Live/Dead [Live] [Original recording remastered]

Editorial Reviews
Album Description
Expanded & remastered (HDCD) version of the band's 1969 tour de force spotlighting the band in all their onstage glory, features the single version of 'Dark Star' as a hidden bonus track. Digipak. Warner/Rhino. 2003.

Tracks:

Promised Land
Bertha
Mama Tried
They Love Each Other
Looks Like Rain
Deal
Playing In The Band

Tracks:

Sugar Magnolia
Eyes Of The World
Wharf Rat
Good Lovin'
Samson & Delilah
Scarlet Begonias

Tracks:

Around And Around
Help On The Way
Slipknot!
Drums
Not Fade Away
Morning Dew
One More Saturday Night
Uncle John's Band
We Bid You Goodnight

Amazon.com

If you're a died-in-the-tie-dye fan, you've probably already heard a tape of this show and will be pleased to know that here it sounds amazing; the entire three hour performance is included, mixed and mastered off of original 16-track live master recordings. If you're not already a Deadhead, Live at the Cow Palace: New Years Eve 1976 is an excellent encapsulation of mid '70s Dead. Recorded in-between 1975's invigorating Blues for Allah and 1977's dreadfully myopic Terrapin Station, it's eminently preferable to the live album Steal Yr Face, and goes a long way towards showing that the critically-maligned Godchaux era had a lot going for it. A few of the songs lumber a bit, but there's a real funkiness and versatility to this segment of the band's career that they never really had at any other time. Several stages of the band's career converge, such that the elastically funky version of the late '70s Dead, the almost jazz-fusion Dead of the early '70s, and the soft cowboy folk sound of 1970 of are all here. It's lovely. --Mike McGonigal

Album Description

Captured in stelar HDCD sound, the Dead's previously unreleased historic New Year's Eve '76 show at the Cow Palace shines on 3CDs loaded with peak-form versions of many of the band's best-know masterpieces.

Customer Reviews:

Grateful sound.......2007-06-12

Great sound and production. This one will get you up and dancing. The Dead always sound awsome live.I'm Glad I found it.

Beautiful ending for 1976.......2007-05-29

First 2007 release of the Grateful Dead (I hope there's more to come). "Live at the Cow Palace" features the complete show The Dead gave on New Year's Eve 1976. Nicely "digipaked", this set also includes a nice booklet with interesting liner notes which focus on (of course) the band, but also on the history of the Cow Palace. These notes point out the bad acoustics of this big hall, but forget about that for this set is beautifuly recorded and the sound quality is simply superb. All the instruments are clearly heard and the sound is certainly warm and tremendously enjoyable.
As for the performance, The Dead were surely inspired that evening. Let's take a brief look at the contents of this 3-cd set.

The first set, as it has happened with The Dead before, proves to be the less interesting. It starts off with "Promised Land", which is nice but doesn't say much. "Bertha" is played more slowly than the classic "Skull and Roses" version. "Mama Tried", in contrast, is played in a more hurried pace than on the aforementioned record. Anyway, there are both nice to hear. "They Love Each Other" proves to be a real treat. It includes a very strong piano solo by Keith Godchaux, and the band sounds very tight. Unfortunately, the results are not the same with "Looks Like Rain", where the group make a couple of easily detectable mistakes, apart from sounding uncomfortable with the song. A nice "Deal" brings the things back together and set the mood for a magnificent "Playing In The Band" which includes, as you can imagine, an extended, pure-beauty jam where everybody flies freely.

1977 started in Winterland with "Sugar Magnolia", and the second CD kicks off. A faster-than-usual and splendid-as-always "Eyes of the World" continues and segues into one of the most wonderful "Wharf Rat" versions I ever heard (a song that is naturally beautiful made even more beautiful. Can you picture that?). After this sonic Eden, we are taken back to reality with some interesting yet more earthy "Good Lovin'" and "Samson and Delilah". "Scarlet Begonias" closes the second CD in its usual relaxed, lovely and cheerful manner.

The last CD takes off with "Around And Around", which usually sounds (to these ears) just plain fair. This version is not the case, embellished with a effective rhythm change in the middle and a fantastic segue into a outstanding "Help On The Way/Slipknot!". Jerry Garcia expands his talent all over, and the band enters into an ethereal landscape where he can speak freely with them in a classic telephatic-empathic-Grateful-Dead-type manner. All this beauty derives in a very short "Drums" and the time comes for a pleasant "Not Fade Away" to distract the listener's mind before a sublime and touching "Morning Dew". "One More Saturday Night" follows and the show finds its proper ending with "Uncle John's Band" (including some usual lyrics confusion) and a simply wonderful "We Bid You Goodnight".
Well, top-notch Dead, warts and all.
A great night of a tremendously talented ensemble.

Post scriptum:
I still can't find the reason for all that detraction against Donna Jean. Go on and loathe her while I enjoy her voice, I don't care.

Welcome new release from the Dead archive.......2007-05-20

There was a period in the late 90s up to a few years ago that the Dead released live albums from their rich back catalogue, including the seminole "Dick's Picks" releases. Things have been much quieter in the last 2-3 years. Among other things, the Dead have turned over further releases from their back catalogue to the well-respected Rhino label.

"Live At the Cow Palace, New Year's Eve, 1976" (3CDs, 22 tracks, 191 min.) brings the 12/31/76 show in its entirety, and the band is generally in great doings. Contrary to many other Dead fans, I've always enjoyed the Godchaux era, and this is as good as any from that era. Set one is somewhat slow in building up, but I love the 20+ min. blowout of Playing In the Band. CD2 brings a great Sugar Magnolia>Eyes of the World>Wharf Rat>Good Loving, but the real jewel on this set is CD3, with a great Slipknot!>Drums>Not Fade Away. Uncle John's Band in the encore is the cherry on top of the cake. Just an great evening of great music all around.

I have usually been impressed with the job Rhino has done with reissued and back catalogue issues, and they don't disappointed me here. Excellent packaging, great liner notes, pictures, it's all here. Bottom line: is this an "essential" live recording in the Dead's output? Probably not, but it certainly is a most enjoyable and welcome addition to the live catalogue of the Dead.

Love it.......2007-05-19

I am not a dead head fan...but like alot of their music...This is the best.Purchased for my husbands birthday!! Made him very happy.
We love it around here.I think its well worth the money spent.

Brings Back Memories.......2007-03-10

I have Without a Net and love that, but Live at the Cow Palace is great! Alot of my faves are on here.

Average customer rating:

So many other bands do the same thing so much better...
Pick up this album now
if this was to be the only 60s dead album you'd buy make it this one
A Must Dead CD
PERFECT

Live / Dead
Grateful Dead
Manufacturer: Rhino / Wea
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Grateful Dead (Skull & Roses)
Workingman's Dead
Anthem of the Sun
American Beauty
Europe 72

ASIN: B00007LTIJ
Release Date: 2003-02-25

Tracks:

Dark Star
St. Stephen
The Eleven
Turn On Your Love Light
Death Don't Have No Mercy
Feedback
And We Bid You Goodnight
Bonus Track 1
Bonus Track 2

Album Description

Expanded & remastered (HDCD) version of the band's 1969 tour de force spotlighting the band in all their onstage glory, features the single version of 'Dark Star' as a hidden bonus track. Digipak. Warner/Rhino. 2003.

Customer Reviews:

So many other bands do the same thing so much better..........2007-06-14

Okay, I'm not some ADD-induced kid complaining about how all songs should be between two and four minutes. I quite like jammming, when it's done right - I am, after all, a fan of Pink Floyd, the Allman Brothers Band, Jimi Hendrix, Cream and several jazz artists. But the Dead don't have the chops of any of them. Other than Jerry Garcia. He's an impressive guitarist. But he can't save this from being excessive. The Allmans would've smoked Turn on Your Lovelight, but under the Dead it's just a turgid, feel-good quarter-hour blues jam. And jamming the hell out of everything doesn't suit The Eleven or Feedback (nine minutes of feedback - what was the purpose of THAT?) I like bits of Dark Star (I think in this incarnation it's the Dead's signature song), and I certainly enjoy the way it rises and falls, but they could've played it in seven or eight minutes rather than dragging it out to past twenty. To draw another Allmans comparison, Mountain Jam is even LONGER (33:39!), and I love every minute of it.
While I do dig Garcia's blues guitar on Death Don't Have No Mercy (that's one dynamic guitar solo!), you have to sit through the awful three-minute croaked vocal section to get to it, and when it ends, you get MORE CROAKING! Why couldn't it just been a solo feature for Jerry? That I would've certainly enjoyed.
The one entire song I like here, then, is St. Steven. Damn and a bucket of fries (for what's a damn without a bucket of fries on the side?), that's a killer song. It's a rocker singalong gospel rave-up... sweet. Easily my favorite. Easily. But too much of this just strikes me as aimless... I know this is a nominal classic, but I prefer several other jam-oriented releases. Now, to me the Dead stand out as a country-folk band, the band who made American Beauty and Workingman's Dead. That's good stuff. They were not, in my mind, cut out to be a jam band.

Pick up this album now.......2007-06-08

First let me state I'm not a fan of the Grateful Dead mainly because most of their music sounds the same to me. A bit more diversity wouldn't have hurt. At the same time, I respect what they did, and I respect their unique approach and everything the band was able to accomplish in their long and successful career.

I really like this Live/Dead album. I can't really complain about lack of diversity either because there's a few different styles the band used to do back in the day, and this album is pretty much the ultimate example of the Grateful Dead's greatness in the early days. I think it's a highly enjoyable listen, from beginning to end. If there was ever one Grateful Dead album you needed, this would probably be the one.

"Dark Star" is 23 minutes of mellow guitar jamming with only a *very* small amount of vocal work in two spots. I consider myself a BIG fan of guitar jams, and I especially like the jams where the music feels like it's coming straight from the soul. I can't fault the Grateful Dead here, because every time they go into jam mode, their music instantly becomes more enjoyable to me. A 23-minute jam is certainly the right way to kick things off!

When that monster is finally over, it's only right to have the follow up song be something more melodic (in order to shift gears and keep everyones attention). "Saint Stephen" does just that. The Grateful Dead were also very good at being emotionally-connecting to the listener, and this song is proof of that.

"The Eleven" features more jamming like you heard in "Dark Star", only "The Eleven" is more in-your-face with more excitement and energy. This is probably my favorite song on the album. "Turn On Your Love Light" reminds me of a fast-paced boogie song from the 50's like "Jailhouse Rock" or something along those lines, but extended for 15 minutes. I have to wonder if Led Zeppelin was influenced by "Death Don't Have No Mercy" because "Since I've Been Loving You" almost has an identical style (from Zeppelin III). It's possible Zeppelin copied, but I doubt it. Most people probably wouldn't be able to hear the similarity anyway.

Alright, "Feedback" is probably the worst thing on the album. It's not a song- just a bunch of noises. But it's not as pointless or outrageously annoying as say, the last song on the Stooges album Funhouse. "And We Bid You Goodnight" is just a 30-second thingy with pleasant vocals.

The Grateful Dead seemed to me like they were a two-trick pony. You had your lengthy "feeling good" guitar jams, and you had your pleasant country rockers. However, this Live/Dead album is proof that the band was able to implement other styles into their career. For someone who likes diversity, this album satisfies my needs.

if this was to be the only 60s dead album you'd buy make it this one.......2007-04-21

this is a great album this is exactly how it would of been like to seem them live back in 1969 a perfect cd example of what the dead is most famous for.....the jams my freind is what they were most famous for and this cd represents it so if your starting up a dead collection make this be one of your first buys

A Must Dead CD.......2007-03-11

This is THE classic early Dead CD. In addition to the well-known version of Dark Star, the CD contains an alternative style version.

PERFECT.......2007-03-07

There's no such thing as objetivity, and I ain't gonna try to reach it anyway. This record is simply PERFECT, that is all I can say. No even a minimal flaw. Not at all. Majestic beauty.

Dead Man Walking (Live recording of 2000 world premiere production)

Average customer rating:

Isa Lei
Weak attempt at opera realism
Challenging in many dimensions
The Opera is Fabulous.
It Could Have Been More

Dead Man Walking (Live recording of 2000 world premiere production)
Jake Heggie , Susan Graham , Frederica von Stade , Patrick Summers , and San Francisco Opera Chorus and Orchestra
Manufacturer: Erato
ProductGroup: Music
Binding: Audio CD

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The Faces of Love ~ The Songs of Jake Heggie / Fleming, McNair, Larmore, von Stade, Forand, Cao, Clayton, Vaness, Asawa
Little Women: An Opera in Two Acts
Cold Sassy Tree
Bolcom - A View from the Bridge / Josephson, Malfitano, Turay, Lyric Opera of Chicago, D. Russell Davies
Previn - A Streetcar Named Desire / Fleming, Futral, Gilfry, Griffey, SF Opera, Previn

ASIN: B000059ZHR
Release Date: 2002-01-08

Tracks:

Prelude - Patrick Summers
Prologue - Patrick Summers
Act One, Scene 1. Hope House: 'He Will Gather Us Around'
Act One, Scene 2. The Drive To Angola State Prison: 'Be Careful,' People Have Always Told Me.
Act One, Scene 2. The Drive To Angola State Prison: Aria: This Journey. This Journey To Christ.
Act One, Scene 3. Outside Of Angola State Penitentiary: Sister Helen? I've Been Waiting For You.
Act One, Scene 4. Father Grenville's Office: Some Of Them Didn't Look So Bad.
Act One, Scene 4. Father Grenville's Office: I Don't Like That Man.
Act One, Scene 5. The Walk Through Death Row: Woman On The Tier!
Act One, Scene 6. The Death Row Visiting Room: Thank You.
Act One, Scene 6. The Death Row Visiting Room: Aria: A Warm Night.
Act One, Scene 7. The Pardon Board Meeting: The Defendant's Mother, Mrs. Patrick De Rocher. - Frederica Von Stade
Act One, Scene 8. The Parking Lot Outside The Courthouse: Its A Good Sign When They Take So Long.
Act One, Scene 8. The Parking Lot Outside The Courthouse: You Don't Know What It's Like To Bear A Child.
Act One, Scene 8. The Parking Lot Outside The Courthouse: It's The Decision Of This Pardon Board
Act One, Scene 9. The Death Row Visiting Room/Scene 10. The Waiting Room: Guess Your Nun Ain't Comin' Back, De Rocher./Excuse Me. Do You Have Any Change?
Act One, Scene 10. The Waiting Room: 'He Will Gather Us Around'

Tracks:

Prelude - Patrick Summers
Act Two, Scene 1. Joseph's Cell: 31...32...33... - John Packard
Act Two, Scene 2. Sister Helen's Bedroom: Oh!... Now And At The Hour Of Our Death. Amen.
Act Two, Scene 2. Sister Helen's Bedroom: Duet/Scene 3, Joseph's Cell. August 4 In The Evening: Sometimes Forgiveness Is In The Smallest Gesture./Well? Well?
Act Two, Scene 3. Joseph's Cell. August 4 In The Evening: What Time Is It?
Act Two, Scene 4. The Visiting Room: Wow! Those New Ford Mustangs Are So Cool.
Act Two, Scene 4. The Visiting Room: Aria: Dont' Say A Word.
Act Two, Scene 4. The Visiting Room: Who Will Walk With Me?
Act Two, Scene 5. Outside The Death House: Good Evening.
Act Two, Scene 5. Outside The Death House: Duet: I've Said Some Harsh Things.
Act Two, Scene 6. Joseph's Holding Cell: You're A Regular Illustrated Man, De Rocher. - David Okerlund
Act Two, Scene 7. The Confession: How Much Longer? How Much More Time?
Act Two, Scene 7. The Confession: We'd Been Drinkin' And Smokin' Weed At The Road House.
Act Two, Scene 8. The Execution: Dead Man Walking!
Act Two, Scene 8. The Execution: 'He Will Gather Us Around.'
Applause

Amazon.com

Dead Man Walking opens with a brutal rape-murder scene and ends with a passage, silent except for the clicks of the machine delivering fluids that execute a condemned man, followed by Susan Graham intoning the spiritual "He will gather us around." Those searing scenes flank that rarity, a contemporary opera that deals with an important issue--the death penalty--with balance and empathy while sustaining dramatic tension, the narrative conveyed with musical alertness. Small wonder that the opera has been so successful. It's based on the book by Sister Helen Prejean and the acclaimed Tim Robbins film made from it about a nun who befriends a condemned man and brings him to face the redemptive truth of his actions. The recording was made during the San Francisco premiere of the opera and has all the intensity of a live performance, in addition to the overwhelming power of the story and the music.

It would be hard to imagine a better performance, too. Susan Graham is perfect as Sister Helen, singing with purity of tone and fiery passion. She's delightful, too, in the humorous bits that leaven what would otherwise be a story too harrowing for the medium. Frederica von Stade, as the murderer's mother, is as good, and baritone John Packard as the condemned man is a real find--a singing actor totally convincing throughout, both as the hardened killer and later as the repentant man finally accepting responsibility for his deeds. The supporting cast is also first-rate, and Patrick Summers conducts with unerring sweep and fervor. Jake Heggie's score may lack hummable arias (other than the traditional hymn that plays so important a part throughout), but the orchestration is fresh, the vocal lines are grateful, and the range is wide, moving seamlessly from modern romanticism to bits of pop and rock. No small part of the opera's success is due to Terrence McNally's dramatically cohesive libretto. A triumph for all concerned. --Dan Davis

Customer Reviews:

Isa Lei.......2006-12-25

The merging of the Fijian song Isa Lei into a deeply moving piece of sub-continental music is brilliant. Worth the whole CD

Weak attempt at opera realism.......2004-09-02

The idea of making this story into an opera is a great idea, and I was so excited to see it, but the music is way too tonal and lyrical for a story like this. The whole opera sounds very amateurish. Heggie's sense of orchestration and musical language is very bland and unimaginitive in my opinion. And a good chunk of the opera consists of about four or five themes that keep reappearing throughout the opera almost always in the same form. There is no intellectual system of Wagnerian leitmotif here, it is simply direct repetition of material throughout the opera. This is not a story of heros and heriones with an epic romantic plot. This is a very dark and gritty look at the death penalty, and I'm amazed that reviewers complained that this opera is too atonal and 20th century for their tastes. In my opinion this opera does not nearly have enough atonality and emotional depth to it. Dark stories should use dark music. Just look at operas like Peter Grimes, Lady Macbeth of Mtsensk, Wozzeck, and Lulu. In all of these operas the purpose of the music is to elevate the drama in this dark stories to a level that could not be achieved by simple spoken word. To me Heggie undercuts the drama by reverting to lyrical numbers at very dramatic points in the opera. It doesn't help that the stage direction was pitiful in the version I saw (stage symmetry is the last thing you would want in a 20th century realism opera). It seems that I am alone here in my argument. But anybody who knows anything about 20th century opera realism (Puccini does not count) will probably agree that Heggie completely missed a good opportunity to make a scoarching opera.

Challenging in many dimensions.......2004-06-09

I think that this opera (or it's subject more generally) gets to the heart of the entire debate about capital punishment - if we could devise a test that was perfect in its ability to distinguish the guilty from the innocent, would we still be willing to execute people for horrendous crimes. Having just seen this opera in a performance in Pittsburgh, I'm not sure. One of the amazing things about this opera is the extent to which it presents the conflicts associated with the death penalty without manipulating the observer. Is this despicable person really worth anyone's time? Is there some sense in which his death is warranted as retribution for his crimes? Would his death provide any sort of compensation to the surviving victims of his crimes? I honestly have no idea. But an extraordinary feature of this opera is the way in which it introduces these issues without biasing the viewer. During the after-show dinner, my wife and I discussed these issues a number of times. Any work that induces that type of reflection about the deeper underlying issues is worthwhile from my point of view.

In terms of the music, I suppose that there are moments of power and beauty. We're talking about a modern opera, so there aren't many hummable songs (see Broadway if you want those.) I suspect that the entire endeavor is more effective in person.

The Opera is Fabulous........2003-06-21

I recently saw the Opera in Detroit, Michigan. It was a wonderful experience (but isn't going to the opera always a wonderful experience?). I thought it was well done-- the music was a tad too 20-th Century for my tastes, but I still loved it!

It Could Have Been More.......2002-06-26

This opera has it's moments and they are glorious moments. The story is powerful and the central idea is important. Jake Heggie is a wonderfully lyrical composer. He really knows how to show off the voice and has an innate sense of drama. He also proves a brilliant orchestrator. The duet on forgiveness in the second act is very moving...as is the music for Von Stade. Occasionlly the opera goes a bit over the top, particularly at the end of the first act, where Sister Helen seems to be having a psychotic break...seems a bit much. But more often the piece is pretty understated for an opera and the ending is extremely effective.

So why only three stars? I think the problem rests with the libretto. This opera continues the deplorable late 20th century trend in opera toward sung play. As opera houses move toward commissioning playwrites such as McNally and William Hoffman as librettists the things that distiguish the particular art of the librettist are dying out. This opera libretto reads like a play. While there are a few ensembles that attempt to present multiple viewpoints simulteneously, they don't compare to the great ensemble situations of a Da Ponte or Boito. And perhaps more importantly, though McNally does include soliloquies, they are in a rather straightforward prose...one that is hard to set well in music. Too many syllables and too little verbal rhythm. As a result, no matter how hard Heggie struggles (and he does a heroic job at this) the opera never bursts into song, as it obviously wants to. Some will say that this is because the opera is throughcomposed, as is the style in modern opera. While that's true, you only have to listen to the operas of Barber or Carlisle Floyd to here examples of throughcomposed opera that still retains the sense of song. Even Nixon in China manages to create a sense of song while remaining throughcomposed.

Perhaps the difference is that in the most successful contemporary opera libretti, the librettist is either the composer, or a poet. In many ways, the best choice for a modern librettist is to follow the practice of Broadway and let the dialogue be written by a playwrite, reserving the set pieces (and most operas still have set pieces, even Britten) for a poet or lyricist. Certainly, this would have helped this opera to do what opera can do best, soar.

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

Average customer rating:

A very fine Dame Kiri
Ahhhhhhhhhhhhh!
Listen to a real diva!
She Is the Best
Brava Kiri!

Kiri! Her Greatest Hits Live

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Kiri
Kiri Te Kanawa - Greatest Hits ~ 14 Favorites of Opera, Popular & Traditional Song
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Kiri Te Kanawa - Ave Maria
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ASIN: B00000424J
Release Date: 1994-07-19

Tracks:

Louise: Depuis le jour
Mariettas Lied
Porgi amor
Befreit
Si. Mi chiamano Mimi
O soave fanciulla
You'll Never Walk Alone
It Never Was You
Why Don't You Do Right?
Hine e hine
Tahi nei taru kino
Climb Ev'ry Mountain
With One Look
Salaambo's aria
O mio babbino caro
Somewhere
Art Is Calling
World In Union
Happy Birthday To You

Customer Reviews:

A very fine Dame Kiri .......2006-01-05

Dame Kiri Te Kanawa was never between my favourite singers but I have to admit that she is really a respectable artist and this lovely cd proves how versatile she is and how she managed to keep a fresh and mellow tone even in her fifties. She is really at her best in the extracts from Citizen Kane and the operetta The Enchanteress. It's a pity that no Verdi music is included in the program, Kiri Te Kanawa was a great Amelia (Simon Boccanegra) and a moving Desdemona. A very fine Dame Kiri indeed.

Ahhhhhhhhhhhhh!.......2005-04-15

OK. I'm going to go out on a limb here. This is, IMHO, Dame Kiri's finest recorded performance.

I know that's taking in a whole lot of territory, but there is something simply magical, and magisterial, about her singing here.

Yes, I know "perfection" is that illusive impossibility to be sought but never achieved. However, on this night I think Dame Kiri did achieve perfection.

Simply a glorious life affirming performance by one of the great singing artists of the last fifty years.

Dame Kiri, Happy Birthday, and thank you.

Listen to a real diva!.......2002-12-17

Kiri's exquisite voice and expansive repertoire make for an unbeatable combination which reaches its crescendo on this special evening. A full symphony orchestra, two choruses, a jazz trio, and even a tenor (!) help Kiri in celebrating her 50th birthday. (That's her chronological age, the voice is timeless.) The hall's accoustics are excellent and orchestra and audience support without intruding. One of the reasons why I love Kiri's singing is that I believe she sings the songs the way the composer wanted them to be sung without the sometimes annoying embellishments employed by others. Kiri includes songs sung in her ancestral Maori in a program that takes the listener from the opera house to Broadway and then to an intimate jazz club. I love live concerts because I feel most artists are at their best before a live audience and this cd is proof. I don't believe that there is another artist recording today that has covered such a wide range of song styles and done it with such beauty and skill. This disc is confirmation. If you only buy one Kiri cd, make it this one. But don't be surprised if you start buying many more!

She Is the Best.......2002-10-26

The first time I ever heard the voice of Kiri Te Kanawa was on a recording of Salaambo's aria from CITIZEN KANE for the RCA film classics series on vinyl. It was one of the most haunting and beautiful pieces of music ever composed by Bernard Herrmann. It was Kiri Te Kanawa performance of this piece that was so incredible. I had seen the film several times, but to hear a high fidelity recording of Kiri Te Kanawa on this particular piece really demonstrated not only the raw talent but also a depth of intuitive emotion that she brought to Herrmann's composition. Anyone that could interpret the inner struggle behind Herrmann's music so precisely demonstrated an uncommon ability to become one with the music. I still can't pronounce her name correctly but Kiri Te Kanawa is the epitome of a well-honed talent. She is a gift to us all. This CD is very welcome.

Brava Kiri!.......2002-08-26

What a truly breathtaking concert! Kiri is obviously one of the top three divas to surface over the past fifty years!

Her technique is spotless, her tonality marvelous, and her intonation superb! For those worried about Kiri's "maturing" sound; age has brought a "different" soprano, but one just as lovely as ever...

The selection of music was fabulous, such a variety brings about an interesting and lively effect...

Tracks:

Introduction By DJ Johnny Walker
Kill The Poor - (Disco Version)
Back In Rhodesia - (Early Version Of When You Get Drafted)
The Man With The Dogs
Gaslight - (Previously Unreleased)
California Uber Alles
Ill In The Head
Straight A's
Short Songs
Holiday In Cambodia
Police Truck
Forward To Death
Have I The Right
Back In The USSR
Viva Las Vegas

Product Description

1. Introduction by DJ Johnny Walker
2. Kill The Poor (Disco Version)
3. Back In Rhodesia (Early Version of When You Get Drafted)
4. Man With The Dogs
5. Gaslight (Previously Unreleased)
6. California &oum;ber Alles
7. Ill In The Head
8. Straight A's
9. Short Songs
10. Holiday In Cambodia
11. Police Truck
12. Forward To Death
13. Have I The Right
14. Back In The USSR
15. Viva Las Vegas

Format: CD

Customer Reviews:

Until "A Skateboard Party" is released, this is it........2006-12-24

For those of us who were unable to see this band play when they were first out, this is a wonderful spotlight of what the band was like before acrimony slipped into the mix and Jello's ego became more important than the music. For those who've seen the "Reunited Dead Kennedys" without Jello (let's just say "Nazi Punks F*ck Off" is about Punks who act like Nazis, whatever the latest lead singer says nonwithstanding), this is a snapshot of what the real band was like. For those who've long expected songs done live to sound exactly like they were done in the studio, this is full of songs which were not released on studio albums, or were rewritten on the way to the studio ("Back in Rhodesia" comes to mind); other songs may not sound as peppy as they did in the studio because the band had to play them live - and they did a good enough job even though it may not be what you hear on the studio release.

This is the whole show with Jello's chitchat included. It's also a complete set. Both of these make this release much better than the "Mutiny on the Bay" atrocity that came before this.

Authentic look at raw authentic punk.......2006-01-11

To begin, this CD is very good and a buy for seasoned DK listeners. The quality is good and so is the set list. However this is not a CD that will likely be enjoyed by those not already familiar with the works, as some of the songs are performed a bit sloppily. Understand though that this is the Kennedys live in their hay-day and that is what punk is, especially harder punk; pretty inconsistent and rough on stage. If you buy this CD don't expect studio tracks, expect to smell the sweat a little if you know what I mean. I have read that Biafra condemns these reissues, however his opinion is obviously biased considering he no longer holds rights to the "dead kennedys". In summary this is a naked look into the actual past of one of America's best punk bands live and in their element, it is a very worthwhile album and valuable to the true listeners. If this CD was not released the public would be hard pressed to ever peer into that evening in San Fran and get their fill of smoke, sweat and speed, but thankfully the recording is now available to those who want to listen. Good packaging too.

Get your snake oil here!!!.......2005-06-29

Ha!! This is crap!! There is nothing at all here that is worth the purchase. The only cool thing is the disco version of "Kill The Poor" which is actually REALLY good. This set was recorded before FFFRV was released and it shows. Every song pales in contrast to the later studio versions. I was very interested to hear how the extra guitar would embellish the songs, but a very curious mixing job almost hides it in back. And as for all the 'hype' about the unreleased song "Gaslight".... there was a reason it went unheard: because it out and out stinks!!! A strong chorus catch phrase does not make a good song. It sounds unfinished and chaotic. The cover songs at sets end are also pointless and boring... This cd sucks. 'First Mutiny On The Bay' (which was pretty atrocious... don't tell me those were the best versions of songs they could find for that turd, that's pathetic), then this... Come on Biafra-less Dead Kennedys... stop living in the past. It doesn't take a rocket scientist to see these guys are only out for the bucks. This release would NOT make a fan out of the band. I'll repeat that one: It will NOT make a fan out of the band. Why not a "new" live album with their newest replacement (i won't say scab) singer? Play all the old crappy, forgotten tunes you dropped, rock out your best karaoke versions of your 'greatest hits' and give us a real treat to hold in our hands. Better yet, instead of rehashing the past, why not put out a NEW album, with NEW songs. I triple dog dare ya!!! See if Biafra was really as unimportant to the fans and band as you seem to imply in interviews. If he was, why this crap rehash? The only good points about this are the very clean sound and Ted's killer drumming on "Ill In The Head". Oh and nice booklet of "new DK art".... not!! Pathetic... another half hearted attempt at cashing in on past laurels with absolutely no clue. I admit it, you got me again with the proverbial carrot on the stick!!! Forked out another dime on you snake oil salesman. And like true snake oil, the promises were in the packaging. Stay Away!!!

Good But Not The Best.......2004-09-04

This is a good live Dead Kennedys cd but I think that the cd Mutiny On The Bay is a much better live cd. I don't know why everyone hates Mutiny On The Bay and loves Live at the Deaf Club. I own both cds and I like Mutiny On The Bay much better then Live at the Deaf Club but your the one buying the cd so it's your choice.

Dead Kennedys rule!.......2004-08-20

The title sums up what I think about this band - at least what it was prior to their fall-out after the scandal. This live album is quite the gem. Even though this show took place a little over five years before I was born, I still can get a feel of what it might have been like to sit in the audience of a Dead Kennedys concert. It's that good. Plus, it's the original 5-piece lineup with Jello, East Bay Ray, Klaus, Ted, and 6025! And it includes the never-before heard song Gaslight. This is a good cd. Is it essential to your DK collection? Probably. I know for a fact I don't regret spending money on it.

Happy listening.

11/12/13: Live from Melbourne, Australia

Average customer rating:

Americana Music at it's best
A record is for the people who couldn't be there.
An unbeatable combination of talents
Plain good stuff!
Fine, fine Mythologists

11/12/13: Live from Melbourne, Australia
Kieran Kane & Kevin Welch
Manufacturer: Dead Reckoning
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004TQTJ
Release Date: 2000-08-22

Tracks:

Intro
Something 'Bout You
Eight More Miles
While I Was Loving You
Four Questions
Train to Birmingham
Table Top Dancer
Life Down Here on Earth
If I Could Be There
Some Kind of Paradise
Ramblin' Man
Sam's Town
Town This Size
Wilson's Tracks
When We're Gone, Long Gone

Amazon.com

With singers and songwriters this involving and accomplished, a voice and a guitar will more than do. As two of Nashville's least compromising artists, Kieran Kane and Kevin Welch have mastered what it takes to make less count for more. On Welch's "While I Was Loving You," Kane provides percussion by squeaking his strings; on Kane's "If I Could Be There," the two sing over thumped guitars; and on the O'Kanes classic "When We're Gone, Long Gone," they harmonize like long lost friends. On these last two nights of their first Australian tour, they swap new and familiar songs with a no-frills intensity, nearly every performance transcending previous incarnations. John Hiatt's "Train to Birmingham" will never sound truer than in Welch's deeply scarred reading, while Kane's "Town This Size" now sounds like a pure country classic waiting to happen. In letting some of their finest songs speak for themselves, Kane and Welch have made a record of Spartan grace and understated but clear conviction. --Roy Kasten

Customer Reviews:

Americana Music at it's best.......2007-04-04

This is a fantastic live album, and if you like singer/song writters and live you music you'll love this album. Just perfect!

The Mean Eyed Cat
KNON Radio 89.3
Dallas, Texas

A record is for the people who couldn't be there........2000-09-01

That quote is from the, well, let's call them liner notes of this CD. It really fits this CD well, this quote, because you feel like you are there. Experiencing every song and every breath with these two fabulously talented singer-songwriters. From "Something 'Bout You" to "When We're Gone, Long Gone" and every song in between, this CD shows the talent of these two. Kevin's rendition of the John Hiatt song "Train to Birmingham" may well be my favorite on this disc but every song is delivered perfectly. This album is ideal for savvy Americana fans as well as fans of those "writers nights" experienced in a listening room in Nashville. It showcases not only their songwriting skills but also their ability to deliver a stunning and meaningful performance as an artist. This album is truly simple in some ways but terribly complex in others and to write a review of such an album is a diffcult feat.

An unbeatable combination of talents.......2000-08-25

I had the good fortune to be present on one of the nights this CD was being recorded. It was a mesmerising experience for me and one of the best live performances I have ever had the privilege to be present at.

I have had this CD since April this year (it was released first in Australia to coincide with a return visit from Kieran and Kevin) and I have hardly had it off the CD player since. It's one of those timeless and constantly engaging disks that just keep on making an impression.

Kieran and Kevin were wonderful to see live together and this CD displays their remarkable talents for writing exceptional songs and supporting those songs with tasteful instrumentality, as each of them accompanies the other turn about.

Acoustic music is very much my favourite kind of music, and Keiran and Kevin take it to new heights on this CD - the playing is quite exquisite.

It is really hard to choose favorite tracks on this CD as all the tracks have merit and are rendered with taste and (after all) are such good songs in themselves.

If you like good acoustic music with interesting songs, sung by voices that are individual and arresting, I think you would like this CD

Plain good stuff!.......2000-08-25

First off, I have to say I am much more familiar with Kevin Welch's material than I am Kieran Kane's, but suffice it to say they work very well together in this bare-bones live acoustic setting that took place in November 12th and 13th of last year (1999) in Australia. It's two singer/songwriters who display their hearts and souls to the listener. It all comes up trumps, because it's all played with NO pretension and NO gimmickry. It's two guys, their guitars and their songs. I particularly like Kevin's "Something About You", "Life Down Here On Earth", the amazing story-telling of "Some Kind Of Paradise" and the fantastic reading of John Hiatt's "Train To Birmingham." Among Kieran's, I like "Eight More Miles", "If I Could Be There", and, especially "When We're Gone, Long Gone."

I wish Kevin had played something from his most recent album, "Beneath My Wheels", but I can't complain too much. This is really good stuff, especially in an age of OVERproduction and studio wizardry it's VERY NICE to hear what's really most important anyway: it's what it always comes down to in the end: the SONGS!

......and well, these guys get it done right. So, enough's enough! What are you waiting for? Dig in everyone........

Fine, fine Mythologists.......2000-08-25

Kieran Kane and Kevin Welch are two of the finest -- well, "singer-songwriters" is much-too-ordinary a term for these two, so I'll have to borrow a phrase from Carter & Grammer, who claim to play "postmodern mythic American music" -- two of the finest mythologists making American music today.

They are two of the members of the renegade Dead Reckoners collective in Nashville who are dedicated to singing "country music" their way, which does not sound much like Music Row. On this CD, recorded live last autumn in Melbourne, each man takes a turn singing a song, then accompanying the other. None of the songs here are new to people who already know their repetiore, but then, I don't have to preach to the choir.

Kevin is the one with the Oklahoma accent (gen-u-ine). Here he sings "Something 'Bout You" and "While I Was Loving You", up-tempo love tunes that he wrote, and also John Hyatt's "Train To Birmingham" (see if you don't get goosebumps while listening). His own songs "Some Kind of Paradise" and "Wilson's Tracks" are story songs with "edge". I'm very up on Kevin Welch's music. He has the trinity of qualities that make for a lasting musical performer -- great voice, great guitar and GREAT songs.

Kieran, who was half of "The O'Kane's" band some years back, covers his own song (John Prine did the "famous" version) of "In A Town This Size", and does an impressive version of Hank Williams' "Ramblin' Man".

They like to joke that together they are a lot like Frank Sinatra & Dean Martin. That's not true. But it's funny.

The notable thing about this CD project is that while it sounds LIVE -- you hear Kevin clear his throat, for instance, and you hear them talk off-mic to the crowd -- it SOUNDS GREAT. No mud, no screeching, no boomyness.

Tracks:

Dark Star
Saint Stephen
The Eleven
Turn On Your Love Light
Death Don't Have No Mercy
Feedback
And We Bid You Goodnight

Amazon.com essential recording

Improvisation had been the Grateful Dead's tie-dyed calling card since their beginnings as the house band for novelist Ken Kesey's mythic mid-60s "acid tests." So, after the fair-to-middling artistic results of their initial three studio-recorded albums, the band opted to release their first-ever concert collection--and irrevocably changed the course of their entire career. Propelled by the epic classic, "Dark Star," as well as folk-tinged "Death Don't Have No Mercy,' and the fusion-ish "The Eleven," Live Dead showcased the instinctual, probing interplay between Jerry Garcia, bassist Phil Lesh, and the rest of the band, and finally captured the Dead's special magic for all to hear. --Billy Altman

Customer Reviews:

They Were the Best of Bands and the Worst of Bands.......2007-07-13

When these guys were on they were as good as it got back in the late '60's, early '70s. I saw them numerous times at the old Fillmore/Avalon Ballroom and at Winterland, Keyzar Stadium and numerous other venues. The Keyzar show would have been a complete bust, had Waylon Jennings not been on hand to rescue the show. The Dead had OD'ed and they couldn't combine for a note. Pure drivel.

Yet when they had the right "chemistry" there was no finer band in the land. They could take a collective consciousness and pin it on its ear. In fact I lost part of my hearing in my right ear from sticking my head too close to one of those huge stadium speakers to try to find my way into the "source" of the sound one crazy night at Winterland. At least I lived to tell the tale.

To make a long review short, just take your nearest listening device, attach some headphones, and listen to "Turn on Your Lovelight" on this CD. I was listening while out walking the pooch this morning and ended up boogying for about half a mile or so. My neighbors probably thought I was having a grand mal seizure or was practicing my St Vitus' Dance or both, and they were probably right. If that cut isn't one of the best live recordings ever, I don't know what is, and if it doesn't get your tail to wagging, then Jack, you a Zombie! This CD ranks right up there with the Dead's Live in Europe double album as amongst their best. Buy it or download it and alarm your nighbors, too!

BEK

aren't any of you experienced.......2007-07-13

Why do so many people seem to be bashing the Grateful Dead. There's a reason why they had such a huge following, and in my mind were almost a cult of sorts.

There music is almost a religious experience, and the best way to capture a true Grateful Dead experience (i don't like to call them songs) is live.

I don't understand how anyone can even begin to critize Jerry Garcias voice. It might not have been conventional but were talking about the sixties. And personally if you listen he's not out of tune he's in the tune he wants to be in.

People this is one of the Gratest bands of all time. Buy this live album now but don't stop there, buy all of them. It's something you won't regret. If you dont like it the first time, listen again you must have missed something.

Sit back with Mary or Lucy (or whoever you'd like) and enjoy the serenade of the Grateful Dead.

Gateway Album for getting into the Live stuff.......2007-05-18

This album is powerfully packed with classic live performances, yet still concise and very sweet. If you want to bring someone into the Dead's live scene from their albums then this is a good one. However this is also a good one if you just want some powerful live Grateful Dead that's from the beginning track to the end. This has got the extended Pigpen Turn on your Lovelight and some others. It's a classic and it's great for when you just want a good jam without trying to find your desired tracks on your other CDS.

Why must they sing?.......2007-03-28

First of all, I am not a Deadhead, but I am a fan of adventurous improvisatory music. There is some beautiful guitar/bass counterpoint on this disc (notably on "Dark Star"), and Jerry Garcia's tone is often spine-tingling. But let's be honest - these have to be some of the worst "vocals" ever preserved on tape. Seriously, the vocals on "Dark Star" are almost Shaggs-esque in their wretchedness. Also, much of the drum/percussion work is too laid back and sloppy to really kick the jams into a higher gear (though there are some exciting moments in "The Eleven"). "Lovelight" is way too long, and it isn't ever intense or soulful, in my opinion (though they seem to be trying like hell). The highlights of this disc are mostly Garcia's, and the main reason I return to this album once or twice a year is to behold his mighty fretwork on "Dark Star".

Enter the Music.......2006-10-07

This album is simply magic. Yes, dark star is a very unique piece of music that can be compared to nothing else. Jerry Garcia and his friends make us fly in a new dimension. No need to smoke to listen to "dark star" or "Death don't have no mercy". Listening thoses tracks is exactly the same as to smoke weed, and even more powerful.
The band is in symbiose, and this album is a masterpiece in the blues/rock/psychaldelic music of the 20th century, to be ranked in the top 10.Each time i listen to their live i wish i could have seen them on stage.
The grateful Dead are the pilots, their music is the plane, and we are the passenger.

Average customer rating:

A true, enduring masterpiece!

The Egyptian

Manufacturer: Film Score Monthly
ProductGroup: Music
Binding: Audio CD

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Ben-Hur - A Tale Of The Christ: Original Motion Picture Soundtrack (1959 Version)

ASIN: B0006SSPX0
Release Date: 2005-01-11

Tracks:

Prelude/The Ruins
Crocodile Inn/Thebes
Chant for Dead Pharaoh
Chariot Ride/Pursuit/Akhnaton/Put Them in Chains
Throne Room
Taia
Party's End/The Offering/The Harp Player
Deed/The Harp and Couch
Perfection of Love/Violence
House of the Dead/The Burial
Valley of the Kings
Homecoming
Hymn to Aton
Nefer's Farewell/Sights, Sounds and Smells
You've Been in My Prayers
Live for Our Son [From "The Egyptian"]
Am I Mad?
Princess/The True Pharaoh/The Tomb
Danse Macabre
Death of Merit
Death Potion
Death of Akhnaton
I Am Pharaoh/Horemheb's Victorious Entrance
Exile and Death

Customer Reviews:

A true, enduring masterpiece!.......2005-09-01

There have been many milestones in film music history that have resonated through the decades finding new audiences and inspiring new recordings.

Unique among them is "The Egyptian," a major collaboration between uber-composers Bernard Herrmann (to whom the film was assigned) and Alfred Newman (20th Century-Fox Music Department head and all-time great composer/conductor). While Herrmann got the initial assignment, the allotted time was inadequate for him to do justice to the film. Newman stepped in and developed thematic materials which Herrmann incorporated into his own desginated sections of the film, while Newman the rest.

In my opinion, "The Egyptian" -- as a film -- stands well above most epics of the 50s, but it has some serious detractors who, for whatever reasons, find no value in the authentic atmosphere, fantastic sets, stunning cinematography and brilliant music underscoring. Add to that some solid performances from Victor Mature, Jean Simmons, Peter Ustinov and Michael Wilding (plus a stolid, if uninvolving leading performance by Edmund Purdom) and you really get a stunning piece of entertainment that holds the attention, dazzles the eyes and ears and becomes emotionally involving. Wilding, as the pharaoh, has the film's -- and one of filmdom's -- best moments near the end of the film. Newman's underscoring for that scene -- called "Death of Akhnaton" -- is an example of what film scoring is all about. It also heightens awareness of what seems to be missing from many of today's film composers resumes -- intensive education in music theory, counterpoint, harmony and exposure to all forms of music. The scene is breathtaking, heartbreakingly performed and musically overwhelming, although the music is always "under" the scene rather than rampaging over it.

There are so many wonderful pieces of music in this film that I acknowledge my inadequacy to present a case for them. The proof is in the listening. From the awe-inspiring opening to the exquisite theme for "Merit" to the sinuous, hypnotic theme for "Nefer", Herrmann and Newman have created a musical palette of stunning splendors. There is no other soundtrack album like it.

I cannot overstate its importance, the splendiferousness of its performance on this recording by the 20th Century-Fox Studio Orchestra as conducted by Alfred Newman, and the glorious choral work of Newman's right-hand man, Ken Darby.

This is film music history. Any collection without it is hollow.

Average customer rating:

Good but could have been a little better with some editing
Still the Definitive Dead
Get this for the jam on disc two
Pigpen at his best
Let your mind out of the bottle.

Live at Fillmore East 2-11-69
Grateful Dead
Manufacturer: Grateful Dead / Wea
ProductGroup: Music
Binding: Audio CD

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Fillmore East: April 1971
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Steppin' Out with the Grateful Dead: England '72
Hundred Year Hall: 4-26-72

ASIN: B0002SPPVY
Release Date: 2004-08-31

Tracks:

Good Morning Little Schoolgirl
Cryptical Envelopment
Other One
Cryptical Envelopment
Doin' That Rag
I'm a King Bee
Turn on Your Love Light
Hey Jude

Tracks:

Introduction
Dupree's Diamond Blues
Mountains of the Moon
Dark Star
St. Stephen
Eleven
Drums
Caution (Do Not Stop on Tracks)
Feedback
We Bid You Goodnight

Customer Reviews:

Good but could have been a little better with some editing.......2007-04-28

The Grateful Dead was the warm-up band for Janis Joplin at the Fillmore East. They did two seperate 1 hour shows with mostly different audiences. (Bill Graham used to schedule two complete shows a night to maximize profits). Being the Grateful Dead, they did not do any repeats from one show to the next.

Being constrained to a one hour show, the Dead played a little bit differently than they would do in a normal concert. Some of the songs are a little truncated. But, in some cases, it turns out to be a good and interesting thing. I love the long, rambling jams, but it is good to sometimes hear the band play in a tighter, more concise mode.

The one song that really benefits from the shorter time is Turn On Your Lovelight. It is very energetic and there is a searing guitar that is highlighted. Many of the other songs are also very good.

The sound quality is fair to good (by professional standards). The sound is a little rough in spots. The audience noise is a little to high at times (the other Grateful Dead live albums were great, because you almost never had audience noise interferring with the music). There are other Grateful Dead live CD's from this time period that have much better sound.

The thing I really don't like is that they included the complete concerts. Each concert has a couple of minute introduction. Included is all of the chatter between songs. They even included the whole time the band was down while a guitar string was being changed, so there is a long period in the middle of the CD of just silence.

at the end of the second show, after We bid You Goodnight, there is a several minute pause, and then the band breaks into Cosmic Charlie. About 2 minutes into Cosmic Charlie it sounds like the tape went bad, the song is cut off and the CD ends.

Some people love thses complete concerts, with everything kept in "to give you the feel of the concert". Me, I just want to enjoy the music.

Still the Definitive Dead.......2007-04-02

If you have never heard the Dead, or if you have wondered what all of the "Deadhead" hype was over, this is the first GD album you should buy.

Get this for the jam on disc two.......2006-10-14

A nice show, however, the only real noteworthy stuff is Intro(cd2), Mountains Of The Moon, The Eleven Jam -> Caution. Get it for this.

Pigpen at his best.......2006-02-04

A nice 2 disc set from the early days of the Dead. They were opening up for Janis Joplin that night and there were 2 shows so each disc represnts a different opening hour long set. Disc one is very much dominated by Pigpen with a very rare set closer of Hey Jude Pigpen style. Set 2 and Disc 2 is more of a group effort with early Dead material. A lot of great material was recorderd at this venue (Allman Brothers LIve at Fillmore East)and this is one of them. A ticket to see Janis Joplin and the Dead that night cost $4.00 and I bet nobody asked for their money back!

Let your mind out of the bottle........2005-12-28

This is classic Grateful Dead for the old fan, or the new one. The Dead had worked hard to have this sound nailed down. 1969 was a great year for them. Pigpen steals the show here with his raw power. Check it out.
Eastcoast Phil. TCBRN. 12-28-05 Simpsonville, SC

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