Nice live album, very broad
923495
A wonderful album for the more avid collector highlighting live performances of favorite Rochereau classics. This album is live and some of the recording aren't studio quality, however, the historical significance supersedes any recording distortion. Something to dive into if you are interested in what the music world was like before you were born. I would suggest this be your first Tabu Ley album. But if it is cheap, get it.
668337
This album has a weird name. It is a nice album but slow paced. The opening title is very sweet. It has 2 parts coming one after another. I have listened to that song live and believe me you can not distinguish between the two. These guys are great when it comes to live jamming. The second song is good but not their best. I particularly like The Music Never Stopped. King Solomon's Marbles, Pts. 1 & 2 is another good song.
3057914
This is a fantastic live album, almost on par with the Allman Brother's Live at Filmore East.  The music is similar Southern Blues, which would be expected since Haynes and Woody were formerly part of the Allman Brothers  Band.  Gov't Mule is a trio, but a lot of depth is added to this CD by a  number of guest stars, including Derek Trucks (Butch's nephew), Chuch Leavell  (formerly of the Allman Brothers), Bernie Worell (from  Parliament/Funkadelic) and Randall Bramlett on sax.  The 30 minute version  of John Coltrane's Afro Blue is worth the price of the CD.

If you are  considering buying this CD, you might want to look at the 4 CD Limited  Edition.  It comes in a little cardboard case with a spiral notebook,  slightly bigger than a jewel box.  There are a lot of color pictures (but  the packaging is the reason to buy this).  The Limited Edition has about  100 more minutes of music.  I would be hard pressed to decide what to  remove from the 4 CD version to get down to 2 CD's (except maybe the  Chipmunk solo during Spanish Moon).  I certainly would have kept in Mule  and Jimi Hendrix's Third Stone From the Sun in favor of some of the other  songs that were left on the 2 CD version.  The last CD is an enhanced with  video that can be played on a PC.  The liner notes say that a newer  operating system may be required to run it.

There are two downsides to  the 4 CD set, and they may also exist on the is 2 CD set.  There is a lot  of talking in between songs.  And, the sound quality isn't perfect.  In  some places, it has that echoey concert hall sound that is common on  inferior live recordings.
1048659
Really enjoyed this album, keep in mind this is a live album. Daft Punk really puts on a good sounding concert - crowd noise can get a little distracting during some songs, but for the most part, it actually adds to the overall energy of certain songs.
4510925
Good album for listening, but not what I was looking for a Church experience. I make worship mixes for my church to play in between services. These are very good songs over all, but not what I was hoping for my purposes. If you just buy this to enjoy music, it's good, but it does not take you deeper.
3812210
Listening to Edie's live album feels like being at one of her shows, or even better, like she's in your home playing for you. Most of the songs are solo with acoustic guitar; Sam Shaber and Anne Heaton sing back up on a few. There are 16 music tracks in all: 2 songs from The Falling Places, 8 from Call Me Home, 4 new songs, 1 cover, and 1 bonus track. The rest of the tracks are banter. Edie's really funny, and I like that she's not afraid of looking weird. That unselfconscious spirit shines through on these tracks and in her choice of photographs and commentary. The album is also edited well. The banter tracks are short (most under 30 seconds) and the applause after songs is also short. Long enough to make you feel like you're at a live show but not long enough to be annoying. Did I mention that her vocals and guitar sound great too?
4843315
This is a very nice album which does contain quite a wide variety of material, some of which I had never heard before.  I got a very nice used copy for just a few dollars (this is a 2-CD set) with the case and booklet, so how can you go wrong!  Those among my friends who like this type of music thoroughly enjoyed the album.
3970235
There is a big difference in viewpoint between those who liked this album and those who did not.  The majority who did not like this album complained that it was yet another in a series of live albums for Paul, including his "Wings Over America" album.  For those who do not have any of the previous live albums, this one has a lot to offer.

On the plus side, Paul performs very well.  The selection of songs is heavily weighted toward The Beatles.  However, it may be that Paul has finally come to grips with the early part of his career and, as Paul continues into his sixth decade of life, he may be feeling a lot of nostalgia for the days when he (and we) were younger and created something different and wonderful, and the what-might-have-beens.

I was impressed by the quality of the music throughout.  The range of music is from mellow ("Here, There and Everywhere") to rockers ("Band on the Run").  "Live and Let Die" stands out as particularly good.  There were many others that were as good.  Paul sounds energetic throughout, and his voice is generally strong.  Listening to "Back in the USSR" made me feel like I was back in the 60s once again.

The only thing about this album I did not care for was the transition between songs.  While I am okay with cutting out a lot of the dialogue and clapping between songs, at least they could have done a fade with the volume instead of just cutting the music off and turning it instantly on.  Sometimes the ons and offs are a little distracting.

I am not a big fan of live albums in general.  Recently I have been finding that live albums are much better than I remember them, or perhaps I too have become nostalgic and appreciate live albums more.  In any case, my collection of live albums is small and so this live album is the first I have from Paul McCartney, and I will be listening to it over and over (actually, I already have, this is a good album).

Note that there are several versions of this album, with varying price and availability.  You may wish to survey the available versions and choose the version that best meets your needs.

Enjoy!
3040269
Saw FM live right before the relase of this album so it was interesting to hear the new songs over again being able to recognize them from the concert. Not thier best album, but unlike other reviews i like the "pollished" version, its easier for the non Molly fan to listen too, a good introduction and the clean recording mean that the message is loud and clear. and boy, what a message.
2557499
I Really Liked It !!! It has some rough edges that are a plus if you like live albumns. Bought it instead of Absolutly Live and got that and more without realizing it.
3786433
Like others have said, I think the main problem with this live album is the setlist. Songs that have been played on (virtually?) every live album in existance include Run to the Hills, hallowed be thy Name, Number of the Beast, Iron Maiden, Wrathchild, Fear of the Dark and the Trooper. Given, all of these songs are classics and are amazing to actually SEE the band perform in person (trust me) but I think some of them need to be left out in order for Maiden to make a really great new live album. They should be replaced with songs that are rarely heard live.

That said, I was very pleased that they performed 6 Dance of Death songs. All were performed brilliantly and they really stand out on this album as being the overall highlight. The only songs I was never to fond of is Wildest Dreams. This, however, is performed well. I just thought it could have been replaced with Montsegur or something.

It was also nice to see Lord of the Flies, a Blaze-era song, performed. This stands out on the album because of Bruce's awesome performance, mainly in the chorus. I was also glad to find Can I play With Madness. This is performed pretty well; My only complaint is that Bruce doesn't really pronounce the "M" in madness. Sounds kinda like Agness...

I thought Brave New World was totally unncecessary. It was performed to a T at Rock in Rio and I thought was really out of place here. The performance is slightly sub-par to that performance but it's still okay.

So yeah, overall the band plays everything great, the production is nice (but maybe a little sloppy sometimes,) Bruce's voice is of great quality but sometimes can't really hit the high notes (Rainmaker.) However these don't phase the album because of the energy he puts into it.

So, in conclusion I gave this album 4 stars. If you're just getting into Maiden or are only looking for a couple albums to get, don't get this. However, if they're your favorite band, or one of your favorite bands, this is pretty essential. I'm glad I have it and listen to it often, but a rearranged setlist is what I'm truly hoping for on the live albums to come. If we get more tours for the dvd documentary series then I should be really happy.
675545
This was the second Chicago album I ever heard... right after Chicago 17. Talk about culture shock! I first thought "how full of themselves can they be? Four albums?" Then, given the fact they sold out a week at Carnegie Hall and being the first rock band to do so then I understand. The packaging for the album was fantastic: a full booklet complete with all concert listings from '67-'71 and three posters. As far as the music, the venue has more to do with it than anything. Carnegie Hall isn't friendly to electronic amplification. The engineering is not quite up to par. On the first night, Peter Cetera stated the recording crew were still tooling with their amplifiers during the first night's concert. Shouldn't that have been done ahead of time?? "In The Country" sounds great, as does "South California Purples", "Introduction", "I Don't Want Your Money", and "I'm A Man". "25 or 6 to 4" does sound a bit slow. Kath sounds like he's just going through the motions on vocals on "Make Me Smile". His guitar work is great as usual. The stereo mix on the vocals is intriguing. The dialogue between songs is genuine; especially the part where a audience member requests "Make Me Smile" - Lamm says, "Keep sitting there man".

I believe the vinyl records sound better than the CDs. For an album of this magnitude, they should at least remaster it somehow and improve the sound a bit. There should be lots of master tapes for a week's worth of recording.

If you can get your hands on it, LIVE IN JAPAN is a better sounding album. Recorded at Osaka in '72, the double disc is not as good as "Carnegie Hall". Sony recorded the shows using 2 eight track machines, giving producer James Williams Guercio 16 tracks to work with. The sound is great but the playing is not as tight as it was in New York.

If you like live recordings, this is an interesting find. While not the greatest live album of the seventies (I believe that distinction goes to Neil Diamond's HOT AUGUST NIGHT), it is the best of Chicago's three live album releases.
2779311
Good album, all of the early hits, with live versions of Rosalie and Still In Love With You. I play these versions more than the studio versions, and I don't even like 'live' songs. To me, live versions of songs always have that 'had to be there' vibe, but not these two, they stand up on their own. This album is weighted more with early classics like The Boys Are Back In Town and Don't Believe A Word, with only a few later songs like Thunder and Lightning, and Cold Sweat from the album Thunder and Lightning. This album does have the single Out In The Fields with Gary Moore, that's very hard to get since it was only released on vinyl in 1985. It reached #5 on the UK singles chart and was one of the last songs Phil recorded before his death in 1986. I feel they should have either left the later songs off this album, and only done the early work, or made it a two volume album with one volume of older songs, and one of newer songs. As it stands, it's only got a few newer songs and a lot more of the older work (all fabulous) which makes it a wee bit unbalanced.
Phil Lynott was a prolific song writer, and he created quite a volume of work before he died at age 36. No doubt it would be a huge task to make one album called The Very Best of Thin Lizzy and have that album be a balanced offering. The early songs on this album are balanced but I think the later work could have been better represented. That's not a criticism, but the Very Best Of should incorporate all albums, maybe a good approach would be to take one or two songs from every album he made, that'd be a balanced Very Best Of, in my opinion.
The only thing I found odd is that they called the album Wild One: The Very Best of Thin Lizzy,  but they didn't put that track on the album. No doubt it was a play on words, Phil Lynott was a wild one, but that is also a fantastic song and I felt its loss on this album and further points to the unbalanced representation of all of his work (King's Call, Dear Miss Lonely Heart, Yellow Pearl, to name but a few of his later songs). Perhaps it was because some of the later works were done by Phil as a solo artist, and the songs on this album were done while Thin Lizzy were still a band? Fans of his music don't see the difference, either solo on in a band, it was always Phil's voice that made it all work.
Still, any Lizzy, any Lynott, any time, any album, stops me in my tracks. No one writes songs like Phil Lynott, he was truly an original artist and is still missed by his fans. R.I.P Phil, we're all still dancing in the moonlight
2654854
Good album, even better if you read the lyrics as the story plays out. 2x sfam
2506817
The first question that begs answering is:, "What is the point of this album?"  We already have "2000 Years: the Millenium Concert," and Billy has not released a studio album (of pop music) since then.  Was Billy not happy with the "2000 Years" album?  Perhaps the answer lies in a perusal of the two set lists.  To be sure, there's lots of overlap between the two - Only the Good Die Young, Allentown, and Angry Young Man are on both discs (and also on the Leningrad album).  However, there are many lesser-known pieces that are on this live album and no other (of his 4 major live releases).  Obviously this is the reason to get the disc, so I'll list them here: The Entertainer, Vienna, The Night is Still Young, Zanzibar, Great Wall of China, She's Right on Time, Laura, Room of Our Own, Downeaster Alexa, Always a Woman, Keeping the Faith, and And So it Goes.  This is a pretty long list, and makes it worth having both the Millenium Concert and 12 Gardens.

That's for the die-hard Billy Joel fan, of course.  What the average Joe wants to know is, "is this album better than his other live albums?"  The answer may depend on the songs you want to have in your collection.  Certainly, the Leningrad versions of "A Matter of Trust," "Angry Young Man," and "Allentown" are far superior to the versions on this album, just as "Miami 2017" and "Everybody Loves You Now" are far superior on "Songs in the Attic."  I think this is because Billy can't seem to bring the same energy the songs.  This is true of most of the songs until the last 1/3 of the concert - this album's versions of "Only the Good Die Young" and "You May be Right" are the best live versions I've heard of these songs (including the concert videos).

So what about the other important Live Album Criterion: Are there versions on here superior to any other version of the song - including the original studio versions?  The answer, fortunately, is "yes."  To be sure, the "Ballad of Brenda and Eddie" section of "Scenes from an Italian Restaurant" should be better live, as it was born as a live song.  On this album, it is abundantly clear that the only way to appreciate this song is live.  I also enjoyed these versions of "Zanzibar" and "Vienna" at least as much as the studio versions.  Similarly, live albums often find their best moments when the audience can participate, and certainly being in the middle of 25,000 people all singing "Piano Man" is the ultimate moment in audience participation; it comes across very well on this recording.  A second audience participation moment that is a pleasant surprise appears on "Keeping the Faith," another song that is far superior here than on the studio recording.

There are some outright disappointments, i.e., "Goodnight Saigon," "Angry Young Man," and "The Downeaster Alexa," which are not performed that well, especially the funereal pace of "Goodnight Saigon."  However, on the balance, this is a good live album, especially for the more obscure songs (for the big Billy fans) and the energy and fun of the latter parts of the concert.
655841
After waiting a month to receive this, I am not disappointed.  Lots and lots of great music here.  Some bands, however, I think are represented a little too much, while others aren't represented enough.  Also, some of the banter has been edited out from previous versions.  I particularly like the introduction to Joan Baez's "Drug Store Truck Drivin Man", which was dedicated to "the Governor of California, Ronald RAYGUN...ZAP!"  Classic, but it's not here.  Nor is the introduction to "Sweet Sir Galahad."  I could have used more Joan Baez, more Richie Havens, CSN&Y, Janis, The WHO (especially The Who), and LESS Country Joe and The Fish, the Incredible String Band (really bad), and Canned Heat.  And the Hendrix segment seems edited.  I seem to remember the "Woodstock Improvisation" and "Villnova Junction" pieces being longer.  And why play only the end of "Voodoo Child"?

Still, there's so much good stuff on here, it's hard to complain too much.  The best we can hope for is that more artists release their entire performance.

Listening, seeing, and reading about this concert, I really wish I had been there, but alas, I wasn't born yet.  There will never be another concert like this.
966620
There are a few salient things about the first Genesis Live album: it is the only one of their early albums that actually includes pictures of the band, and it shows that Genesis sounded different live than in the studio (these days, technology has made the two worlds almost indistinguishable).
The instruments are easier to differentiate here than on thier studio recordings. You can pick an instrument and easily follow it through each song. Sometimes an instrument gets lost in the mix on their studio albums. Not so here.
Some of the songs differ in pace and energy. "Watcher of the Skies" seems a little slow and a tad bit muddled, but the keyboards are beautiful; "Return of the Giant Hogweed" (especially the ending) is more powerful in general, and I think Gabriel shouting "GIANT HOGWEED LIVES!!" at the final creshendo adds to the song immensely(I've heard other live versions -mostly from old tv spots - where he also does this). I don't know why this was left off of the studio version (it's in the lyrics sheet for "Nursery Chryme" but not sung/shouted); "The Knife" includes Collins on drums (he had not yet joined the band for the version on "Trespass"), and he adds some umph to the song. This song also gets the most enthusiastic reaction from the crowd when Gabriel announces it (all songs are announced except for "Watcher of the Skies"), by contrast, "The Musical Box" is greeted with absolute silence.
It's a shame that the record company didn't make this a double album. More songs, in particular "Supper's Ready", could have been included. As it is, it seems like an abbreviated live album. Sort of like a novel that ends halfway through the story. You know there's more, but it's just not there.  Nonetheless, it's the only official live recording of Genesis with Gabriel in front. What's there is great, but more would have been nice. I'm sure they were great live (I was in my single digits when Gabriel was with the band, so I obviously didn't know what I was missing).
Lastly, for those who open the CD case and see the little picture with the caption "This album is dedicated to Richard Macphail who left us April, 1973" - he is not dead! I was happy to find this out. He just left the road crew and they decided to honor him in the album sleeve. He must have been very good at his job.