Live, Vol. 1

Track Listings

1. Big City Intro

2. Beware

3. Pining Away

4. Conscious

5. Moses

6. Rebel

7. Nothing But Love

8. One Loving Nite

9. Shadow

10. Serious Litigation

11. More and More

12. International

13. Bible Study

Editorial Reviews
About the Artist
Formed in the winter of 1993, Jah Works is a group based in Baltimore, Maryland producing dance music rooted in the reggae tradition. Drawing on the sounds of roots reggae, lovers rock, dub and dancehall, Jah Works moves crowds on the dance floor with a Jamaican beat. But as Americans, the group is also heavily influenced by elements of jazz, hip-hop and rhythm and blues, which in turn attracts listeners who may not necessarily be familiar with reggae music.

---- Over the last seven years, Jah Works has produced four albums independent of any record company. Between “Feast or Famine” (1994), “Send The Rain” (1996), “Taking Off Tomorrow” (1998) and “Live: Volume One” (2000) the group has sold upwards of 35,000 units on its own with no distribution deals. Instead, Jah Works formed its own parent company, Riddim House Productions, to handle the copy writing, production and ownership of the group's music.

----If you are judged by the company you keep, Jah Works is doing something right. The group has worked in the studio with some of reggae's most esteemed producers, including Scientist (Send the Rain) and Jim Fox (Taking Off Tomorrow). In concert, Jah Works has appeared with the legends of reggae past, present and future. The group has shared stages in New York City, Chicago, Philadelphia and Washington D.C. with Burning Spear, Third World, UB40, Israel Vibration, Culture, Toots and the Maytals, Capleton, Anthony B,Tanto Metro & Devonte, and Beenie Man just to name a few.

---- The group's respect for reggae music has also afforded them the opportunity to bring their music directly to the source. In January of 2000, Jah Works traveled to Jamaica and played three well-received shows in as many clubs along Negril's seven-mile strip of beach. Jamaican audiences could hardly believe their eyes and ears when this “Yankee” group took the stage and rocked locals and tourists alike, and now the trip to Jamaica has become an annual pilgrimage for Jah Works, keeping them in touch with what's current and hot in today's reggae scene. The group is now producing music in the Riddim House home studio, and will release their next album sometime in the Spring of 2001. And while Jah Works and Riddim House have thrived independently up to this point, they look forward with great anticipation to the day when their unique sound and approach propels them, and reggae music, to even greater exposure and success.

Product Description
Recorded at the Recher Theatre in Baltimore, Live Volume One captured the band on a powerful night in November 1999 and was on the streets by April of 2000. Demand for a live release had been high for a good while, and the Live disc holds several previously released crowd favorites like; "Moses", "Rebel", "Bible Study".

Live, Vol. 1,Jah Works

Live, Vol. 1

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.

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

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Live: The Way We Walk VOLUME TWO: THE LONGS
We Can't Dance
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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.

Average customer rating:

Best Garcia Live disc available!
Live At Keystone, Vol. 1 [LIVE]
you gotta have this on vinyl - get the cd

Live at Keystone, Vol. 1
Merl Saunders & Jerry Garcia
Manufacturer: Fantasy
ProductGroup: Music
Binding: Audio CD

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ASIN: B000000XD4
Release Date: 1990-10-25

Tracks:

Keepers
Positively 4th Street - David Grisman
The Harder They Come
It Takes A Lot To Laugh, It Takes A Train To Cry
Space
It's No Use
Merl's Tune

Customer Reviews:

Best Garcia Live disc available!.......2001-05-02

I have absolutely loved this album since first getting it as a record in the 70's. It is the (along with the 2 other Keystone recordings) Garcia album that I keep coming back to over and over. Jerry's singing is as soulful as on any recording he ever made. His gitar playing during this period is a bit more sparse than during later periods, but is as emotional as it gets. Although "Space" and "merls tune" are a bit lacking compared to the Dead's jams, all the other songs are classics. On "It's too late" (my personal favorite) Jerry makes his gitar sing. Merl's keyboards complement Garcia very well. He gives Jerry the room to shine shine shine. If you buy only one Garcia album this is it. (Vol 2 and Keystone Encores rate a close 2nd and 3rd.)

Live At Keystone, Vol. 1 [LIVE].......2000-08-10

Get this. Get all of the Keystone releases. John Kahn is a fantastic bassist who provides an interesting contrast to the Dead's bass player, Phil Lesh. His playing helps bring out plenty of sweet lyrical magic from Jerry's guitar.

you gotta have this on vinyl - get the cd.......2000-01-20

Positively & It Takes A Lot To Laugh are classics in themselves - everything else is candy and its way sweet candy - you wont be disappointed - get this CD

Average customer rating:

Huge disappointment
David Bromberg "How late you play til"
David Bromberg how late'll you play'til?
Good stuff!
One of the best and most timeless.

How Late'll Ya Play 'Til?, Vol. 1: Live
David Bromberg
Manufacturer: Fantasy
ProductGroup: Music
Binding: Audio CD

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ASIN: B000000XD7
Release Date: 1995-01-10

Tracks:

Sloppy Drunk
Bullfrog Blues
Sweet Home Chicago
Come On In My Kitchen
Will Not Be Your Fool
Such A Night
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Customer Reviews:

Huge disappointment.......2006-01-21

I first heard Bromberg's music on a friend's album, and was wowed by I Will Not Be Your Fool. Bought the cassette and listened to it for years. But now its started to show its age and I decided to buy the CD

Well, two CDs actually. They showed up yesterday and I eagerly opened them and gave a listen. Oh my. First of all, Fool has been edited, and the ending is not the same as the one on the cassette. Several lesser songs have been added so they could make this a 2 CD set. And there is something different about several of the songs, as if they substituted a different band for this recording (The cover says no, but it sounds quite different to me).

I'm giving it 3 stars because I still love many of the songs, and if you've never heard Bromberg, you'll probably enjoy. But I'm gonna trade these in at my used record store, and see if I can find a used copy of the cassette. In the meantime, buyer beware!

David Bromberg "How late you play til".......2005-08-02

I very much enjoy this CD and I especially enjoy David Bromberg.

David Bromberg how late'll you play'til?.......2004-10-02

I first heard this album(A vinyl type disc.)in 1981. It was stolen a short time after that and just kinda forgot about it untill I ran across it on Amazon.com. I loved it then and I love it now. Thank, You!

Good stuff!.......2004-07-22

Nobody's given this album five stars, so I will. Another reviewer wrote "timeless". That's a great summation. I first bought this album as a nineteen y/o kid in 1977. I was in the Navy and read a review in Playboy magazine. (Hey, what else does a sailor have to do?) Since then this album, both the Live and Studio studio sides, have been on my favorites list. 'Nough said.

One of the best and most timeless........2004-04-09

Great album. It makes you want to get up and get those happy feet going. I saw him at St. Bonaventure University in the late 70's. One of the best concerts I have ever seen.

Tracks:

Dim
Playboy In Outerspace
Trip With My Dad
Ask the Dust
Here Today, Gone Tomorrow
Feel Me Don't You
Moon
Drum Solo/Posters
Dizz Knee Land
Baby Really Loves Me
Dorina

Album Description

Recorded live on July 19, 2003 at the Galaxy Theater in Santa Ana, California. This CD represents the return of the original lineup of dada, the 1990s alt-rock trio.

Customer Reviews:

BUY THIS !!! You will smile : ).......2007-04-20

Been a huge Dada fan since Puzzle & Dizz Knee Land (which was originally titled Disneyland on the pressing. Disney sued due to the "violent" nature of the subject matter, and subsequent issuances were re-spelled to pacify Disney (now a promoter of some far,far worse content in thier media). IMHO this is the best trio, if not the best band to come out of the 90's. It is very sad that they did not meet with more financial success. But they have put out music that is unequalled in it's muscianship, and complexity & simplicity at the same time.
I saw them live 1 time, at Ziggy's in Winston-Salem NC in 2004. It was an amazing night I'll never forget. Michael Gurley was there playing with the flu, no less, what dedication! They sounded flawless.
This CD is a great capture of thier in concert ability.
Joie Calio's performance of "Moon" is alone worth more than the price of the CD.
I find myself at a loss for words to describe the talent this trio exhibits......

Captures the live experience.......2007-01-10

This CD aptly captures the live vibe of this talented band. As the band's first live album, the clarity of sound does justice to the complex musicianship and strong songwriting. The song selection is well balanced and shows off dada's considerable range and talent. A great live album from a brilliant live band.

Modern Sanatanaesque.......2005-02-04

I saw dada in concert a year ago and have been a dada fanatic ever since. This is the first album I bought (at the concert). I love this album, but didn't become a dada fanatic until I bought their 5 studio albums. You can get most of their albums here, but should check out their store at dadatheband.com since some are cheaper there (several of their albums are sold out there so you need to get them here). This album is best for someone who loves dada already or loves to watch Santana in concert, for example. With this album you get a nine minute version of Ask The Dust, a drum solo that moves into their song Posters and audience participation with their two anthem songs - Feel Me, Don't You #$@ and Here Today, Gone Tomorrow. You also get a wonderful live versions of Dizz Knee Land and A Trip With My Dad. These three musicians are phenomenal. If you don't own any dada music, start with Puzzle. You can get the used IRS version cheap, but they have a new release with bonus tracks that you'll want to pick up later (so you may want to start with those anyway). All of their albums, including their solo albums are fantastic. If you like 60s psychedelic music, then pick up How To Be Found. I think their albums dada and El Subliminoso have more of a Alternative/Modern Rock feel, and American Highway Flower has a slight southern rock feel. All of them are 90s alternative with superior musicianship and harmonies.

My Friend Joey C.......2004-06-17

Hello, I became a fan in 92 when a stereo store clerk demoed the new "DADA - Puzzle" CD for me. I went to see them open for STING in SEATTLE the following year and met the Band at a bar where they played again that night. They were even better in that dark, crappy little club! They were very approachable and signed autos & CDs. 5 years later my friend calls and says she just got hired as a nanny for this bass player from LA that just moved to Seattle. NO WAY! I got to come over and hang out with Joey Calio @ his house and we started Mountain Biking 5-6 times a mo. Well it's been 5 years since then and I am still a huge fan! I just went to see my friend in another dark, crappy Seattle Club. And I bought This CD plus the New Joey Calio & New DADA studio CDs, and Joey & the band signed them all! I play them all the time. GREAT guyz & Great Musicians! Buy all thier music! ;-)

Perfectly captured.......2004-06-16

This is a band that was sorely overlooked in part because of their record company's demise. They truly have it all.. songwritting, great vocals and excellent musicianship. Unfortunately I've never seen them live however this cd does a great job of capturing them fleshing out some of their best songs. It is a good introduction to this trio.

Average customer rating:

New listener
Mr.Malone Sings
Thanks Russell.....
An odd selection of material

Live at Jazz Standard, Vol. 1
Russell Malone
Manufacturer: Max Jazz Records
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music

General | Live Albums | Jazz | Styles | Music
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Here

ASIN: B000HWXRFG
Release Date: 2006-10-10

Tracks:

He Said What?
I Saw You Do It
Flirt
Blue Daniel
Mean Streak
Heartstrings
Malone Blues

Album Description

Russell Malone is one of the most commanding and versatile guitarists performing today. He can move from jazz to blues to gospel to pop and R&B without hesitation, a rare facility that has prompted some of the highest profile artists in the world to call upon him: Shirley Horn, Diana Krall, Aretha Franklin, Gladys Knight, Christina Aguilera, B.B. King, David Sanborn, Harry Connick, Jr. to name a few. On his new MAXJAZZ release, Live at Jazz Standard (Volume One), Malone captivates from the opener and displays why he is one of the most in-demand guitarists today.

Live at Jazz Standard features his working band of Martin Bejerano, piano; Tassili Bond, bass; and Johnathan Blake, drums. All arrangements are by Malone, who also produced the CD and wrote five of the seven tracks.

MaloneÂ's crisp original and opener, He Said What?, begins with a driving groove by Bejerano and shows MaloneÂ's clean tone and dazzling guitar work. The group follows with another Malone original titled I Saw You Do It. With Bejerano sitting this one out, Bond and Blake keep driving the rhythm while Malone displays his ability to fuse distinct musical elements into an instantly appealing tune. On the smooth original Flirt, Malone showcases the fluid and lyrical movement that has distinguished him from his peers. The Frank Rosolino standard, Blue Daniel, swings with great energy. BejeranoÂ's piano and BlakeÂ's drums push the rhythm before Bond lays down a nice solo. Mean Streak is a blistering track written by Malone that features impressive solos by Malone, Bejerano and Blake. The pace slows with a hauntingly powerful version of the Milt Jackson ballad Heartstrings. Malone was further compelled to Â"dig a little deeperÂ" that night by the presence of JacksonÂ's widow, Sandy, and daughter Chyrise. Malone and crew close with a bang on his blues-infused original Malone Blues. The composition clearly showcases MaloneÂ's extraordinary versatility.

Customer Reviews:

New listener.......2007-03-24

I bought this CD, after reading a review of some Jimmy Bruno reviews. The review I read actually knocked the Jimmy Bruno CD, which I didn't agree with, but I figured I'd give this one a shot. I really enjoy the CD, but I like Jimmy Bruno better...

Mr.Malone Sings.......2007-01-29

I'm So Glad I Bought This wonderful music.Mr. Malone is a fine musician and a
great guitarist (a great musician and a fine guitarist,too).He moves me with his great command of all the different genres he incorporates.Overnight He is my favourite Guitarist.I will buy more ( and more ) of his work . I just loved the blues at the end...Eric Clapton , Jimi Hendrix , Muddy Waters - all
rolled in to one ; Mr. Malone. Oh and don't forget all the Jazz you get for
your money.An Australian fan.

Thanks Russell............2006-11-26

This is my favorite disc he has released to date. Russell's writing shows even more maturity -- he continues to grow. Listen to "Flirt" if you don't believe me -- absolutely gorgeous. Also, his regular group is made up of 3 young up-and-coming New York monsters, who keep everything sounding fresh and current. Oh, and "Malone Blues" encompasses 100 years of blues guitar.

An odd selection of material.......2006-11-21

I've been following Malone for a few years, have the studio discs (including the stellar Benny Green duo albums), and seen him live twice. He's indescribably talented, but also is cursed by a tone and "sweetness" that some outsiders might judge as old-fashioned in an "elevator music" style. In his studio discs he makes up for this with brilliance in all styles, from ballads to dynamic funk. The live at Jazz Standard disc collects what seems to be his middle-of-the-road songs that don't show off alot of dynamism or chops (except the last track, which seems included only because of the novelty of him playing "dirty blues"). The songs are great, the playing is very tasteful, but I rarely try to turn on my non-jazz friends to a disc because it's "hella tasteful". Get "Bluebird" or "Sweet Georgia Peach" if you want amazing Malone.

Average customer rating:

Live at the BBC, Vol. 1
Lloyd Cole & the Commotions
Manufacturer: Umvd Import
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Rock | Styles | Music

General | Live Albums | Rock | Styles | Music

Pop Rock | Pop | Styles | Music

Adult Alternative | Pop | Styles | Music
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Live at the BBC, Vol. 2
Live at the BBC, Vol. 1
Time on Earth
Easy Tiger
Country Mouse City House

ASIN: B000QJLP3G
Release Date: 2007-08-06

Tracks:

Glory (Saturday Live Bbc Radio 1 Session 26/05/84)
Patience (Saturday Live Bbc Radio 1 Session 26/05/84)
Perfect Skin (Saturday Live Bbc Radio 1 Session 26/05/84)
Rattlesnakes (Richard Skinner Session Bbc Radio 1 05/07/84)
Speedboat (Richard Skinner Session Bbc Radio 1 05/07/84)
Forest Fire (Richard Skinner Session Bbc Radio 1 05/07/84)
Andy's Babies (Richard Skinner Session Bbc Radio 1 05/07/84)
Forest Fire (Bbc Session 1984)
Four Flights Up (Bbc Session 1984)
Down On Mission Street (Bbc Session 1984)
Charlotte Street (Bbc Session 1984)
Sweetness (Bbc In Concert Hammersmith Palais 13/12/1984)
Perfect (Bbc In Concert Hammersmith Palais 13/12/1984)
Down On Mission Street (Bbc In Concert Hammersmith Palais 13/12/1984)
2cv (Bbc In Concert Hammersmith Palais 13/12/1984)
Four Flights Up (Bbc In Concert Hammersmith Palais 13/12/1984)
Rattlesnakes (Bbc In Concert Hammersmith Palais 13/12/1984)
Speedboat (Bbc In Concert Hammersmith Palais 13/12/1984)
Forest Fire (Richard Skinner Session Bbc Radio 1 05/07/84)

Album Description

First volume of rare BBC Radio recordings of Lloyd Cole & The Commotions, the Scottish '80s Rock/Pop outfit who could have been the next Smiths if only Morrissey and Co. weren't around at the same time! Lloyd's suave, cool and collected vocals and intelligent and personal lyrics plus a great band behind him inevitably brought comparisons to The Smiths, but The Commotions were far from copyists...they were the real deal. This volume covers the band's heavy promotion of their first album Rattlesnakes in 1984 and features classic Pop nuggets like 'Perfect Skin', 'Four Flights Up', 'Forest Fire', 'Rattlesnakes' and many more. Universal. 2007.

Album Details

2007 Release of the First of Three Volumes Focusing on Lloyd Cole's Storied Career and his Visits to BBC Studios to Produce Excellent Alternate Recordings of his Songs. Cole and the Commotions' Debut Album "Rattlesnakes" (1984) Rightly Won the Singer-songwriter a Coveted Place in the Nme's Top 100 Albums of all Time. It Established Him as One of the Most Articulate and Acute Songwriters of the Post-punk Era. This Volume Essentially Presents Alternative Perspective in Ample Supply of the "Rattlesnakes" Era Through Sessions and Concerts Recorded for the BBC to Promote the Album with BBC Studio Sessions and Live Recordings at the Hammersmith Palais in 1984, of One of their Best Performances Ever. The Accompanying Booklet Includes Cole's Personally Penned Sleeve Notes of his Recollections of the Recording Sessions.

Reel Chill: The Cinematic Chillout Album

Average customer rating:

"cinema's main stay themes prevail ~ City of Prague"

Reel Chill: The Cinematic Chillout Album

Manufacturer: Silva America
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

General | Vocal Pop | Pop | Styles | Music
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ASIN: B0002IQGT4
Release Date: 2004-08-10

Tracks:

Sarabande [From Barry Lyndon]
Main Theme [From Midnight Cowboy]
Promenade Sentimentale [From Dive] - Mark Ayres
May It Be [From the Lord of the Rings: The Fellowship of the]
Women of Ireland [From Barry Lyndon]
Adagio for Strings & Organ [From Gallipoli [
Romeo/Love Theme [From Romeo & Juliet)
Balcony Scene [From Romeo + Juliet]
Main Theme [From Chariots of Fire] - Mark Ayres
Main Theme [From Bilitis] - Mark Ayres
Main Theme [From Merry Christmas Mr. Lawrence] - Mark Ayres
Main Theme [From Cinema Paradiso]
Main Theme [From Once Upon A Time in the West]
Deborah's Theme [From Once Upon A Time in America]
Suite: The Mission/Gabriel's Oboe/On Earth as It Is in Heaven ... - City of Prague Philharmonic Orchestra, Crouch End Festival Chorus

Tracks:

Suite: Mountains and Sunsets/The Wedding/You Only Live Twice [From You
Heart Asks Pleasure First [From The Piano]
Agnus Dei [From Platoon] - Crouch End Festival Chorus
Vide Cor Meum [From Hannibal]
Adagietto from Symphony No. 5 [From DeAth in Venice]
Any Other Name/Dead Already [from American Beauty] - Rick Clark,
Into the West [From the Lord of the Rings: Return of the King]
Where Dreams Are Made [From Artificial Intelligence]
Main Theme [From Somewhere in Time]
We Have All the Time in the World [From on Her Majesty's Secret ...]
Electronic Battlefield [From Patriot Games]
Now We Are Free [From Gladiator]
Intermezzo from Cavalleria Rusticana [From Raging Bull]
Cavatina [From the DeErhunter]
Main Theme [From Out of Africa]

Customer Reviews:

"cinema's main stay themes prevail ~ City of Prague".......2004-08-15

What a crowning achievement to bring "Reel Chill:Cinematic Chillout Album", released by Silva America and featuring The City of Prague Philharmonic Orchestra and the Crouch End Festival Chorus ~ conductors are Mark Ayres, Paul Bateman, Rick Clark, James Fitzpatrick, Nic Raine and David Temple director of the chorus ~ one can only expect the highest quality of performances and quench the thirst of all "film-score-buffs".

Sit back and unleash the first disc with composers ~ Albinoni, Craig Armstrong, John Barry, Vladimir Cosma, Enya & Nicky Ryan, Handel, Francis Lai, Ennio Morricone, Sean O'Riorda, Nino Rota, Ryvichi Sakamoto and Vangelis ~ taking each film score cue "BILITIS", "CHARIOTS OF FIRE", "CINEMA PARADISO", "DIVA", "GALLIPOLI", "THE LORD OF THE RINGS:THE FELLOWSHIP OF THE RING", "BARRY LYNDON", "MERRY CHRISTMAS MR. LAWRENCE", "MIDNIGHT COWBOY", "THE MISSION", "ONCE UPON A TIME IN AMERICA", "ONCE UPON A TIME IN THE WEST", "ROMEO & JULIET" and "ROMEO + JULIET", with arrangements that soar and then simmer into pure meditation of grandeur ~ classic film music prevails, as orchestration comes to the surface with pure originality ~ one masterpiece after another is long last presented as it should have been, is cause for celebration ~ each cue is a distinctive gift for striking modernism, touching on the transition of the period in this planets history.

Second disc is waiting in the wings are composers ~ Samuel Barber, John Barry, Patrick Cassidy, James Horner, Mahler, Mascagni, Stanley Myers, Thomas Newman, Michael Nyman, Howard Shore, John Williams and Hans Zimmer/Lisa Gerrard ~ take a musical ride with "AMERICAN BEAUTY", "A.I. ARTIFICAL INTELLIGENCE", "DEATH IN VENICE", "DEER HUNTER", "GLADIATOR", "HANNIBAL", "THE LORD OF THE RINGS:RETURN OF THE KING", "ON HER MAJESTY'S SECRET SERVICE", "OUT OF AFRICA", "PATRIOT GAMES", "THE PIANO", "PLATOON", "RAGING BULL", "SOMEWHERE IN TIME" and "YOU ONLY LIVE TWICE" ~ our composers with passion and skill for exploring human emotions, coupled with a unique gift for striking exotic orchestral colors, make this with all it's splendor unforgettable ~ themes that ring with familiarity as each film comes to mind through music.

Silva America gives the collector a treasure of thirty film cues that any "film-score-buff" would die for ~ in the past James Fitzpatrick (producer), Reynold da Silva (executive producer), mastered by Rick Clark and David Stoner (release co-ordinator) have given us compilation with such expertise and this one is no exception ~ keep up the outstanding limited editions and deluxe package releases, with your signature tidbits for all film music fans that's in all of us...gotta love it!

Total Time: 2-CD-Set ~ Silva America 1161 ~ (8/10/2004)

Live Phish Vol. 1: 12/14/95, Broome County Arena, Binghamton, New York

Average customer rating:

C[L] X (1/2 p V^2) X S > C[D] X (1/2 p V^2) X A
........don't buy this junk........
A Great Way to Start Out the Live Phish Collection (as i did)
Live 1 good start of the "Live" series
great way to start the 20+album series

Live Phish Vol. 1: 12/14/95, Broome County Arena, Binghamton, New York
Phish
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Rock | Styles | Music

Rock Jam Bands | Jam Bands | Rock | Styles | Music

Jam Bands | Live Albums | Rock | Styles | Music

General | Live Albums | Rock | Styles | Music

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Live Phish Vol. 2: 7/16/94, Sugarbush Summerstage, North Fayston, Vermont
Live Phish Vol. 3: 9/14/00, Darien Lake Performing Arts Center, Darien Center, New York
Live Phish Vol. 4: 6/14/00, Drum Logos, Fukuoka, Japan
Live Phish Vol. 7: 8/14/93, World Music Theatre, Tinley Park, Illinois
Live Phish Vol. 12: 8/13/96, Deer Creek Music Center, Noblesville, Indiana

ASIN: B00005O6DX
Release Date: 2001-09-18

Tracks:

Suzy Greenberg
Llama
Horn
Foam
Makisupa Policeman
Split Open And Melt
Tela
Taste
My Sweet One
Frankenstein

Tracks:

The Curtain
Tweezer
Timber
Tweezer
Keyboard Army
Halley's Comet
NICU
Slave To The Traffic Light
Bold As Love

Customer Reviews:

C[L] X (1/2 p V^2) X S > C[D] X (1/2 p V^2) X A.......2006-06-06

What a great show! I can see why the boys thought this date worthy of the first release in this series. The energy is high and the jams are great. It's one of those nights, you can hear it clearly, the band was getting it, hitting on all cylinders. But more than that, the crowd was great. They were listening and sending the energy back. The crowd knew they were getting a special show, and they were returning the love. The band knew that the crowd knew. The crowd knew the band knew that crowd knew, and so on, a positive feedback loop that spirals faster and faster, accelerating, torqued and twisted, achieving liftoff. You can tell it was one of those glorious nights where the trippers in the crowd outnumbered the drunks.

The ten-minute jam at the end of Split Open and Melt (one of the rare Phish tunes that could actually be described as sexy) is phenomenal. Everyone is jamming hard but also they are jamming together. Frankenstein is another great high energy instrumental to close out the first set. By the way, I loved it that Phish would give you a high-powered first set. Sometimes the first set would be the more intense set. Contrast that to the Grateful Dead who, at least by the time I was on the scene, had to sandbag through the first set because of limitations of stamina, effort, or both. The second set contains more intense jamming, including a great Tweezer > Timber > Tweezer, keyboard army (a good dose of Page on the keybaord is a good sign, he's far from the most charismatic of the band but he may well be the most talented musician), and then a nice jam on the infectious doo-wop Halley's Comet. Some of these releases from the live series seemed to have been picked for release because they played a lot of their popular tunes, or they are historic shows, such as the legendary Halloween shows or Live Phish Volume Four with some nice ambient jamming from their Japan tour, but this first volume is just an all-around fun, high energy show. Makes for good driving music.

........don't buy this junk...............2005-12-14

this cd is the awfullest thing i ever saw...this guy, tray anastasimo is harry like a freakin gorilla...sucks on a guitar. they play songs that are wierd, like on drugs

A Great Way to Start Out the Live Phish Collection (as i did).......2005-07-30

This show in New York is a special one with some rare songs to see them play live such as horn, makisupa policeman, tela, the curtain, and keyboard army.. also, some kick*** covers such as frankenstein, halley's comet and bold as love....

Highlights from Set 1: (not one song in set one goes into another song, a huge rarity) this show starts out with a rockin suzy greenburg, with an awesome page solo on it, followed by a great llama that keeps the high energy flowin, also a differently played taste, but the best part of this set is the 10:43 foam!! it kicks some a**

Set 2: starts out with a chess move that doesn't happen for whatever reason then goes right into a nice stretch of the curtain, tweezer> timber> tweezer> keyboard army.. both tweezer's are SICK and are pretty differernt from eachother.. after keyboard army, another awesome stretch starts with an alomst 12 minute halley's comet> a 9 minute NICU> an 11:25 slave.. encore is a sick bold as love, better than any other bold as love i have heard

the second set alone is worth the price of this live phish show!! this show is a good one to get into with the variety of covers, rarities, and solos

a definite must have if colleting all the live phish shows

Live 1 good start of the "Live" series.......2005-04-12

With Phish calling it quits last year, we make do with the everlasting legacy of the (so far) 20 "Live" recordings (there are of course many more live releases from Phish, both official ones and from the band's website).

On "Live 01" (2 CDs, 19 tracks, 145 min.), Set 1 starts off with an immediately urgent Suzy Greenberg, and the high energy continues on Llama. The highlights of Set 1, though, come from Foam and Split Open, both of which bookend a new song Makisupa Policeman, a delightful light-reggae take-off. Set 2, as is often the case, outshines Set 1. The Curtain is as prog-rock as Phish will ever get (seriously, didn't it make you think you were listening to Yes?). Tweezer>Timber>Tweezer is awseome, but things get better yet with Hailey's Comet>NICU, showcasing the band free-flowing jamming. And isn't Slave to the Traffic Light a curious but daring way to close the set? A cover of Jimi Hendrix' Bold as Love is the encore. Phish is well known for doing covers, but this one is a bit tame for my taste.

That said, Live 1, recorded at the end of their (almost year-long) 1995 tour shows a band that's playing tight and with great confidence. A nice release to kick of the "Live" series. For other great "Live" releases, check out Live 18 and 20, two of my very favorites.

great way to start the 20+album series.......2003-12-15

this was my second live phish album (no. 10 was my first) and it's an overall solid show. although i do enjoy the shows from 93 that "crazy phans" wished still occurred, to me the phish sound was so much more refined in later 94 and in 95. the dissonant jamming and stuff is still there, but a lot of the playing between band members is much tighter. my personal favorites on this album are a great take on the curtain, tweezer>timber>tweezer because its ultra funky and bluesy, and another classic set of segued tunes in halley's comet>nicu>slave to the traffic light...all songs i don't really find on other tapes that i have. in the first set there's a nice tela and an energetic frankenstein. i wouldn't reccomend this as an introduction to live phish (no. 10 might be more friendly) but it certainly has some tight playing on it. i'd give it 4.5 if i could.