![on stage [limited edition] [import]](http://images.amazon.com/images/P/B00005S771.01.TZZZZZZZ.jpg)
| 1. Kill the King |
| 2. Medley: Man on the Silver Mountain/Blues/Starstruck |
| 3. Catch the Rainbow |
| 4. Mistreated |
| 5. Sixteenth Century Greensleeves |
| 6. Still I'm Sad |
Editorial Reviews
Product Description
Japanese reissue of 1977 album, packaged in a limited edition miniature LP sleeve.
joy she had given me.
Loggins and Messina celebrate love and friendship with their gloriuous use of diverse instrumentation (mandolin, flutes, violins and fiddles, percussions, horns); powerful lyrics; harmonies (w/Al Garth and Lou Simms); observations of relationships and American life that with send your spirit soaring. Pay special attention to "Golden Ribbons" which is an ode to the lost soldiers of Vietnam, that is as poignant and meaningful today.
"On Stage" is one of the best live Rock-n-Roll albums ever recorded which still resonates today. If you want to see what two master singers/songwriters/performers do with such beauty and grace, RUN, don't walk to the checkout box and click, BY NOW!
Messina is the junior partner, but he's far from being the inconsequential Oates to Kenny Loggins' Hall. Messina's pop country background with Poco and his production talents give this material a lot of its texture. His voice is pleasant but rather nondescript; he is really a born harmony singer. He is the perfect complement to Loggins.
This volume of the series is unique, in the fact that this is the only installment in the whole series featuring one band, on one stage, recorded on one particular day. All the others feature various line-ups at different stages of Zappa's career. So you get to hear the momentum of the show (some say it's the best of two separate performances in one day; possible, given FZ's penchant for editing the best segments of various perfomances together).
The Mothers play Zappa's live standards such as Apostrophe's "Stinkfoot" with such ease, they make it sound like it's a mind-numbingly simple song to play. Not his most difficult, by any standard, but they show what true PROFESSIONALS they really were, because songs like "Stinkfoot" sound easy, and so do incredibly difficult arrangements such as "Echidna's Arf." Don't let the silly titles fool you; songs named "Tush, Tush, Tush," "Stinkfoot," "Cheepnis," and "Building A Girl," are only the names these selections have. They are incredibly intricate, complex arrangements that most bands, then and now, could not approach.
One priceless bit of FZ history is included here, the reason Zappa's band included "Whippin' Post" in their repertoire after this tour. Someone in the audience called out "Whippin' Post!" The band at this juncture didn't know this song, so Zappa toyed with the heckler, asking him to sing it, and cut him off after about one second. Some people really step into it when they don't know who they are messing with. This exchange is at the beginning of "Montana," and FZ changed the lyrics on the spot, to make references to the heckler's request for "Whippin' Post," and the rest is history. To hear the conviction that he covered this with, check out the last track on 1984's "Them Or Us." It's the 1984 touring band playing "Whippin' Post," and even though nobody can do it like The Allman Brothers Band, the arrangements played by Zappa's touring band at the time, are a phenomenal job. There is video of this song on "Does Humor Belong In Music?," the 1985 video, and it has some changes in the middle, but it all began with the guy in the audience at Helsinki, way back in 1974.
In all, this is the most consistent volume, as I have already said, because this is all one band, on one stage, on one day. It's many people's favorite, and I can clearly see why.
- The "Inca Roads" solo is beautifully melodic in a "conventional" sense and a perfect example of improvisational composition.
- "Cheepnis" is the single best song, with an incredibly funky middle section.
- George Duke has a great voice and, like everyone else in the band, is obviously totally committed to the music. Even better, everyone (including Frank) sounds like they're having fun. Check out the articles on the 'net from Finnish correpsondents - it's clear that, despite the hassle of touring (and towels), Helinski turned out to be a great experience.
- Poor Suzi Quattro.
- There are mistakes, or better, accidents. That may sound bad, but for me those can be the best thing about live performance. Best examples - Ruth can't keep up on the opening of "Montana" and Frank, after some surprisingly good-natured ribbing, slows the song down, and George changes "Tush Tush Tush" to "squeek squeek squeek" at the inadvertent feedback squeal going into "Stinkfoot."
- Finally, the band playing the "Finnish Tango" (they aren't sight-reading - a photo is published from rehearsals earlier that day that shows Finnish percussionist Matti Koskiali helping the band learn the song) absolutely straight, until Napoleon Murphy Brock enters with a horribly mangled vocal in bad phonetic Finnish.
Wow. Too much detail, maybe, but this is a great recording. If you get nothing else of Zappa playing live, this should be it.
First of all, it's one of Zappa's best bands in top form. This includes early versions of RDNZL, Approximate, Dupree's Paradise, Token of My Extreme played with great virtousity. The "Room Service" skit is hilarious. The astute listener will recognize that the guitar solo on the "studio" version of "Inca Roads" is actually an edited version of the solo from this concert - he actually mentioned it in the liner notes of OSFA. Also of "conceptual continuity" interest is "Montana", which explains why Zappa performed "Whipping Post" 10 years later.
The version of "Idiot Bastard Son", while very different from the WIFM version, is absolutely wonderful.
I disagree with the editorial review that says that this version of "Village of the Sun" is the best. They play it too fast here and spoil it a bit. I much prefer the more soulful version on "Roxy".
Still, a must-have for Zappa fans.
Wow.
If you ever saw FZ in concert, then you know that his bands were highly-disciplined, rigidly-timed machines that could bend, stretch, improvise and create at Zappa's every whim.
In the band presented here, Zappa had what he later described as "the band that could play anything." You get the feeling that he knew he was never gonna have it this good again, and in some ways that's probably true.
Here you get the entire show from the '74 band's concert in Helsinki, Finland. Highlights include some blistering guitar solos, plus fantastic soloing by other members of the group.
My favorite cut, though, has to be "Montana," the "Dental Floss" song, which Frank mutates a bit after someone in the audience calls out a request for the Allman Brothers' song, "Whipping Post." (This band didn't know the song, but on future tours, he made SURE the band knew how to play it, and they did!)
Pop on the headphones and go back 30 years to one of the best Zappa shows you're ever gonna hear. It's all here and it's all great.
Who can say what is beatiful? Look at faces of Gene and Stan during the shooting on the set: whole concentration and attention for everything.
This is a unique moment in their story, and in the story of cinema.
Unforgettable.
He is backed by his versatile band who are able to create the perfect setting in a number of musical styles - Elvis puts them through a lot .
This CD shows that there was a lot more to Elvis than the casual observer / listener may have thought .
After you've bought the Greatest Hits , this should be your next stop .
This is a whole lotta music , played with a whole lotta attitude . Well recommended .
Reading the sleevenotes of that album and listening to that album, I was blown away. I had enjoyed great Country Music and the hit's of The Beatles before that, but this was different. I felt i had travelled back in time to the 1950s and 60s and was sitting in an American diner listening to the great Elvis hit's on a jukebox, as hit followed hit.
Pretty soon I saved up my pocket money and bought "The Sun Sessions", "20 Rock N Roll Greats" and then the "On Stage" collections. This was all before Compact Discs, so there was vinyl and tape.
This album originally continue no tracks for the concert that were on previous Elvis albums. They were all new songs or covers from the show that hadn't appeared on any of his previous work (unlike much later live albums which contained alot of the hit's).
Nowadays, in the CD age, this CD contains several bonus tracks, which feature some of the hit's Elvis sang at that concert ("In The Ghetto", "Kentucky Rain", "Long Tall Sally", etc, etc).
The opening track called "C.C. Rider" on the original LP (or "See See Rider" as it is credited as here) is a song Elvis sand at many concerts and it's just a good as opening as any album ever recorded.
Elvis then treats us to a version of Englebert Humperdincks "Release Me" (better than the original!) and then pays tribute to Neil Diamond with "Sweet Caroline (good times never seemed so good)". He does justice to Del Shannon's "Runaway" (a song in the style of many of Elvis' early rockers).
My favourite song on the album has to be "The Wonder Of You" a tender love song, sung as only Presley can, that was released as a single.
"Polk Salad Annie" is a great song with a novelty element. About a no good lying and stealing family, who have nothing better to do that steal watermelons. (lol)
Elvis then disproves any claim he hated the Beatles with a wonderful tribute to them, his version of "Yesterday". Not as good as Paul McCartney's original, but better than most of the other 50,000 cover versions!
On the CD Elvis then goes into a brief version of another Beatles classic "Hey Jude" (that was edited off the original album). It's a shame he didn't sing the whole song as he was doing such a great job!
Country music is where Presley's roots are and that's why songs like "Proud Mary", "Let it be me", "Kentucky Rain" (a pure classic!) and "Walk a mile in my shoes" (another pure classic!)
fit so well on this collection.
The versions of "long tall sally" and "in the ghetto", included a bonus tracks on this CD are just as good as the ones on the original studio albums by Presley.
"On Stage" was recorded at the beginning of the 1970s, a decade which saw many live albums by him. It ranks as one of the best.
The focus here (and henceforth) is on "new" material, rather than the rock & roll songs that made Elvis a star, with big but remarkably supple arrangements backing the finest set of vocal cords ever recorded. Elvis tackles a range of eras and styles, finding new things to do with CCR's "Proud Mary," Neil Diamond's "Sweet Caroline," Del Shannon's "Runaway" and a saccharine staple like "Let It Be Me" literally without missing a beat. But it's the additional cuts that really make this set. "Walk a Mile in My Shoes" is in itself worth the price of the disc, but hearing the band slow its groove down in the closing moments and effortlessly turn it into "In the Ghetto" is a bit of concert magic on a par with anything anyone else was doing in 1970, and that's saying a lot. Even the schmaltzy "Don't Cry Daddy" gains a certain magic in this context, paving the way for a show-stopping workout on "Kentucky Rain" that manages, against all odds, to equal if not better the stellar original version. "Suspicious Minds" is given a similarly mammoth treatment, though perhaps less so than would be the case a few months later in the THAT'S THE WAY IT IS period. Only on "Yesterday" (a song I've never much cared for) does the King stumble a bit, fudging the lyrics before putting things right with a bit of the coda from "Hey Jude."
In short, ON STAGE is a fine way to hear rock's most important figure at the height of his powers, covering a broad spectrum of excellent material with outstanding support from his band. Not to be missed!
I defy anyone to come up with another Broadway production that has three songs in a row better than Make Believe, Ol' Man River and Can't Help Lovin' Dat Man (West Side Story's Maria, America and Tonight are the best three in a row of a movie musical) and it's a shame that no movie version of Showboat can compare to this version. The first act is full of songs that are as good as any ever sung on a stage and I can't think of another production with a first act that compete against the big 3 plus Cotton Blossom, Where's The Mate For Me, Life On The Wicked Stage, Till Good Luck Comes My Way, Misry's Comin' Aroun', You are Love, Act One finale and Why Do I Love You?. You just don't want to have the music stop.
If you don't like opera you won't like this version. Sung the way Kern and Hammerstein wrote them, you can't help but feel the operatic nature of these songs. Tough noogies because Showboat is above all an opera disguised as a Broadway play and no sweetening should be allowed.
The four leads are all superb, Frederica von Stade as Nola especially. The booklet contains the complete libretto and allows a different way to appreciate the music.
If you buy just one version of Showboat you need this one. If you have other versions of Showboat you need this one. As a matter of fact, anyone with ears to hear needs this version. A true American treasure.
Thank you, EMI.
I would hope other labels would follow suit and remaster and reissue other examples of classic American musical theater. It would be a pity if our children, grandchildren, and future generations were unable to savor "110 in the Shade" or "Little Mary Sunshine" or . . . . . . . . . (fill in the blanks.)
M. J. Conrades
A quick story. It was either late '66 or early '67, and I'm in school and this girl in front of me turns around and asks if anyone wanted tickets to see Simon and Garfunkel at Carnegie Hall? She had two. Gave them away "free" to me and someone else. I was way too young to go into New York City by myself. But I did anyway. Guess how much the tickets were? A whopping FIVE DOLLARS!!!! And that was alot for a concert at that time. Anyway... the concert was pure magic. Only Paul on guitar and harmonies. It was rich, lush and angelic. What can you say about a blend of vocals like this except that it is as near to perfection you can get. I have always remembered that concert as one of the best I've ever seen. I believe the c.d. "Simon and Garfunkel Live 1967" is as close to the concert that I saw.
Anyway..... when I heard they were reuniting for a concert tour, I just had to go. And, believe me, this time around the tickets were nowhere near as cheap. Still, I went to see them at The Continental Arena in N.J. on the night of December 8th, 2003 and was excited to find that they used part of that very night for the DVD. The evening was as excellent as the DVD shows, however, you viewers have the advantage of seeing them up close. It's hard to get a view like that 100 rows out or so.
This package is worth it - ten times over believe me. It is a retrospect of their career with excellent side musicians who recreate all the particulars of the original recordings and then some. S & G's mock feud bantering puts the audience in a great mood. The evening sails smoothly and the introduction of The Everly Brothers adds icing to the cake. Paying homage to their influences - S & G provide a genuine warmth to the concert.
I do want to point out one song inparticular. When they did "Bridge Over Troubled Water", Paul took the second verse. An interesting variation, but it works fine. Also, near the end, the piano goes into a strange key variation...... most noticably. I am assuming it was done to accomodate Garfunkel's ending to the song. In any event, the song was a mainpoint in a fine evening.
I could go song by song in this review but it would be a big yawn. Suffice to say - S & G are professionals and they definitely do not disappoint in this offering!!
If you are looking for classic pop music with alot of grace - an EXTREMELY HIGH recommendation for this one. Whew....that was hard. Being totally serious for a change is a difficult challenge. But Simon and Garfunkel are worth it! Goodbye for now people!
Highlights of the show are: an appropriate opening song (Old Friends/Bookends), an energetic version of Hazy Shade of Winter, a melancholic beautiful version of America, an upbeat energetic version of The Zoo, Homeward Bound (what can I say, one of my favorite S & G songs), American Tune (a Paul Simon song that sounds great sung by Simon and Garfunkel), Bridge Over Troubled Water with Paul Simon signing the middle verse (in the original version Paul Simon did not sing!) and the best song on the Cd; The Boxer (always such a powerful and moving song).
It's great to see that the guys give a great and proper shout out to the Everly's, who were their harmonizing inspirations. Just about every cut is either equal to or surpassing the originals most of us are familiar with. The greatest duo in Pop/Rock/Folk history? I think so, my friends. Hear them here in all their glory, with great back up musicians (as always) and pitch perfect recording! It's the state of the art, as it should be for two talents who are indeed "artists" as well as highly prolific tunesmiths. What a night of music!
BEK
Disc Two follows the same format, starting with the original Mothers Of Invention playing in a bar in the Bronx, New York, Spring tour, 1969, replete with stage announcements by Frank Zappa, telling the owner of a green Chevy, that his car needs to be moved, and the listener is transported through time and space, from the 1960's, through the 1970's, and into the 1980's, ending with the 1981 band's MTV special, before MTV turned into what it is now; it actually had MUSIC, played by MUSICIANS back then, and to give this volume a sense of beginning, main body, end, it closes with the MTV special's clip of the 1981 band playing an instrumental version of "Sofa," the track near the beginning of the first disc that had Howard Kaylan and Mark Volman singing in German.
Bottom line, this is a THOROUGHLY enjoyable cross-section of Frank Zappa's music, all live, and an excellent first volume of the series. In time, I aim to write reviews of all six volumes.
The material in the whole series covers twenty years of performing, and the notes say that great care was taken to select the best version of each piece.
I have so far only heard this first volume and as a long time Zappa fan, I believe this material is as good or better than what you will find in many of the earlier albums done by the original 'Mothers' group. The tracks include a rather large amount of Frank and other band members interacting with the audience and relatively few purely instrumental tracks. This is just fine with me. If you want instrumental, get 'Hot Rats' or 'Shut Up 'n Play Yer Guitar'.
There is a fair amount of overlap with some well-known albums such as the 'Filmore East, June, 1971' album but most of the material, unlike so many Grateful Dead live albums, is different enough to make the comparison interesting.
Great value for Zappa fans, except that it makes us miss Frank all the more!
On this live recording, first released in 1982 as a dobbel LP, he is joined by his son Merle, and it is possibly one of the most beautiful records he has ever made. Doc sings and plays the guitar, and on some numbers the mouthorgan too. Merle accompanies him on guitar, and gets the chance to kick in a couple of numbers of his own.
There is a nice and warm and relaxed atmosphere in the concert. Doc tells a few jokes and you get the feeling that you are sitting around in his livingroom.
I first bought this record in 1982, and now I have bought it again on CD. It is simply a must in my personal collection. It is this record that woke my interrest for bluegrass, and learning how to flatpick on the guitar. And I am greatfull, though I'll never reach Doc's level. In fact very few people do.
Should I compare his playing to any younger generation flatpickers, the first one I can think of is Tony Rice.
And finaly, should you be interested in seeing Doc in action I can strongly recomend the DVD The Three Pickers, a concert in which he plays with Earl Scruggs and Ricky Skaggs, and Allison Krauss appears as a guest. That is very very beautyfull.
This edition follows the same premise of Volume 1, in that it spans Zappa's whole live career, without any apparent underlying theme. Where Volume 2 is only from the 1974 Helsinki Concert, Volume 3 is focused on the vocal abilities of the 1984 touring band, Volume 5 contrasts the original Mothers Of Invention (1965-1969) with the 1982 touring band, and the first disc of Volume 6 is focused on sexual themes, with the finale (disc two) being odds and ends to wrap it all up, this is a pot-pourri going back to the spring tour of 1969, spanning forward through the 1988 "Broadway The Hard Way" tour. Some real gems are included here, most notably, the '84 band's version of "The Evil Prince." The original, from "Thingfish," features Napoleon Murphy Brock singing this lengthy selection, in a sinister, chilling voice during that particular version of "The Torture Never Stops." I didn't feel there was room for improvement. Ray White sings it here, with the full band accompanying him, a far more complex arrangement than the studio version, and it is to be heard to be believed. Awesome band, contrary to what some detractors may think. The "Pound For A Brown Solos" are flowing with sweet-sounding keyboard arrangements, very nice, "Brown Moses" shows that Zappa hired some fantastic vocalists for his tours, and Disc One ends with the first version of "The Torture Never Stops," from the "Bongo Fury" sessions, Austin, Texas, 1975. This version is signifigantly different from the one everybody's familiar with. It's gritty and bluesy, the 1975 line-up of The Mothers, with Captain Beefheart singing, a perfect vehicle for this particular delivery of this number.
Disc Two begins with Zappa's "sermon" about Hell, and he tells the French audience, "THERE IS NO HELL, THERE IS ONLY...FRANCE!"
This kicks off a lengthy guitar duel between Zappa and Steve Vai, in the song "Stevie's Spanking." This is what live shows used to be made of. Too bad, look at what's out there these days. Things really have gone downhill.
Once again, you are treated to different performances over the years, some really old Mothers gems, "Are You Upset?" having gotten its title from the question Zappa asked a heckler in the audience during the recording of this piece. They lampoon The Doors in "Tiny Sick Tears" with a part of Zappa's monologue being modeled after the Oedipal section of "The End," only here there is no mother, just an embarrassed father. Really tacky, but funny, nonetheless. "Carolina Hardcore Ecstasy" just shines, it is so well done. And the set ends with a medley of old Rock-n-Roll songs from yesteryear. You don't have to like that kind of thing to see just how much fun the band had playing this sequence, and its inclusion is all part of the experience of Frank Zappa on stage. He never limited himself to one genre, and along with Volume 1, this is the most variety you will find in this series.
I like this because much of it I had not heard before in any form. There is also much more variation in the music and the playing. There are some great keyboard and sax solos from other musicians.
This set is just a good compilation of tracks throughout the years. Some of the other volumes concentrate on one band (vol 2 is a complete concert) or period of time.
These recordings have also been a source of interest in they way that they are structured. Zappa himself states that the live material contains "ABSOLUTELY NO OVER-DUBS", but there is some editing together of separate performances. In some instances, like Zoot Allures and King Kong on disc 2, a single "performance" contains entirely different bands. Now on one hand, it is a testament to both the consistency of Zappa's preparations and his deft hand in the studio. In these cases, one must listen very closely for the seams. The casual listener would probably not even notice them. In the end, Zappa can look at his best performances and create what he might consider a live show that most closely captures his intention. On the other hand, it begs the question of "ABSOLUTELY NO OVER DUBS....". Technically, there are no overdubs, but there is definitely some studio trickery going on. However, we have stated that Zappa conceived of the studio as an instrument in and of itself, and these recordings most definitely show his mastery of the medium.
In the liner notes, Zappa also gives eight criteria for the selecting songs for this series, and number six is whether a given recording has "Conceptual Continuity Clues". I have had an interest in familiarizing myself with this feature of Zappa's repertoire, but as I am becoming more familiar with them, it is getting more difficult to tease out the threads. This recording just about made my brain hurt as I tried to figure out where I heard what from where, and there were so many of them that I could hardly find pen and paper fast enough.
As Zappa hit the `80's, his repertoire of mindless rock licks expanded beyond "Louie Louie", and here he adds "Owner of a Lonely Heart" to the list as a vamp for the solo on "Bamboozled By Love". His choice and presentation of "cover" songs is of interest, as they represent a satirical view of the state of rock and roll and the music industry. Of course, the audience is just happy to hear their faves cranked out through Zappa's outfreakage.
I was really happy to hear a live version of "Drowning Witch", which is one of my favorite Zappa compositions. In the liner notes, he admitted how hard the song was to perform, and here he had to splice a couple of performances together to just get one that was close. I also enjoyed getting to hear an entire performance of "Dickie's Such an A**h*le". I really only know that song by the lick that Ed Mann "f****d up" on the Make A Jazz Noise Here recording. Dweezil and Frank sound great together on "Sharleena" as well. There's also a nice post-modern moment when he starts referring to back-up doo-wops as lyrics, encouraging the performers to get the lyrics right.
Something else I have been thinking about is how Zappa chose people for his band that were sort of the charismatic "drama" figures. As we were watching Napolean Murphy Brock in class today, I was thinking about Ike Willis and the place that he held in the `80's lineup, and about how the late `70's group had very charismatic players in the group (Bozzio, O'Hearn) and about how much these members were necessary to Franks live performances as people who could command the attention of the spotlight in musically technical sections. This problem of keeping audience attention in technically demanding rock music was what caused Peter Gabriel to start wearing makeup and outlandish costumes.
Zoot, Charleys Suite, Kong, Depris...this is worth more than it costs.
a few lags, make is 4.5 for me, but a great 4.5
But on the first disc, you get the unassailable `Drowning Witch', a bit of rock 'n roll fun called `Ride My Face to Chicago', the infectious nonsense of `Chana in de Bushwop' (with a good keyboard solo from Bobby Martin and a funny one from Zappa and Zavod), and the marvellous `Carol You Fool' - a doowop song about a girl who'd been stalking the sound engineer, which reminds us that when they weren't joking around these 1984 guys could REALLY sing! (Especially Ray, in the difficult middle-eight)
The second disc, and especially the 24-minute `King Kong', is the real reason for buying. The original and best version of `Dickie's...' - even though purchasers of the `Stage sampler' album will know that a few lines have been inexplicably edited out, and the song remixed (poorly).
Terry's unique way of constructing a drum solo, leads us to the original (and best?) arrangement of `Zoot Allures'. But it edits to 1982 for the solo - damn! To get an idea of what the 1976 solos were like, consult `FZ:OZ' or, better still, `FZ Plays The Music Of FZ'
From the riot show we have the fabulous `Nig Biz' - Ray White singing like a good'un and, better yet, leading off the solo sequence. The `You Are What You Is' medley is always a pleasure to hear. And then...
The `King Kong' extravaganza. Part 1, a short Ed Mann noise-solo followed by the band shouting something unmentionable, functions mainly as light relief after the hectic music that precedes it on this album. Part 2 - Ian Underwood demonstrating his godliness as the rhythm alternates 4-4 and 3-4. Part 3 - one of the best Zappa solos you've ever heard. Uncharacteristically mellow and reflective (think of the `Sleep Dirt' title cut), partially unaccompanied, including quotes from `Big Swifty' and `Zoot Allures' (and you thought they hadn't been written yet!) as well as a hint of `Toads of the Short Forest' as the band shifts into a jazz waltz. Parts 4 and 5 - some hot keyboard action from Tommy Mars, plus the William Tell Overture and a bit of Zappa/Hammersmith stage-folklore. And, Part 6, a Zappa solo from '82 that's actually not bad at all (thanks to Scott and Chad).
But on the first disc, you get the unassailable `Drowning Witch', a bit of rock 'n roll fun called `Ride My Face to Chicago', the infectious nonsense of `Chana in de Bushwop' (with a good keyboard solo from Bobby Martin and a funny one from Zappa and Zavod), and the marvellous `Carol You Fool' - a doowop song about a girl who'd been stalking the sound engineer, which reminds us that when they weren't joking around these 1984 guys could REALLY sing! (Especially Ray, in the difficult middle-eight)
The second disc, and especially the 24-minute `King Kong', is the real reason for buying. The original and best version of `Dickie's...' - even though purchasers of the `Stage sampler' album will know that a few lines have been inexplicably edited out, and the song remixed (poorly).
Terry's unique way of constructing a drum solo, leads us to the original (and best?) arrangement of `Zoot Allures'. But it edits to 1982 for the solo - damn! To get an idea of what the 1976 solos were like, consult `FZ:OZ' or, better still, `FZ Plays The Music Of FZ'
From the riot show we have the fabulous `Nig Biz' - Ray White singing like a good'un and, better yet, leading off the solo sequence. The `You Are What You Is' medley is always a pleasure to hear. And then...
The `King Kong' extravaganza. Part 1, a short Ed Mann noise-solo followed by the band shouting something unmentionable, functions mainly as light relief after the hectic music that precedes it on this album. Part 2 - Ian Underwood demonstrating his godliness as the rhythm alternates 4-4 and 3-4. Part 3 - one of the best Zappa solos you've ever heard. Uncharacteristically mellow and reflective (think of the `Sleep Dirt' title cut), partially unaccompanied, including quotes from `Big Swifty' and `Zoot Allures' (and you thought they hadn't been written yet!) as well as a hint of `Toads of the Short Forest' as the band shifts into a jazz waltz. Parts 4 and 5 - some hot keyboard action from Tommy Mars, plus the William Tell Overture and a bit of Zappa/Hammersmith stage-folklore. And, Part 6, a Zappa solo from '82 that's actually not bad at all (thanks to Scott and Chad).
Japanese reissue of 1977 album, packaged in a limited edition miniature LP sleeve.
On Stage,Rainbow,Oyster,Hard Rock,Heavy Metal,Rock,Rock/Pop
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- Nobody But You
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Even those around for the decade may find it hard to believe that Loggins & Messina were an excellent live act throughout the '70s. Some might argue they were superior to Crosby, Stills & Nash onstage in their ability to leap between introspective singer/songwriter and rock & roll modes. (Lest we forget, Messina was a Buffalo Springfield alumnus who'd agreed to produce the lesser-known Loggins's debut LP). Which is why On Stage--featuring a crack band, the hits from "House at Pooh Corner" to "Your Mama Don't Dance," and extended versions of all the other faves--was not only the duo's highest charting album, but, along with the Sittin' In debut, their best effort. --Bill HoldshipCustomer Reviews:
Loggins & Messina On Stage .......2007-01-05
The Gift That Keeps on Giving!.......2007-01-04
joy she had given me.
Loggins and Messina celebrate love and friendship with their gloriuous use of diverse instrumentation (mandolin, flutes, violins and fiddles, percussions, horns); powerful lyrics; harmonies (w/Al Garth and Lou Simms); observations of relationships and American life that with send your spirit soaring. Pay special attention to "Golden Ribbons" which is an ode to the lost soldiers of Vietnam, that is as poignant and meaningful today.
"On Stage" is one of the best live Rock-n-Roll albums ever recorded which still resonates today. If you want to see what two master singers/songwriters/performers do with such beauty and grace, RUN, don't walk to the checkout box and click, BY NOW!
A Lost Gem.......2005-04-14
ON STAGE LOGGINS AND MESSINA.......2003-02-09
On Target!.......2002-05-29
Messina is the junior partner, but he's far from being the inconsequential Oates to Kenny Loggins' Hall. Messina's pop country background with Poco and his production talents give this material a lot of its texture. His voice is pleasant but rather nondescript; he is really a born harmony singer. He is the perfect complement to Loggins.
Loggins' big rangy California drawl is easily the star of the show. He has the audience in his hand in the opening solo acoustic numbers. And he could belt, too! If you don't believe it, trying singing along with him in the chorus to "Vahevala." In the same key. At the same volume!
The hits are here, and the instrumental jamming which could be distracting on the studio versions comes off very well here. The cornerstone of the album is the 20-minute expansion of "Vahevala". Amazingly, it doesn't flag over that marathon length. (You can tell that this jam is commercial, sell-out, AM radio pop instead of authentic, gutsy, genuine R&R, because it has no endless drum solo.) The band runs through the song's normal version and then sets off into a long instrumental. It gradually draws down into guitars, then fiddle, then pipes, then whalesong noises, before the band re-enters for the finale. It's a real joy, seeming shorter than the included version of "Angry Eyes", which is half the length.
The only lingering question is this: A good time was had by all, so why all the sour faces in the liner photos of the band?
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You Can't Do That On Stage Anymore - Vol. 2
Frank Zappa Manufacturer: Zappa Records ProductGroup: Music Binding: Audio CD General
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ASIN: B0000009TO Release Date: 1995-05-16 |
Tracks:
- Tush Tush Tush (A Token Of My Extreme)
- Stinkfoot
- Inca Roads
- RDNZL
- Village Of The Sun
- Echidna's Arf (Of You)
- Don't You Ever Wash That Thing?
- Pygmy Twylyte
- Room Service
- The Idiot Bastard Son
- Cheepnis
Tracks:
- Approximate
- Dupree's Paradise
- Satumaa (Finnish Tango)
- T'Mershi Duween
- The Dog Breath Variations
- Uncle Meat
- Building A Girl
- Montana (Whipping Floss)
- Big Swifty
Customer Reviews:
"THE HELSINKI CONCERT - SEPTEMBER 22nd, 1974".......2006-02-06
This volume of the series is unique, in the fact that this is the only installment in the whole series featuring one band, on one stage, recorded on one particular day. All the others feature various line-ups at different stages of Zappa's career. So you get to hear the momentum of the show (some say it's the best of two separate performances in one day; possible, given FZ's penchant for editing the best segments of various perfomances together).
The Mothers play Zappa's live standards such as Apostrophe's "Stinkfoot" with such ease, they make it sound like it's a mind-numbingly simple song to play. Not his most difficult, by any standard, but they show what true PROFESSIONALS they really were, because songs like "Stinkfoot" sound easy, and so do incredibly difficult arrangements such as "Echidna's Arf." Don't let the silly titles fool you; songs named "Tush, Tush, Tush," "Stinkfoot," "Cheepnis," and "Building A Girl," are only the names these selections have. They are incredibly intricate, complex arrangements that most bands, then and now, could not approach.
One priceless bit of FZ history is included here, the reason Zappa's band included "Whippin' Post" in their repertoire after this tour. Someone in the audience called out "Whippin' Post!" The band at this juncture didn't know this song, so Zappa toyed with the heckler, asking him to sing it, and cut him off after about one second. Some people really step into it when they don't know who they are messing with. This exchange is at the beginning of "Montana," and FZ changed the lyrics on the spot, to make references to the heckler's request for "Whippin' Post," and the rest is history. To hear the conviction that he covered this with, check out the last track on 1984's "Them Or Us." It's the 1984 touring band playing "Whippin' Post," and even though nobody can do it like The Allman Brothers Band, the arrangements played by Zappa's touring band at the time, are a phenomenal job. There is video of this song on "Does Humor Belong In Music?," the 1985 video, and it has some changes in the middle, but it all began with the guy in the audience at Helsinki, way back in 1974.
In all, this is the most consistent volume, as I have already said, because this is all one band, on one stage, on one day. It's many people's favorite, and I can clearly see why.
Maybe not "really" a complete show, but who cares?.......2006-01-08
- The "Inca Roads" solo is beautifully melodic in a "conventional" sense and a perfect example of improvisational composition.
- "Cheepnis" is the single best song, with an incredibly funky middle section.
- George Duke has a great voice and, like everyone else in the band, is obviously totally committed to the music. Even better, everyone (including Frank) sounds like they're having fun. Check out the articles on the 'net from Finnish correpsondents - it's clear that, despite the hassle of touring (and towels), Helinski turned out to be a great experience.
- Poor Suzi Quattro.
- There are mistakes, or better, accidents. That may sound bad, but for me those can be the best thing about live performance. Best examples - Ruth can't keep up on the opening of "Montana" and Frank, after some surprisingly good-natured ribbing, slows the song down, and George changes "Tush Tush Tush" to "squeek squeek squeek" at the inadvertent feedback squeal going into "Stinkfoot."
- Finally, the band playing the "Finnish Tango" (they aren't sight-reading - a photo is published from rehearsals earlier that day that shows Finnish percussionist Matti Koskiali helping the band learn the song) absolutely straight, until Napoleon Murphy Brock enters with a horribly mangled vocal in bad phonetic Finnish.
Wow. Too much detail, maybe, but this is a great recording. If you get nothing else of Zappa playing live, this should be it.
great concert from Zappa at his best........2005-12-17
First of all, it's one of Zappa's best bands in top form. This includes early versions of RDNZL, Approximate, Dupree's Paradise, Token of My Extreme played with great virtousity. The "Room Service" skit is hilarious. The astute listener will recognize that the guitar solo on the "studio" version of "Inca Roads" is actually an edited version of the solo from this concert - he actually mentioned it in the liner notes of OSFA. Also of "conceptual continuity" interest is "Montana", which explains why Zappa performed "Whipping Post" 10 years later.
The version of "Idiot Bastard Son", while very different from the WIFM version, is absolutely wonderful.
I disagree with the editorial review that says that this version of "Village of the Sun" is the best. They play it too fast here and spoil it a bit. I much prefer the more soulful version on "Roxy".
Still, a must-have for Zappa fans.
20 Stars if I Could..........2005-01-07
As good a chronicle of this band as you will ever hear.......2004-10-07
Wow.
If you ever saw FZ in concert, then you know that his bands were highly-disciplined, rigidly-timed machines that could bend, stretch, improvise and create at Zappa's every whim.
In the band presented here, Zappa had what he later described as "the band that could play anything." You get the feeling that he knew he was never gonna have it this good again, and in some ways that's probably true.
Here you get the entire show from the '74 band's concert in Helsinki, Finland. Highlights include some blistering guitar solos, plus fantastic soloing by other members of the group.
My favorite cut, though, has to be "Montana," the "Dental Floss" song, which Frank mutates a bit after someone in the audience calls out a request for the Allman Brothers' song, "Whipping Post." (This band didn't know the song, but on future tours, he made SURE the band knew how to play it, and they did!)
Pop on the headphones and go back 30 years to one of the best Zappa shows you're ever gonna hear. It's all here and it's all great.
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Singin' in the Rain (1952 Film Soundtrack) (Deluxe Edition)
Nacio Herb Brown , Gene Kelly , and Arthur Freed Manufacturer: Rhino / Wea ProductGroup: Music Binding: Audio CD Movie Soundtracks
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ASIN: B00006JOF3 Release Date: 2002-10-01 |
Tracks:
- Main Title/Singin' In The Rain - Gene Kelly
- Fit As A Fiddle (And Ready For Love) - Gene Kelly
- Tango (Temptation) - MGM Studio Orchestra
- All I Do Is Dream Of You - Debbie Reynolds
- All I Do Is Dream Of You (Outtake) - Gene Kelly
- Make 'Em Laugh - Donald O'Connor
- Beautiful Girl Montage - MGM Studio Orchestra & Chorus
- Beautiful Girl - Jimmie Thompson
- You Were Meant For Me - Gene Kelly
- You Are My Lucky Star (Outtake) - Debbie Reynolds
- Moses - Gene Kelly
- Good Morning - Gene Kelly
- Singin' In The Rain - Gene Kelly
- Would You? - Betty Noyes
- Broadway Melody Ballet - MGM Studio Orchestra & Chorus
- Would You? End Title - Gene Kelly
- Singin' In The Rain (In A-Flat) - Debbie Reynolds
- Finale - Gene Kelly
- Main Title (Alternate Version) - MGM Studio Orchestra
- Beautiful Girl (Alternate Version/Tempo Track) - Gene Kelly
- Would You? (Unused Version) - Debbie Reynolds
- Would You (Duet) (Unused Version) - Gene Kelly
- Beautiful Girl (Unused Original Version) - Jimmie Thompson
- Singin' In The Rain (Alternate Vocal) - Gene Kelly
- Should I (Unused Instrumental) - MGM Studio Orchestra
Tracks:
- The Broadway Melody - Charles King
- You Were Meant For Me - Charles King
- The Wedding Of The Painted Doll - James Burroughs
- Singin' In The Rain - Cliff Edwards
- Should I - Charles Kaley
- Beautiful Girl - Sam Ash
- All I Do Is Dream Of You - Gene Raymond
- Broadway Rhythm - Frances Langford
- I've Got A Feelin' Your Foolin' - Robert Taylor
- You Are My Lucky Star - Marjorie Lane
- Would You - Jeanette MacDonald
- Good Morning - Judy Garland
- Singin' In The Rain - Judy Garland
- All I Do Is Dream Of You - Judy Garland
- Dignity - MGM Studio Orchestra
- Stunt Montage (Extended Version) - MGM Studio Orchestra
- First Silent Picture (Extended Version) - MGM Studio Orchestra
- Have Lunch With Me - MGM Studio Orchestra
- Dancing On A Rainbow - Arthur Freed
- Singin' In The Rain (Radio Broadcast) - Arthur Freed
- Broadway Melody Ballet (Original Version) - Gene Kelly
Amazon.com
A vibrant tribute to MGM's legendary confluence of brains, talent, hard work, ambition--and dare we say it?--massive egos, Singin' in the Rain long ago took its rightful place among the first rank of the studio's dizzying catalog of film musicals. This double-disc, 46-track 50th-anniversary edition features all of the film's familiar songs, as well as numerous outtakes and extended versions, many culled directly from the film's original recording masters. Its second disc also chronicles the film's clever--if studio imposed--self-referential musical gambit of recycling a slate of Arthur Freed/Nacio Herb Brown songs from Metro's first decade by including 14 of the originals, including performances by Jeanette McDonald, Judy Garland, Mickey Rooney, and Freed himself. Featuring a dozen previously unreleased recordings and an illustrated booklet containing the insightful reminiscences of the film's original writers, Betty Comden and Adolph Green, it's the ultimate musical companion to one of cinema's magical, enduring masterpieces. --Jerry McCulleyAlbum Description
The complete 50th Anniversary Edition and a bonus disc featuring the original recordings that inspired the 1952 MGM classic! Includes 12 previously unreleased tracks 'Would You?' (duet) (unused version), 'Beautiful Girl' (unused original version), 'Singin' In The Rain' (alternative vocal), 'Should I' (unused instrumental), 'You Were Meant For Me', 'All I Do Is Dream Of You', 'Broadway Rhythm', 'You Are My Lucky Star', 'Would You?', 'Dancing On A Rainbow' plus 'Broadway Melody Ballet' (original version). Rhino. 2002.Customer Reviews:
the perfect movie.......2007-03-10
Who can say what is beatiful? Look at faces of Gene and Stan during the shooting on the set: whole concentration and attention for everything.
This is a unique moment in their story, and in the story of cinema.
Unforgettable.
I LOVE MY FAVORITE SONG, AND THANKS TO THIS CD I CAN LISTEN TO IT ALL DAY LONG!!.......2007-01-28
Wonderful Soundtrack to a Wonderful Movie.......2006-06-16
Great CD.......2006-03-20
musical memories.......2006-03-14
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On Stage February, 1970
Elvis Presley Manufacturer: Bmg / Elvis ProductGroup: Music Binding: Audio CD General
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ASIN: B00000IYWL Release Date: 1999-05-18 |
Tracks:
- See See Rider
- Release Me
- Sweet Caroline
- Runaway
- The Wonder Of You
- Polk Salad Annie
- Yesterday/Hey Jude
- Proud Mary
- Walk A Mile In My Shoes
- In The Ghetto
- Don't Cry Daddy
- Kentucky Rain
- I Can't Stop Loving You
- Suspicious Minds
- Long Tall Sally
- Let It Be Me
Customer Reviews:
Elvis at his best.......2007-07-08
The whole release is even better with the extra songs.......2005-09-19
He is backed by his versatile band who are able to create the perfect setting in a number of musical styles - Elvis puts them through a lot .
This CD shows that there was a lot more to Elvis than the casual observer / listener may have thought .
After you've bought the Greatest Hits , this should be your next stop .
This is a whole lotta music , played with a whole lotta attitude . Well recommended .
The King On Stage!.......2005-01-29
Reading the sleevenotes of that album and listening to that album, I was blown away. I had enjoyed great Country Music and the hit's of The Beatles before that, but this was different. I felt i had travelled back in time to the 1950s and 60s and was sitting in an American diner listening to the great Elvis hit's on a jukebox, as hit followed hit.
Pretty soon I saved up my pocket money and bought "The Sun Sessions", "20 Rock N Roll Greats" and then the "On Stage" collections. This was all before Compact Discs, so there was vinyl and tape.
This album originally continue no tracks for the concert that were on previous Elvis albums. They were all new songs or covers from the show that hadn't appeared on any of his previous work (unlike much later live albums which contained alot of the hit's).
Nowadays, in the CD age, this CD contains several bonus tracks, which feature some of the hit's Elvis sang at that concert ("In The Ghetto", "Kentucky Rain", "Long Tall Sally", etc, etc).
The opening track called "C.C. Rider" on the original LP (or "See See Rider" as it is credited as here) is a song Elvis sand at many concerts and it's just a good as opening as any album ever recorded.
Elvis then treats us to a version of Englebert Humperdincks "Release Me" (better than the original!) and then pays tribute to Neil Diamond with "Sweet Caroline (good times never seemed so good)". He does justice to Del Shannon's "Runaway" (a song in the style of many of Elvis' early rockers).
My favourite song on the album has to be "The Wonder Of You" a tender love song, sung as only Presley can, that was released as a single.
"Polk Salad Annie" is a great song with a novelty element. About a no good lying and stealing family, who have nothing better to do that steal watermelons. (lol)
Elvis then disproves any claim he hated the Beatles with a wonderful tribute to them, his version of "Yesterday". Not as good as Paul McCartney's original, but better than most of the other 50,000 cover versions!
On the CD Elvis then goes into a brief version of another Beatles classic "Hey Jude" (that was edited off the original album). It's a shame he didn't sing the whole song as he was doing such a great job!
Country music is where Presley's roots are and that's why songs like "Proud Mary", "Let it be me", "Kentucky Rain" (a pure classic!) and "Walk a mile in my shoes" (another pure classic!)
fit so well on this collection.
The versions of "long tall sally" and "in the ghetto", included a bonus tracks on this CD are just as good as the ones on the original studio albums by Presley.
"On Stage" was recorded at the beginning of the 1970s, a decade which saw many live albums by him. It ranks as one of the best.
The King Rules!.......2004-12-28
The focus here (and henceforth) is on "new" material, rather than the rock & roll songs that made Elvis a star, with big but remarkably supple arrangements backing the finest set of vocal cords ever recorded. Elvis tackles a range of eras and styles, finding new things to do with CCR's "Proud Mary," Neil Diamond's "Sweet Caroline," Del Shannon's "Runaway" and a saccharine staple like "Let It Be Me" literally without missing a beat. But it's the additional cuts that really make this set. "Walk a Mile in My Shoes" is in itself worth the price of the disc, but hearing the band slow its groove down in the closing moments and effortlessly turn it into "In the Ghetto" is a bit of concert magic on a par with anything anyone else was doing in 1970, and that's saying a lot. Even the schmaltzy "Don't Cry Daddy" gains a certain magic in this context, paving the way for a show-stopping workout on "Kentucky Rain" that manages, against all odds, to equal if not better the stellar original version. "Suspicious Minds" is given a similarly mammoth treatment, though perhaps less so than would be the case a few months later in the THAT'S THE WAY IT IS period. Only on "Yesterday" (a song I've never much cared for) does the King stumble a bit, fudging the lyrics before putting things right with a bit of the coda from "Hey Jude."
In short, ON STAGE is a fine way to hear rock's most important figure at the height of his powers, covering a broad spectrum of excellent material with outstanding support from his band. Not to be missed!
out standing polk salad.......2003-12-07
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Show Boat (1988 Studio Cast): Von Stade; Hubbard; Hadley; McGlinn
Frederica von Stade , Jerome Kern , Jerry Hadley , Bruce Hubbard , Teresa Stratas , David Garrison , Leslie Fyson , John McGlinn , and London Sinfonietta Manufacturer: Angel Records ProductGroup: Music Binding: Audio CD Chamber Music
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ASIN: B000002SJL Release Date: 1990-10-25 |
Tracks:
- Overture
- Show Boat: Act One, Scene One - Cotton Blossom: Niggers all work on d Mississippi... (Stevedores, Gals, Queenie, Steve, Pete, 1st Mincing Miss, 2nd Mincing Miss, Beaux, Girls & Boys)
- Show Boat: Act One, Scene One - Cotton Blossom: 'Andy!!!...' (Parthy, Windy, 1st Mincing Miss, 2nd Mincing Miss)
- Show Boat: Act One, Scene One - Cap'n Andy's Ballyhoo: 'Here comes the Show Boat parade!...' (Boy, Girls, Boys, Andy, Parthy)
- Show Boat: Act One, Scene One - Cap'n Andy's Ballyhoo: 'Hey Julie...' (Pete, Julie, Steve, Parthy, Andy, Ellie)
- Show Boat: Act One, Scene One - Cap'n Andy's Ballyhoo: 'It's a man...' (Ellie, Ravenal, Vallon)
- Show Boat: Act One, Scene One - Where's the Mate for Me?: Who cares if my boat goes upstream... (Ravenal, Magnolia)
- Show Boat: Act One, Scene One - Make Believe: Only make believe I love you... (Ravenal, Magnolia, Vallon)
- Show Boat: Act One, Scene One - Ol' Man River: 'Oh, Joe!...' (Magnolia, Joe, Men)
- Show Boat: Act One, Scene Two - Can't Help Lovin' Dat Man: 'What cher doin' all by yourself, Miss Nola?...' (Queenie, Magnolia, Julie, Joe, Servants)
- Show Boat: Act One, Scene Three - Life on the Wicked Stage: Why do stage struck maidens clamor... (Ellie, Girls)
- Show Boat: Act One, Scene Three - Till Good Luck Comes My Way: The man who ventures with chance... (Ravenal, Men)
- Show Boat: Act One, Scene Four - Mis'ry's Comin' Aroun': Mis'ry's comin' aroun'... (Queenie, Women, Joe Magnolia, Julie, Men, Solo Bass)
- Show Boat: Act One, Scene Four - Mis'ry's Comin' Aroun': 'Take her up, Rubberface!...' (Andy, Julie, Steve, Magnolia, Parthy, Ellie, Windy)
- Show Boat: Act One, Scene Four - Mis'ry's Comin' Aroun': 'Hello, Windy...' (Vallon, Andy, Magnolia, Steve, Julie, Windy, Ellie, Parthy)
- Show Boat: Act One, Scene Four - Mis'ry's Comin' Aroun': 'You needn't all look at us...' (Steve, Colored Chorus, Andy, Parthy, Magnolia, Ellie, Frank)
- Show Boat: Act One, Scene Four - Mis'ry's Comin' Aroun': 'Looks like a swell...' (Andy, Parthy, Frank, Ravenal, Julie, Magnolia, Steve, Joe)
Tracks:
- Show Boat: Act One, Scene Five - I Would Like to Play a Lover's Part: Her face is fair to look upon... (Boys, Girls, Ellie, Frank)
- Show Boat: Act One, Scene Five - I Might Fall Back on You: Little girl, you are safe with me... (Frank, Ellie, Girls)
- Show Boat: Act One, Scene Five - Queenie's Ballyhoo: 'Is de theatre fillin' up, Cap'n Andy?...' (Queenie, Andy, Colored Chorus)
- Show Boat: Act One, Scene Six - Villain Dance
- Show Boat: Act One, Scene Seven - You Are Love: 'That you, Nola?...' (Ravenal, Windy, Magnolia, Parthy)
- Show Boat: Act One, Scene Eight - Finale Act One: Oh tell me, did you ever!... (Firls, Boys, Chorus, Andy, Women, Men, Negro Women, Magnolia, Parthy, Vallon, Pete)
- Show Boat: Act Two, Scene One - At the Fair: When we tell them about it all... (All, 1st Barker, Boys, Girls, Chorus, 2nd Barker, Men, 3rd Barker)
- Show Boat: Act Two, Scene One - Why Do I Love You?: I'm walking on the air, dear... (Magnolia, Ravenal, Chorus, Andy)
- Show Boat: Act Two, Scene One - In Dahomey: Dyunga doe!... (Dahomey Villagers, White Chorus)
- Show Boat: Act Two, Scene Three - Convent Scene: Alma Redmptoris Mater... (Nuns, Mother Superior, Ravenal, Kim)
- Show Boat: Act Two, Scene Four: 'All right, Jake...' (Jim, Jake, Julie)
- Show Boat: Act Two, Scene Four - Bill: I used to dream... (Julie)
- Show Boat: Magnolia's Audition - Can't Help Lovin' Dat Man (Reprise): Fish gotta swim, birds gotta fly... (Magnolia)
- Show Boat: Magnolia's Audition - Can't Help Lovin' Dat Man (Reprise): 'Whaddaya say, boss?...' (Frank, Jim, Magnolia, Jake)
- Show Boat: Act Two, Scene Six - Trocadero Opening Chorus: Let's make the new year... (Chorus)
- Show Boat: Act Two, Scene Six - Apache Dance
- Show Boat: Act Two, Scene Six - Goodbye, My Lady Love: So you're going away... (Frank, Ellie)
- Show Boat: Act Two, Scene Six - After the Ball: 'Ladies and Gentlemen...' (Jim, Drunk, Andy, Magnolia, A Man, All)
- Show Boat: Act Two, Scene Seven - Ol' Man River (Reprise): Ol' Man River... (Joe)
- Show Boat: Act Two, Scene Seven - Hey, Feller!: When you yen for a gent... (Queenie, Chorus)
- Show Boat: Act Two, Scene Eight - You Are Love (Reprise): 'That you, Nola?...' (Ravenal)
Tracks:
- Show Boat: Act Two, Scene Nine: Cottom Blossom (Reprise): Cotton Blossom... (Chorus)
- Show Boat: Act Two, Scene Nine - It's Getting Hotter in the North: Now up in the northern land... (Kim, Chorus)
- Show Boat: Act Two, Scene Nine - It's Getting Hotter in the North: 'Say, Cap'n Andy...' (Frank, Ellie, Andy)
- Show Boat: Act Two, Scene Nine - Finale Ultimo: 'Hello, Gay...' (Andy, Hope, Ravenal, Girl, Man, Magnolia, Old Lady, Chorus)
- Show Boat: Appendix - Pantry Scene (Act One, Scene Two; deleted - 1927): 'What cher doin' all by yourself, Miss Nola?...' (Queenie, Magnolia, Julie, Joe, Servants)
- Show Boat: Appendix - Waterfront Saloon Scene (Act One, Scene Three; deleted - 1927): 'Number four, black!...' (Voice (off), Ravenal, Loungers, Gambler)
- Show Boat: Appendix - Yes, Ma'am (Act One, Scene Three; unused - 1927): Bet your hat... (Girls, Ellie)
- Show Boat: Appendix - Kim's Imitations (Why Do I Love You?): (Act Two, Scene Nine; Ziegfeld Production - 1927): Why do I love you?... (Kim, Chorus)
- Show Boat: Appendix - Dance Away the Night (Act Two, Scene Nine; London - 1928): Music in the air... (Kim, Girls, Boys)
- Show Boat: Appendix - A Pack of Cards (Act One, Scene Six?; unused - 1927): One night as I sat by my fireside so weary... (Magnolia)
- Show Boat: Appendix - The Creole Love Song (Act One, Scene Seven; unused - 1927): 'That you, Nola?...' (Ravenal, Windy, Magnolia)
- Show Boat: Appendix - Out There in an Orchard (Act Two, Scene Four; unused - 1927): There was a sun sinking slowly in the west... (Julie)
- Show Boat: Appendix - Gallivantin' Aroun' (Universal Film - 1936): Liza Matilda HIll... (Magnolia, Chorus)
- Show Boat: Appendix - I Have the Room Above Her (Universal Film - 1936): 'Seems to me I've seen that stocking someplace...' (Ravenal, Magnolia)
- Show Boat: Appendix - Ah Still Suits Me (Universal Film - 1936): 'Joe! Dere you go again!...' (Queenie, Joe)
- Show Boat: Appendix - Nobody Else But Me (Act Two, Scene Nine; 1946 Revival): I was a shy, demure type... (Kim, Chorus)
Amazon.com
John McGlinn's sprawling, monumental three-CD set is about all the Show Boat any listener could ever ask for. In an obvious labor of love, McGlinn reconstructs the show as it ran on opening night, November 15, 1927, including every song, the original orchestrations, and all underscored dialogue. The most significant restoration is the dark choral number "Mis'ry's Comin' Aroun'," as Show Boat's serious subject matter helped establish its place as the most important turning point in the history of American musical theater. McGlinn also adds an appendix that includes songs cut before opening night and every song subsequently written for the show's many productions, most notably the love duet "I Have the Room Above Her," written for the 1936 film. (The recording is also available in a one-disc reduction called the "Broadway Show Album.")Rest assured this 221-minute blockbuster is not just dry scholarship; it's also terrific listening, with McGlinn conducting a dynamic London Sinfonietta and a strong cast including Frederica von Stade as Magnolia, Jerry Hadley as Ravenal, Teresa Stratas as the tragic Julie, Bruce Hubbard as the worldly wise Joe, Karla Burns as Queenie, and David Garrison and Paige O'Hara as the comic couple Frank and Ellie. And of course the songs by Jerome Kern and Oscar Hammerstein II are among the most glorious ever written: "Ol' Man River," "Can't Help Lovin' Dat Man," "Make Believe," "Why Do I Love You," "Bill," "You Are Love," and "Life upon the Wicked Stage." Also included are exhaustive production notes, a history of the show, a detailed synopsis, and a libretto. John McGlinn's Show Boat is a staggering achievement and a recording for the ages. --David Horiuchi
Customer Reviews:
An American Treasure.......2007-03-03
I defy anyone to come up with another Broadway production that has three songs in a row better than Make Believe, Ol' Man River and Can't Help Lovin' Dat Man (West Side Story's Maria, America and Tonight are the best three in a row of a movie musical) and it's a shame that no movie version of Showboat can compare to this version. The first act is full of songs that are as good as any ever sung on a stage and I can't think of another production with a first act that compete against the big 3 plus Cotton Blossom, Where's The Mate For Me, Life On The Wicked Stage, Till Good Luck Comes My Way, Misry's Comin' Aroun', You are Love, Act One finale and Why Do I Love You?. You just don't want to have the music stop.
If you don't like opera you won't like this version. Sung the way Kern and Hammerstein wrote them, you can't help but feel the operatic nature of these songs. Tough noogies because Showboat is above all an opera disguised as a Broadway play and no sweetening should be allowed.
The four leads are all superb, Frederica von Stade as Nola especially. The booklet contains the complete libretto and allows a different way to appreciate the music.
If you buy just one version of Showboat you need this one. If you have other versions of Showboat you need this one. As a matter of fact, anyone with ears to hear needs this version. A true American treasure.
DON'T DESPAIR. IT'S BEEN REISSUED!!!!!.......2006-11-16
Thank you, EMI.
I would hope other labels would follow suit and remaster and reissue other examples of classic American musical theater. It would be a pity if our children, grandchildren, and future generations were unable to savor "110 in the Shade" or "Little Mary Sunshine" or . . . . . . . . . (fill in the blanks.)
An American tragedy...........2006-02-06
Gorgeous!.......2005-08-26
M. J. Conrades
Defective disc........2005-08-15
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Old Friends Live on Stage (Deluxe Edition) (2 CD/1 DVD)
Simon & Garfunkel Manufacturer: Warner Bros / Wea ProductGroup: Music Binding: Audio CD General
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ASIN: B000679N8W Release Date: 2004-12-07 |
Tracks:
- Old Friends/Bookends
- A Hazy Shade of Winter
- I Am A Rock
- America
- At the Zoo
- Baby Driver
- Kathys Song
- Tom and Jerry Story
- Hey, Schoolgirl
- The Everly Brothers Intro
- Bye Bye Love (The Everly Brothers with Simon & Garfunkel)
- Scarborough Fair
- Homeward Bound
- The Sound of Silence
Tracks:
- Mrs. Robinson
- Slip Slidin Away
- El Condor Pasa
- The Only Living Boy in New York
- American Tune
- My Little Town
- Bridge Over Troubled Water
- Cecilia
- The Boxer
- Leaves That Are Green
- Bonus Track: Citizen of the Planet
Tracks:
- Opening Montage (America inst.)
- Old Friends/Bookends
- A Hazy Shade of Winter
- I Am A Rock
- America
- At the Zoo
- Baby Driver
- Kathys Song
- Tom and Jerry Story
- Hey, Schoolgirl
- The Everly Brothers Intro
- Wake Up Little Susie
- All I Have To Do Is Dream
- Bye Bye Love (The Everly Brothers with Simon & Garfunkel)
- Scarborough Fair
- Homeward Bound
- The Sound of Silence
- Opening Montage
- Mrs. Robinson
- Slip Slidin Away
- El Condor Pasa
- Keep The Customer Satisfied
- The Only Living Boy in New York
- American Tune
- My Little Town
- Bridge Over Troubled Water
- Cecilia
- The Boxer
- Leaves That Are Green
- The 59th Street Bridge Song (Feelin Groovy)
Amazon.com
One may never be able to go home again, but that hasn't kept Paul Simon and Art Garfunkel from trying every other decade or so. This two-CD plus DVD live set (recorded in December 2003 at the Meadowlands and Madison Square Garden) shows their musical chemistry has transcended the years--and no small amount of acrimony. But while their '80s live reunion was marked by an aura of celebration, this one floats on an undercurrent of bittersweet resolve. There's no mistaking the elegiac tone of the title track, while stark readings of "Hazy Shade of Winter" and "Sounds of Silence" can't help but evoke the scars of 9/11. A musical circle is completed as the Everly Brothers step in for a joyous "Bye Bye Love," while elsewhere Simon's musical restlessness inspires a subtly jazzy reworking of "Slip Slidin' Away" and Garfunkel adds his stately grace to his partner's "American Tune." The album concludes with S&G's first new studio recording in 30 years, the plaintive, irony-studded plea "Citizen of the Planet." --Jerry McCulley
Recommended Simon & Garfunkel Discography
Bridge over Troubled Water |
Sounds of Silence |
Bookends |
Parsley, Sage, Rosemary, and Thyme |
Wednesday Morning, 3 a.m. |
The Columbia Studio Recordings |
Album Description
For an entire generation, the concert event of the new millennium was the 2003 Old Friends tour from Paul Simon and Art Garfunkel. Their first national concert tour in two decades, performing songs that rank among the most memorable of the '60s, was a sold-out sensation in more than 30 cities across the country. Now many of those unforgettable performances are heard on the 2-CD set Old Friends Live On Stage, as well as a DVD and a Deluxe Edition with both the DVD and the CDs. The songs of Simon & Garfunkel have never sounded better.Customer Reviews:
Like Drinking Vodka and Lime.......2005-12-24
A quick story. It was either late '66 or early '67, and I'm in school and this girl in front of me turns around and asks if anyone wanted tickets to see Simon and Garfunkel at Carnegie Hall? She had two. Gave them away "free" to me and someone else. I was way too young to go into New York City by myself. But I did anyway. Guess how much the tickets were? A whopping FIVE DOLLARS!!!! And that was alot for a concert at that time. Anyway... the concert was pure magic. Only Paul on guitar and harmonies. It was rich, lush and angelic. What can you say about a blend of vocals like this except that it is as near to perfection you can get. I have always remembered that concert as one of the best I've ever seen. I believe the c.d. "Simon and Garfunkel Live 1967" is as close to the concert that I saw.
Anyway..... when I heard they were reuniting for a concert tour, I just had to go. And, believe me, this time around the tickets were nowhere near as cheap. Still, I went to see them at The Continental Arena in N.J. on the night of December 8th, 2003 and was excited to find that they used part of that very night for the DVD. The evening was as excellent as the DVD shows, however, you viewers have the advantage of seeing them up close. It's hard to get a view like that 100 rows out or so.
This package is worth it - ten times over believe me. It is a retrospect of their career with excellent side musicians who recreate all the particulars of the original recordings and then some. S & G's mock feud bantering puts the audience in a great mood. The evening sails smoothly and the introduction of The Everly Brothers adds icing to the cake. Paying homage to their influences - S & G provide a genuine warmth to the concert.
I do want to point out one song inparticular. When they did "Bridge Over Troubled Water", Paul took the second verse. An interesting variation, but it works fine. Also, near the end, the piano goes into a strange key variation...... most noticably. I am assuming it was done to accomodate Garfunkel's ending to the song. In any event, the song was a mainpoint in a fine evening.
I could go song by song in this review but it would be a big yawn. Suffice to say - S & G are professionals and they definitely do not disappoint in this offering!!
If you are looking for classic pop music with alot of grace - an EXTREMELY HIGH recommendation for this one. Whew....that was hard. Being totally serious for a change is a difficult challenge. But Simon and Garfunkel are worth it! Goodbye for now people!
Buy IT!.......2005-11-12
Highlights of the show are: an appropriate opening song (Old Friends/Bookends), an energetic version of Hazy Shade of Winter, a melancholic beautiful version of America, an upbeat energetic version of The Zoo, Homeward Bound (what can I say, one of my favorite S & G songs), American Tune (a Paul Simon song that sounds great sung by Simon and Garfunkel), Bridge Over Troubled Water with Paul Simon signing the middle verse (in the original version Paul Simon did not sing!) and the best song on the Cd; The Boxer (always such a powerful and moving song).
Gee but it's great to be back home..............2005-07-28
Timeless.......2005-03-12
It's great to see that the guys give a great and proper shout out to the Everly's, who were their harmonizing inspirations. Just about every cut is either equal to or surpassing the originals most of us are familiar with. The greatest duo in Pop/Rock/Folk history? I think so, my friends. Hear them here in all their glory, with great back up musicians (as always) and pitch perfect recording! It's the state of the art, as it should be for two talents who are indeed "artists" as well as highly prolific tunesmiths. What a night of music!
BEK
I love these guys!.......2005-03-11
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You Can't Do That On Stage Anymore - Vol. 1
Frank Zappa Manufacturer: Zappa Records ProductGroup: Music Binding: Audio CD General
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ASIN: B0000009TN Release Date: 1995-05-16 |
Tracks:
- The Florida Airport Tape
- Once Upon A Time
- Sofa #1
- The Mammy Anthem
- You Didn't Try To Call Me
- Diseases Of The Band
- Tryin To Grow A Chin
- Let's Make The Water Turn Black/Harry, You're A Beast/The Orange County Lumber Truck
- The Groupie Routine
- Ruthie-Ruthie
- Babbette
- I'm The Slime
- Big Swifty
- Don't Eat The Yellow Snow
Tracks:
- Plastic People
- The Torture Never Stops
- Fine Girl
- Zomby Woof
- Sweet Leilani
- Oh No
- Be In My Video
- The Deathless Horsie
- The Dangerous Kitchen
- Dumb All Over
- Heavenly Bank Account
- Suicide Chump
- Tell Me You Love Me
- Sofa #2
Customer Reviews:
A Good Place To Start........2006-02-02
Disc Two follows the same format, starting with the original Mothers Of Invention playing in a bar in the Bronx, New York, Spring tour, 1969, replete with stage announcements by Frank Zappa, telling the owner of a green Chevy, that his car needs to be moved, and the listener is transported through time and space, from the 1960's, through the 1970's, and into the 1980's, ending with the 1981 band's MTV special, before MTV turned into what it is now; it actually had MUSIC, played by MUSICIANS back then, and to give this volume a sense of beginning, main body, end, it closes with the MTV special's clip of the 1981 band playing an instrumental version of "Sofa," the track near the beginning of the first disc that had Howard Kaylan and Mark Volman singing in German.
Bottom line, this is a THOROUGHLY enjoyable cross-section of Frank Zappa's music, all live, and an excellent first volume of the series. In time, I aim to write reviews of all six volumes.
Zappa does the Grateful Dead thing, only better........2005-10-23
The material in the whole series covers twenty years of performing, and the notes say that great care was taken to select the best version of each piece.
I have so far only heard this first volume and as a long time Zappa fan, I believe this material is as good or better than what you will find in many of the earlier albums done by the original 'Mothers' group. The tracks include a rather large amount of Frank and other band members interacting with the audience and relatively few purely instrumental tracks. This is just fine with me. If you want instrumental, get 'Hot Rats' or 'Shut Up 'n Play Yer Guitar'.
There is a fair amount of overlap with some well-known albums such as the 'Filmore East, June, 1971' album but most of the material, unlike so many Grateful Dead live albums, is different enough to make the comparison interesting.
Great value for Zappa fans, except that it makes us miss Frank all the more!
absolute greatness.......2005-10-10
Send in the diseased musicians.......2002-11-05
You'll like it.......2002-02-16
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Doc Watson on Stage (Featuring Merle Watson)
Doc & Merle Watson Manufacturer: Vanguard Records ProductGroup: Music Binding: Audio CD General
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ASIN: B000000EB9 Release Date: 1990-05-24 |
Tracks:
- Brown's Ferry Blues
- The Wreck Of The 1262
- Spikedriver Blues
- Deep River Blues
- Life Gets Teejus Don't It
- Lost John
- Hold The Woodpile Down
- Billy In The Low Ground
- I Am A Pilgrim
- The Clouds Are Gwine To Roll Away
- Windy And Warm
- Doc's Guitar
- Open Up Them Pearly Gates For Me
- The Preacher And The Bicycle
- Jimmy's Texas Blues
- Banks Of The Ohio
- Roll On Buddy
- Southbound
- Wabash Cannon Ball
- When The Work's All Done This Fall
- Little Sadie
- The Quaker's Cow
- Salt River/Bill Cheatham
- Don't Let Your Deal Go Down
Customer Reviews:
Flatpicking guitar at its best.......2006-07-09
On this live recording, first released in 1982 as a dobbel LP, he is joined by his son Merle, and it is possibly one of the most beautiful records he has ever made. Doc sings and plays the guitar, and on some numbers the mouthorgan too. Merle accompanies him on guitar, and gets the chance to kick in a couple of numbers of his own.
There is a nice and warm and relaxed atmosphere in the concert. Doc tells a few jokes and you get the feeling that you are sitting around in his livingroom.
I first bought this record in 1982, and now I have bought it again on CD. It is simply a must in my personal collection. It is this record that woke my interrest for bluegrass, and learning how to flatpick on the guitar. And I am greatfull, though I'll never reach Doc's level. In fact very few people do.
Should I compare his playing to any younger generation flatpickers, the first one I can think of is Tony Rice.
And finaly, should you be interested in seeing Doc in action I can strongly recomend the DVD The Three Pickers, a concert in which he plays with Earl Scruggs and Ricky Skaggs, and Allison Krauss appears as a guest. That is very very beautyfull.
Honest Representation of Doc and Merle Live.......2005-10-29
Good intro to Doc.......2003-09-14
Each time I listen to DOC, I'd like to be American!.......2003-08-01
Love it when they put my favorite LP albums on CD.......2002-08-19
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You Can't Do That On Stage Anymore - Vol. 4
Frank Zappa Manufacturer: Zappa Records ProductGroup: Music Binding: Audio CD General
| Alternative Rock
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ASIN: B0000009TQ Release Date: 1995-05-30 |
Tracks:
- Little Rubber Girl
- Stick Together
- My Guitar Wants to Kill Your Mama
- Willie The Pimp
- Montana
- Brown Moses
- The Evil Prince
- Approximate
- Love of My Life (Mud Club Version)
- Let's Move To Cleveland Solos (1984)
- You Call That Music?
- Pound For A Brown Solos (1978)
- The Black Page (1984)
- Take Me Out To The Ball Game
- Filthy Habits
- The Torture Never Stops (Original Version)
Tracks:
- Church Chat
- Stevie's Spanking
- Outside Now
- Disco Boy
- Teen-Age Wind
- Truck Driver Divorce
- Florentine Pogen
- Tiny Sick Tears
- Smell My Beard
- The Booger Man
- Carolina Hard Core Ecstasy
- Are You Upset?
- Little Girl of Mine
- The Closer You Are
- Johnny Darling
- No, No Cherry
- The Man From Utopia
- Mary Lou
Customer Reviews:
Get it together, Amazon!.......2006-02-20
This edition follows the same premise of Volume 1, in that it spans Zappa's whole live career, without any apparent underlying theme. Where Volume 2 is only from the 1974 Helsinki Concert, Volume 3 is focused on the vocal abilities of the 1984 touring band, Volume 5 contrasts the original Mothers Of Invention (1965-1969) with the 1982 touring band, and the first disc of Volume 6 is focused on sexual themes, with the finale (disc two) being odds and ends to wrap it all up, this is a pot-pourri going back to the spring tour of 1969, spanning forward through the 1988 "Broadway The Hard Way" tour. Some real gems are included here, most notably, the '84 band's version of "The Evil Prince." The original, from "Thingfish," features Napoleon Murphy Brock singing this lengthy selection, in a sinister, chilling voice during that particular version of "The Torture Never Stops." I didn't feel there was room for improvement. Ray White sings it here, with the full band accompanying him, a far more complex arrangement than the studio version, and it is to be heard to be believed. Awesome band, contrary to what some detractors may think. The "Pound For A Brown Solos" are flowing with sweet-sounding keyboard arrangements, very nice, "Brown Moses" shows that Zappa hired some fantastic vocalists for his tours, and Disc One ends with the first version of "The Torture Never Stops," from the "Bongo Fury" sessions, Austin, Texas, 1975. This version is signifigantly different from the one everybody's familiar with. It's gritty and bluesy, the 1975 line-up of The Mothers, with Captain Beefheart singing, a perfect vehicle for this particular delivery of this number.
Disc Two begins with Zappa's "sermon" about Hell, and he tells the French audience, "THERE IS NO HELL, THERE IS ONLY...FRANCE!"
This kicks off a lengthy guitar duel between Zappa and Steve Vai, in the song "Stevie's Spanking." This is what live shows used to be made of. Too bad, look at what's out there these days. Things really have gone downhill.
Once again, you are treated to different performances over the years, some really old Mothers gems, "Are You Upset?" having gotten its title from the question Zappa asked a heckler in the audience during the recording of this piece. They lampoon The Doors in "Tiny Sick Tears" with a part of Zappa's monologue being modeled after the Oedipal section of "The End," only here there is no mother, just an embarrassed father. Really tacky, but funny, nonetheless. "Carolina Hardcore Ecstasy" just shines, it is so well done. And the set ends with a medley of old Rock-n-Roll songs from yesteryear. You don't have to like that kind of thing to see just how much fun the band had playing this sequence, and its inclusion is all part of the experience of Frank Zappa on stage. He never limited himself to one genre, and along with Volume 1, this is the most variety you will find in this series.
I don't really like this that much.......2005-10-25
Better of the series.......2005-08-15
I like this because much of it I had not heard before in any form. There is also much more variation in the music and the playing. There are some great keyboard and sax solos from other musicians.
This set is just a good compilation of tracks throughout the years. Some of the other volumes concentrate on one band (vol 2 is a complete concert) or period of time.
Blown Away.......2004-03-05
Nice job.......2002-02-16
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You Can't Do That On Stage Anymore - Vol. 3
Frank Zappa Manufacturer: Zappa Records ProductGroup: Music Binding: Audio CD General
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ASIN: B0000009TP Release Date: 1995-05-30 |
Tracks:
- Sharleena
- Bamboozled By Love
- Lucille Has Messed My Mind up
- Advance Romance
- Bobby Brown Goes Down
- Keep It Greasey
- Honey, Don't You Want A Man Like Me?
- In France
- Drowning Witch
- Ride My Face To Chicago
- Carol, You Fool
- Chana In De Bushwop
- Joe's Garage
- Why Does It Hurt When I Pee?
Tracks:
- Dickie's Such An Asshole
- Hands With A Hammer
- Zoot Allures
- Society Pages
- I'm A Beautiful Guy
- Beauty Knows No Pain
- Charlie's Enormous Mouth
- Cocaine Decisions
- Nig Biz
- King Kong
- Cosmik Debris
Customer Reviews:
FZ Journal # 7.......2005-06-21
These recordings have also been a source of interest in they way that they are structured. Zappa himself states that the live material contains "ABSOLUTELY NO OVER-DUBS", but there is some editing together of separate performances. In some instances, like Zoot Allures and King Kong on disc 2, a single "performance" contains entirely different bands. Now on one hand, it is a testament to both the consistency of Zappa's preparations and his deft hand in the studio. In these cases, one must listen very closely for the seams. The casual listener would probably not even notice them. In the end, Zappa can look at his best performances and create what he might consider a live show that most closely captures his intention. On the other hand, it begs the question of "ABSOLUTELY NO OVER DUBS....". Technically, there are no overdubs, but there is definitely some studio trickery going on. However, we have stated that Zappa conceived of the studio as an instrument in and of itself, and these recordings most definitely show his mastery of the medium.
In the liner notes, Zappa also gives eight criteria for the selecting songs for this series, and number six is whether a given recording has "Conceptual Continuity Clues". I have had an interest in familiarizing myself with this feature of Zappa's repertoire, but as I am becoming more familiar with them, it is getting more difficult to tease out the threads. This recording just about made my brain hurt as I tried to figure out where I heard what from where, and there were so many of them that I could hardly find pen and paper fast enough.
As Zappa hit the `80's, his repertoire of mindless rock licks expanded beyond "Louie Louie", and here he adds "Owner of a Lonely Heart" to the list as a vamp for the solo on "Bamboozled By Love". His choice and presentation of "cover" songs is of interest, as they represent a satirical view of the state of rock and roll and the music industry. Of course, the audience is just happy to hear their faves cranked out through Zappa's outfreakage.
I was really happy to hear a live version of "Drowning Witch", which is one of my favorite Zappa compositions. In the liner notes, he admitted how hard the song was to perform, and here he had to splice a couple of performances together to just get one that was close. I also enjoyed getting to hear an entire performance of "Dickie's Such an A**h*le". I really only know that song by the lick that Ed Mann "f****d up" on the Make A Jazz Noise Here recording. Dweezil and Frank sound great together on "Sharleena" as well. There's also a nice post-modern moment when he starts referring to back-up doo-wops as lyrics, encouraging the performers to get the lyrics right.
Something else I have been thinking about is how Zappa chose people for his band that were sort of the charismatic "drama" figures. As we were watching Napolean Murphy Brock in class today, I was thinking about Ike Willis and the place that he held in the `80's lineup, and about how the late `70's group had very charismatic players in the group (Bozzio, O'Hearn) and about how much these members were necessary to Franks live performances as people who could command the attention of the spotlight in musically technical sections. This problem of keeping audience attention in technically demanding rock music was what caused Peter Gabriel to start wearing makeup and outlandish costumes.
The Spots are so great that the lag aint that much..........2005-01-07
Zoot, Charleys Suite, Kong, Depris...this is worth more than it costs.
a few lags, make is 4.5 for me, but a great 4.5
Worst of the Series........2004-01-24
The first disc is entirely devoted to the '84 tour. SHARLEENA features a 15 year old Dweezil joining his father on stage for the first time, and soloing with him. While Dweezil's playing is impressive considering that he'd only been playing for 2 years, it sounds hopelessly Van Halenish. This track is more interesting as a documentary of a charming father/son moment. BAMBOOZLED BY LOVE is so rhythmically stripped that it clocks into "Owner of a Lonely Heart" at one point. LUCILLE HAS MESSED MY MIND UP has a charming calypsoish feel. ADVANCE ROMANCE is one of my favorite FZ songs, but this is the worst version of it. A lot of the next tracks deal with a miserable Thanksgiving show, where the band, despite its hardships, seemed to be having a lot of fun. A Lone Ranger motif keeps reoccuring and forcing FZ and Ike Willis into uncontrollable fits of laughter. I have no idea why there's yet another version of HONEY, DON'T YOU WANT A MAN LIKE ME here. Like the plenty of other versions, there's no real variation, except a cute audience fakeout. DROWNING WITCH is a brilliant epic work, of course. Because none of his bands ever performed it right, Zappa mixes the '82 and '84 band together to get an ideal performance. The best part of this disc is a chain of three premiere songs, RIDE MY FACE TO CHICAGO, a great little rocker inspired by graffiti found in the bathroom of the Whisky-a-Go-Go, CAROL, YOU FOOL, a nice crooner piece, and CHANA IN DE BUSHWOP, co-written by Diva Zappa. The Joe's Garage songs that end the disc are far inferior to the album versions.
The second disc is a lot better. It opens with a 10 minute version of DICKIE'S SUCH AN... as originally performed by the '73 Roxy band. After disc one, its a real breath of fresh air. HANDS WITH A HAMMER, an incredible drum solo by Terry Bozzio, confirming the incredible precocious genius of that certain FZ alumnus. It leads into a split version of ZOOT ALLURES, with the original variant of the composed portion, as played in 1975, which jumps into a reggae-vamped solo played in 1984, which is pretty good. The You Are What You Is songs that follow are just wasteful. Why would we want to hear the 1981 band trying to replicate these songs exactly as they appear on the albums? Didn't we get enough of that on Volume one? COCAINE DECISIONS and NIG BIZ (another premiere song) are classic documentary moments, played during the Palermo riots that ended the 1982 tour. You can hear the tear gas cannisters being shot off as the band, blinded, goes on undaunted. Its absolutely incredible. The 24 minute KING KONG mixes the '82, '84, and '72 band. The last is from the concert in which Zappa was pushed off stage. Some excellent solos here. COSMIK DEBRIS, performed by the '84 band, is another throw-away, put on here for its Secret Word significance.
There's a lot on this volume worth having, but overall its pretty lacklustre. I recommend getting this one last.
Mixed blessing.......2003-07-27
But on the first disc, you get the unassailable `Drowning Witch', a bit of rock 'n roll fun called `Ride My Face to Chicago', the infectious nonsense of `Chana in de Bushwop' (with a good keyboard solo from Bobby Martin and a funny one from Zappa and Zavod), and the marvellous `Carol You Fool' - a doowop song about a girl who'd been stalking the sound engineer, which reminds us that when they weren't joking around these 1984 guys could REALLY sing! (Especially Ray, in the difficult middle-eight)
The second disc, and especially the 24-minute `King Kong', is the real reason for buying. The original and best version of `Dickie's...' - even though purchasers of the `Stage sampler' album will know that a few lines have been inexplicably edited out, and the song remixed (poorly).
Terry's unique way of constructing a drum solo, leads us to the original (and best?) arrangement of `Zoot Allures'. But it edits to 1982 for the solo - damn! To get an idea of what the 1976 solos were like, consult `FZ:OZ' or, better still, `FZ Plays The Music Of FZ'
From the riot show we have the fabulous `Nig Biz' - Ray White singing like a good'un and, better yet, leading off the solo sequence. The `You Are What You Is' medley is always a pleasure to hear. And then...
The `King Kong' extravaganza. Part 1, a short Ed Mann noise-solo followed by the band shouting something unmentionable, functions mainly as light relief after the hectic music that precedes it on this album. Part 2 - Ian Underwood demonstrating his godliness as the rhythm alternates 4-4 and 3-4. Part 3 - one of the best Zappa solos you've ever heard. Uncharacteristically mellow and reflective (think of the `Sleep Dirt' title cut), partially unaccompanied, including quotes from `Big Swifty' and `Zoot Allures' (and you thought they hadn't been written yet!) as well as a hint of `Toads of the Short Forest' as the band shifts into a jazz waltz. Parts 4 and 5 - some hot keyboard action from Tommy Mars, plus the William Tell Overture and a bit of Zappa/Hammersmith stage-folklore. And, Part 6, a Zappa solo from '82 that's actually not bad at all (thanks to Scott and Chad).
Mixed blessing.......2003-07-27
But on the first disc, you get the unassailable `Drowning Witch', a bit of rock 'n roll fun called `Ride My Face to Chicago', the infectious nonsense of `Chana in de Bushwop' (with a good keyboard solo from Bobby Martin and a funny one from Zappa and Zavod), and the marvellous `Carol You Fool' - a doowop song about a girl who'd been stalking the sound engineer, which reminds us that when they weren't joking around these 1984 guys could REALLY sing! (Especially Ray, in the difficult middle-eight)
The second disc, and especially the 24-minute `King Kong', is the real reason for buying. The original and best version of `Dickie's...' - even though purchasers of the `Stage sampler' album will know that a few lines have been inexplicably edited out, and the song remixed (poorly).
Terry's unique way of constructing a drum solo, leads us to the original (and best?) arrangement of `Zoot Allures'. But it edits to 1982 for the solo - damn! To get an idea of what the 1976 solos were like, consult `FZ:OZ' or, better still, `FZ Plays The Music Of FZ'
From the riot show we have the fabulous `Nig Biz' - Ray White singing like a good'un and, better yet, leading off the solo sequence. The `You Are What You Is' medley is always a pleasure to hear. And then...
The `King Kong' extravaganza. Part 1, a short Ed Mann noise-solo followed by the band shouting something unmentionable, functions mainly as light relief after the hectic music that precedes it on this album. Part 2 - Ian Underwood demonstrating his godliness as the rhythm alternates 4-4 and 3-4. Part 3 - one of the best Zappa solos you've ever heard. Uncharacteristically mellow and reflective (think of the `Sleep Dirt' title cut), partially unaccompanied, including quotes from `Big Swifty' and `Zoot Allures' (and you thought they hadn't been written yet!) as well as a hint of `Toads of the Short Forest' as the band shifts into a jazz waltz. Parts 4 and 5 - some hot keyboard action from Tommy Mars, plus the William Tell Overture and a bit of Zappa/Hammersmith stage-folklore. And, Part 6, a Zappa solo from '82 that's actually not bad at all (thanks to Scott and Chad).
Rock Music:
- Out of Range [Import]
- Out to Every Nation [Import]
- Pendulum (Hybr) [Hybrid SACD]
- Petticoat Government [Import]
- Piano Love Songs [Import]
- Queen of the Circulating Libr [Import]
- Récital Á Berlin [Live] [Original recording remastered] [Import]
- Red Prinze Ep [Import]
- Rock N Roll [Import]
- R U Spaced Out 2 [Import]
