs. Then, after a funny comment, sings a solo of You don't bring me flowers. After that, she sings the wondeful calm and serene Lazy Afternoon. Then, she goes into a Disney Medley, a great selection of songs. Then, Not while I'm around, a wonderfull softie for her son. Then Ordinary miracles a new and terrific feel good song, powerful and profound.
Then, the highlight, the Yentl Medley, stressing on the emotional Papa Can you hear me, and the powerful, soaring, and wow, incredible, A piece of sky. Then, Happy Days, a great classic, saluting new beginings. Then three encores, the wondefull My man, from Funny girl, the sweet For all we know, and the powerful ending, Somewhere.
Great concert, highly recommended

Streisand: The reason that recorded music was made!
In these highly Republican days, it's not "kosher" to be a fan of the Clinton-friendly Mrs. Brolin. Well, I have always been and will continue to be a fan of "Babs".

Madison Square Garden, showcase for many of the great sporting contests of all time, is the perfect venue for this history-making concert. Barbara's "conversation" with her "therapist" segues perfectly from song to song, and what songs they are!!!

Her movie tunes, her Broadway triumphs, as well as the pop standards that she made famous are here. Accompanied by a brilliant orchestra, led by Marvin Hamlisch, Streisand has never sounded better.

And her solo (minus Neil Diamond who accompanied her on the single) rendition of "You Don't Bring Me Flowers" is chillingly beautiful.

"The magic in the music."
After insisting for years that she didn't enjoy live public performances, Barbra Streisand finally came out of hiding and delivered exactly what all of her fans had been dreaming of - and much more.Despite giving many live performances over the years on television shows and fund-raisers, this was actually the first real concert tour of Streisand's career.She decided it was time to finally conquer her intense stage fright and, at the same time, give something back to the fans who had been begging to see her perform live for years.The show's pricey tickets sold out instantly, and fans eagerly awaited the day of the concert.Little did anyone know that Streisand would not only meet the huge expectations that had been placed before her, but that she would greatly exceed them - the `93-`94 concerts will be forever remembered as one of the best things she has ever done.

From the slow emergence of the perfectly-selected opening song "As If We Never Said Goodbye" to full-throttle splendor of the closing selection "Somewhere," Streisand treated her audiences to a spectacular evening.She opened herself up more than she ever had before, and allowed her fans to spend time with the woman behind the superstar.The first act of the show was more like one of her sixties television specials (particularly My Name Is Barbra) than a traditional concert, with insightful and humorous "therapist" monologues peppered throughout the first half.Streisand effectively reminisced about many of the events that shaped her life as an entertainer, and the song selections perfectly complemented the stage dialogue.The songs performed in this half are not the typical "greatest hits" set that most artists perform, but were selected because of what they represent in Streisand's life.It works flawlessly, with the well-known selections ("People," "Evergreen") folding into the context as easily as the lessor-known material ("I'll Know, "Will He Like Me").

Features

• Import

Reviews (8)

Not As Bad As Everyone Thinks
I suppose having heard this before I heard other, choice live recordings makes me think "Who's Last" is not as bad as others.Consider the machinations of MCA records in putting this out as a last (but not the ultimate last) grasp for more money.

Townshend disbanded the Who in '83, and got out of their remaining contract with Warner Bros.Now, from the final '82 tour was a three-album selection of live tracks, which included stuff from "Face Dances" and "It's Hard."MCA however decided that only tracks from albums they put out were good enough, and so critics blasted this as a sell out, and unfairly I think blamed the band for it.Blame MCA.

I have an unofficial recording of the last '82 show in Toronto, and it is better than this, and includes tracks not shown on the "Rocks America" video.But how about this?

The band blasts its way through the usual old hits with powerful and professional abandon.There really isn't anything wrong with these performances.A couple of surprises was the inclusion of "Dr. Jimmy" from "Quadrophenia" and Entwisle bellowing out "Twist and Shout."

It's really alright if you want to hear something a little bit different from the first ending of the Who.This part of the era has been slammed by too many people, bitching about Kenney Jones replacing Keith Moon (no one could replace Moon, and Jones was chosen for his experience and the very fact that he was DIFFERENT from Moon in terms of style).Jones does a fine job here, so get over it!

This was also a time that Townshend wanted to move the band in a new direction, a bit of a tighter sound, which is why he added a horn section to play more "Quadrophenia" numbers and included John Bundrick on keyboards (though Tim Gorman played on the 'final' tour in '82).

It's a moment in time well worth listening to, and for Heaven's sake, ENJOYING!

The End of an Era
This CD is out of print in the US, but I got lucky...I found a copy on vinyl at an eBay auction, and now this great Who performance is part of my collection.

In 1982, the Who embarked on their "farewell tour."This CD documents that tour.Musically, the results are very good.Kenny Jones does very well on drums, though I prefer Zak Starkey as a substitute drummer.The song selection is decent, though a bit redundant.The sound quality is a little disappointing, but nothing too drastic.Highlights of the album are "I Can't Explain," "Who Are You" and "Summertime Blues."

I can recommend this album to anyone seeking to complete their Who collection.If you're a casual fan, get Live at Leeds.Also check out The Who Rocks America for a visual look at the tour.

Features

• Live
• Original recording remastered

Reviews (22)

Journey, With Brass Knuckles?
These guys always put such a glossy sheen on things.And I'm not just talking about their sound--the band pic on the back of the "Evolution" LP is clear and convincing evidence these fellas kept lipstick and curlers in the dressing room.However, on "Captured", they pull the barrettes out of the short and curlies, and the result is almost bona fide rock and roll.Tempos are speeded up, jams break out all over the place--"live" happens.If only Neil Schon's Stratocaster and Greg Rolie's Hammond B-3 organ weren't so politely muffled into the mix--the result is kinda like the Incredible Hulk punching his way through a room full of mattresses.Instead, the emphasis is given to Steve Perry's vocals.The band can rock with the big boys, and they're fronted by a singer who sounds better than most girls.

(1) of the Best Live CD`s ever!
I cannot thnik of a better live cd than Captured,I have had this on the album and then the CD and I still love hearing it.

Escape is there best studio release, play Captured than Escape to have the full effect that Journey gives.

Features

• Live

Reviews (43)

there's nothing better than live rolling stones
i own three rolling stones albums now, but there's nothing like listening to them live on cd. there are two new studio tracks on the cd. at first, i thought they had covered "sex drive" by twisted sister and w.a.s.p., but a closer listen brung up different lyrics.

Some live hot rocks!
The Rolling Stones were promoting STEEL WHEELS when recording this album. It opens with an introductory excerpt of CONTINENTAL DRIFT from SW. Then there's START ME UP from 1981's TATTOO YOU. Then there's another SW track,SAD SAD SAD. MISS YOU is a "hot rock" from 1978's SOME GIRLS. It also became one of FORTY LICKS. Also from SW is ROCK AND A HARD PLACE. RUBY TUESDAY was a hit from 1965 and is also a "hot rock" and another of FORTY LICKS. YOU CAN'T ALWAYS GET WHAT YOU WANT is from 1969's LET IT BLEED,also a "hot rock" and a "lick". FACTORY GIRL is an old country tune that the Stones don't perform live very often. Frontman Mick Jagger asked bassist Bill Wyman what album it was from. Neither Jagger nor Wyman remembered. Then it hit Jagger. "It's from BEGGARS' BANQUET.",Jagger quipps. On another SW track,CAN'T BE SEEN,lead guitarist Keith Richards takes the lead. Willie Dixon's LITTLE RED ROOSTER is cool. PAINT IT BLACK is another oldie-but-goodie from 1966(another "hot rock" and "lick"). SYMPATHY FOR THE DEVIL is pretty cool. From 1971's STICKY FINGERS is BROWN SUGAR,another "hot rock" and "lick",of course. JUMPING JACK FLASH is a "gas,gas,gas",as mentioned in the song. Peter Frampton recorded that one live on his FRAMPTON COMES ALIVE! album. That was a cover hit for Aretha Franklin. (I CAN'T GET NO)SATISFACTION is another "hot rock" and "lick". Then there's two new studio tracks,HIGHWIRE and SEX DRIVE. U2's RATTLE AND HUM is both a studio and live album also. This album is a sequel to 1982's LOVE YOU LIVE which was recorded while promoting TATTOO YOU. Also it was originally released on Rolling Stones Records,a division of Sony,originally Atlantic Recording Corporation. All Rolling Stones albums are on Virgin now. Several years ago,Virgin bought ownership rights to the Stones' albums.

Editorial Review

Editorial Review

Features

• Live

Reviews (32)

TheDefinitive Elton John Collection
This album to me is the definitive Elton John collection. The choice of songs is impeccable. Mostly made up of songs from the early years of the John-Taupin relationship, it is the definitive way Elton should be heard. The older songs such as "Sixty Years On", "The Greatest Discovery", and "The King Must Die" are rare nuggets that reveal a time when the writing styles of the duo was very raw. In my opinion, the version of "Tonight" is a lot richer sounding than the version on "Blue Moves". "Tiny Dancer" and "Burn Down the Mission" are Elton concert staples, but are given added luster with the addition of the Melbourne Symphony Orchestra. And of course this is the album that brought "Candle In The wind" back to the masses. Released as the single from the album,it brought Elton back to the Top 10 after approximately 4 year absence. True Elton fans know that right after this album was recorded, Elton had nodules removed from his throat. Knowing this adds to the rawness of his vocals and the emotions from the recordings.(Elton did not know the severity of his throat problems at the time.) Given all of this, "Live In Australia" defines Elton John's career and is a cornerstone of his catalog that all fans should have. If I am introducing someone to Elton John, this is the album I would buy them.

I got connections
This is by far my favourite Elton John album, because my Dad's on it!!! He was 1st cellist in the Melbourne Symphony at the time. He doesn't get a mention in the liner notes sadly, but he is on the video many times. And call me liar if you will, but I did meet the man after the concert, I was 8 though (damn). His signed photo is hanging behind me.

But enough about me. As for the album, I just liked how a lot of the less popular songs were performed. Almost in the same ideal as Metallica's S&M, but of course Elton's songs are alot easier to orchestrate. Tiny Dancer, Don't Let the Sun and Tonight were my favourites.

Editorial Review

Features

• Live
• Original recording remastered

Reviews (21)

An Evening with John Denver
If you were never fortunate enough to see a John Denver concert, this CD will give you a taste of what you missed.I was lucky enough to attend every concert John did in my home town and each time the sound quality and personal presentation was the best of any concert I have ever attended.From the fun songs, to the soaring Eagle & The Hawk, from the soft Today and My Sweet Lady, to the classic Take Me Home, County Road & Rocky Mountain High, this album is a treasure.

A pretty good live album
The album is pretty good. If you like John Denver, there are alot of good songs here. If you don't like John Denver, this album will probably have nothing to make you like him.

Song selection is interesting. Repeating Toledo twice is a very strange choice. "Forest Lawn" and "Amsterdam" are different from his usual fare, but not really in a good way. I did like "picken the sun down" which is an instrumental, which is unusual for JD. The stories he tells about the songs are interesting, and helped me understand his songs more. I liked alot of his songs live more than the studio versions. His "Zachary and Jennifer" intro is interesting, but not musically apealing.

This is a good CD, but the "Harbor Lights Concert" CD is better. There is a better selection of songs, John sings better, and it is much better overall. If you are going to buy one JD live album, make it Harbor Lights. If you love John Denver, you will buy "An Evening with John Denver" no matter what I say. If you are buying for someone else, get Harbor Lights.

Editorial Review

Reviews (4)

It's Fun, Even If It's Not You-Know-Who
That most recent review (Doncendo somebody) was disturbing to me. Not because he didn't make valid points, but rather because his first paragraph was a blatent rip-off from All Music Guide!

OK, so Doncendo can't write something original. And neither can Stu and Cosmo. Does it make them bad? Not really. They both go with what works. It pleases the intended audience.

This lengthy CD has some great music played very well. As someone old enough to have seen the real CCR live a few times, I took a cynical approach to seeing this band live and later purchasing the CD. Well, I had a fantasic time at the show and the CD player in my car seems thrilled to be playing this album.

Because John Forgarty has chosen to abandon music (again), I see nothing unethical about these guys getting their act together and rockin' the masses. The band is tight, the show is dynamic, and the songs are as good as they ever were. This CD is perfectly representitive of the live show these guys do. A studio album of the old hits would have been a mistake in my opinion, but this live double album kicks like very few live albums in recent years.

It's always a little weird when the band's lead singer (serving as the focal point) is absent. Clearly, this is why the recent Doors concerts were less than well-recieved. In Revisited's case, if you can get by that hurdle, you're in for a good time.

I strongly advise you to listen to the samples before ordering. If you find yourself rocking out, buy it without delay. If you find yourself muttering, "Jeez, this guy's no Fogarty," move on. You win either way!

This could be any competent bar band...
...but Creedence is isn't. Rather it's what some people would undoubtedly consider the biggest obscenity in sixties rock revivals, an abomination, the equivalent of Ringo Starr and Paul McCartney going back on the road leading a Beatles cover band, complete with replacements for John and George.

This double CD does seem utterly superfluous, in light of the fact that every note of music CCR ever cut is readily available, and the existence of John Fogerty's 1998 concert release of his own repertory is much better than this. And the band seems to mimicking the original records most of the time, rather than trying for a real concert sound of their own.

These are 22 good songs, sure they are. Very hard to ruin, generally well played, but there really isn't anything on "Recollection" that fans of CCR won't find better represented on any of the group's original albums or best-of compilations, or on John Fogerty's album "Premonition".
A superflous CD if there ever was one.

Features

• Live

Reviews (14)

better than hot august night 1
Hot August Night 2 is so much better than its prequel. the hot august night 1 was so dull, and less exciting. this cd is live with the audience screaming making it more fun to listen to. neil diamond sounds better and a lot more excited himself than on this cd, especially during his major hits sweet caroline and america. the instrumentals have changed a bunch since hot august night 1 and they are even