Since exploding out of Sydney, Australia in 1973, AC/DC have been at the very forefront of heavy metal. Built around the central core of Glaswegian-born brothers Malcolm and Angus Young, whose brutal dual guitar assaults almost immediately set the rock world aflame, the band's awesome live battery has since passed into legend. AC/DC's stock in trade, a simplistic and uncluttered blend of fundamental rock & roll riffs and deliciously amoral licentiousness, has gradually come to exemplify the metal ideal, and the blistering stage performances captured herein show exactly why. The precision holocaust of "Highway to Hell", blazing ferocity of "Let There Be Rock" and immense triumphalism of "For Those About To Rock" are visceral sonic power incarnate. As Angus slashes forth elemental chords and struts the stage in his trademark school uniform, Brian Johnson roars himself ragged and bellows the crowd into abject submission. Mayhem has never sounded more glorious. --Ian Fortnam

Dead not Live, 08 Sep 2008
This is a bloody disappointing album. I bought this thinking it was going to capture the full on raw power of AC/DC but it totally fails.
The biggest problem is that unlike the majority of live albums that are edited to flow like a proper gig, this mess sees each track fade in and out so that the energy and excitement one expects never materialises. It simply fails to gel at all and just becomes totally boring. Why was this done? It is for radio idiot DJ's who are incapable of cueing up a track? Oh yes, and Brian Johnson can't sing either. A truly horrible experience. Stick to "If You Want Blood...".

Not A Patch On "If You Want Blood.....", 05 Apr 2007
I'm afraid that, having bought this recently in reliance on the reviews on this site, ripped it to my MP3 Player, and listened to it over several tube journeys, I am disappointed. The whole thing lacks the bite, attack and energy of the earlier "If you Want Blood....." It's all too polite, too well mannered, and too well produced, - almost bland. I'm going to give it an airing on the stereo over the weekend, but unless the wider sound afforded here adds something truly extra, this one may well be taking a trip over the the Record Exchange in Camden to be traded in. Is this just the difference between the Bonn Scott era band and the later version, or a touch of over production?

Buyer beware, 27 Mar 2007
This album was a major disappointment for me, a longtime AC/DC fan. It falls way short of the classic 'If you want blood...' album. Brian Johnson's singing (screeching?) becomes more irritating with each song. The sound has that horrible sanitised and distant feel to it. Worse of all however is the wretched 'For those About To Rock....' dirge which is not a song but a tuneless chant that sounds like it was made up on the terraces of a football club. If you want live AC/DC stick to 'If you want Blood.....', a flawless classic by a band at its musical peak.....

WE SALUTE YOU, 14 Feb 2007
AC/DC have been playing hard and ruthless for over 30 years now, and to date, they still haven't released a Best Of compilation. However, so great is their reputation for slaying live audiences that, even when that compilation finally does arrive, this double live album may remain the best first purchase for new fans.

'Live - Collectors Edition' combines recordings from several AC/DC shows in 1991, but primarily concentrates on their appearance at that year's 'Monsters of Rock' festival, which ruled the UK from 1980-1996 as the biggest, baddest event on the rock 'n' roll calendar. In '91, Castle Donington shook to the sounds of Metallica and Motley Crue, and at the top of the bill, ready to blast 72,500 fans to kingdom come, were AC/DC. 'The Razor's Edge', the album which preceded this tour, featured their best work since 'Back In Black' 10 years earlier, and gave them several great new additions to an already devastating arsenal including 'Whole Lotta Rosie', 'Let There Be Rock' and 'You Shook Me All Night Long'. To these, Angus Young adds a couple of extravagantly extended face-melting guitar solos, and the brief but touching tribute to Bon Scott entitled 'Bonny' (a guitar lick based on the traditional Scottish ballad 'The Bonnie Banks O' Loch Lomond'). The audio quality throughout the record is superb - vocals and instruments are crisp and clear, and the audiences remain loud and proud in the mix.

If you're especially lucky, you may find a custom-made Angus Young banknote tucked away inside the sleeve of 'Live - Collectors Edition' (I still have mine!). With or without this little bonus, though, if you want some high voltage rock 'n' roll, this is where you come and get it.



an amazing live album, 14 Apr 2006
when I listened to this recently I was blown away, because of AC/DC's stage presence you feel as if you are there at the concert, I would usually suggest to people that when starting listening to a band not to start with a live album but this is an exception, it contains soem of AC/DC's most popular and best songs, an absolute must

Unplugged was the last collection recorded by Nirvana before the untimely death of Kurt Cobain and it caught many by surprise. As a testament to the group's live dynamic in a acoustic setting, it's a fantastic document that emphasises the nuances of one of the greatest bands of recent times. Cobain singing "I swear I don't have a gun, I don't have a gun" with clenched teeth instead of a loud howl is a revelation as is the subtle guitar playing on the haunting "About a Girl", from their earliest LP. Highlights include covers of three Meat Puppets tracks (featuring special guests Curt and Kris Kirkwood of that influential "college rock" band), the weepy cello on the Vaselines' "Jesus Doesn't Want Me for a Sunbeam" and their cover of David Bowie's "The Man Who Sold the World". --Lorry Fleming

Dead not Live, 08 Sep 2008
This is a bloody disappointing album. I bought this thinking it was going to capture the full on raw power of AC/DC but it totally fails.
The biggest problem is that unlike the majority of live albums that are edited to flow like a proper gig, this mess sees each track fade in and out so that the energy and excitement one expects never materialises. It simply fails to gel at all and just becomes totally boring. Why was this done? It is for radio idiot DJ's who are incapable of cueing up a track? Oh yes, and Brian Johnson can't sing either. A truly horrible experience. Stick to "If You Want Blood...".

Not A Patch On "If You Want Blood.....", 05 Apr 2007
I'm afraid that, having bought this recently in reliance on the reviews on this site, ripped it to my MP3 Player, and listened to it over several tube journeys, I am disappointed. The whole thing lacks the bite, attack and energy of the earlier "If you Want Blood....." It's all too polite, too well mannered, and too well produced, - almost bland. I'm going to give it an airing on the stereo over the weekend, but unless the wider sound afforded here adds something truly extra, this one may well be taking a trip over the the Record Exchange in Camden to be traded in. Is this just the difference between the Bonn Scott era band and the later version, or a touch of over production?

Buyer beware, 27 Mar 2007
This album was a major disappointment for me, a longtime AC/DC fan. It falls way short of the classic 'If you want blood...' album. Brian Johnson's singing (screeching?) becomes more irritating with each song. The sound has that horrible sanitised and distant feel to it. Worse of all however is the wretched 'For those About To Rock....' dirge which is not a song but a tuneless chant that sounds like it was made up on the terraces of a football club. If you want live AC/DC stick to 'If you want Blood.....', a flawless classic by a band at its musical peak.....

WE SALUTE YOU, 14 Feb 2007
AC/DC have been playing hard and ruthless for over 30 years now, and to date, they still haven't released a Best Of compilation. However, so great is their reputation for slaying live audiences that, even when that compilation finally does arrive, this double live album may remain the best first purchase for new fans.

'Live - Collectors Edition' combines recordings from several AC/DC shows in 1991, but primarily concentrates on their appearance at that year's 'Monsters of Rock' festival, which ruled the UK from 1980-1996 as the biggest, baddest event on the rock 'n' roll calendar. In '91, Castle Donington shook to the sounds of Metallica and Motley Crue, and at the top of the bill, ready to blast 72,500 fans to kingdom come, were AC/DC. 'The Razor's Edge', the album which preceded this tour, featured their best work since 'Back In Black' 10 years earlier, and gave them several great new additions to an already devastating arsenal including 'Whole Lotta Rosie', 'Let There Be Rock' and 'You Shook Me All Night Long'. To these, Angus Young adds a couple of extravagantly extended face-melting guitar solos, and the brief but touching tribute to Bon Scott entitled 'Bonny' (a guitar lick based on the traditional Scottish ballad 'The Bonnie Banks O' Loch Lomond'). The audio quality throughout the record is superb - vocals and instruments are crisp and clear, and the audiences remain loud and proud in the mix.

If you're especially lucky, you may find a custom-made Angus Young banknote tucked away inside the sleeve of 'Live - Collectors Edition' (I still have mine!). With or without this little bonus, though, if you want some high voltage rock 'n' roll, this is where you come and get it.



an amazing live album, 14 Apr 2006
when I listened to this recently I was blown away, because of AC/DC's stage presence you feel as if you are there at the concert, I would usually suggest to people that when starting listening to a band not to start with a live album but this is an exception, it contains soem of AC/DC's most popular and best songs, an absolute must

Up There With Greatest Live Album Ever, 17 Nov 2008
This album was a revelation when I first heard it a couple of years after Cobain's death. For the most part I hadn't connected with Nirvana's grungier sound. The Unplugged format provides a sparse and paired back sound, releasing the raw power and passion of Cobain's voice. Favorite's are Something In the Way, Dumb, On a Plain and most especially the cover of the Meat Puppets Plateau. As others have mentioned the closing cover of Leadbelly's Where Did You Sleep Last Night is remarkable in its intensity.

Unlike many other live albums the post production has left all the chat and banter between Cobain and the band in the mix; this allows the listener to feel part of a very special concert. In conclusion you don't have to be a big fan of Nirvana's louder, grungier recordings to appreciate this live recording. In terms of importance; up there with Bob Dylan Live at the Albert Hall and Johnny Cash Live at San Quentin.

Elegiac, 01 Oct 2007
Like albums such as the Manic Street Preacher's "The Holy Bible" and Joy Division's "Closer", this album is impossible to hear without the ghost of a creator looming large - unlike albums by The Doors or Jimi Hendrix, which lack the seeming suicide-note nature of those works. "Unplugged" more than any other album I know has an elegiac, funeral atmosphere, one heightened by the inclusion of lilies and candles in the small stage and the nervousness of band and audience, as though aware that what they were seeing was so fragile it might break. (Compare the atmosphere with that of Rod Stewart's Unplugged, which is like a knees-up gig in a cosy pub by the resident band).

There is, for the first time with Nirvana, a remarkable delicacy. While some of their songs had been suggestive of fragility (such as Lithium, Milk It and Pennyroyal Tea), the power of the music had always given this an adrenalizing kick that undercut the frankness of the lyrics. Here these fragilities and delicacies are all out in the open, tender and exposed. It's utterly haunting and emotionally engaging.

"About A Girl" sets the tone - after a snide opening comment from Kurt ("most people don't know it" - as though nobody bothered to investigate Nirvana's earlier stuff!), some beautifully singing accoustic chords starts the songs, and compared to the leaden "Bleach" version, here the melodies and joyfulnes are all out in the open. The harmonies from Dave Grohl are fantastic, too. It rescues the song as the great pop song it is - somehow it reminds me of The Beatles' "Two Of Us" with its own great harmonising and accoustic guitar.

"Come As You Are" on the other hand brings out the brillian melody and the anti-phallic nature of it. Given rock music's association with masculinity (and thus guns and penises), it's a brilliant reversal to hear Kurt sing "Man I swear no I don't have a gun / No I don't have a gun," though the irony is bitter. "Dumb" and "Pennyroyal Tea" similarly bring out the implicit pleading fragility obscured by the distorted growl of Kurt's electric guitar.

"The Man Who Sold The World" on the other hand is a brilliant reimagining of the David Bowie song. The hook is brilliantly captured by Kris Novoselic and the solo by Kurt (played electrically) is better than the original - as is the song as a whole!

"On A Plain" and "Polly" are not great, but unlike some others I think that the Meatpuppet covers are fantastic. "Lake Of Fire" has a brooding, alt-country atmosphere that's wonderfullt evocative, "Oh Me" is achingly sad, and superbly harmonised, and the wonderful "Plateau" just unwinds on and on, a brilliant song.

"All Apologies", the cathartic, send-off follows. Again it's far more delicate than the "In Utero" version and perhaps the better for it - it always irritated me how Kurt rasped the first syllable of some of the words in the studio version.

The last song is the spine-chilling "Where Did You Sleep Last Night?", a primal blues song, by Leadbelly. It's heavy and portentous, and the dynamics are handled beautifully, from a whisper to a climbing cry to a full-on scream of "SHIIIVVVEEEEERR!!" It's incredibly passionate, nakedly emotional, and so moving it's frightening.

In some ways this is Nirvana's finest album. It is more complex emotionally than "Nevermind", more consistent than "In Utero" and far richer than "Bleach". It's a fitting epitaph not only for Kurt Cobain but Nirvana too.

Outstanding, 02 Sep 2007
I was a fan of Nirvana before I heard 'Unplugged' but this album just proved to me how great a band they were. Stripped of the feedback and the frenetic punk energy the songs still stand up as classics.

'About a Girl' is total post-punk Beatles; 'Come as You Are' is better acoustically than released on 'Nevermind'; 'The Man Who Sold the World' is better than the Bowie original. 'Pennyroyal Tea' has some of the best lyrics Cobain ever wrote - "I'm on warm milk and laxatives; cherry flavoured ant-acids", "I have very bad posture". Pure generation x angst.

The cello on 'On a Plain' and 'Something in the Way' is hauntingly beautiful. 'All Apologies' is precisely performed and sounds like it was written for an intimate acoustic set. There are a lot of covers here and I must admit I do wish there were more Nirvana originals. 'Jesus Doesn't Want Me for a Sunbeam' isn't as good a song as some of their own they could have included. And the Meat Puppets tracks are pretty good, but they could have dropped one or two of them for an acoustic 'Lithium' or 'Serve the Servants' which would have been more interesting.

Overall though, this is an awesome record. Nirvana had some detractors based on ridiculous arguments that other bands had done the American indie thing before them, or that they were too popular for an authentic underground band. But this album proves that they were much much more than media favourites. They were the real deal. Live and exposed they more than prove their talent and their place amongst the best two or three bands ever.

Perhaps Nirvana's Best album...Maybe, 06 Aug 2007
This album was recorded a short while before kurt cobain decided to end his life a few months afterwards.

It shows the bands (in my opinion) best talents as a band and Kurt's vocals really show in this fantastic live performance. Something in the way, lake of fire and plataeu are some of the best tracks here and are actually better than their studio counterparts, and the audince in the background makes the performance seem somehow even more epic. Strongly recommended Nirvana Album.

The greatest live performance ever!, 25 Feb 2007
Nirvana unplugged in new york is the greatest live performance of all time. It shows Kurt Cobain at his raw best. His amazing vocal talent in Lake of fire and Oh me and his great singer songwriter tecnique in All Apologies. Finished off by Where Did You Sleep Last Night a song which exposes Cobain in all of his emotion and vocal ability in which leaves the crowd motionless and cheering for a great man and a great band including Dave Grohl the gretest drummer of all time. The album gives unique songs in a way which Nirvana's instruments combine to give an emotive and uplifting performance. This is an amazing mix of grunge and acoustic campfire singalong. You'll wish so much for a sequal. And wish even more for Cobain to still be with us.

Dead not Live, 08 Sep 2008
This is a bloody disappointing album. I bought this thinking it was going to capture the full on raw power of AC/DC but it totally fails.
The biggest problem is that unlike the majority of live albums that are edited to flow like a proper gig, this mess sees each track fade in and out so that the energy and excitement one expects never materialises. It simply fails to gel at all and just becomes totally boring. Why was this done? It is for radio idiot DJ's who are incapable of cueing up a track? Oh yes, and Brian Johnson can't sing either. A truly horrible experience. Stick to "If You Want Blood...".

Not A Patch On "If You Want Blood.....", 05 Apr 2007
I'm afraid that, having bought this recently in reliance on the reviews on this site, ripped it to my MP3 Player, and listened to it over several tube journeys, I am disappointed. The whole thing lacks the bite, attack and energy of the earlier "If you Want Blood....." It's all too polite, too well mannered, and too well produced, - almost bland. I'm going to give it an airing on the stereo over the weekend, but unless the wider sound afforded here adds something truly extra, this one may well be taking a trip over the the Record Exchange in Camden to be traded in. Is this just the difference between the Bonn Scott era band and the later version, or a touch of over production?

Buyer beware, 27 Mar 2007
This album was a major disappointment for me, a longtime AC/DC fan. It falls way short of the classic 'If you want blood...' album. Brian Johnson's singing (screeching?) becomes more irritating with each song. The sound has that horrible sanitised and distant feel to it. Worse of all however is the wretched 'For those About To Rock....' dirge which is not a song but a tuneless chant that sounds like it was made up on the terraces of a football club. If you want live AC/DC stick to 'If you want Blood.....', a flawless classic by a band at its musical peak.....

WE SALUTE YOU, 14 Feb 2007
AC/DC have been playing hard and ruthless for over 30 years now, and to date, they still haven't released a Best Of compilation. However, so great is their reputation for slaying live audiences that, even when that compilation finally does arrive, this double live album may remain the best first purchase for new fans.

'Live - Collectors Edition' combines recordings from several AC/DC shows in 1991, but primarily concentrates on their appearance at that year's 'Monsters of Rock' festival, which ruled the UK from 1980-1996 as the biggest, baddest event on the rock 'n' roll calendar. In '91, Castle Donington shook to the sounds of Metallica and Motley Crue, and at the top of the bill, ready to blast 72,500 fans to kingdom come, were AC/DC. 'The Razor's Edge', the album which preceded this tour, featured their best work since 'Back In Black' 10 years earlier, and gave them several great new additions to an already devastating arsenal including 'Whole Lotta Rosie', 'Let There Be Rock' and 'You Shook Me All Night Long'. To these, Angus Young adds a couple of extravagantly extended face-melting guitar solos, and the brief but touching tribute to Bon Scott entitled 'Bonny' (a guitar lick based on the traditional Scottish ballad 'The Bonnie Banks O' Loch Lomond'). The audio quality throughout the record is superb - vocals and instruments are crisp and clear, and the audiences remain loud and proud in the mix.

If you're especially lucky, you may find a custom-made Angus Young banknote tucked away inside the sleeve of 'Live - Collectors Edition' (I still have mine!). With or without this little bonus, though, if you want some high voltage rock 'n' roll, this is where you come and get it.



an amazing live album, 14 Apr 2006
when I listened to this recently I was blown away, because of AC/DC's stage presence you feel as if you are there at the concert, I would usually suggest to people that when starting listening to a band not to start with a live album but this is an exception, it contains soem of AC/DC's most popular and best songs, an absolute must

Up There With Greatest Live Album Ever, 17 Nov 2008
This album was a revelation when I first heard it a couple of years after Cobain's death. For the most part I hadn't connected with Nirvana's grungier sound. The Unplugged format provides a sparse and paired back sound, releasing the raw power and passion of Cobain's voice. Favorite's are Something In the Way, Dumb, On a Plain and most especially the cover of the Meat Puppets Plateau. As others have mentioned the closing cover of Leadbelly's Where Did You Sleep Last Night is remarkable in its intensity.

Unlike many other live albums the post production has left all the chat and banter between Cobain and the band in the mix; this allows the listener to feel part of a very special concert. In conclusion you don't have to be a big fan of Nirvana's louder, grungier recordings to appreciate this live recording. In terms of importance; up there with Bob Dylan Live at the Albert Hall and Johnny Cash Live at San Quentin.

Elegiac, 01 Oct 2007
Like albums such as the Manic Street Preacher's "The Holy Bible" and Joy Division's "Closer", this album is impossible to hear without the ghost of a creator looming large - unlike albums by The Doors or Jimi Hendrix, which lack the seeming suicide-note nature of those works. "Unplugged" more than any other album I know has an elegiac, funeral atmosphere, one heightened by the inclusion of lilies and candles in the small stage and the nervousness of band and audience, as though aware that what they were seeing was so fragile it might break. (Compare the atmosphere with that of Rod Stewart's Unplugged, which is like a knees-up gig in a cosy pub by the resident band).

There is, for the first time with Nirvana, a remarkable delicacy. While some of their songs had been suggestive of fragility (such as Lithium, Milk It and Pennyroyal Tea), the power of the music had always given this an adrenalizing kick that undercut the frankness of the lyrics. Here these fragilities and delicacies are all out in the open, tender and exposed. It's utterly haunting and emotionally engaging.

"About A Girl" sets the tone - after a snide opening comment from Kurt ("most people don't know it" - as though nobody bothered to investigate Nirvana's earlier stuff!), some beautifully singing accoustic chords starts the songs, and compared to the leaden "Bleach" version, here the melodies and joyfulnes are all out in the open. The harmonies from Dave Grohl are fantastic, too. It rescues the song as the great pop song it is - somehow it reminds me of The Beatles' "Two Of Us" with its own great harmonising and accoustic guitar.

"Come As You Are" on the other hand brings out the brillian melody and the anti-phallic nature of it. Given rock music's association with masculinity (and thus guns and penises), it's a brilliant reversal to hear Kurt sing "Man I swear no I don't have a gun / No I don't have a gun," though the irony is bitter. "Dumb" and "Pennyroyal Tea" similarly bring out the implicit pleading fragility obscured by the distorted growl of Kurt's electric guitar.

"The Man Who Sold The World" on the other hand is a brilliant reimagining of the David Bowie song. The hook is brilliantly captured by Kris Novoselic and the solo by Kurt (played electrically) is better than the original - as is the song as a whole!

"On A Plain" and "Polly" are not great, but unlike some others I think that the Meatpuppet covers are fantastic. "Lake Of Fire" has a brooding, alt-country atmosphere that's wonderfullt evocative, "Oh Me" is achingly sad, and superbly harmonised, and the wonderful "Plateau" just unwinds on and on, a brilliant song.

"All Apologies", the cathartic, send-off follows. Again it's far more delicate than the "In Utero" version and perhaps the better for it - it always irritated me how Kurt rasped the first syllable of some of the words in the studio version.

The last song is the spine-chilling "Where Did You Sleep Last Night?", a primal blues song, by Leadbelly. It's heavy and portentous, and the dynamics are handled beautifully, from a whisper to a climbing cry to a full-on scream of "SHIIIVVVEEEEERR!!" It's incredibly passionate, nakedly emotional, and so moving it's frightening.

In some ways this is Nirvana's finest album. It is more complex emotionally than "Nevermind", more consistent than "In Utero" and far richer than "Bleach". It's a fitting epitaph not only for Kurt Cobain but Nirvana too.

Outstanding, 02 Sep 2007
I was a fan of Nirvana before I heard 'Unplugged' but this album just proved to me how great a band they were. Stripped of the feedback and the frenetic punk energy the songs still stand up as classics.

'About a Girl' is total post-punk Beatles; 'Come as You Are' is better acoustically than released on 'Nevermind'; 'The Man Who Sold the World' is better than the Bowie original. 'Pennyroyal Tea' has some of the best lyrics Cobain ever wrote - "I'm on warm milk and laxatives; cherry flavoured ant-acids", "I have very bad posture". Pure generation x angst.

The cello on 'On a Plain' and 'Something in the Way' is hauntingly beautiful. 'All Apologies' is precisely performed and sounds like it was written for an intimate acoustic set. There are a lot of covers here and I must admit I do wish there were more Nirvana originals. 'Jesus Doesn't Want Me for a Sunbeam' isn't as good a song as some of their own they could have included. And the Meat Puppets tracks are pretty good, but they could have dropped one or two of them for an acoustic 'Lithium' or 'Serve the Servants' which would have been more interesting.

Overall though, this is an awesome record. Nirvana had some detractors based on ridiculous arguments that other bands had done the American indie thing before them, or that they were too popular for an authentic underground band. But this album proves that they were much much more than media favourites. They were the real deal. Live and exposed they more than prove their talent and their place amongst the best two or three bands ever.

Perhaps Nirvana's Best album...Maybe, 06 Aug 2007
This album was recorded a short while before kurt cobain decided to end his life a few months afterwards.

It shows the bands (in my opinion) best talents as a band and Kurt's vocals really show in this fantastic live performance. Something in the way, lake of fire and plataeu are some of the best tracks here and are actually better than their studio counterparts, and the audince in the background makes the performance seem somehow even more epic. Strongly recommended Nirvana Album.

The greatest live performance ever!, 25 Feb 2007
Nirvana unplugged in new york is the greatest live performance of all time. It shows Kurt Cobain at his raw best. His amazing vocal talent in Lake of fire and Oh me and his great singer songwriter tecnique in All Apologies. Finished off by Where Did You Sleep Last Night a song which exposes Cobain in all of his emotion and vocal ability in which leaves the crowd motionless and cheering for a great man and a great band including Dave Grohl the gretest drummer of all time. The album gives unique songs in a way which Nirvana's instruments combine to give an emotive and uplifting performance. This is an amazing mix of grunge and acoustic campfire singalong. You'll wish so much for a sequal. And wish even more for Cobain to still be with us.

Top Class, 15 Oct 2008
Just bought this today and it thoroughly deserves to be thought of as the bes tlive album ever from jailbreak to the rocker lynotts charisma shows through especially just before the rocker. all in all for 3 quid even if your not the biggest fan its still worth it. its one fo the best cds i have and will probably remain so.

Live or not - it doesn't matter - it's Lizzy at their peak., 24 Dec 2007
It really doesn't matter to me whether this album is only 1% live; the fact is that Visconti finally managed to capture the energy of Thin Lizzy on tape. This is by far the best Lizzy album, and knocks every studio effort into a cocked hat. Much as I like albums like "Johnny The Fox", if you play this one afterwards, you will know what I mean - there are no better versions of these songs anywhere else. Yes, the original vinyl double LP was lovingly packaged with great photos and a "side" dedicated to each member of the band, and the main shame is that nobody has seen fit to remaster Live And Dangerous and give it the packaging it truly deserves (in the same way that Skynyrd's "One From The Road" has). That said, I don't have any real problems with the sound - this is a 30-year-old album; just put it on and play it loud. Each member of the band is on fire - the twin Les Pauls of Gorham and Robbo are growling through their Marshall stacks, Downey is sublime, and Lynott's stage presence just oozes from the speakers. Lizzy at their peak - just buy it.

Brilliant, full of ideas, 10 Nov 2007
Obviously, and as most other reviewers have already written, a fantastic album. It's one of my favourites. I'm glad they fixed it technically because usually live albums are annoyingly poor in that area.

One of the reasons I like this album so much is that the songs are full of song writing ideas that you want to pick up and use again. They seem to have lots of ways to make a track build momentum. Just when you think they can't raise the energy level any more, they do. Maybe that part of the songs works even better live.


Among the best-ever live albums, 03 Aug 2007
While they made a string of great singles, Thin Lizzy's studio albums were of consistently high quality throughout the 1970s, without ever quite reaching the heights of a 'Zep 4' or an 'Argus'. This album, however, eclipsed the live efforts of just about everyone else. Dr Feelgood's 'Stupidity' is the only live album I'd definitely rate higher and even then it's a fairly close thing.
There are two obvious reasons for the success of 'Live And Dangerous.' One is the band's affinity with their audience. Their rock is sometimes dramatic but it always has a good-time feel about it and Phil Lynott has the fans eating out of his hand. It's a big plus when a live album can convey that feeling. The second factor is simply good song selection. The blend of tracks is effective, such as the swagger of 'Dancing In The Moonlight' being followed by the arresting opening of 'Massacre.' In addition, many of the tracks, such as 'Jailbreak' take on a new life in the live environment. Even the seven-minute ballad, 'Still In Love With You,' is awesome.
Forget the overdub debate. I bought this album on its release and didn't know they'd tinkered with it until it was reported much later. 'Live And Dangerous' keeps you hooked right through and is an essential rock album.

simply the best, 11 Jun 2007
There is a lot of discussion about how much of this album is live. The only bits that aren't are a couple of overdubs on backing vocals (never Lizzy's strongpoint) and lead guitar drop-outs. It is 99.99 % per cent live! Its simply not possible to re-record large amounts of material and somehow mix it in to an existing recording - this is because you get 'bleeding' from microphones that are inplace to record certain instruments (eg: drums and vocals). So, if a guitar solo was re-recorded in the studio - you would still have some residue of the original 'live' solo on the track - it cant be erased without erasing other instruments.
Watch the corresponding dvd from the same era - sounds the same doesnt it? Was that re-recorded? Impossible.
All this discussion has diverted attention away from the fact that this is the best live album ever - maybe even the best album fullstop.
Thin Lizzy at their peak were head and shoulders above everyone else, and nobody else could write like them, sound like them, or perform like them.
Thin Lizzy were so much more than a hard rock band, and you dont need to be a rock-fan to love this album.

Dead not Live, 08 Sep 2008
This is a bloody disappointing album. I bought this thinking it was going to capture the full on raw power of AC/DC but it totally fails.
The biggest problem is that unlike the majority of live albums that are edited to flow like a proper gig, this mess sees each track fade in and out so that the energy and excitement one expects never materialises. It simply fails to gel at all and just becomes totally boring. Why was this done? It is for radio idiot DJ's who are incapable of cueing up a track? Oh yes, and Brian Johnson can't sing either. A truly horrible experience. Stick to "If You Want Blood...".

Not A Patch On "If You Want Blood.....", 05 Apr 2007
I'm afraid that, having bought this recently in reliance on the reviews on this site, ripped it to my MP3 Player, and listened to it over several tube journeys, I am disappointed. The whole thing lacks the bite, attack and energy of the earlier "If you Want Blood....." It's all too polite, too well mannered, and too well produced, - almost bland. I'm going to give it an airing on the stereo over the weekend, but unless the wider sound afforded here adds something truly extra, this one may well be taking a trip over the the Record Exchange in Camden to be traded in. Is this just the difference between the Bonn Scott era band and the later version, or a touch of over production?

Buyer beware, 27 Mar 2007
This album was a major disappointment for me, a longtime AC/DC fan. It falls way short of the classic 'If you want blood...' album. Brian Johnson's singing (screeching?) becomes more irritating with each song. The sound has that horrible sanitised and distant feel to it. Worse of all however is the wretched 'For those About To Rock....' dirge which is not a song but a tuneless chant that sounds like it was made up on the terraces of a football club. If you want live AC/DC stick to 'If you want Blood.....', a flawless classic by a band at its musical peak.....

WE SALUTE YOU, 14 Feb 2007
AC/DC have been playing hard and ruthless for over 30 years now, and to date, they still haven't released a Best Of compilation. However, so great is their reputation for slaying live audiences that, even when that compilation finally does arrive, this double live album may remain the best first purchase for new fans.

'Live - Collectors Edition' combines recordings from several AC/DC shows in 1991, but primarily concentrates on their appearance at that year's 'Monsters of Rock' festival, which ruled the UK from 1980-1996 as the biggest, baddest event on the rock 'n' roll calendar. In '91, Castle Donington shook to the sounds of Metallica and Motley Crue, and at the top of the bill, ready to blast 72,500 fans to kingdom come, were AC/DC. 'The Razor's Edge', the album which preceded this tour, featured their best work since 'Back In Black' 10 years earlier, and gave them several great new additions to an already devastating arsenal including 'Whole Lotta Rosie', 'Let There Be Rock' and 'You Shook Me All Night Long'. To these, Angus Young adds a couple of extravagantly extended face-melting guitar solos, and the brief but touching tribute to Bon Scott entitled 'Bonny' (a guitar lick based on the traditional Scottish ballad 'The Bonnie Banks O' Loch Lomond'). The audio quality throughout the record is superb - vocals and instruments are crisp and clear, and the audiences remain loud and proud in the mix.

If you're especially lucky, you may find a custom-made Angus Young banknote tucked away inside the sleeve of 'Live - Collectors Edition' (I still have mine!). With or without this little bonus, though, if you want some high voltage rock 'n' roll, this is where you come and get it.



an amazing live album, 14 Apr 2006
when I listened to this recently I was blown away, because of AC/DC's stage presence you feel as if you are there at the concert, I would usually suggest to people that when starting listening to a band not to start with a live album but this is an exception, it contains soem of AC/DC's most popular and best songs, an absolute must

Up There With Greatest Live Album Ever, 17 Nov 2008
This album was a revelation when I first heard it a couple of years after Cobain's death. For the most part I hadn't connected with Nirvana's grungier sound. The Unplugged format provides a sparse and paired back sound, releasing the raw power and passion of Cobain's voice. Favorite's are Something In the Way, Dumb, On a Plain and most especially the cover of the Meat Puppets Plateau. As others have mentioned the closing cover of Leadbelly's Where Did You Sleep Last Night is remarkable in its intensity.

Unlike many other live albums the post production has left all the chat and banter between Cobain and the band in the mix; this allows the listener to feel part of a very special concert. In conclusion you don't have to be a big fan of Nirvana's louder, grungier recordings to appreciate this live recording. In terms of importance; up there with Bob Dylan Live at the Albert Hall and Johnny Cash Live at San Quentin.

Elegiac, 01 Oct 2007
Like albums such as the Manic Street Preacher's "The Holy Bible" and Joy Division's "Closer", this album is impossible to hear without the ghost of a creator looming large - unlike albums by The Doors or Jimi Hendrix, which lack the seeming suicide-note nature of those works. "Unplugged" more than any other album I know has an elegiac, funeral atmosphere, one heightened by the inclusion of lilies and candles in the small stage and the nervousness of band and audience, as though aware that what they were seeing was so fragile it might break. (Compare the atmosphere with that of Rod Stewart's Unplugged, which is like a knees-up gig in a cosy pub by the resident band).

There is, for the first time with Nirvana, a remarkable delicacy. While some of their songs had been suggestive of fragility (such as Lithium, Milk It and Pennyroyal Tea), the power of the music had always given this an adrenalizing kick that undercut the frankness of the lyrics. Here these fragilities and delicacies are all out in the open, tender and exposed. It's utterly haunting and emotionally engaging.

"About A Girl" sets the tone - after a snide opening comment from Kurt ("most people don't know it" - as though nobody bothered to investigate Nirvana's earlier stuff!), some beautifully singing accoustic chords starts the songs, and compared to the leaden "Bleach" version, here the melodies and joyfulnes are all out in the open. The harmonies from Dave Grohl are fantastic, too. It rescues the song as the great pop song it is - somehow it reminds me of The Beatles' "Two Of Us" with its own great harmonising and accoustic guitar.

"Come As You Are" on the other hand brings out the brillian melody and the anti-phallic nature of it. Given rock music's association with masculinity (and thus guns and penises), it's a brilliant reversal to hear Kurt sing "Man I swear no I don't have a gun / No I don't have a gun," though the irony is bitter. "Dumb" and "Pennyroyal Tea" similarly bring out the implicit pleading fragility obscured by the distorted growl of Kurt's electric guitar.

"The Man Who Sold The World" on the other hand is a brilliant reimagining of the David Bowie song. The hook is brilliantly captured by Kris Novoselic and the solo by Kurt (played electrically) is better than the original - as is the song as a whole!

"On A Plain" and "Polly" are not great, but unlike some others I think that the Meatpuppet covers are fantastic. "Lake Of Fire" has a brooding, alt-country atmosphere that's wonderfullt evocative, "Oh Me" is achingly sad, and superbly harmonised, and the wonderful "Plateau" just unwinds on and on, a brilliant song.

"All Apologies", the cathartic, send-off follows. Again it's far more delicate than the "In Utero" version and perhaps the better for it - it always irritated me how Kurt rasped the first syllable of some of the words in the studio version.

The last song is the spine-chilling "Where Did You Sleep Last Night?", a primal blues song, by Leadbelly. It's heavy and portentous, and the dynamics are handled beautifully, from a whisper to a climbing cry to a full-on scream of "SHIIIVVVEEEEERR!!" It's incredibly passionate, nakedly emotional, and so moving it's frightening.

In some ways this is Nirvana's finest album. It is more complex emotionally than "Nevermind", more consistent than "In Utero" and far richer than "Bleach". It's a fitting epitaph not only for Kurt Cobain but Nirvana too.

Outstanding, 02 Sep 2007
I was a fan of Nirvana before I heard 'Unplugged' but this album just proved to me how great a band they were. Stripped of the feedback and the frenetic punk energy the songs still stand up as classics.

'About a Girl' is total post-punk Beatles; 'Come as You Are' is better acoustically than released on 'Nevermind'; 'The Man Who Sold the World' is better than the Bowie original. 'Pennyroyal Tea' has some of the best lyrics Cobain ever wrote - "I'm on warm milk and laxatives; cherry flavoured ant-acids", "I have very bad posture". Pure generation x angst.

The cello on 'On a Plain' and 'Something in the Way' is hauntingly beautiful. 'All Apologies' is precisely performed and sounds like it was written for an intimate acoustic set. There are a lot of covers here and I must admit I do wish there were more Nirvana originals. 'Jesus Doesn't Want Me for a Sunbeam' isn't as good a song as some of their own they could have included. And the Meat Puppets tracks are pretty good, but they could have dropped one or two of them for an acoustic 'Lithium' or 'Serve the Servants' which would have been more interesting.

Overall though, this is an awesome record. Nirvana had some detractors based on ridiculous arguments that other bands had done the American indie thing before them, or that they were too popular for an authentic underground band. But this album proves that they were much much more than media favourites. They were the real deal. Live and exposed they more than prove their talent and their place amongst the best two or three bands ever.

Perhaps Nirvana's Best album...Maybe, 06 Aug 2007
This album was recorded a short while before kurt cobain decided to end his life a few months afterwards.

It shows the bands (in my opinion) best talents as a band and Kurt's vocals really show in this fantastic live performance. Something in the way, lake of fire and plataeu are some of the best tracks here and are actually better than their studio counterparts, and the audince in the background makes the performance seem somehow even more epic. Strongly recommended Nirvana Album.

The greatest live performance ever!, 25 Feb 2007
Nirvana unplugged in new york is the greatest live performance of all time. It shows Kurt Cobain at his raw best. His amazing vocal talent in Lake of fire and Oh me and his great singer songwriter tecnique in All Apologies. Finished off by Where Did You Sleep Last Night a song which exposes Cobain in all of his emotion and vocal ability in which leaves the crowd motionless and cheering for a great man and a great band including Dave Grohl the gretest drummer of all time. The album gives unique songs in a way which Nirvana's instruments combine to give an emotive and uplifting performance. This is an amazing mix of grunge and acoustic campfire singalong. You'll wish so much for a sequal. And wish even more for Cobain to still be with us.

Top Class, 15 Oct 2008
Just bought this today and it thoroughly deserves to be thought of as the bes tlive album ever from jailbreak to the rocker lynotts charisma shows through especially just before the rocker. all in all for 3 quid even if your not the biggest fan its still worth it. its one fo the best cds i have and will probably remain so.

Live or not - it doesn't matter - it's Lizzy at their peak., 24 Dec 2007
It really doesn't matter to me whether this album is only 1% live; the fact is that Visconti finally managed to capture the energy of Thin Lizzy on tape. This is by far the best Lizzy album, and knocks every studio effort into a cocked hat. Much as I like albums like "Johnny The Fox", if you play this one afterwards, you will know what I mean - there are no better versions of these songs anywhere else. Yes, the original vinyl double LP was lovingly packaged with great photos and a "side" dedicated to each member of the band, and the main shame is that nobody has seen fit to remaster Live And Dangerous and give it the packaging it truly deserves (in the same way that Skynyrd's "One From The Road" has). That said, I don't have any real problems with the sound - this is a 30-year-old album; just put it on and play it loud. Each member of the band is on fire - the twin Les Pauls of Gorham and Robbo are growling through their Marshall stacks, Downey is sublime, and Lynott's stage presence just oozes from the speakers. Lizzy at their peak - just buy it.

Brilliant, full of ideas, 10 Nov 2007
Obviously, and as most other reviewers have already written, a fantastic album. It's one of my favourites. I'm glad they fixed it technically because usually live albums are annoyingly poor in that area.

One of the reasons I like this album so much is that the songs are full of song writing ideas that you want to pick up and use again. They seem to have lots of ways to make a track build momentum. Just when you think they can't raise the energy level any more, they do. Maybe that part of the songs works even better live.


Among the best-ever live albums, 03 Aug 2007
While they made a string of great singles, Thin Lizzy's studio albums were of consistently high quality throughout the 1970s, without ever quite reaching the heights of a 'Zep 4' or an 'Argus'. This album, however, eclipsed the live efforts of just about everyone else. Dr Feelgood's 'Stupidity' is the only live album I'd definitely rate higher and even then it's a fairly close thing.
There are two obvious reasons for the success of 'Live And Dangerous.' One is the band's affinity with their audience. Their rock is sometimes dramatic but it always has a good-time feel about it and Phil Lynott has the fans eating out of his hand. It's a big plus when a live album can convey that feeling. The second factor is simply good song selection. The blend of tracks is effective, such as the swagger of 'Dancing In The Moonlight' being followed by the arresting opening of 'Massacre.' In addition, many of the tracks, such as 'Jailbreak' take on a new life in the live environment. Even the seven-minute ballad, 'Still In Love With You,' is awesome.
Forget the overdub debate. I bought this album on its release and didn't know they'd tinkered with it until it was reported much later. 'Live And Dangerous' keeps you hooked right through and is an essential rock album.

simply the best, 11 Jun 2007
There is a lot of discussion about how much of this album is live. The only bits that aren't are a couple of overdubs on backing vocals (never Lizzy's strongpoint) and lead guitar drop-outs. It is 99.99 % per cent live! Its simply not possible to re-record large amounts of material and somehow mix it in to an existing recording - this is because you get 'bleeding' from microphones that are inplace to record certain instruments (eg: drums and vocals). So, if a guitar solo was re-recorded in the studio - you would still have some residue of the original 'live' solo on the track - it cant be erased without erasing other instruments.
Watch the corresponding dvd from the same era - sounds the same doesnt it? Was that re-recorded? Impossible.
All this discussion has diverted attention away from the fact that this is the best live album ever - maybe even the best album fullstop.
Thin Lizzy at their peak were head and shoulders above everyone else, and nobody else could write like them, sound like them, or perform like them.
Thin Lizzy were so much more than a hard rock band, and you dont need to be a rock-fan to love this album.

Still one of the best, 10 Sep 2008
I bought this when it was first released on vinyl and video...and it is just as impeccable now. One of the greatest tours from one of the greatest bands, this gig stands the test of time and countless....and I DO mean countless....viewings. Metal at its finest.

Glorious stuff from Iron Maiden., 02 Aug 2008
Very lively performances as per usual from the "Irons" - you either love this good brand of metal or you must have sawdust in your brain if you prefer the bad metal of bands such as Pantera, Sepultura, Machine Head and their kind who give heavy metal a bad reputation. Sorry, but I'm a bit one-eyed when it comes to metal - I really love the "good" metal bands such as Iron Maiden and Judas Priest. Long live good metal !!!

At last!!!!!, 02 Jul 2008
About time this footage was released! my old VHS copy packed up in about 1996!!!..proberly still there finest hour on film. Tho i was let down with the documentary..could have covered a lot more.....BUT..then i thought maybe we have Pt3 on its way...1986-93??..with The Maiden England show..Donnington footage 88/92?????.....we can only hope!!

Iron Maiden Live After Death, 09 Jun 2008
I originally saw this on VHS in about 1990 and thought it was great then.

Recorded in 1985 in Los Angeles on their World Slavery Tour I would say this is a must-have whether you are a Maiden fan or not.

Now on DVD with Dolby 5.1 (and 23 years after the event) it's still a great concert to watch. Bruce's vocals are a bit dodgy in places (just an observation not negative criticism) but the rest of band's performance was outstanding.

This DVD is worth every penny. I would have rated it 5/5 if Bruce's vocals were a bit better, but after watching the bonus material you can't help but understand how a singer's voice can falter now and then from such mammoth touring. He did well under the arduous circumstances.

DVD IS GREAT, 19 May 2008
WHEN I SAW THIS WAS AVAILABLE ON DVD, I WAS IN ECSTASY. HAVING BOUGHT THE VHS IN 1986, IT IS FANTASTIC. SOME PEOPLE SAY THE 5.1 IS NOT TOO GOOD AND 2CH STEREO, IS NO BETTER THAN THE VHS, WAS. I THINK THE 5.1 IS GREAT AND THE 2CH, WELL I WON'T BOTHER WITH IT. PICTURE QUALITY IS FAR BETTER THAN THE VHS QUALITY. MAIDEN CAN'T PLEASE EVERYONE!!! UP THE IRONS & THANKS FOR THE DVD RELEASE, FINALLY!!!

Dead not Live, 08 Sep 2008
This is a bloody disappointing album. I bought this thinking it was going to capture the full on raw power of AC/DC but it totally fails.
The biggest problem is that unlike the majority of live albums that are edited to flow like a proper gig, this mess sees each track fade in and out so that the energy and excitement one expects never materialises. It simply fails to gel at all and just becomes totally boring. Why was this done? It is for radio idiot DJ's who are incapable of cueing up a track? Oh yes, and Brian Johnson can't sing either. A truly horrible experience. Stick to "If You Want Blood...".

Not A Patch On "If You Want Blood.....", 05 Apr 2007
I'm afraid that, having bought this recently in reliance on the reviews on this site, ripped it to my MP3 Player, and listened to it over several tube journeys, I am disappointed. The whole thing lacks the bite, attack and energy of the earlier "If you Want Blood....." It's all too polite, too well mannered, and too well produced, - almost bland. I'm going to give it an airing on the stereo over the weekend, but unless the wider sound afforded here adds something truly extra, this one may well be taking a trip over the the Record Exchange in Camden to be traded in. Is this just the difference between the Bonn Scott era band and the later version, or a touch of over production?

Buyer beware, 27 Mar 2007
This album was a major disappointment for me, a longtime AC/DC fan. It falls way short of the classic 'If you want blood...' album. Brian Johnson's singing (screeching?) becomes more irritating with each song. The sound has that horrible sanitised and distant feel to it. Worse of all however is the wretched 'For those About To Rock....' dirge which is not a song but a tuneless chant that sounds like it was made up on the terraces of a football club. If you want live AC/DC stick to 'If you want Blood.....', a flawless classic by a band at its musical peak.....

WE SALUTE YOU, 14 Feb 2007
AC/DC have been playing hard and ruthless for over 30 years now, and to date, they still haven't released a Best Of compilation. However, so great is their reputation for slaying live audiences that, even when that compilation finally does arrive, this double live album may remain the best first purchase for new fans.

'Live - Collectors Edition' combines recordings from several AC/DC shows in 1991, but primarily concentrates on their appearance at that year's 'Monsters of Rock' festival, which ruled the UK from 1980-1996 as the biggest, baddest event on the rock 'n' roll calendar. In '91, Castle Donington shook to the sounds of Metallica and Motley Crue, and at the top of the bill, ready to blast 72,500 fans to kingdom come, were AC/DC. 'The Razor's Edge', the album which preceded this tour, featured their best work since 'Back In Black' 10 years earlier, and gave them several great new additions to an already devastating arsenal including 'Whole Lotta Rosie', 'Let There Be Rock' and 'You Shook Me All Night Long'. To these, Angus Young adds a couple of extravagantly extended face-melting guitar solos, and the brief but touching tribute to Bon Scott entitled 'Bonny' (a guitar lick based on the traditional Scottish ballad 'The Bonnie Banks O' Loch Lomond'). The audio quality throughout the record is superb - vocals and instruments are crisp and clear, and the audiences remain loud and proud in the mix.

If you're especially lucky, you may find a custom-made Angus Young banknote tucked away inside the sleeve of 'Live - Collectors Edition' (I still have mine!). With or without this little bonus, though, if you want some high voltage rock 'n' roll, this is where you come and get it.



an amazing live album, 14 Apr 2006
when I listened to this recently I was blown away, because of AC/DC's stage presence you feel as if you are there at the concert, I would usually suggest to people that when starting listening to a band not to start with a live album but this is an exception, it contains soem of AC/DC's most popular and best songs, an absolute must

Up There With Greatest Live Album Ever, 17 Nov 2008
This album was a revelation when I first heard it a couple of years after Cobain's death. For the most part I hadn't connected with Nirvana's grungier sound. The Unplugged format provides a sparse and paired back sound, releasing the raw power and passion of Cobain's voice. Favorite's are Something In the Way, Dumb, On a Plain and most especially the cover of the Meat Puppets Plateau. As others have mentioned the closing cover of Leadbelly's Where Did You Sleep Last Night is remarkable in its intensity.

Unlike many other live albums the post production has left all the chat and banter between Cobain and the band in the mix; this allows the listener to feel part of a very special concert. In conclusion you don't have to be a big fan of Nirvana's louder, grungier recordings to appreciate this live recording. In terms of importance; up there with Bob Dylan Live at the Albert Hall and Johnny Cash Live at San Quentin.

Elegiac, 01 Oct 2007
Like albums such as the Manic Street Preacher's "The Holy Bible" and Joy Division's "Closer", this album is impossible to hear without the ghost of a creator looming large - unlike albums by The Doors or Jimi Hendrix, which lack the seeming suicide-note nature of those works. "Unplugged" more than any other album I know has an elegiac, funeral atmosphere, one heightened by the inclusion of lilies and candles in the small stage and the nervousness of band and audience, as though aware that what they were seeing was so fragile it might break. (Compare the atmosphere with that of Rod Stewart's Unplugged, which is like a knees-up gig in a cosy pub by the resident band).

There is, for the first time with Nirvana, a remarkable delicacy. While some of their songs had been suggestive of fragility (such as Lithium, Milk It and Pennyroyal Tea), the power of the music had always given this an adrenalizing kick that undercut the frankness of the lyrics. Here these fragilities and delicacies are all out in the open, tender and exposed. It's utterly haunting and emotionally engaging.

"About A Girl" sets the tone - after a snide opening comment from Kurt ("most people don't know it" - as though nobody bothered to investigate Nirvana's earlier stuff!), some beautifully singing accoustic chords starts the songs, and compared to the leaden "Bleach" version, here the melodies and joyfulnes are all out in the open. The harmonies from Dave Grohl are fantastic, too. It rescues the song as the great pop song it is - somehow it reminds me of The Beatles' "Two Of Us" with its own great harmonising and accoustic guitar.

"Come As You Are" on the other hand brings out the brillian melody and the anti-phallic nature of it. Given rock music's association with masculinity (and thus guns and penises), it's a brilliant reversal to hear Kurt sing "Man I swear no I don't have a gun / No I don't have a gun," though the irony is bitter. "Dumb" and "Pennyroyal Tea" similarly bring out the implicit pleading fragility obscured by the distorted growl of Kurt's electric guitar.

"The Man Who Sold The World" on the other hand is a brilliant reimagining of the David Bowie song. The hook is brilliantly captured by Kris Novoselic and the solo by Kurt (played electrically) is better than the original - as is the song as a whole!

"On A Plain" and "Polly" are not great, but unlike some others I think that the Meatpuppet covers are fantastic. "Lake Of Fire" has a brooding, alt-country atmosphere that's wonderfullt evocative, "Oh Me" is achingly sad, and superbly harmonised, and the wonderful "Plateau" just unwinds on and on, a brilliant song.

"All Apologies", the cathartic, send-off follows. Again it's far more delicate than the "In Utero" version and perhaps the better for it - it always irritated me how Kurt rasped the first syllable of some of the words in the studio version.

The last song is the spine-chilling "Where Did You Sleep Last Night?", a primal blues song, by Leadbelly. It's heavy and portentous, and the dynamics are handled beautifully, from a whisper to a climbing cry to a full-on scream of "SHIIIVVVEEEEERR!!" It's incredibly passionate, nakedly emotional, and so moving it's frightening.

In some ways this is Nirvana's finest album. It is more complex emotionally than "Nevermind", more consistent than "In Utero" and far richer than "Bleach". It's a fitting epitaph not only for Kurt Cobain but Nirvana too.

Outstanding, 02 Sep 2007
I was a fan of Nirvana before I heard 'Unplugged' but this album just proved to me how great a band they were. Stripped of the feedback and the frenetic punk energy the songs still stand up as classics.

'About a Girl' is total post-punk Beatles; 'Come as You Are' is better acoustically than released on 'Nevermind'; 'The Man Who Sold the World' is better than the Bowie original. 'Pennyroyal Tea' has some of the best lyrics Cobain ever wrote - "I'm on warm milk and laxatives; cherry flavoured ant-acids", "I have very bad posture". Pure generation x angst.

The cello on 'On a Plain' and 'Something in the Way' is hauntingly beautiful. 'All Apologies' is precisely performed and sounds like it was written for an intimate acoustic set. There are a lot of covers here and I must admit I do wish there were more Nirvana originals. 'Jesus Doesn't Want Me for a Sunbeam' isn't as good a song as some of their own they could have included. And the Meat Puppets tracks are pretty good, but they could have dropped one or two of them for an acoustic 'Lithium' or 'Serve the Servants' which would have been more interesting.

Overall though, this is an awesome record. Nirvana had some detractors based on ridiculous arguments that other bands had done the American indie thing before them, or that they were too popular for an authentic underground band. But this album proves that they were much much more than media favourites. They were the real deal. Live and exposed they more than prove their talent and their place amongst the best two or three bands ever.

Perhaps Nirvana's Best album...Maybe, 06 Aug 2007
This album was recorded a short while before kurt cobain decided to end his life a few months afterwards.

It shows the bands (in my opinion) best talents as a band and Kurt's vocals really show in this fantastic live performance. Something in the way, lake of fire and plataeu are some of the best tracks here and are actually better than their studio counterparts, and the audince in the background makes the performance seem somehow even more epic. Strongly recommended Nirvana Album.

The greatest live performance ever!, 25 Feb 2007
Nirvana unplugged in new york is the greatest live performance of all time. It shows Kurt Cobain at his raw best. His amazing vocal talent in Lake of fire and Oh me and his great singer songwriter tecnique in All Apologies. Finished off by Where Did You Sleep Last Night a song which exposes Cobain in all of his emotion and vocal ability in which leaves the crowd motionless and cheering for a great man and a great band including Dave Grohl the gretest drummer of all time. The album gives unique songs in a way which Nirvana's instruments combine to give an emotive and uplifting performance. This is an amazing mix of grunge and acoustic campfire singalong. You'll wish so much for a sequal. And wish even more for Cobain to still be with us.

Top Class, 15 Oct 2008
Just bought this today and it thoroughly deserves to be thought of as the bes tlive album ever from jailbreak to the rocker lynotts charisma shows through especially just before the rocker. all in all for 3 quid even if your not the biggest fan its still worth it. its one fo the best cds i have and will probably remain so.

Live or not - it doesn't matter - it's Lizzy at their peak., 24 Dec 2007
It really doesn't matter to me whether this album is only 1% live; the fact is that Visconti finally managed to capture the energy of Thin Lizzy on tape. This is by far the best Lizzy album, and knocks every studio effort into a cocked hat. Much as I like albums like "Johnny The Fox", if you play this one afterwards, you will know what I mean - there are no better versions of these songs anywhere else. Yes, the original vinyl double LP was lovingly packaged with great photos and a "side" dedicated to each member of the band, and the main shame is that nobody has seen fit to remaster Live And Dangerous and give it the packaging it truly deserves (in the same way that Skynyrd's "One From The Road" has). That said, I don't have any real problems with the sound - this is a 30-year-old album; just put it on and play it loud. Each member of the band is on fire - the twin Les Pauls of Gorham and Robbo are growling through their Marshall stacks, Downey is sublime, and Lynott's stage presence just oozes from the speakers. Lizzy at their peak - just buy it.

Brilliant, full of ideas, 10 Nov 2007
Obviously, and as most other reviewers have already written, a fantastic album. It's one of my favourites. I'm glad they fixed it technically because usually live albums are annoyingly poor in that area.

One of the reasons I like this album so much is that the songs are full of song writing ideas that you want to pick up and use again. They seem to have lots of ways to make a track build momentum. Just when you think they can't raise the energy level any more, they do. Maybe that part of the songs works even better live.


Among the best-ever live albums, 03 Aug 2007
While they made a string of great singles, Thin Lizzy's studio albums were of consistently high quality throughout the 1970s, without ever quite reaching the heights of a 'Zep 4' or an 'Argus'. This album, however, eclipsed the live efforts of just about everyone else. Dr Feelgood's 'Stupidity' is the only live album I'd definitely rate higher and even then it's a fairly close thing.
There are two obvious reasons for the success of 'Live And Dangerous.' One is the band's affinity with their audience. Their rock is sometimes dramatic but it always has a good-time feel about it and Phil Lynott has the fans eating out of his hand. It's a big plus when a live album can convey that feeling. The second factor is simply good song selection. The blend of tracks is effective, such as the swagger of 'Dancing In The Moonlight' being followed by the arresting opening of 'Massacre.' In addition, many of the tracks, such as 'Jailbreak' take on a new life in the live environment. Even the seven-minute ballad, 'Still In Love With You,' is awesome.
Forget the overdub debate. I bought this album on its release and didn't know they'd tinkered with it until it was reported much later. 'Live And Dangerous' keeps you hooked right through and is an essential rock album.

simply the best, 11 Jun 2007
There is a lot of discussion about how much of this album is live. The only bits that aren't are a couple of overdubs on backing vocals (never Lizzy's strongpoint) and lead guitar drop-outs. It is 99.99 % per cent live! Its simply not possible to re-record large amounts of material and somehow mix it in to an existing recording - this is because you get 'bleeding' from microphones that are inplace to record certain instruments (eg: drums and vocals). So, if a guitar solo was re-recorded in the studio - you would still have some residue of the original 'live' solo on the track - it cant be erased without erasing other instruments.
Watch the corresponding dvd from the same era - sounds the same doesnt it? Was that re-recorded? Impossible.
All this discussion has diverted attention away from the fact that this is the best live album ever - maybe even the best album fullstop.
Thin Lizzy at their peak were head and shoulders above everyone else, and nobody else could write like them, sound like them, or perform like them.
Thin Lizzy were so much more than a hard rock band, and you dont need to be a rock-fan to love this album.

Still one of the best, 10 Sep 2008
I bought this when it was first released on vinyl and video...and it is just as impeccable now. One of the greatest tours from one of the greatest bands, this gig stands the test of time and countless....and I DO mean countless....viewings. Metal at its finest.

Glorious stuff from Iron Maiden., 02 Aug 2008
Very lively performances as per usual from the "Irons" - you either love this good brand of metal or you must have sawdust in your brain if you prefer the bad metal of bands such as Pantera, Sepultura, Machine Head and their kind who give heavy metal a bad reputation. Sorry, but I'm a bit one-eyed when it comes to metal - I really love the "good" metal bands such as Iron Maiden and Judas Priest. Long live good metal !!!

At last!!!!!, 02 Jul 2008
About time this footage was released! my old VHS copy packed up in about 1996!!!..proberly still there finest hour on film. Tho i was let down with the documentary..could have covered a lot more.....BUT..then i thought maybe we have Pt3 on its way...1986-93??..with The Maiden England show..Donnington footage 88/92?????.....we can only hope!!

Iron Maiden Live After Death, 09 Jun 2008
I originally saw this on VHS in about 1990 and thought it was great then.

Recorded in 1985 in Los Angeles on their World Slavery Tour I would say this is a must-have whether you are a Maiden fan or not.

Now on DVD with Dolby 5.1 (and 23 years after the event) it's still a great concert to watch. Bruce's vocals are a bit dodgy in places (just an observation not negative criticism) but the rest of band's performance was outstanding.

This DVD is worth every penny. I would have rated it 5/5 if Bruce's vocals were a bit better, but after watching the bonus material you can't help but understand how a singer's voice can falter now and then from such mammoth touring. He did well under the arduous circumstances.

DVD IS GREAT, 19 May 2008
WHEN I SAW THIS WAS AVAILABLE ON DVD, I WAS IN ECSTASY. HAVING BOUGHT THE VHS IN 1986, IT IS FANTASTIC. SOME PEOPLE SAY THE 5.1 IS NOT TOO GOOD AND 2CH STEREO, IS NO BETTER THAN THE VHS, WAS. I THINK THE 5.1 IS GREAT AND THE 2CH, WELL I WON'T BOTHER WITH IT. PICTURE QUALITY IS FAR BETTER THAN THE VHS QUALITY. MAIDEN CAN'T PLEASE EVERYONE!!! UP THE IRONS & THANKS FOR THE DVD RELEASE, FINALLY!!!

Unplugged, 19 Nov 2006
There are so many great tracks on this album that this could easily be a best of! The unplugged format is perfect for Neil Young and really shows his songs off in their best light and his voice goes just perfectly with acoustic guitar. This is where I began my love of Neil Young and I really believe it is a great starting point in his music and style before delving deeper into his other albums. A great album.

Money well spent..., 09 Jan 2004
While there are more than enough individual tracks dotted around his huge number of recordings to justify Neil Young’s major reputation there are only a few albums that, on their own, hold together as satisfyingly complete “works”. And… in the (self imposed) absence of any sensible retrospectives since 1977’s “Decade” (definitely the best place to start for any “casual buyer”) those not “in the know” could be in for some seriously expensive mistakes. So, what’s been worth the money since then? Well…for anyone looking for the mellower side of this brilliantly mercurial but annoyingly erratic artist here’s a few suggestions: “Comes a Time” (1978), “Freedom” (1989), “Harvest Moon” (1992) and “Unplugged” (1995).

“Unplugged”, a review of some of his best tracks from the previous 25 years, takes this often tired format to its highest levels. Opening with “The Old Laughing Lady” (a wonderfully laid-back acoustic re-working of a stand-out track from his first solo album) and followed by a beautifully low-key version of his Buffalo Springfield hit “Mr Soul”, the album just flows from start to finish. And… on the way through you get arguably better versions than the original outings of “Pocahontas”, “Harvest Moon”, “Look Out for My Love” & “Transformer Man”. Played and sung with the sincerity of an artist who wants to deliver a cohesive retrospective of his career, and impressive in that it avoids revisiting many of his better known, more obvious choices, this is mellow music at its very best and an album that leaves you feeling… happy. Money well spent!

Not enough stars available, 02 Jan 2004
for this album which is almost up to the quality of Live Rust. The collection of tracks works well and is a good representation of the extreme highs and lows of his output. It may not feature Cowgirl in the Sand or Cortez but the versions of Helpless, Unknown Legend, Harvest Moon , well in fact every track, represent excellent versions of these tracks. That is what works so well with Neil Youngs music, acoustic versions sound as good as the more "heavy" versions.

As previously stated in one of the other reviews, the star of this collection is Like a Hurricane. the use of the pump organ was inspired.

If you need to try Neil Young, as everyone should, this album gives you one side of the equation. Try Live Rust for the other.

Pivotal Neil Young..., 13 Mar 2003
The from cover says it all, mad hair and shades.There are few artist's that pull off "The Unplugged" idea as well as "Mr Young".
An hours worth from one of music mavericks, who on this recording outshines even his studio work with unbelievable harmoica playing on the sinster,unfamiliar "Mr Soul" and often accompanying himself on acoustic guitar to great effect, the standout track for me is the pump organ accompanied "Like a Hurricane" which is just heart stopping in it's beauty and execution.
A must have in any music fan's collection. ESSENTIAL.....

Good, but......, 22 Nov 2002
People are probably going to say why did I only give this 3 stars - but in my opinion the 5 star tag is overused.

I really enjoyed this album. The stand out track for me is the re-working of 'Like a Hurricane', it absolutely blew me away when I heard it. Such emotion in Young's voice, you can really feel the words. It's one of the best live tracks I've ever heard. There are other good tracks on this CD, but not enough to warrant a higher star rating. If you are a Neil Younng fan, buy it; but I think he has done better.

Mere months passed between the release of Neil Young's mid-career milestone Rust Never Sleeps and this 1979 tour recording, which documents a late-'78 San Francisco performance. Indeed, Live Rust boasts four songs from the album that gave it its name. It's also sequenced in the same spirit as its studio sibling. As with Rust Never Sleeps, Live Rust opens with steady-flowing acoustic numbers before swirling into an electric vortex. What was side four of the original two-record version--"Like a Hurricane", "Hey, Hey, My, My", and "Tonight's the Night"--is arguably Young and Crazy Horse at their peak as a live unit, with all due respect to 1991's estimable Weld and 1997's desultory Year of the Horse. Few rock bands rank with Young and his stalwart electric trio, and Live Rust presents them in all their raging glory. --Steven Stolder

Dead not Live, 08 Sep 2008
This is a bloody disappointing album. I bought this thinking it was going to capture the full on raw power of AC/DC but it totally fails.
The biggest problem is that unlike the majority of live albums that are edited to flow like a proper gig, this mess sees each track fade in and out so that the energy and excitement one expects never materialises. It simply fails to gel at all and just becomes totally boring. Why was this done? It is for radio idiot DJ's who are incapable of cueing up a track? Oh yes, and Brian Johnson can't sing either. A truly horrible experience. Stick to "If You Want Blood...".

Not A Patch On "If You Want Blood.....", 05 Apr 2007
I'm afraid that, having bought this recently in reliance on the reviews on this site, ripped it to my MP3 Player, and listened to it over several tube journeys, I am disappointed. The whole thing lacks the bite, attack and energy of the earlier "If you Want Blood....." It's all too polite, too well mannered, and too well produced, - almost bland. I'm going to give it an airing on the stereo over the weekend, but unless the wider sound afforded here adds something truly extra, this one may well be taking a trip over the the Record Exchange in Camden to be traded in. Is this just the difference between the Bonn Scott era band and the later version, or a touch of over production?

Buyer beware, 27 Mar 2007
This album was a major disappointment for me, a longtime AC/DC fan. It falls way short of the classic 'If you want blood...' album. Brian Johnson's singing (screeching?) becomes more irritating with each song. The sound has that horrible sanitised and distant feel to it. Worse of all however is the wretched 'For those About To Rock....' dirge which is not a song but a tuneless chant that sounds like it was made up on the terraces of a football club. If you want live AC/DC stick to 'If you want Blood.....', a flawless classic by a band at its musical peak.....

WE SALUTE YOU, 14 Feb 2007
AC/DC have been playing hard and ruthless for over 30 years now, and to date, they still haven't released a Best Of compilation. However, so great is their reputation for slaying live audiences that, even when that compilation finally does arrive, this double live album may remain the best first purchase for new fans.

'Live - Collectors Edition' combines recordings from several AC/DC shows in 1991, but primarily concentrates on their appearance at that year's 'Monsters of Rock' festival, which ruled the UK from 1980-1996 as the biggest, baddest event on the rock 'n' roll calendar. In '91, Castle Donington shook to the sounds of Metallica and Motley Crue, and at the top of the bill, ready to blast 72,500 fans to kingdom come, were AC/DC. 'The Razor's Edge', the album which preceded this tour, featured their best work since 'Back In Black' 10 years earlier, and gave them several great new additions to an already devastating arsenal including 'Whole Lotta Rosie', 'Let There Be Rock' and 'You Shook Me All Night Long'. To these, Angus Young adds a couple of extravagantly extended face-melting guitar solos, and the brief but touching tribute to Bon Scott entitled 'Bonny' (a guitar lick based on the traditional Scottish ballad 'The Bonnie Banks O' Loch Lomond'). The audio quality throughout the record is superb - vocals and instruments are crisp and clear, and the audiences remain loud and proud in the mix.

If you're especially lucky, you may find a custom-made Angus Young banknote tucked away inside the sleeve of 'Live - Collectors Edition' (I still have mine!). With or without this little bonus, though, if you want some high voltage rock 'n' roll, this is where you come and get it.



an amazing live album, 14 Apr 2006
when I listened to this recently I was blown away, because of AC/DC's stage presence you feel as if you are there at the concert, I would usually suggest to people that when starting listening to a band not to start with a live album but this is an exception, it contains soem of AC/DC's most popular and best songs, an absolute must

Up There With Greatest Live Album Ever, 17 Nov 2008
This album was a revelation when I first heard it a couple of years after Cobain's death. For the most part I hadn't connected with Nirvana's grungier sound. The Unplugged format provides a sparse and paired back sound, releasing the raw power and passion of Cobain's voice. Favorite's are Something In the Way, Dumb, On a Plain and most especially the cover of the Meat Puppets Plateau. As others have mentioned the closing cover of Leadbelly's Where Did You Sleep Last Night is remarkable in its intensity.

Unlike many other live albums the post production has left all the chat and banter between Cobain and the band in the mix; this allows the listener to feel part of a very special concert. In conclusion you don't have to be a big fan of Nirvana's louder, grungier recordings to appreciate this live recording. In terms of importance; up there with Bob Dylan Live at the Albert Hall and Johnny Cash Live at San Quentin.

Elegiac, 01 Oct 2007
Like albums such as the Manic Street Preacher's "The Holy Bible" and Joy Division's "Closer", this album is impossible to hear without the ghost of a creator looming large - unlike albums by The Doors or Jimi Hendrix, which lack the seeming suicide-note nature of those works. "Unplugged" more than any other album I know has an elegiac, funeral atmosphere, one heightened by the inclusion of lilies and candles in the small stage and the nervousness of band and audience, as though aware that what they were seeing was so fragile it might break. (Compare the atmosphere with that of Rod Stewart's Unplugged, which is like a knees-up gig in a cosy pub by the resident band).

There is, for the first time with Nirvana, a remarkable delicacy. While some of their songs had been suggestive of fragility (such as Lithium, Milk It and Pennyroyal Tea), the power of the music had always given this an adrenalizing kick that undercut the frankness of the lyrics. Here these fragilities and delicacies are all out in the open, tender and exposed. It's utterly haunting and emotionally engaging.

"About A Girl" sets the tone - after a snide opening comment from Kurt ("most people don't know it" - as though nobody bothered to investigate Nirvana's earlier stuff!), some beautifully singing accoustic chords starts the songs, and compared to the leaden "Bleach" version, here the melodies and joyfulnes are all out in the open. The harmonies from Dave Grohl are fantastic, too. It rescues the song as the great pop song it is - somehow it reminds me of The Beatles' "Two Of Us" with its own great harmonising and accoustic guitar.

"Come As You Are" on the other hand brings out the brillian melody and the anti-phallic nature of it. Given rock music's association with masculinity (and thus guns and penises), it's a brilliant reversal to hear Kurt sing "Man I swear no I don't have a gun / No I don't have a gun," though the irony is bitter. "Dumb" and "Pennyroyal Tea" similarly bring out the implicit pleading fragility obscured by the distorted growl of Kurt's electric guitar.

"The Man Who Sold The World" on the other hand is a brilliant reimagining of the David Bowie song. The hook is brilliantly captured by Kris Novoselic and the solo by Kurt (played electrically) is better than the original - as is the song as a whole!

"On A Plain" and "Polly" are not great, but unlike some others I think that the Meatpuppet covers are fantastic. "Lake Of Fire" has a brooding, alt-country atmosphere that's wonderfullt evocative, "Oh Me" is achingly sad, and superbly harmonised, and the wonderful "Plateau" just unwinds on and on, a brilliant song.

"All Apologies", the cathartic, send-off follows. Again it's far more delicate than the "In Utero" version and perhaps the better for it - it always irritated me how Kurt rasped the first syllable of some of the words in the studio version.

The last song is the spine-chilling "Where Did You Sleep Last Night?", a primal blues song, by Leadbelly. It's heavy and portentous, and the dynamics are handled beautifully, from a whisper to a climbing cry to a full-on scream of "SHIIIVVVEEEEERR!!" It's incredibly passionate, nakedly emotional, and so moving it's frightening.

In some ways this is Nirvana's finest album. It is more complex emotionally than "Nevermind", more consistent than "In Utero" and far richer than "Bleach". It's a fitting epitaph not only for Kurt Cobain but Nirvana too.

Outstanding, 02 Sep 2007
I was a fan of Nirvana before I heard 'Unplugged' but this album just proved to me how great a band they were. Stripped of the feedback and the frenetic punk energy the songs still stand up as classics.

'About a Girl' is total post-punk Beatles; 'Come as You Are' is better acoustically than released on 'Nevermind'; 'The Man Who Sold the World' is better than the Bowie original. 'Pennyroyal Tea' has some of the best lyrics Cobain ever wrote - "I'm on warm milk and laxatives; cherry flavoured ant-acids", "I have very bad posture". Pure generation x angst.

The cello on 'On a Plain' and 'Something in the Way' is hauntingly beautiful. 'All Apologies' is precisely performed and sounds like it was written for an intimate acoustic set. There are a lot of covers here and I must admit I do wish there were more Nirvana originals. 'Jesus Doesn't Want Me for a Sunbeam' isn't as good a song as some of their own they could have included. And the Meat Puppets tracks are pretty good, but they could have dropped one or two of them for an acoustic 'Lithium' or 'Serve the Servants' which would have been more interesting.

Overall though, this is an awesome record. Nirvana had some detractors based on ridiculous arguments that other bands had done the American indie thing before them, or that they were too popular for an authentic underground band. But this album proves that they were much much more than media favourites. They were the real deal. Live and exposed they more than prove their talent and their place amongst the best two or three bands ever.

Perhaps Nirvana's Best album...Maybe, 06 Aug 2007
This album was recorded a short while before kurt cobain decided to end his life a few months afterwards.

It shows the bands (in my opinion) best talents as a band and Kurt's vocals really show in this fantastic live performance. Something in the way, lake of fire and plataeu are some of the best tracks here and are actually better than their studio counterparts, and the audince in the background makes the performance seem somehow even more epic. Strongly recommended Nirvana Album.

The greatest live performance ever!, 25 Feb 2007
Nirvana unplugged in new york is the greatest live performance of all time. It shows Kurt Cobain at his raw best. His amazing vocal talent in Lake of fire and Oh me and his great singer songwriter tecnique in All Apologies. Finished off by Where Did You Sleep Last Night a song which exposes Cobain in all of his emotion and vocal ability in which leaves the crowd motionless and cheering for a great man and a great band including Dave Grohl the gretest drummer of all time. The album gives unique songs in a way which Nirvana's instruments combine to give an emotive and uplifting performance. This is an amazing mix of grunge and acoustic campfire singalong. You'll wish so much for a sequal. And wish even more for Cobain to still be with us.

Top Class, 15 Oct 2008
Just bought this today and it thoroughly deserves to be thought of as the bes tlive album ever from jailbreak to the rocker lynotts charisma shows through especially just before the rocker. all in all for 3 quid even if your not the biggest fan its still worth it. its one fo the best cds i have and will probably remain so.

Live or not - it doesn't matter - it's Lizzy at their peak., 24 Dec 2007
It really doesn't matter to me whether this album is only 1% live; the fact is that Visconti finally managed to capture the energy of Thin Lizzy on tape. This is by far the best Lizzy album, and knocks every studio effort into a cocked hat. Much as I like albums like "Johnny The Fox", if you play this one afterwards, you will know what I mean - there are no better versions of these songs anywhere else. Yes, the original vinyl double LP was lovingly packaged with great photos and a "side" dedicated to each member of the band, and the main shame is that nobody has seen fit to remaster Live And Dangerous and give it the packaging it truly deserves (in the same way that Skynyrd's "One From The Road" has). That said, I don't have any real problems with the sound - this is a 30-year-old album; just put it on and play it loud. Each member of the band is on fire - the twin Les Pauls of Gorham and Robbo are growling through their Marshall stacks, Downey is sublime, and Lynott's stage presence just oozes from the speakers. Lizzy at their peak - just buy it.

Brilliant, full of ideas, 10 Nov 2007
Obviously, and as most other reviewers have already written, a fantastic album. It's one of my favourites. I'm glad they fixed it technically because usually live albums are annoyingly poor in that area.

One of the reasons I like this album so much is that the songs are full of song writing ideas that you want to pick up and use again. They seem to have lots of ways to make a track build momentum. Just when you think they can't raise the energy level any more, they do. Maybe that part of the songs works even better live.


Among the best-ever live albums, 03 Aug 2007
While they made a string of great singles, Thin Lizzy's studio albums were of consistently high quality throughout the 1970s, without ever quite reaching the heights of a 'Zep 4' or an 'Argus'. This album, however, eclipsed the live efforts of just about everyone else. Dr Feelgood's 'Stupidity' is the only live album I'd definitely rate higher and even then it's a fairly close thing.
There are two obvious reasons for the success of 'Live And Dangerous.' One is the band's affinity with their audience. Their rock is sometimes dramatic but it always has a good-time feel about it and Phil Lynott has the fans eating out of his hand. It's a big plus when a live album can convey that feeling. The second factor is simply good song selection. The blend of tracks is effective, such as the swagger of 'Dancing In The Moonlight' being followed by the arresting opening of 'Massacre.' In addition, many of the tracks, such as 'Jailbreak' take on a new life in the live environment. Even the seven-minute ballad, 'Still In Love With You,' is awesome.
Forget the overdub debate. I bought this album on its release and didn't know they'd tinkered with it until it was reported much later. 'Live And Dangerous' keeps you hooked right through and is an essential rock album.

simply the best, 11 Jun 2007
There is a lot of discussion about how much of this album is live. The only bits that aren't are a couple of overdubs on backing vocals (never Lizzy's strongpoint) and lead guitar drop-outs. It is 99.99 % per cent live! Its simply not possible to re-record large amounts of material and somehow mix it in to an existing recording - this is because you get 'bleeding' from microphones that are inplace to record certain instruments (eg: drums and vocals). So, if a guitar solo was re-recorded in the studio - you would still have some residue of the original 'live' solo on the track - it cant be erased without erasing other instruments.
Watch the corresponding dvd from the same era - sounds the same doesnt it? Was that re-recorded? Impossible.
All this discussion has diverted attention away from the fact that this is the best live album ever - maybe even the best album fullstop.
Thin Lizzy at their peak were head and shoulders above everyone else, and nobody else could write like them, sound like them, or perform like them.
Thin Lizzy were so much more than a hard rock band, and you dont need to be a rock-fan to love this album.

Still one of the best, 10 Sep 2008
I bought this when it was first released on vinyl and video...and it is just as impeccable now. One of the greatest tours from one of the greatest bands, this gig stands the test of time and countless....and I DO mean countless....viewings. Metal at its finest.

Glorious stuff from Iron Maiden., 02 Aug 2008
Very lively performances as per usual from the "Irons" - you either love this good brand of metal or you must have sawdust in your brain if you prefer the bad metal of bands such as Pantera, Sepultura, Machine Head and their kind who give heavy metal a bad reputation. Sorry, but I'm a bit one-eyed when it comes to metal - I really love the "good" metal bands such as Iron Maiden and Judas Priest. Long live good metal !!!

At last!!!!!, 02 Jul 2008
About time this footage was released! my old VHS copy packed up in about 1996!!!..proberly still there finest hour on film. Tho i was let down with the documentary..could have covered a lot more.....BUT..then i thought maybe we have Pt3 on its way...1986-93??..with The Maiden England show..Donnington footage 88/92?????.....we can only hope!!

Iron Maiden Live After Death, 09 Jun 2008
I originally saw this on VHS in about 1990 and thought it was great then.

Recorded in 1985 in Los Angeles on their World Slavery Tour I would say this is a must-have whether you are a Maiden fan or not.

Now on DVD with Dolby 5.1 (and 23 years after the event) it's still a great concert to watch. Bruce's vocals are a bit dodgy in places (just an observation not negative criticism) but the rest of band's performance was outstanding.

This DVD is worth every penny. I would have rated it 5/5 if Bruce's vocals were a bit better, but after watching the bonus material you can't help but understand how a singer's voice can falter now and then from such mammoth touring. He did well under the arduous circumstances.

DVD IS GREAT, 19 May 2008
WHEN I SAW THIS WAS AVAILABLE ON DVD, I WAS IN ECSTASY. HAVING BOUGHT THE VHS IN 1986, IT IS FANTASTIC. SOME PEOPLE SAY THE 5.1 IS NOT TOO GOOD AND 2CH STEREO, IS NO BETTER THAN THE VHS, WAS. I THINK THE 5.1 IS GREAT AND THE 2CH, WELL I WON'T BOTHER WITH IT. PICTURE QUALITY IS FAR BETTER THAN THE VHS QUALITY. MAIDEN CAN'T PLEASE EVERYONE!!! UP THE IRONS & THANKS FOR THE DVD RELEASE, FINALLY!!!

Unplugged, 19 Nov 2006
There are so many great tracks on this album that this could easily be a best of! The unplugged format is perfect for Neil Young and really shows his songs off in their best light and his voice goes just perfectly with acoustic guitar. This is where I began my love of Neil Young and I really believe it is a great starting point in his music and style before delving deeper into his other albums. A great album.

Money well spent..., 09 Jan 2004
While there are more than enough individual tracks dotted around his huge number of recordings to justify Neil Young’s major reputation there are only a few albums that, on their own, hold together as satisfyingly complete “works”. And… in the (self imposed) absence of any sensible retrospectives since 1977’s “Decade” (definitely the best place to start for any “casual buyer”) those not “in the know” could be in for some seriously expensive mistakes. So, what’s been worth the money since then? Well…for anyone looking for the mellower side of this brilliantly mercurial but annoyingly erratic artist here’s a few suggestions: “Comes a Time” (1978), “Freedom” (1989), “Harvest Moon” (1992) and “Unplugged” (1995).

“Unplugged”, a review of some of his best tracks from the previous 25 years, takes this often tired format to its highest levels. Opening with “The Old Laughing Lady” (a wonderfully laid-back acoustic re-working of a stand-out track from his first solo album) and followed by a beautifully low-key version of his Buffalo Springfield hit “Mr Soul”, the album just flows from start to finish. And… on the way through you get arguably better versions than the original outings of “Pocahontas”, “Harvest Moon”, “Look Out for My Love” & “Transformer Man”. Played and sung with the sincerity of an artist who wants to deliver a cohesive retrospective of his career, and impressive in that it avoids revisiting many of his better known, more obvious choices, this is mellow music at its very best and an album that leaves you feeling… happy. Money well spent!

Not enough stars available, 02 Jan 2004
for this album which is almost up to the quality of Live Rust. The collection of tracks works well and is a good representation of the extreme highs and lows of his output. It may not feature Cowgirl in the Sand or Cortez but the versions of Helpless, Unknown Legend, Harvest Moon , well in fact every track, represent excellent versions of these tracks. That is what works so well with Neil Youngs music, acoustic versions sound as good as the more "heavy" versions.

As previously stated in one of the other reviews, the star of this collection is Like a Hurricane. the use of the pump organ was inspired.

If you need to try Neil Young, as everyone should, this album gives you one side of the equation. Try Live Rust for the other.

Pivotal Neil Young..., 13 Mar 2003
The from cover says it all, mad hair and shades.There are few artist's that pull off "The Unplugged" idea as well as "Mr Young".
An hours worth from one of music mavericks, who on this recording outshines even his studio work with unbelievable harmoica playing on the sinster,unfamiliar "Mr Soul" and often accompanying himself on acoustic guitar to great effect, the standout track for me is the pump organ accompanied "Like a Hurricane" which is just heart stopping in it's beauty and execution.
A must have in any music fan's collection. ESSENTIAL.....

Good, but......, 22 Nov 2002
People are probably going to say why did I only give this 3 stars - but in my opinion the 5 star tag is overused.

I really enjoyed this album. The stand out track for me is the re-working of 'Like a Hurricane', it absolutely blew me away when I heard it. Such emotion in Young's voice, you can really feel the words. It's one of the best live tracks I've ever heard. There are other good tracks on this CD, but not enough to warrant a higher star rating. If you are a Neil Younn