Live Albums - 2000 to 2010
The last of this Live album sequence. By the end I'll have covered 66 albums. I started in the summer of 2017, so I should finish a short way into 2019. The last run of albums covers the whole of the 21st century so far, and my Facebook cronies and I could only come up with 5 albums since the millennium that we considered worthy of inclusion. This tells you far more about how small-c conservative we are than anything about the quality of the live rock and roll experience since the turn of the century. Also, everyone selected predates the year 2000 by quite some time.
Live In Galway :The Saw Doctors (Jul-03)
Minimum Maximum:Kraftwerk (Jun-04)
REM Live: REM (Feb-05)
Satriani Live: Joe Satriani (May-06)
Dream Attic: Richard Thompson (Feb-10)
LIVE IN GALWAY
Recorded: 30th July 2003
The Saw Doctors
March 17th 1993 at the Brixton Academy (I reckon - it's remarkably hard to find firm confirmation of the year and it's so long ago, I could be an entire year out, but I'm pretty certain I'm not). St Patrick's Day and the loudest, most raucous concert I've ever been to. Ears were absolutely ringing at the end and the Saw Doctors put on a probably the most joyous show I've ever seen. Giant snakes assaulted the stage, but St Paddy was on hand to drive them back. This comes from 10 years later, but they've lost none of it by this time and it's still life affirming stuff.
The Saw Doctors whole proposition is good-time celebration of growing up in provincial Ireland with a combination of traditional music and loud and fast rock and roll. By the time they recorded this, they had their core of crowd-pleasers and had been playing them for a good 10 years. So this includes all the live favourites of 'N17', 'I Useta Love Her', 'That's What She Said Last Night', and 'Why Do I Always Want You'. For me the standout sums them up completely, the sublime 'Red Cortina'. In introducing the song, the explanation was that when you were a kid there, your dad, and everybody else's dad, always stuck with one make of car. My dad too went through a series of Ford Cortinas in the seventies. So when the protagonist's first love steps out of her dad's car on the way to school you can tell it's probably about as truthful a song as you'll ever hear. As an exercise in innocent nostalgia it's pretty hard to beat. 'I Useta Love Her' is a bit more earthy, but deserves lots of credit for working in the words 'ostentatious contribution' into the lyric.
In comparison to my memories of seeing them live - I saw them 3 times in the mid nineties I think, Brixton, Guildford and Finsbury Park - this seems quite contained, but it is 10 years down the line, they were probably slowing down.
Band Bantz: "Ye didn't think we were goana stop just now, now did ye?" sez Davy Carton just before the encore. Well, it was pretty unlikely.
Heckles and Coughs: Enthusiasm. Not wanting it to end. Plenty of participation. They all know the songs and contribute to the full.
Next Track Off The Rank: A Pair Of Brown Eyes by The Pogues.
Live In Galway :The Saw Doctors (Jul-03)
Minimum Maximum:Kraftwerk (Jun-04)
REM Live: REM (Feb-05)
Satriani Live: Joe Satriani (May-06)
Dream Attic: Richard Thompson (Feb-10)
Recorded: 30th July 2003
The Saw Doctors
March 17th 1993 at the Brixton Academy (I reckon - it's remarkably hard to find firm confirmation of the year and it's so long ago, I could be an entire year out, but I'm pretty certain I'm not). St Patrick's Day and the loudest, most raucous concert I've ever been to. Ears were absolutely ringing at the end and the Saw Doctors put on a probably the most joyous show I've ever seen. Giant snakes assaulted the stage, but St Paddy was on hand to drive them back. This comes from 10 years later, but they've lost none of it by this time and it's still life affirming stuff.
The Saw Doctors whole proposition is good-time celebration of growing up in provincial Ireland with a combination of traditional music and loud and fast rock and roll. By the time they recorded this, they had their core of crowd-pleasers and had been playing them for a good 10 years. So this includes all the live favourites of 'N17', 'I Useta Love Her', 'That's What She Said Last Night', and 'Why Do I Always Want You'. For me the standout sums them up completely, the sublime 'Red Cortina'. In introducing the song, the explanation was that when you were a kid there, your dad, and everybody else's dad, always stuck with one make of car. My dad too went through a series of Ford Cortinas in the seventies. So when the protagonist's first love steps out of her dad's car on the way to school you can tell it's probably about as truthful a song as you'll ever hear. As an exercise in innocent nostalgia it's pretty hard to beat. 'I Useta Love Her' is a bit more earthy, but deserves lots of credit for working in the words 'ostentatious contribution' into the lyric.
In comparison to my memories of seeing them live - I saw them 3 times in the mid nineties I think, Brixton, Guildford and Finsbury Park - this seems quite contained, but it is 10 years down the line, they were probably slowing down.
Band Bantz: "Ye didn't think we were goana stop just now, now did ye?" sez Davy Carton just before the encore. Well, it was pretty unlikely.
Heckles and Coughs: Enthusiasm. Not wanting it to end. Plenty of participation. They all know the songs and contribute to the full.
Next Track Off The Rank: A Pair Of Brown Eyes by The Pogues.
N17
To Win Just Once
Red Cortina
What A Day
Bless Me Father
Share The Darkness
Green And Red Of Mayo
I'll Be On My Way
Same Oul' Town
Joyce County Ceili Band
Exhilarating Sadness
Clare Island
Why Do I Always Want You
That's What She Said Last Night
I Useta Love Her
Hay Wrap
MINIMUM-MAXIMUM
Recorded: 2004
Kraftwerk
Surely a Kraftwerk live album is an exercise in demonstrating their mastery of control over their output and therefore is a little bit pointless since, if it doesn't resemble a studio offering, then it amounts to something of a failure? Plus, you're inevitably going to have all of that nasty, random applause coming in between tracks. Who wants to hear that? I suppose you do get a unique sequence of songs which is kind of akin to a greatest hits package.
However, you'd have to admit that in the matter of reproducing the clinical feel of the studio, they are pretty successful here and the echoey-ness of the live venues does add something ethereal to them. It's sometimes tough to know what they're doing about the vocals too. Are they delivered into a microphone live, or just sequenced from machine? Does it matter? For 'The Model' and 'Autobahn', at least I think we can be certain that a human voicebox and a microphone are being utilized.
There's a lot to digest too. We're looking at 22 tracks with a running time of two hours. They certainly cover all the best known songs, 'Tour de France', 'The Model', 'Trans Europe Express', 'The Robots' (or 'The Rowboats' as I like to think of it) and most pleasingly of all for me, 'Musique Non Stop'. There's not a lot of mileage to be gained from trying to deconstruct the songs from this album, we'll leave that to when I ever take on the full studio catalogue. I was pleasantly surprised by the lyrical quality of some of the songs, there's room for emotion and wistfulness in songs like 'Neon Lights'.
Band Bantz: You might think we have two hopes, and one of them is Bob. Not engaging outside the strictly controlled confines of their music is Kraftwerk's first principle, so there's no song or band intros. (On keyboards, Henning Schmitz! On keyboards, Fritz Hilpert! On keyboards, Florian Schneider! And on keyboards, and vocals, Ralf Hutter!). However, Ralf does pull a surprise out of the bag right at the death of 'Musique Non-Stop'. "Auf Wiedersehen. Do Svidaniya Moskva!"
Heckles and Coughs: Plenty of enthusiasm. Good reactions to pivotal points in well known songs. Probably a fair amount of vigorous rug-cutting going on during the more upbeat numbers, but everyone probably knows they might as well try and engage with a brick wall.
Next Track Off The Rank: Don't You Want Me by the Human League. No doubt Phil Oakey and co would be proud and flattered to be the first thing that springs to Spotify's mind when type in 'Kraftwerk', but they really are quite a different proposition. 'Don't You Want Me' is always a treat though.
Band Bantz: You might think we have two hopes, and one of them is Bob. Not engaging outside the strictly controlled confines of their music is Kraftwerk's first principle, so there's no song or band intros. (On keyboards, Henning Schmitz! On keyboards, Fritz Hilpert! On keyboards, Florian Schneider! And on keyboards, and vocals, Ralf Hutter!). However, Ralf does pull a surprise out of the bag right at the death of 'Musique Non-Stop'. "Auf Wiedersehen. Do Svidaniya Moskva!"
Heckles and Coughs: Plenty of enthusiasm. Good reactions to pivotal points in well known songs. Probably a fair amount of vigorous rug-cutting going on during the more upbeat numbers, but everyone probably knows they might as well try and engage with a brick wall.
Next Track Off The Rank: Don't You Want Me by the Human League. No doubt Phil Oakey and co would be proud and flattered to be the first thing that springs to Spotify's mind when type in 'Kraftwerk', but they really are quite a different proposition. 'Don't You Want Me' is always a treat though.
The Man Machine
Planet Of Visions
Tour De France Etape 1
Chrono
Tour De France Etape 2
Vitamin
Tour De France
Autobahn
The Model
Neon Lights
Radioactivity
Trans Europe Express
Metal On Metal
Numbers
Computer World
Home Computer
Pocket Calculator
Dentaku
Elektro Kardiogramm
Aero Dynamik
Musique Non-Stop
SATRIANI LIVE!
Recorded: 2nd May 2006
Joe Satriani
Brace yourselves for a ham-fisted metaphor. Bruce Springsteen sang, on Thunder Road, "Well I got this guitar and I learned how to make it talk". Satriani, it seems, got a guitar, fed it week-old oysters and gave it the runs. But before you devotees of the noodliest of guitar noodlers get angry with me, I did enjoy this perfectly well, and if my metaphor was ham-fisted, then Joe certainly isn't. In fact I was advised before embarking on this one, that you really need to see this kind of act in person, just to see how much they're doing with their instrument.
I've never really got it though, to the point that I've never listened to a Satriani, Steve Vai or Stevie Ray Vaughn record from start to finish. Out of curiosity, I dug out a list of 100 greatest guitarists of all time. The one I landed on was Guitar World's list from 2012. Although it's seven years old at time of writing, I doubt much will have changed, you have to have put in the long hours to get respect from the no doubt ultra-conservative readers of GW. Satriani was fifth, coming in behind (from 1st to 4th) Eddie Van Halen, Brian May, Alex Lifeson and Hendrix. So he's clearly king of the solo twiddlers.
The other difficulty for me, both from the point of view of creating this post and my general appreciation of the performance, is that there's no words. So it really is just about admiring what they can do. Can you connect emotionally to this stuff? I daresay it's possible, but not for me. He tries, he really does. There's a song called 'The Meaning Of Love' which is slow and measured, although the final extended note does come across as a scream of agony. Elsewhere his subject matter is rather more mechanistic and presumably appealing to his predominantly male audience. So we get 'One Robot's Dream', 'Ice 9', 'Circles' and Surfing With The Alien'.
He may be a little lacking in self-awareness too. If you're promoting an album called Super Colossal and the title track involves lots of overstated big sounds, then I might respectfully suggest you go back and have another watch of Spinal Tap. But, he is really, really great at what he does, and I reckon his band are no slouches either.
Band Bantz: Joe probably sends himself to sleep thinking about his guitars and his picks. He certainly seems to want to tell the audience all about them at every opportunity. Generally, his guitars and plectrums (plectra?) are "crazy"
Heckles And Coughs: There's a track called 'Crowd Chant' which is essentially a call and response exercise between Joe's guitar and the audience. It's quite good though.
Next Track Off The Rank: Cause We've Ended As Lovers by Jeff Beck (only number 39 according to Guitar World's 2012 readership).
DREAM ATTIC
Recorded: February 2010
Richard Thompson
Short of Bruce Springsteen, Richard Thompson may be the artist that I've seen live most often, although it's going to be a close-run thing with Loudon Wainwright III, I must have seen both at least four times which shades out the Saw Doctors at three, and, kind of oddly, Big Country a couple of times, although never because they were the first choice reason for going to the gig.
So, obviously I'm a bit of a fan, and this is a great record by him, although I was reminded recently when Mirror Blue had a 25 year release anniversary, that in the late eighties and early nineties he put together an astonishingly good run of albums through Amnesia, Rumour and Sigh and Mirror Blue, so I guess I hit a particularly sweet spot in his career when I first became aware of him. Dream Attic feels like it falls just short of those, kind of like a set of demos for songs that didn't quite make it onto those albums.
One thing that has always struck me is Thompson's singing accent. These are a big thing in the RockOdysseys world. British artists pretending to be American gospel/soul singers are guaranteed to get the R.O. back up. Now English folk singers, into which group I have to put Thompson, are notorious for strangling their vowels into some kind of mythical 'English' accent that doesn't actually belong anywhere. Take Kate Rusby singing 'Underneath The Stars'. Kate is as northern as they come and Barnsley is about the most northern-named place in the entire country (we'll ignore Oughtibridge for purposes of my argument), but even so she manages to caricature her own accent by saying "Oonderneath The Stars". Thomson isn't from the north but Notting Hill, so I guess he has the excuse that there isn't really a clear West London accent anyway, but he seems to want to lengthen his vowels and add in a few extra r's. So "drowning" on 'Haul Me Up' is "draarning", "precious" on 'Burning Man' is "praercious" and "strutting" on 'Here Comes Geordie' becomes 'straurting'. I hesitate to sully this piece, but the best parody I ever heard of this particular phenomenon came from late seventies, novelty hit peddlers the Barron Knights, with 'The Hand On The Ear Folk Song', which you can listen to here ("his accent sounded like a Geordie Cornishman from Brum").
This is all rather beside the point however, you don't really listen to Thomson for the singing, although the lyrics are often acerbic and witty, it's the almost impossible guitar playing that really sets him apart, able to sound like an entire band without the benefit of a loop pedal. Although this is counted as a live album, these are all new, previously unrecorded songs that he rehearsed, performed and recorded live. It's a fine idea, but ultimately it's a bit hard to see the reasoning behind it, other than to emphasize that he can manage perfection in a single take, these songs sound so good.
He runs the gamut of the types of song he's known for. Political commentary on 'The Money Shuffle', what could be an 18th century traditional folk song with 'Among The Gorse, Among The Grey', melancholy despair on 'Burning Man' and absolute effing chaos with 'Sidney Wells', a song of psychopathy (a common Thompson theme) which is a kind of mix of celtic reels, dervish dance and words that just come tumbling over each other until it descends into screaming guitar madness as his protagonist goes on his murderous way. There's plenty of catch in the songs though, Thompson has never been interesting in just impressing you with his ability, he wants to entertain.
Band Bantz: In this respect, this album is a disappointment. Thompson has a good line in chat when performing live and can be really funny. I used to have a recording of '1952 Vincent Black Lightning' which he introduced with "This is a song about motorcycles and the people who sit on them". But there isn't anything really here, just a brief sign off at the end of 'If Love Whispers Your Name'
Heckles and Coughs; Just applause after each song. Thompson fans are pretty respectful when he's playing, but they aren't scared to call out requests. In this case they wouldn't have known any of the songs, so they just have to take what they're given.
Next Track Off The Rank: Who Knows Where The Time Goes by Fairport Convention. Spotify really can't be arsed thinking about it to be honest.
R.E.M. Live
Recorded: February 26th and 27th 2005
R.E.M.
It feels a little like I'm experiencing an Emperor's new clothes moment with REM and listening to this. Are they actually rather dull? In the intelligent rock wastelands of the late eighties and early nineties, did Stipe and Co benefit from a lack of serious opposition beyond the U2 juggernaut? There's some great songs on here, but 102 minutes does seem a tad too much.
I've seen REM live, at Milton Keynes Bowl in July 1995 on the Monster tour. On Internet checkback, I was somewhat amazed to see that Blur supported them. I barely remember them to be honest. Other Britpop hangers-on were Belly and Magnapop, and if any, I'd say Belly were the most memorable. And, you know, REM weren't that memorable either. The setlist indicates that they didn't stint on the crowdpleasers, but Monster represented a bit of a dip in quality anyway,
Stipe is so dominant on this. I heard an interview podcast with him on a long-haul flight last year and he certainly has a high opinion of his artistic abilities, but I'd say he's the factor that standardizes REMs music. Interesting tunes and instrumentation is obscured by a sheen of Stipe's wheezy delivery. It works best on the big hits. 'The One I Love', 'Losing My Religion' and 'Orange Crush' are still great on this but I still have a minor problem with maintaining interest in 'Everybody Hurts'. The Mills-sung '(Don't Go Back To) Rockville' does make a nice change when it comes along near the end.
Band Bantz: When I'm looking for examples of BB I often skim quickly through the first few seconds of each song and it's notable that Bill Berry's count-in on his drumsticks is quite prominent on every track. Stipe might be moonlighting for the American Tourist Board (if such a thing exists) as he introduced consecutive songs 'Boy In The Well' and 'Cuyahoga' with "This song is set in the beautiful state of Tennessee" and "This song is set in the beautiful state of Ohio" respectively.
Stipe introduces 'I Wanted To Be Wrong' and 'Final Straw' as "songs that we wrote as protests against actions of our government and the current administration". This is 2005 remember, so the target of their ire is presumably Dubya. if he wanted to write a new song criticizing the administration in 2019, he might need to be a little less elliptical in his lyrics (assuming they wanted the current incumbent to stand any chance of understanding it).
Heckles And Coughs: These performances were recorded in the Point Theatre in Dublin. It's worth noting that as I've gone through these live albums, the character of the audience has slowly been diluted out of the recordings. Most of the time now, you're simply aware that they are there, but there's rarely a contribution that can be picked out. The best I can do here is that they fill in the "Yeah Yeah Yeah Yeah"'s on 'Man In The Moon'
Next Track Off The Rank: Psycho Killer by Talking Heads.
I Took Your Name
So Fast, So Numb
Boy In The Well
Cuyahoga
Everybody Hurts
Electron Blue
Bad Day
The Ascent Of Man
The Great Beyond
Leaving New York
Orange Crush
I Wanted To Be Wrong
Final Straw
Imitation Of Life
The One I Love
Walk Unafraid
Losing My Religion
What's The Frequency Kenneth?
Drive
(Don't Go Back To) Rockville
I'm Gonna DJ
Man On The Moon
Recorded: 2nd May 2006
Joe Satriani
Brace yourselves for a ham-fisted metaphor. Bruce Springsteen sang, on Thunder Road, "Well I got this guitar and I learned how to make it talk". Satriani, it seems, got a guitar, fed it week-old oysters and gave it the runs. But before you devotees of the noodliest of guitar noodlers get angry with me, I did enjoy this perfectly well, and if my metaphor was ham-fisted, then Joe certainly isn't. In fact I was advised before embarking on this one, that you really need to see this kind of act in person, just to see how much they're doing with their instrument.
I've never really got it though, to the point that I've never listened to a Satriani, Steve Vai or Stevie Ray Vaughn record from start to finish. Out of curiosity, I dug out a list of 100 greatest guitarists of all time. The one I landed on was Guitar World's list from 2012. Although it's seven years old at time of writing, I doubt much will have changed, you have to have put in the long hours to get respect from the no doubt ultra-conservative readers of GW. Satriani was fifth, coming in behind (from 1st to 4th) Eddie Van Halen, Brian May, Alex Lifeson and Hendrix. So he's clearly king of the solo twiddlers.
The other difficulty for me, both from the point of view of creating this post and my general appreciation of the performance, is that there's no words. So it really is just about admiring what they can do. Can you connect emotionally to this stuff? I daresay it's possible, but not for me. He tries, he really does. There's a song called 'The Meaning Of Love' which is slow and measured, although the final extended note does come across as a scream of agony. Elsewhere his subject matter is rather more mechanistic and presumably appealing to his predominantly male audience. So we get 'One Robot's Dream', 'Ice 9', 'Circles' and Surfing With The Alien'.
He may be a little lacking in self-awareness too. If you're promoting an album called Super Colossal and the title track involves lots of overstated big sounds, then I might respectfully suggest you go back and have another watch of Spinal Tap. But, he is really, really great at what he does, and I reckon his band are no slouches either.
Band Bantz: Joe probably sends himself to sleep thinking about his guitars and his picks. He certainly seems to want to tell the audience all about them at every opportunity. Generally, his guitars and plectrums (plectra?) are "crazy"
Heckles And Coughs: There's a track called 'Crowd Chant' which is essentially a call and response exercise between Joe's guitar and the audience. It's quite good though.
Next Track Off The Rank: Cause We've Ended As Lovers by Jeff Beck (only number 39 according to Guitar World's 2012 readership).
Flying In A Blue Dream
The Extremist
Redshift Riders
Cool #9
A Cool New Way
Satch Boogie
Super Colossal
Just Like Lightning
Ice 9
One Robot's Dream
Ten Words
The Mystical Potato Head Groove Thing
The Meaning Of Love
Made Of Tears
Circles
Always With Me, Always With You
Surfing With The Alien
Crowd Chant
Summer Son
Recorded: February 2010
Richard Thompson
Short of Bruce Springsteen, Richard Thompson may be the artist that I've seen live most often, although it's going to be a close-run thing with Loudon Wainwright III, I must have seen both at least four times which shades out the Saw Doctors at three, and, kind of oddly, Big Country a couple of times, although never because they were the first choice reason for going to the gig.
So, obviously I'm a bit of a fan, and this is a great record by him, although I was reminded recently when Mirror Blue had a 25 year release anniversary, that in the late eighties and early nineties he put together an astonishingly good run of albums through Amnesia, Rumour and Sigh and Mirror Blue, so I guess I hit a particularly sweet spot in his career when I first became aware of him. Dream Attic feels like it falls just short of those, kind of like a set of demos for songs that didn't quite make it onto those albums.
One thing that has always struck me is Thompson's singing accent. These are a big thing in the RockOdysseys world. British artists pretending to be American gospel/soul singers are guaranteed to get the R.O. back up. Now English folk singers, into which group I have to put Thompson, are notorious for strangling their vowels into some kind of mythical 'English' accent that doesn't actually belong anywhere. Take Kate Rusby singing 'Underneath The Stars'. Kate is as northern as they come and Barnsley is about the most northern-named place in the entire country (we'll ignore Oughtibridge for purposes of my argument), but even so she manages to caricature her own accent by saying "Oonderneath The Stars". Thomson isn't from the north but Notting Hill, so I guess he has the excuse that there isn't really a clear West London accent anyway, but he seems to want to lengthen his vowels and add in a few extra r's. So "drowning" on 'Haul Me Up' is "draarning", "precious" on 'Burning Man' is "praercious" and "strutting" on 'Here Comes Geordie' becomes 'straurting'. I hesitate to sully this piece, but the best parody I ever heard of this particular phenomenon came from late seventies, novelty hit peddlers the Barron Knights, with 'The Hand On The Ear Folk Song', which you can listen to here ("his accent sounded like a Geordie Cornishman from Brum").
This is all rather beside the point however, you don't really listen to Thomson for the singing, although the lyrics are often acerbic and witty, it's the almost impossible guitar playing that really sets him apart, able to sound like an entire band without the benefit of a loop pedal. Although this is counted as a live album, these are all new, previously unrecorded songs that he rehearsed, performed and recorded live. It's a fine idea, but ultimately it's a bit hard to see the reasoning behind it, other than to emphasize that he can manage perfection in a single take, these songs sound so good.
He runs the gamut of the types of song he's known for. Political commentary on 'The Money Shuffle', what could be an 18th century traditional folk song with 'Among The Gorse, Among The Grey', melancholy despair on 'Burning Man' and absolute effing chaos with 'Sidney Wells', a song of psychopathy (a common Thompson theme) which is a kind of mix of celtic reels, dervish dance and words that just come tumbling over each other until it descends into screaming guitar madness as his protagonist goes on his murderous way. There's plenty of catch in the songs though, Thompson has never been interesting in just impressing you with his ability, he wants to entertain.
Band Bantz: In this respect, this album is a disappointment. Thompson has a good line in chat when performing live and can be really funny. I used to have a recording of '1952 Vincent Black Lightning' which he introduced with "This is a song about motorcycles and the people who sit on them". But there isn't anything really here, just a brief sign off at the end of 'If Love Whispers Your Name'
Heckles and Coughs; Just applause after each song. Thompson fans are pretty respectful when he's playing, but they aren't scared to call out requests. In this case they wouldn't have known any of the songs, so they just have to take what they're given.
Next Track Off The Rank: Who Knows Where The Time Goes by Fairport Convention. Spotify really can't be arsed thinking about it to be honest.
The Money Shuffle
Among The Gorse, Among The Grey
Haul Me Up
Burning Man
Here Comes Geordie
Demons In Her Dancing Shoes
Crimescene
Big Sun Falling In The River
Stumble On
Sidney Wells
A Brother Slips Away
Bad Again
If Love Whispers Your Name
And so, finally, I get to the end of this live album list. I started in the Summer of 2017, about 18 months ago now, with James Brown and the Famous Flames knocking out 30 minutes amid the Cuban Missile crisis at the Apollo in 1962. I've covered 65 albums and it was touch and go with some. Joe Ely's Live Shots gave me sleepless nights. Tori Amos was the only one who ultimately didn't make it, but I'll make it up to her eventually. Some I'll go back to (Some Enchanted Evening, Rust Never Sleeps, No Sleep..., Career Moves), some I never want to hear again (KISS Live). Coming to the end is good though, I can clear the decks and think about another big sequence to take on. Suggestions are welcome!