MUSIC REVIEW: Yes - Yessongs

"Live majesty."

I didn't think that Yes' supra-complex, textured studio recordings preceding this live set would be translated effectively to the live setting. It's not perfect, but the inadequacies created by the limitations of playing live are part of Yessongs' charm. And while the songs are occasionally missing small ingredients that flesh them out so well on the studio versions, the band's heaving energy more than makes up for it. You can especially hear it in Jon Anderson's singing. His voice is often delicate on studio albums, but here he's surprisingly powerful, singing full-force over his equally lively buddies, who jam with fervor exploding from their instruments. And man, there are lots of jams! Songs are often extended by five minutes or so for soloing, and although many would find it tiring, I think the intensity makes it totally exciting.

The songs cover three of the band's best albums: The Yes Album, Fragile, and the progressive monster Close to the Edge. This is the best lineup the band had (Anderson, Howe, Wakeman, Squire, Bruford/White), all of whom clearly feel the deeply spiritual, stirring nature of their music. Their most recent studio album, Close to the Edge, is especially well-represented, which is a marvel given the complexity of the music. The 19-minute title track is as beautiful and moving as the studio rendition. "Siberian Khatru" has tenfold the zeal. Disappointingly, "And You and I" is notably weaker than the studio version because Howe uses an electric guitar throughout, not the acoustic, which sucks away some of the original's subtle textures and simple charm.

Perhaps the most exciting songs come from The Yes Album. "Perpetual Change" blasts off after a lengthy jam interlude in the middle, returning to the exciting verses and impelling on Squire's rumbling bass lines. Wakeman's solo on "Starship Trooper" is killer, and when Howe came in with his lead, the crowd must have been slain. Fragile too gets covered well. After a stunning excerpt from Wakeman's "The Wives of Henry VIII," the band moves into a high-energy version of their biggest hit to that point, "Roundabout." "Heart of the Sunrise," with exciting drum & bass interplay and emotional vocals, makes for one of the best moments on the album.

Certainly the best live album from this era of progressive rock.

MUSIC REVIEW: Rush - A Show of Hands

"Slick songs with an edge."

It bewilders me that people say the songs here sound identical to their studio versions. I couldn't disagree more. In most cases, I think the performances on A Show of Hands catch fire, injecting considerably more energy than was present on the studio renditions. Though not quite the unadulterated intensity of All the World's a Stage, due to some glossing with overdubs and some added maturity, A Show of Hands is still exciting and emotionally charged. Take, for instance, "Subdivisions," a song whose energy breaches the ceiling with a crunchier presence of Lifeson's guitars, fiery drumming, and Geddy's passionate delivery. Actually, on each song here Lifeson's guitars have a bigger presence than the studio versions. That alone boosts the intensity level. Yes, the incidence of overdubs detracts strongly from the imperative, genuine live feel, but I'd still say there's more than enough energy to compensate. "Marathon," one of my favorite Rush songs, never gave me more goose bumps (that final chorus just soars!). "Closer to the Heart," a requisite concert staple, gets a new jam tagged onto the end, and it's a strong conclusion to a strong live album. Sprinkled throughout are songs that showcase the lighter, melodic side of the band. "Time Stands Still" and "Mystic Rhythms" sound infinitely better here than on the studio versions, thanks to a powerful, emotional performance. Peart's drum solo "The Rhythm Method" is sure to have a few jaws hitting the floor. The man is the master! If you didn't like Rush's "synthesizer era," don't buy this unless you're a completist. But if you do like those albums, definitely get this one.

MUSIC REVIEW: Rush - Exit...Stage Left

"Killer songs and performances."

Suitably enough, Rush recorded a live album to top off the most successful period in their careers. Permanent Waves and especially Moving Pictures had secured reams of popularity for the power-prog trio, so a high-energy live compilation was the perfect coda to this hallowed chapter in the band's history.

The tracks here cover a fairly broad range of Rush's catalogue up to this point, but skip over the debut and Caress of Steel. Although this collection largely covers the band's shorter, more commercial songs, they never forget the progressive rock wings on which they once soared. I'd say the song selection is perfect. Alongside hits like "Freewill," "Tom Sawyer," and "The Spirit of Radio" are progressive epics like "Xanadu" and "Jacob's Ladder." One of my favorite moments on the album comes with "La Villa Strangiato," an astounding instrumental tour-de-force that concretizes the band's standing as musicians' musicians. Live, this song SMOKES. Lifeson's first solo in this song is infused with tenfold the passion of the original, and I can't help but get chills up and down my spine listening to it. Still, while the energy is there and the songs are great, there is major overdubbing that renders the album a wee bit too polished, and the band's blazing live ebullience is diluted somewhat.

Still, this album many wonderful moments. The precise, stunning drum solo during "YYZ," "Closer to the Heart" with the entire crowd joining in with Geddy on vocals, the ultra-high energy performance of "Red Barchetta," the serene melodies of "Broon's Bane" as a seque into the hard-rocking "The Trees"...the list is endless.

I was kind of disappointed by the album's dubious representation of the concert experience. At the end of most tracks, the sound fades out and then comes back in for the next song. It's like it's taking snippets from several concerts instead of capturing the seamless performance. Most live albums cut superfluous crowd noise and chitchat, but blend crowd noise together so that it flows smoothly from song to song anyway. This works better in preserving the feel of the actual show. Annoyingly, here you'll often hear silence between the tracks and it creates a frustrating disjointed "concert" experience.

But it's not so bad. As a high-energy live "greatest hits" type package, Exit Stage Left can't be beat. Rush rules the world, and this captures them at their best.

(Oh, and make sure you get the Remastered edition, which has "A Passage to Bangkok," a rockin' song that was not included on some of the earlier pressings.)

MUSIC REVIEW: Joe Satriani - Live in San Francisco

"Awesome songs get intense live treatment."

Where did this come from? I consider myself a big Satriani fan, although I didn't even know this was coming out, and there's a DVD for the same concert! I guess I wasn't paying attention, but what counts is that this album caught my eye when I slid into the record store to shuffle through the bargain bin (which sometimes holds inconspicuous treasures). Naturally, I made the purchase, and was later blown away by the great performance captured on these two discs.

The power of Satch's infectious, virtuoso music is caught so effectively here, thanks in part to Eric Caudieux contributing the rhythm guitar section, which was often a neglected factor of Satch's live shows. The techno element of the Engines of Creation songs is buried under a raw, robust performance, so if you didn't like the last album for being "too techno", you'll probably love the iterations of its songs compiled here (which consumes a chunk of Disc 1.) Stu Hamm's compelling bass occupies a big space in the mix, which is cool because although Joe's arresting virtuosity is the highlight, his songs are often anchored to cool bass lines. An enjoyable solo spot also underscores Hamm's tasteful ability, where he integrates a quote from Beethoven's "Moonlight Sonata" and really gets the crowd going with some galloping grooves.

"Time" can be forgiven as a somewhat tepid opener (great song, though), for it segues into the aggressive attack of "Devil's Slide," which blisters with intensity and sounds more visceral with real drums and a speedier take on the song's big crunchy riff. From there, the song selection is great, covering almost 150 minutes of Satch songs, from concert staples "Satch Boogie," "Summer Song," and "Surfing with the Alien" to newer tunes like the beautiful "Until We Say Goodbye," the quirky, sparkling "Borg Sex," and the dynamic, sizzling "Crystal Planet" (with a cool piano intro). Joe's hairpin soloing is often embellished live, so keep an ear open for elaboration, and he has fun with the crowd too. All the songs are treated with a favorable production that effectively balances clarity with rawness, and each song is performed awesomely. I would have liked to hear "Up in the Sky," because it's probably a smokin' live song (it'd be a good opener), and I wish he'd perform "Motorcycle Driver," because it's one of my favorites, but those are wishes, not detriments. Buy this...it just might become the most listened to Satriani album in your collection.

MUSIC REVIEW: Tori Amos - To Venus and Back

"Good and/or great."

Tori Amos' studio work on this 2CD set is somewhat polarizing. With From The Choirgirl Hotel, Tori fleshed out her sound by adding denser arrangements with the rest of her band. With To Venus And Back, she sticks with this formula but meets with less success. Some of the songs feel overproduced, which handicaps the level of intimacy usually associated with her music. With Choirgirl this worked, but here the results are iffy. Tori doesn't cut loose with her voice as much, there's way less piano balladry, and some of the songs are a little 'ehhh'. However, the album does have its share of highlights. The ethereal, dreamy "Datura" is wonderfully enigmatic. It's to her credit that Tori somehow manages emotional expression with a fairly detached voice. Also, "Concertina," "1000 Oceans," "Bliss," and the provocative "Lust" are almost as good as anything she's ever put to record, I think. My problem is that sometimes she waxes the techno sound a bit too much.

But then we come to disc 2. The live album included is incredible. I've never seen her live, and I'll take for granted that this album is no replacement, but it's great for a live recording. It's full of revelatory moments as Tori radically rearranges many of her songs and boosts the energy level. For some reason, I don't like most live albums on my first listen, but this is my one exception. The haunting "Bells For Her" is entirely different on a piano that isn't all busted. I don't know where "Cooling" comes from, but it's an incredible showcase of Tori at her best: an emotionally intense piano ballad with utterly beautiful vocals. The violent "The Waitress" is extended by six or seven minutes, and it totally rocks. Overall, the setlist (you can see it above) is basically perfect, and Tori's onstage charisma is remarkable. The b-side "Purple People" is one of her best songs so that's good to hear. "Sugar", cut from Under the Pink if I remember correctly, is f'ing awesome.

The studio album is not her best, but the live album is one of the best things she's released. So really, the album on the whole rules.

MUSIC REVIEW: Iron Maiden - Live After Death

"Live heavy metal at its finest."

A live recording cannot capture the intensity of a heavy metal concert. Comparatively speaking, however, Live After Death does it better than any other live metal album. The raw sound quality belies the fact that this album was recorded in the mid-80s (it sounds better than 99% of all modern live metal recordings). Even better though, is the fact that this concert comes from a time when Iron Maiden, the quintessential metal band, was young and full of energy. I wasn't there, but I can tell that this show was a blast.

Song selection is perfect, encapsulating most of the band's best songs from their preceding studio albums, and each one is impeccably performed, often with greater intensity than the studio counterparts. The mini-epic "Powerslave" definitely gains something special when the crowd screams at Bruce's stylish entry. "Hallowed Be Thy Name"'s tempo is jacked up a bit and the song gains more intensity as a result. This version of "The Trooper" makes the studio version seem tepid in comparison. Then there's "Phantom of the Opera," which is simply incredible with Bruce's sinister intonations.

It's awesome. If you don't buy it, you suck.

Spock's Beard - Don't Try This At Home

"Good disc overall, but not enough Beard action (too short)."

Spock's Beard's catchy, bombastic and challenging form of progressive rock translates very well to the live medium, because the band plays with incredible energy onstage. Neal Morse, the head honcho behind the band, is a brilliant entertainer, and this album ineffably captures and preserves the band's topnotch live performance. Sound quality is impeccable...about as good as a live album can get. I think there were overdubs tho', for what it's worth.

If only the song selection weren't so limited. You get a pretty good variety, just not enough. Songs come only from the Day for Night and Kindness of Strangers albums. All the songs are good, sure, but when the album only clocks in at around 50 minutes, it leaves you wanting more. The live renditions of this disc's tracks are mostly predictable reiterations of the studio versions, but these guys put on a great show that keeps things interesting. (A lot of the vocal parts sound better with the live versions as well.) It's really something hearing "Gibberish" performed live, with those complex vocal sections.

It's kind of disappointing, but all in all it's a good disc.