Indie Rock Live Music

OMG, you gotta buy this and if you have the opportunity go see them live, do it!
This CD is great and all but doesn't do them justice. Their music is very classically inspired both in construction a dynamics and it shows up alot more live. The CD limits the dynamic range and has less tempo change and less intensity at the high points than the show I saw. But still, It is a very enjoyable record. BUY IT! I download a lot of music that I casually listen too but I wouldn't feel right not paying for this.

FYI the music posted by Amazon under this album is a different band as of the date of this post. They may have fixed the problem by now. I love the actual album but the music on here sucks.

I cannot recommend this album enough. I am so happy there are bands like this that deeply care about the craft of their music. There's not a dull moment throughout. It's one of those albums you could play from beginning to end and enjoy/get lost in every moment...and then do it all over again. Musically, it's incredibly dense; they incorporate a variety of instruments successfully and the music never feels rushed or hastily put together. When I listen to it, I get the sense of a calm, mindful thought process behind the writing of each song.

I am hesitant to list these tracks because all the songs are amazing and I don't want to make it sound like you can just listen to these songs and skip the rest, but here are probably my favorite 3:

End of the Year
Matador
It Was The Night

It's too bad that "Flight of the Flynns" and "Precious Air" didn't make it on the album. The songs are available on their EP, though. Also, I highly recommend the album, "Flight of the Flynns" under their former band name Kunek. I wish this band all the best. After writing an album this good (and being genuine, kind people on top of it), they deserve it.

If there were a need for a "new Leonard Cohen", this band would be a great candidate. And gorgeous sounding arrangements.

Let me preface by saying that I saw Other Lives in concert at the Mercury Lounge in New York last night. It's the fourth time that I've seen them live and it was by far, their best effort yet. The band had just completely come together rhythmically and is creating music that I just don't hear from anyone else. Anyway, if you get a chance, it's definitely worth going out of your way to catch these guys on tour. I'm telling you, one day, you won't be able to get this close to such phenomenal artists when they are playing stadiums.

Anyway, back to the review. I had been listening to a few of the tracks on their demo release a few months back. The texture and layering of their music is simply superb. I love the way the Jesse's voice is so aptly matched by cello and piano. It's dynamic. The drums don't just pulse out a tempo; they actually contribute to the sonic fervor or passion of the particular song. I really can't say that there's a track on here that I don't completely love, but "End of the Year" is an absolutely stunner and may be my favorite if I have to choose. It's almost 4 songs in one with stunning pace to begin, fantastic chord changes in the middle and ethereal guitar taking over towards the climax. As I mentioned in my Kunek review, there are very few times when I've ever listened to a band's album and just gotten it right away. But what makes this album worthwhile is that it maintains my interest each time I listen to it (which is pretty damn regularly as I now put these guys up there with Pink Floyd, Yes, and Radiohead in terms of musicality and album thematics). To me, that's the sign of a dynamic and talented band that is doing more than just "popping" out tracks. They are creating complex rock/folk/whatever tunes that just stay with you. Thumbs up guys!

I never heard of this band before someone got me this album, but it is easily one of the best that I own. If you like Radiohead's OK Computer, Coldplay, or well structured, melodic songs this is a must have album. In my mind it easily could be album of the year. I am shocked that the TV shows have not yet picked it up for every song is a soundtrack. However, besides the wonderful construction of each song, the recording quality is simply fantastic. I am amazed that even in this age of communication a great album like this has yet to see the mass recognition that it deserves.

The album is not a cheerful one, but not as dour as others have constructed, such as The Hurting by Tears for Fears. The words seem to fit the music quite well, which only makes this a good album a great one. Hard to play just one song.

Similar to the relic 'Hawklords Live' lp.Opens with a ripping version of "Death Trap",then leading into the rarely heard "Micro Man".Then there's an excellent mix of "Spirit Of The Age" and "Urban Guerrilla".I noticed that Bob Clavert sounds pretty lively through out THIS particular performance.There's also another version of "Freefall" and a truly astounding take of "Uncle Sam's On Mars".Love it!!Another top grade live recording for all you Hawknuts out there,like me.

I have liked this band since they came out with the LP of "Wasn't Tomorrow Wonderful?". Great lyrics and arrangements. And I think Patty Donahue gave it all the perfect attitude. The only thing I'm not totally keen on with this particular CD is that the sound quality is a bit one-dimensional. Otherwise, its fun to hear these songs done in a live format.

This is a bittersweet album: great stuff, but it showcases Patty Donahue...and she is no longer with us.

This is the only album that features some great Waitress singles: Quit, Go On, and It's My Car.

It also reinforces the legend that the band was the tightest of the New Age groups. Twenty-five year old tapes from a bar sound great.

Funny, cynical, wise......Great stuff.

I was at this concert at MY FATHER'S PLACE when this was recorded. It is such a happy memory. We were little Waitresses freaks. We saw them all over Long Island and Manhattan. They were so cutting edge at the time and no one was cooler than the late fantastic Patty Donahue. Makes my middle-aged and yet still youthful face smile when THE WAITRESSES are blasting on my MP3 when my 40 something years body runs. With Patty Donahue dying a few years back no chance of a reunion for THE WAITRESSES, but always fond memories and a special place for that hip chick in my heart.

Many people have blown off this early 80s group as a silly novelty band. But I regard them as a truly talented group of musicians who created some of the most clever and infectious pop music ever recorded. Their fun, upbeat songs will bring a smile to your face and a spring in your step. The sound quality of this concert isn't quite as crisp as I would like, but considering it was recorded over 20 years ago it's not bad. I especially recommend this CD paired up with the group's "20th Century Masters" greatest hits studio compilation. The song "P. Strut," which isn't on the "20th Century Masters" disc is worth the price of this CD in itself.

Have never been all that keen about this one-hit wonder,but I did think this archive performance from the new wavers was rather very well produced.Was recorded at My Father's Place in Long Island on February 13,1982.Didn't realize they'd only put out two 'actual' albums(not counting compilations).Tunes I thought were pretty decent were "Wise Up","I Know What Boys Like"(today,this cut could be parodied in SO many ways),"It's My Car" and "Heat Night".Line-up:Patty Donahue-vocals(R.I.P.),Chris Butler-guitar,Dave Hofstra-bass,Dan Klayman-organ and Billy Ficca-drums.Should appeal to fans of the B-52's,Romeo Void,Berlin,Go Go's and Tony Basil.

this album is pretty crazy i have been dying forn a live black metal cd here it is

You know ive never seen the big deal with mayhem.Sure I respect what they did for the black metal scene and ive even met them and they are decent guys.But musically its well....boring.I heard this album and thought it was boring,then i seen them live and it just confirmed my theory that they are boring.I have no idea what some of the tracks would have sounded like had the 2 "undead" members performed them but it had to be better then this.It begins with a pretty basic drum pattern courtesy of hellhammer then into deathcrush a few minutes later some more random yelling,some attempts at making witty anti christian comments in between songs and yet some more random yelling.but where was this "evilness" they are all about.It may be on your cd but i dont think its on my copy.

This meteor of a live album starts off its heavy but calm rain of terror with the drum attack of "Silvester Anfang." I used to dislike the song until I heard it performed live (it kind of sucks on the "Deathcrush" album). After this tribal and catchy track is done with, the real chaos begins with the classic song "Deathcrush." Blasphemer is more on track with tempo on this album than Euronymous was on Live in Leipzig and doesn't leave any room for (obvious, anyways) mess-ups. As it's been stated before, the drums can be dominant of the music (Fall of Seraphs is a good example of this) and drown out the other instruments.

The solo in Chainsaw Gutsf*** can't be heard at all due to the drums drowning it out. Even though the solo isn't that great, I happen to like it...and the drums ruin it. Necrobutcher's bass isn't much different - still heavily distorted, but much pushier and stand out on this album. You can hear it much better than on Live in Leipzig (probably due to the fact that the production isn't as bad), filling in the gaps and gluing the drums and guitar together. Another issue is Maniac's vocals.

Of course you'll hear people complaining that his vocals suck and are indecipherable, but who the Hell cares? Maniac is perfect for Mayhem because black metal isn't supposed to sound pretty. These growls and screams are the kind you'd expect to hear from a hospital patient who is screaming when they're about to vomit - emetic and sickening. Maniac deals out the guttural and stomach churning vocals with ease - not a bad replacement for Dead. We also get to hear a guest appearance from Attila on track nine, singing along with Maniac using his deep and monstrous vocals.

Hellhammer is an excellent drummer and this album would be a good choice if you wanted to go about defining his skill on the kit. The drums are dominant in some songs, as I stated earlier, but not overly so that it`s unbearable. The drums are part of what really makes this album a meteor of black metal terror - they crush all in their path with blistering double bass, crackling cymbals, and hammer smashing snare. This album is done with better production than any previous live albums...but I really have no feelings about that; I don't consider it to improve the sound, nor do I think it takes away from it. The improved production basically just makes it more tolerable for people who hate bad production...but if you like both ends of the spectrum with production I'm sure you won't really be bothered.

It's not as good as Live in Leipzig, but it's close behind. If you're a new fan go for Live in Leipzig first, wait a little while, then give this album a try (if you dig live albums, that is). Definitely a worthy purchase.

The new Mayhem is quite powerful on this live album. I was always into Dead's voice but after a while I got used to Maniac's warblings and growling, he sounds like a demon and it fits the music just fine. But the highlight is by far Hellhammer's drumming, he's so fast and he uses the bass drums (pedals) to perfection on such songs as Deathcrush and Ancient Skin. Necrobutcher's bass sound is almost non-existent because it's drowned out by either Hellhammer's drumming, Maniac's loud voice or Blasphemer's guitar, sometimes all of them at the same time. They deliver the songs with so much anger and with such ferocity that they seem even hungrier now than when they had Dead & Euronymous back in their halcyon days. The new Mayhem is very good on this live album and on Wolf's Lair Abyss as well. Those two recordings will make you realize what made them the best black metal band and most influential in the first place. By the way I have to say that Hellhammer has got to be the best drummer for any type of metal (thrash, black, heavy, grindcore, speed) music. He's just amazing. This is one angry and powerful live cd.

MayheM, often considered as the creators of black metal, have recorded this incredibly brutal live album, and let me tell you that before listening to this, you got to be ready for extremely violent music. There are 12 songs, beginning with "Silvester Anfang", a very drum-oriented intro, and following with "Deathcrush" and "Fall of Seraphs", two very good songs. Then comes "Carnage", which is a little less interesting, but then the album goes on good until the ultimate song of the album, my personal favorite MayheM song, which features incredible drumming from their drummer, Hellhammer, who hits his drums so fast you won't be able to hear every hit...he's really incredible. The song itself is really based on the drums, and I think it's the most violent thing I've heard, really, you'll feel as if you had a machine gun next to your ears. MayheM, who's topic is and was always war, really creates an icon to its thesis with that song. It's like being in the middle of a war, really, it's incredible. I love that song. It's 6 minutes of filthy, pure violence with non-stop machinegun-like drums. The sound is good, though it's a live album, there are no probems with it. I also liked the appearance of an earlier MayheM song, Chainsaw Gutsf**k, which the singer dedicates to the pope, that is slower than the other songs, but just as good...

Overall, this is pure violence incarnated in music, but for those who like it, like me, you won't feel like you've wasted your money.

This is a nice selection of songs from The Thermals. Most of my favorites are on here and the recording is very good for a live show. For the price, you get a lot of great music. I'm only giving it 4 stars instead of my normal 5 star rating on the regular Thermals albums because I feel the albums have a more energetic sound that isn't captured on this recording.

Having been to a number of Human Drama's shows, I am amazed at how well this album brings across the raw depth and emotion of Human Drama's performance. Every song on this album is phenomenal and burns with energy. Listeners should take special note of the unflinching and blistering cover of the Velvet Underground's "Heroin." If you're a fan of Human Drama, you need this album. If you've never heard of them, this CD is a great place to start.

This is truly a great live performance. The vocals, the emotions, the solos, all great. Once you hear these songs performed you'll find something missing in the studio versions, which are also very good but lack the intensity and raw emotion that Human Drama is known for when performing live.

Mindless dribble with feeble musical abilities targeted to those equally feeble minded. HEY SUAVE LEARN TO PLAY GUITAR....what are you missing fingers of just an underachiever??? Bland melodrama... if your looking for virtuosity keep looking. Compelation neither made me think or challenge my intellect. Some Like it some don't, I don't.

Word to your mutha

It's not very often that I love every song on a CD, but that's the case here. It is especially amazing that this entire live album was recorded (I think) at one show, because every song is performed perfectly. From the beauty of "A Million Years" to the intensity of "Heroin", every emotion is conveyed. Very few artists can perform this well; I doubt I'll ever find a better live album.

Even if you're not a big fan of Human Drama you will enjoy this album. There is something about hearing this band live that captivates. I listen to this album over and over, and usually prefer it over the other Human Drama albums. "This Forgotten Love" cannot be heard with such passion on any other HD album. And the emotion Johnny puts into all the tracks such as "I Bleed For You" and "There is Only You," are unsurrpassed by any other live performance. A must have for any Human Drama fan!

This is a great live performance of selections from the Nude album (1981) and some older material that was recorded by the BBC in 1981. Camel eventually released this performance (on their own label) in 1997 as one of the "official Camel Bootlegs" series. The lineup includes the I Can See Your House from Here lineup of Andrew Latimer (electric and acoustic guitars; flute; and vocals), Andy Ward (drums), Jan Schelhaas (keyboards and synthesizers), Kit Watkins (keyboards, synthesizers and flute) and Colin Bass (vocals and bass guitar).

Much of the Nude album is represented here along with Never Let Go (from the 1973 debut), Song within a Song and Lunar Sea (both from Moonmadness, 1976). The performances of the three older pieces by the band members are quite nice and the material from Nude is generally performed well (the synth solos are outstanding). I have to say that the difference between the Nude material and the older songs is noticeable but not drastically so. Overall, the Nude album is really not bad at all and presents a nice mixture of prog/pop, atmospheric passages and dense ensemble work. I have to say one of my favorite tracks from the Nude material employs two percussionists, flutes and low, long-held drones on a polyphonic synthesizer - the effect is very earthy sounding in a Jade Warrior sort of way.

Although the band is in top form, I really have to single Andy Ward out. Although Andy was suffering a great deal emotionally (bipolar disorder), his drumming here is probably some of the finest that I have heard from him. Andy Latimer and Kit Watkins also turn in some superb performances as well. Vocals are only present on a few tunes and although never their strong suit, they work quite well and are not at all distracting. Synthesizers are used a lot on the album and fortunately the tone colors are fairly organic - I heard a lot of String synthesizer, mini-moog and what sounded like an ARP Pro Soloist. Unfortunately, the mellotron was not used on Never Let Go and Pete Barden's original mellotron part was replaced with a string synthesizer. Although newer (at the time) synths are used including the Yamaha CS80, the tones they select are great.

The sound quality of this album is excellent and I could not ask for more from a live album. The editors generally did an excellent job of filtering out noise and audience participation can only be heard in-between tracks. The CD packaging is OK and there are some photos of the band printed on the liner notes along with lyrics (where applicable).

I bought this album (very cheaply) because I was reluctant to shell out the fairly high price that Nude is commanding. Based on what I have read, the live performances on this recording enhance the Nude material over the original performances somewhat. In that two great keyboardists were present on this live album (Duncan Mackay played on the original) this could only be the case. Recommended to Camel fans.

This album is more than just another version of Nude plus three familiar songs. The renditions of the three non-Nude (clothed?) songs are powerful and energetic, and the Nude selections are technically spot on without sounding like carbon copies of the studio versions. Much of this is due to Kit watkins distinctive yet complementary keyboards and Andy Ward's all-over-the-place drumming. You can't tell that this was a dark period in Ward's life at the time. The Nude tracks that were not on this CD were not sorely missed. Lies can be found on two other live albums, and the other tracks were mostly filler anyway.

Prog live recordings seldom improve upon the studio material of which they cover. This is not true with this recording. In fact it is far superior to Nude, the studio album, which is the primary focus of this disc. Nude often sounded flat, failing to capture the magic and energy of earlier recordings. Some of that was perhaps due to yet another shift in personnel. The flat keyboard work of Duncan McKay from the studio disc is replaced by the crafty hands of Kit Watkins (Happy The Man) and the more than capable Jan Schelhaas (Caravan). They are a vast improvement. Andy Ward and Andy Latimer sound much more energized and inspired by the keyboard duo than they did on the studio version. The sound quality is also suprisingly good. Only Latimer's vocals could be improved upon but they are still of an acceptable standard. This disc is highly recommended...Simon

I hesitated to buy this because I didn't like their 82's live. But this one is way better. I wish this had more tracks (whole show Andrew...). And I re-realized that Andy Ward has been one of my favorite Drummer. It was sad for us to see original members have left the band one by one but before that they recorded many great musics! It's no wonder Camel is sitting closest to the UK in my band list. I love this band. How many bands do you know who can make our heart clean?

I recommend this album not so much as a powerful live document as because of the strong song selection on it. This includes live versions of 3/4 of the "Nude" album -- my favorite Camel album after "The Snow Goose" -- and the studio album is out of print. Only "Lies" and three short tracks are missing from "Nude" (if you can't live without a live version of "Lies", look for the 1984 "Pressure Points" album). I tried listening to the studio and live versions back to back, and only "City Life" and "Changing Places" have any more intensity than the originals. But all the best songs are here and played well: "Docks", "Beached", "Captured", and "The Last Farewell". "Changing Places" is a nice change-of-pace, with bassist Colin Bass assisting Andy Ward on drums, while guitarist Andrew Latimer and keyboardist Kit Watkins play a dual flute lead. Overall, the album has good sound, though the bottom end of Ward's drum kit tends to get lost in the mix. Along with the "Nude" material, there are three songs that previously appeared live on "A Live Record". "Never Let Go" (a highlight of "A Live Record") and "Song Within a Song" don't come off as well here, but I prefer this version of "Lunar Sea". If you already have the "Nude" album, you don't really need this CD, but I strongly recommend it to those who DON'T have the studio album, as this album includes some of Camel's best material.

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

This is the first recording of John Stewart I have gotten hold of and I think it is over all a great recording. Some of the songs such as "Strange rivers," and "The Man Who Would be King" are somewhat difficult to understand in that I have trouble figuring out what they are talking about. However, he has a great sense of humor and his inclusion of the audience in songs like, "Daydream Believer," "Where Have All the Flowers gone," and "California Bloodlines" make for an extremely positive recording. If you have not listened to any of his recordings in the past, this is a good place to start. If you already listen to some of his recordings and you want to add to your collection, this is an esential recording.