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[Some classic tape reviews by Keith A. Gordon and Tom Fisher (RIP) from the archives of Live! Music Review. Available on the Internet for the first time.}
ARTIST: R.E.M.
VENUE: Ripley's, Philadelphia PA; 07/20/83
SOURCE: 90 minute audience, very good sound with a few low spots
TRACKLIST: Wolves, Lower /Moral Kiosk /Laughing /Pilgrimage /7 Chinese Brothers /Talk About The Passion /Sitting Still /Harborcoat /Catapult /Pretty Persuasion /Gardening At Night /9-9 /Wind Out /Just A Touch /West Of The Fields /Radio Free Europe /White Tornado /Time After Time /We Walk /8 Miles High /Roadrunner /1,000,000 /Carnival Of Sorts (Boxcars) /Skank
COMMENTS: At one time, R.E.M. practically made Nashville their second home. Years in advance of their success as the world's best-selling "alternative rock" band they played at funky area clubs like Cantrell's and crashed on the living room floor of Jason & The Nashville Scorchers' manager Jack Emerson's house. Talking to them then (hey Mikey, remember the Reverend?) they never thought that this rock & roll thing they were doing would last, a feeling that carried on well into mid-decade (how 'bout it Peter? I'm still waiting on tickets to that show!). All of which, by way of illustration and blatant name-dropping, is to show that the very things that made R.E.M. one of the most commercially-successful bands of the '90s also helped make them one of the great rock bands of the '80s. They didn't take themselves too seriously.
As shown by this Philadelphia performance from 1983, early R.E.M. were, at heart, a sloppy garage band playing for the hell of it rather than aiming for any sort of fame and fortune. In '83 they were still of the mind that any show could be their last and the fact that they had an album, Murmer, on the streets was still a big thrill. Although they've been known to cross over the line through the years into self-indulgent pretension, the material offered here from their first album and ground-breaking EP Chronic Town is enigmatic and oblique rather than obnoxious. Songs like "Wolves, Lower," "Talk About The Passion," "Gardening At Night" and "Radio Free Europe" were not only to become standards for the band during the decade but also became touchstones, of sorts, for alternative rock as a whole.
This show's setlist draws heavily from Murmur, which should come as no surprise, with a smattering of songs from their original EP and three new songs that would later be recorded for Reckoning, their second album: "7 Chinese Brothers," "Pretty Persuasion" and "Time After Time." It's a rather animated performance, the band playing loose and hard with singer Stipe showing a bit of fire in his vocals (and not slurring them as badly as usual, another R.E.M. trademark). A couple of well-placed covers are offered, with the Byrds' "Eight Miles High" provided the R.E.M. treatment while the classic "Roadrunner" is delivered up in tried-and-true garage band style. As the decade would wear on, with many of R.E.M.'s alt-rock contemporaries falling by the wayside, the band would become more polished and professional, avail themselves of Warner Brothers' massive publicity machine and would become a monster success. At this time, however, every night was still exciting, still unpredictable, still magic. (Rev. Keith A. Gordon)
ARTIST: Bonnie Raitt (with Johnny Lee Shell)
VENUE: Rockefellers, Houston TX, 3/88
SOURCE: 100 minute soundboard: performance (10), quality (10)
TRACKLIST: Love Me Like A Man /I Ain't Blue /Midway /Hold On /Really Know How /Up The Country Blues /Louise /Viva El Salvador /Women Be Wise /Ain't Goin' Down That Big Road /Mississippi Road/ River Of Tears /Kokomo Medley /Party Doll /Angel From Montgomery /I Was Born In The Country/ Sweet And Shiny Eyes / Man Sized Job
COMMENTS: Bonnie Raitt has had a long career. For the longest time, she was a cult artist. When she finally broke through to the mainstream, I thought her music changed and I lost interest. Throughout her career, she has taken opportunities to perform solo, or with one other person accompanying her. That particular format has always been my favorite way to hear her. She takes a much blusier approach to the material, the material chosen is blusier, and her playing is magnificent. This particular show is one of my all-time favorite tapes by any artist. Her song selection is wonderful, the playing superb, and the approach heartfelt. I have never heard Bonnie in finer form. Bonnie is an entertainer, as well. There is plenty of
in-between song banter that definitely connects her with the audience and, in this case, the listener. The soundboard recording is outstanding. A remarkable show to capture in such clarity. This is a must have tape for any musical collection, regardless of your taste.
"Love Me Like A Man" opens the show with a good blues shuffle and great guitar pickin' – Bonnie is in good voice. Reaching back to 1971, "I Ain't Blue" is given a very soulful interpretation. Joni Mitchell's "Midway" is treated with the same respect. In this setting, Joe Tex's "Hold On" is a perfect fit. For the next couple of tunes, Bonnie pays her respects to Sippie Wallace, as she will throughout the evening. Steve Goodman's "Louise" is incredible. "Viva El Salvador" is full of the sound and fury that created it. The guitar work on "Women Be Wise" is amazing. And if you want superior slide work, listen to "River Of Tears." Dedicated to Lowell George, it is exceptionally mournful. And then she flat gets sown on the "Kokomo Medley." But don't forget to rock, and she doesn't on "Party Doll," she rocks it out. John Prine's "Angel From Montgomery" is a wonderful song, and Bonnie does an exquisite version. Bonnie even manages to work in a little angst with "Born In The Country." Just an absolutely fantastic show. (Tom Fisher)
ARTIST: Neville Brothers
VENUE: Mill City Festival, Minneapolis MN, 9/2/96
SOURCE: 75 minute digital audience: performance (8), quality (7)
TRACKLIST: Fiyo On The Bayou/ Daylight Will Come/ I Love You Baby/ Drift Away/ Don't Take Away My Heaven/ Instrumental/ She's A Lady/ Ain't No Sunshine/ Fire on the Mountain/ Rock N Roll Is the Child of Rhythm & Blues/ Come Together/ Amazing Grace/ One Love
COMMENTS: Sometimes you just have to get funky. What better band to do that with than the Neville Brothers, one of the funkiest bands around. Combine all the various musical influences swirling in New Orleans, throw in a dollop of hippie sentimentality, a handful of sermonizing, all supported by sheer joy and passion and you have a revival. And if you are open-minded, the Nevilles will revive your faith in the power of music. So what was the problem with this show? Nothing! It was a great show. The problem lies in the quality of the tape. The taper must have had a problem with a connection, because there is a crackling sound that surfaces often enough to become a distraction. This is unfortunate, as without this problem this could have been a strong audience tape. But it still would have been an audience tape as the audience is definitely a presence on the tape.
The Neville Brothers don't disappoint. "Fiyo" is an extremely funky way to start the show and set the evening. Aaron Neville, what a voice he has. He steps to the mike for "Drift Away," a great song, and Aaron gives it an inspired rendition. Give in to the music and you will be transported. If you were at the show with a date, "She's a Lady" is definitely a song for cuddling. Mix Aaron's angelic voice with a down and dirty funk and what you get is "Ain't No Sunshine." A heartfelt rendition of "Fire On The Mountain" is dedicated to Jerry Garcia and fits in well with the repertoire. They keep enough of the Dead feel mixed with their funk to make a very strong cover. "Rock N Roll Is The Child Of Rhythm & Blues" proves it point. It is one of the funkiest rock & roll songs you'll ever want to hear. A very strong cover of the Beatles' "Come Together" introduces the sermon. The Neville Brothers don't want to just entertain you, they also want to uplift you. As usual, an incredible version of "Amazing Grace," sung by Aaron, is the communion of the sermon while "One Love," an incredible close to the show, is the message. (Tom Fisher)
ARTIST: Richard Thompson
VENUE: Guthrie Tht., Mpls, MN 2/18/91
SOURCE: 90 minute digital soundboard
SOUND QUALITY: Excellent
TRACKLIST: Misunderstood/ 1952 Vincent Black Lightning/ Shoot Out The Lights/ Turning of the Tide/ God Loves a Drunk/ Two Left Feet/ The Pharaoh/ The Days of Our Lives/ Jerusalem on the Jukebox/ She Moves Through The Fair/ Now That I’m Dead/ I Feel So Good/ Al Bowley’s In Heaven/ Wall of Death/ When the Spell Is Broken/ Waltzing’s For Dreamers/ Valerie
COMMENTS: What do you get if you cross a guitarist with a great songwriter? If you filter through a darker perspective, you get Richard Thompson (Fairport Convention, Richard & Linda Thompson, and solo).
This particular show was a solo performance. He is in fine form, just Richard and acoustic guitar. He has a rich catalog of material to draw upon, and every song in this show is solid. With his dry British wit, he develops a wonderful rapport with the audience. The tape is from a soundboard recording and is of superior quality.
“I Misunderstood” opens the show in fine style. The song is full of the pathos and anguish of the dissolution of a relationship. A narrative story, “”1952 Vincent Black Lightning,” is about a flowering romance that blossoms in death. The classic “Shoot Out The Lights” brings a strong guitar performance that accentuates the dark lyrics. “God Loves a Drunk” shows Richard has a sense of humor, albeit black humor. “Two Left Feet” continues the satirical vein and is a rollicking number. “The Days of Our Lives” is a song that consists of nothing but soap opera titles. “Jerusalem on the Jukebox” has a beat and you can dance to it. “She Moves Through the Fair” revisits the Fairport Convention days and traditional music. “Now That I’m Dead” is a much different view of the music business than the RIAA would have you believe, and it’s funny. It is amazing how much Thompson can rock with just an acoustic guitar, but “I Feel so Good” continues to prove that. Close your eyes and you can fall under the hypnotic spell of “When the Spell is Broken.” And to send you home exhausted, Richard rocks out “Valerie.” There is quite a bit of Richard Thompson in circulation, both on CD and tape – out there to be found and enjoyed. Go for it. (Tom Fisher)
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