Box Setovi

[gjuro76]

Evo, ako netko ima interesantne ili manje interesantne box setove, bilo bi zgodno da ih ovdje pukne. Čisto da imamo posebni dio za box setove izvođača.

[gjuro76]

Galaxie 500 - Galaxie 500 [4xCD Box Set]



Biography:

Though criminally overlooked in their own lifetime, Galaxie 500 later emerged as one of the pivotal underground groups of the post-punk era; dreamy and enigmatic, their minimalist dirges presaged the rise of both the shoegazer and slowcore movements of the 1990s. The group formed in Boston, MA, in 1986 and comprised vocalist/guitarist Dean Wareham (a transplanted New Zealand native), bassist Naomi Yang and drummer Damon Krukowski, longtime friends who first met in high school in New York City before all three attended Harvard University. Wareham and Krukowski initially teamed in the short-lived Speedy and the Castanets, which split after their bass player experienced a religious conversion; upon re-forming, the duo recruited Yang to play bass, although she had no prior musical experience.

Named after a friend's car, Galaxie 500 began performing live throughout Boston and New York before recording a three-song demo tape which they sent to Shimmy Disc honcho Kramer, who agreed to become the trio's producer. After bowing in early 1988 with the singles "Tugboat" and "Oblivious" (the latter track featured on a flexi-disc included in an issue of Chemical Imbalance magazine), they issued their full-length debut, Today, which highlighted the group's distinct, evolving sound pitting Wareham's eerie, plaintive tenor, elliptical songs, and slow-motion guitar textures against Yang's warm, fluid bass lines and Krukowski's lean drumming.

After signing to the U.S. branch of Rough Trade, Galaxie 500 issued its defining moment, 1989's evocative On Fire, a remarkably assured and rich record including the superb singles "Blue Thunder" and "When Will You Come Home." After a limited-edition 7" release featuring live renditions of the Beatles' "Rain" and Jonathan Richman's "Don't Let Our Youth Go to Waste," the group returned in 1990 with This Is Our Music, a diffuse collection spotlighting the wry, sunny single "Fourth of July" and a haunting cover of Yoko Ono's "Listen, the Snow Is Falling." Following a subsequent tour, Galaxie 500 disbanded after Wareham phoned Yang and Krukowski to say he was quitting the group.

A few months later, after Wareham formed his new band, Luna, Rough Trade went bankrupt, and with the label's demise went the trio's three albums, as well as their royalties. In 1991, at an auction of Rough Trade's assets, Krukowski purchased the master tapes for the group's music, and five years later the Rykodisc label issued a box set containing Galaxie 500's complete recorded output; a previously unreleased 1990 live set, dubbed Copenhagen, followed in 1997. In the meantime, after first resurfacing under the name Pierre Etoile, Krukowski and Yang later recorded as Damon and Naomi; additionally, the duo served as the rhythm section for the Wayne Rogers-led Magic Hour.

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[gjuro76]

Creedence Clearwater Revival - The Complete Box [Box Set]

In 2000, Fantasy finally treated the Creedence Clearwater Revival catalog with the respect it deserved, remastering the entire catalog and issuing them in lavish editions with rich liner notes and slipcases. So, when they decided to release a "complete recorded works" box set a year later, the results weren't quite as revelatory as they may have been, since even if this was remastered again, it's hard for most listeners to notice the difference between this and the previous material, and all the liner notes -- from such luminaries as Dave Marsh, Ben Fong-Torres, Ed Ward, Stanley Booth, and Robert Christgau -- are printed as the liners here, meaning that for the hardcore who bought the whole catalog a year before, this is almost anti-climatic. That is the operative word here, since there is one thing that makes this set essential for the fanatics, even if they bought the remasters, and that's the first disc, which contains all known pre-CCR recordings by the Golliwogs and Tommy Fogerty & the Blue Velvets. These aren't really stunning recordings; they're very much within the style and sound of the time, borrowing from Richie Valens, Buddy Holly, and the Beach Boys, all twisted to something much sweeter than what CCR came to be known for. This may not be as musically satisfying as the other five discs -- which, after all, comprise perhaps the greatest body of work by an American rock band -- but it's necessary for any true fan, since this stuff is not only rare, but there's a lot of stuff that hasn't even been bootlegged, particularly on the Golliwogs' material on the first disc. But this box really kicks into full gear on the second disc, with the rare single "Call It Pretending" -- a dynamite slice of Stax-styled R&B rock -- before heading into that remarkable set of albums, running through each album in order, with only a promotional single to break up the flow of the albums (each record is presented uninterrupted except for Pendulum, which is split between two discs: nine cuts on one disc, two on another), before it winds up with the two live albums (including cuts that didn't make it on The Concert). Again, this extra material isn't essential for anyone but collectors (with the exception of "Call It Pretending"), but the music is so good that anybody looking to get everything the great American rock & roll band recorded in one fell swoop would be encouraged to take this route. After all, after you memorize the proper albums, the live cuts and pre-CCR material will be necessary.


1 Come on Baby Fogerty 2:15
2 Oh My Love Fogerty 1:58
3 Have You Ever Been Lonely Fogerty 2:20
4 Bonita Fogerty, Fogerty 1:43
5 Don't Tell Me No Lies Fogerty, Fogerty 1:55
6 Little Girl (Does Your Mama Know) Fogerty, Fogerty 2:37
7 Where You Been Fogerty, Fogerty 2:42
8 You Came Waking Fogerty, Fogerty 2:00
9 You Can't Be True [First Version] Fogerty, Fogerty 2:47
10 You Got Nothin' on Me Fogerty, Fogerty 2:38
11 I Only Met You Just an Hour Ago [#] Fogerty, Fogerty 2:09
12 Brown-Eyed Girl Fogerty, Fogerty 2:35
13 You Better Be Careful Fogerty, Fogerty 2:38
14 Fight Fire Fogerty, Fogerty 2:34
15 Fragile Child Fogerty, Fogerty 2:39
16 She Was Mine [#] Fogerty, Fogerty 2:20
17 Gonna Hang Around [#] Fogerty, Fogerty 2:29
18 Try Try Try [#] Fogerty, Fogerty 2:13
19 Instrumental, No. 1 [#] Fogerty, Fogerty 3:01
20 Little Tina [#] Fogerty, Fogerty 2:30
21 Walking on the Water Fogerty, Fogerty 3:10
22 You Better Get It Before It Gets You Fogerty, Fogerty 3:41
23 Tell Me Fogerty, Fogerty 4:05
24 You Can't Be True [#] Fogerty, Fogerty 2:49
25 Action USA Promotional Spot [#] 1:03
26 Call It Pretending Fogerty 2:10
27 I Put a Spell on You Hawkins 4:32
28 The Working Man Fogerty 3:05
29 Susie Q Broadwater, Hawkins, Lewis 8:39
30 Ninety-Nine and a Half (Won't Do) Cropper, Floyd, Pickett 3:40
31 Get Down Woman Fogerty 3:09
32 Porterville Fogerty 2:23
33 Gloomy Fogerty 3:50
34 Walking on the Water Fogerty, Fogerty 4:40
35 Born on the Bayou Fogerty 5:15
36 Bootleg Fogerty 3:02
37 Graveyard Train Fogerty 8:38
38 Good Golly Miss Molly Blackwell, Marascalco 2:43
39 Penthouse Pauper Fogerty 3:40
40 Proud Mary Fogerty 3:09
41 Keep on Chooglin' Fogerty 7:39
42 Green River Fogerty 2:36
43 Commotion Fogerty 2:45
44 Tombstone Shadow Fogerty 3:40
45 Wrote a Song for Everyone Fogerty 4:59
46 Bad Moon Rising Fogerty 2:23
47 Lodi Fogerty 3:12
48 Cross-Tie Walker Fogerty 3:20
49 Sinister Purpose Fogerty 3:22
50 The Night Time Is the Right Time Brown, Cadena, Herman 3:10
51 Down on the Corner Fogerty 2:47
52 It Came Out of the Sky Fogerty 2:56
53 Cotton Fields Leadbelly 2:54
54 Poorboy Shuffle Fogerty 2:27
55 Feelin' Blue Fogerty 5:06
56 Fortunate Son Fogerty 2:21
57 Don't Look Now Fogerty 2:12
58 The Midnight Special Traditional 4:14
59 Side O' the Road Fogerty 3:26
60 Effigy Fogerty 6:28
61 Ramble Tamble Fogerty 7:12
62 Before You Accuse Me McDaniels 3:27
63 Travelin' Band Fogerty 2:09
64 Ooby Dooby Moore, Penner 2:07
65 Lookin' Out My Back Door Fogerty 2:34
66 Run Through the Jungle Fogerty 3:07
67 Up Around the Bend Fogerty 2:42
68 My Baby Left Me Crudup 2:19
69 Who'll Stop the Rain Fogerty 2:30
70 I Heard It Through the Grapevine Strong, Whitfield 11:08
71 Long as I Can See the Light Fogerty 3:35
72 Pagan Baby Fogerty 6:27
73 Sailor's Lament Fogerty 3:50
74 Chameleon Fogerty 3:17
75 Have You Ever Seen the Rain? Fogerty 2:40
76 (Wish I Could) Hideaway Fogerty 3:47
77 Born to Move Fogerty 5:41
78 Hey Tonight Fogerty 2:44
79 It's Just a Thought Fogerty 3:51
80 Molina Fogerty 2:43
81 Rude Awakening Fogerty 6:23
82 45 Revolutions Per Minute, Pt. 1 Fogerty 3:20
83 45 Revolutions Per Minute, Pt. 2 Fogerty 7:22
84 Lookin' for a Reason Fogerty 3:28
85 Take It Like a Friend Cook 3:02
86 Need Someone to Hold Clifford, Cook 3:02
87 Tearin' Up the Country Clifford 2:16
88 Someday Never Comes Fogerty 4:04
89 What Are You Gonna Do? Clifford 2:56
90 Sail Away Cook 2:33
91 Hello Mary Lou Pitney 2:18
92 Door to Door Cook 2:11
93 Sweet Hitch-Hiker Fogerty 3:00
94 Born on the Bayou [live] Fogerty 5:14
95 Green River [live] Fogerty 3:17
96 Tombstone Shadow [live] Fogerty 3:41
97 Don't Look Now [live] Fogerty 2:21
98 Travelin' Band [live] Fogerty 2:03
99 Who'll Stop the Rain [live] Fogerty 2:21
100 Bad Morning Rising [live] Fogerty 2:17
101 Proud Mary [live] Fogerty 3:17
102 Fortunate Son [live] Fogerty 2:22
103 Commotion [live] Fogerty 2:36
104 The Midnight Special [live] Traditional 3:49
105 The Night Time Is the Right Time [live] Brown, Cadena, Herman 3:22
106 Down on the Corner [live] Fogerty 2:43
107 Keep on Chooglin' [live] Fogerty 9:14
108 Born on the Bayou [live] Fogerty 5:04
109 Green River/Susie Q [live] Broadwater, Fogerty, Hawkins ... 4:31
110 It Came Out of the Sky [live] Fogerty 3:12
111 Door to Door [live] Cook 2:00
112 Travelin' Band [live] Fogerty 2:12
113 Fortunate Son [live] Fogerty 2:25
114 Commotion [live] Fogerty 2:34
115 Lodi [live] Fogerty 3:11
116 Bad Moon Rising [live] Fogerty 2:04
117 Proud Mary [live] Fogerty 2:57
118 Up Around the Bend [live] Fogerty 2:36
119 Hey Tonight [live] Fogerty 2:31
120 Sweet Hitch-Hiker [live] Fogerty 3:12

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[gjuro76]

The Cult - Rare Cult [Box Set]

Increasingly, especially in a day and age where music is so widely and readily available thanks to advanced technologies, when a company or act wants to make a good box set, it had better deliver. To its credit, Beggars Banquet did just that with Rare Cult, an astoundingly comprehensive and entertaining collection that packs in ninety tracks over the course of six discs. Living up to its name, Rare Cult doesn't touch on the familiar smashes, at least in their most well-known forms, that made the Cult a true monster of a band in its eighties heyday. Instead, the focus is on everything from radio sessions and random B-sides to curious remixes and a slew of demo sessions and back again. It's not for the casual fan in the slightest – those content with the Pure Cult greatest hits set will need look no further. But the fact that enough Cult obsessives still remained to warrant its appearance was justified when the limited edition run of the set sold out in three months -- not bad for a fairly expensive package. Perhaps the best question about the set at the start is whether it's deserved, or rather if the band deserves it. On balance, the Cult makes for an incredibly inconsistent band, as apt to stumble and collapse as it is to totally nail everything right on the head. Still, for all that Ian Astbury goes completely over the top in terms of singing and lyrical imagery at points, while Billy Duffy sometimes is content to replicate the past instead of taking inspiration from it, when their partnership is on, it's unstoppable. Given that Rare Cult looks primarily at numbers never meant for regular release or often judged unsatisfactory for an album placement, the suspicion would be that things would be more of a mess than success. Yet actually what comes through best is the group's quality. Astbury may be dramatic to a fault, but to his credit rarely delivers a half-assed performance, while Duffy similarly wants to rock and rock well no matter what, using his skill for concentrated, memorable melodies and riffs instead of pointless technical wankery. The performers around the two kept changing, perhaps most fatally for the group when Jamie Stewart departed after Sonic Temple, but the duo kept going, an off-kilter but productive partnership.

The start of the set captures the band at almost the exact moment of transition from its earlier self, a 1984 BBC session done shortly after Dreamtime's recording that starts with a Death Cult number, the entertaining stomp of "Ghost Dance." A less queasy but still strong version of "Resurrection Joe," with crisp, clear vocals from Astbury, and an inspiring "Go West" also succeed, leading into a brace of early B-sides and remixes from both Dreamtime and Love. The mighty "She Sells Sanctuary" appears in its somewhat notorious ‘howling mix,' featuring klix wolf cries, often treated with creepy effects for extra atmosphere (a pity the klix mix itself tries but can't approach the original's sheer power). Treats include the downright sprightly "No. 13," perhaps the closest the Cult ever got to sweet power pop, and Duffy's guitar showcase "The Snake," pumping up the early eighties post-punk atmospherics with just enough bite to the central melody. Another radio session closes out the first disc – the song choices are good, but the delivery on "Spiritwalker" and "Revolution" is only fair, with slightly slower tempos and Astbury sounding a bit breathless at points. A romp through "Big Neon Glitter," though, improves the mood.

The second disc continues with more Love material, starting with a pleasant but little different remix of "Revolution," which at least isn't laden with the unsuccessful dance grooves of the "She Sells Sanctuary" revamp. The highlight of the remaining Love-era tracks is "All Souls Avenue," a calmer song named after a street in the Notting Hill area of London Astbury lived in at the time. Next up are some early takes on later material: the pretty good original version of "Electric Ocean," as recorded for the Out of Bounds soundtrack, and the balls-out blast of "Go Go Guru." The band's final BBC session follows; the brilliant "Love Removal Machine" got its first public airing here, in a much different, very Love-sounding version that makes for a great contrast to the ultimate take. Even the famous drum/clipped riff start is absent! The other tracks sound raunchier, including the strutting kick of "King Contrary Man" and another take on "Electric Ocean." The remaining tracks on the disc come from the demo sessions of what would become the ‘lost' album Peace, at points sounding much more like songs from Electric in their simplicity if not their Rick Rubin-produced power. Some numbers are random throwaways or instrumental backing jams, like the slightly surf-rock touch of "El Progresso" and the lovely skipping chime "Untitled (One)," one of the band's most atypical efforts. Others, including the pleasant riff and punch of "Love Trooper," with some fine Astbury vocals, and the harder-rocking anti-hippie (!) slam of "Oink" stand up quite well.

Disc three is a fairly straightforward affair – the contents of the unreleased Peace, presented in its originally intended running order. Ironically enough, Peace had mostly been available years before, as the Cult picked many of the recordings to serve as B-sides to later singles from Electric. Put together in one place, though, it's easier to hear what the band was trying to come up at that time and also why they were unsatisfied in the end with it. Most of the songs reappeared on Electric (and thankfully the abominable cover of "Born to Be Wild" had yet to be recorded), so on that level Peace is as successful as its eventual descendant. However, one can hear the differences between Steve Brown and Rick Rubin's production styles pretty clearly. Brown adds the overdubs and booming rhythm echo to create a cavernous, almost intimidating sound, sometimes with inspired results but at other points with messy ones, not helped by Astbury's often thrashed, forced delivery. Duffy in contrast sounds solid, cranking up and letting fly, though some of the extra soloing makes for gratuitous moments unsurprisingly missing from the Electric takes. The hitherto-unheard recording of "Love Removal Machine" is actually the equal to the final version – it's huge sounding and driving, more expansive than the later take but just as fierce. Other brawlers like "Outlaw" and "Bad Fun" lumber along, exuding energy to spare but sounding all too often like skull-crushing sonic architecture without direction. There's one hilarious bonus at the end – an unearthed jam, titled long after the fact by Duffy "Walk My Way." It's a lengthy raunch goof – Duffy, Stewart and drummer Les Warner are all more or less in one piece, but Astbury sounds like he's been gargling Drano, while the occasional backing vocals from the others don't help matters!

The fourth disc collects remaining cuts and session from the Electric days along with the first material planned for Sonic Temple. The first cut is perversely amusing – a dance remix of "Wild Flower" by disco figure Francis Kervorkian, combining just about every supposedly unhip seventies influence in one place as a result! It's a good mix, though, letting Rubin's blunt punch set the mood. Other cuts provide some curiosities, including another, brusquer blast through "Go Go Guru" with Rubin at the helm and an early, somewhat half-hearted version of "Soldier Blue," recorded as a possible standalone single (and produced by Motley Crue boardsman Tom Werman, of all things). "Down So Long" takes a slower, blues-touched strut to things, while "Wolf Child Blues" make it even more clipped and minimal – both good efforts, Astbury and Duffy giving it their all. Half of the disc consists of selections from the earliest Sonic Temple demos, concentrating on material that didn't make the final cut or only surfaced later in much different form. Many of the cuts were understandably left behind – the performances show the band, with temporary drummer Eric Singer, having a good time, but the songs themselves were generally nondescript. A few winners stand out, though – "The Crystal Ocean" is an easygoing number that benefits from toning things down all around, while "Lay Down Your Gun" tells a Western-themed story with a solid slow burn. As with disc three, this one ends with the Cult having a laugh in the studio, though this cut, "Messin' Up the Blues," surfaced as a B-side. Astbury throws in all sorts of references to friends and inspirations while Duffy plays loose, engaging acoustic twang and Stewart sounds almost rockabilly – call it the Cult goes T. Rex for one nutty moment. There's also a bonus track – a UK radio ad for Sonic Temple with an unintentionally hilarious narrator.

The fifth disc captures the band at its arguable peak with a slew of Sonic Temple-related material. Mickey Curry proved to be an excellent studio drummer for the recordings, able to mix subtlety and punch, while Stewart's bass playing in his last hurrah with the band was equally strong. As for Astbury and Duffy, they clicked like nobody's business -- even the overwrought "Edie (Ciao Baby)," featuring in a acoustic version recorded a couple of years later, had just enough dramatic sweep to carry itself through. Starting with a less moody but strong enough 'NYC rock' mix of "Fire Woman," featuring some good tribal-touched drum work in a nod to the group's earliest days, the disc unearths a variety of intriguing rarities, including the dreamy "Bleeding Heart Graffiti." Perhaps most interesting in context are early acoustic demos of "Indian" and "Spanish Gold," featuring the group's 1989 touring drummer, Matt Sorum, in his only studio recording with the Cult before joining Guns 'n' Roses (ironically, Sorum later rejoined the Cult for its late nineties revival). Another great find is the earliest version of the underrated highlight "The Witch," here titled "Northern Man" in explicit homage to the Happy Mondays, who the Cult clearly borrowed the funky drummer attack from. Some other demos riff along in rough, loose fashion, like "Medicine Train." Towards the end of the disc things shade into Ceremony-era recordings, and as Duffy freely admits in the liner notes, the band found themselves in an unproductive rut. Some highlights crop up, though, including a fun treat that closes out the disc -- a live in-the-studio smash through "Love Removal Machine," with Curry providing the drumming attack.

The set as a whole concludes with the remainder of the Ceremony-era songs and scattered recordings from the self-titled album sessions and beyond. One of the group's only two recorded cover versions kicks things off, namely the Sensational Alex Harvey Band's glam classic "Faith Healer." It's good but not great, a description for the Cult in general at that point. Those tracks immediately following similarly suffer from the general Ceremony disease -- the parts are all there, but memorable songs aren't -- but all this is made up for by the nearly seven-minute-long rampage that is the full version of "The Witch." Produced by Rick Rubin in a smart reuniting of forces without simply trying to redo Electric over again, with its blasting fuzz bass, screaming funk guitar from Duffy and Astbury's charismatic, killer singing, it's worth the entire Ceremony album and then some. The remaining cuts come from the Bob Rock-produced sessions for the self-titled record, featuring ex-Sisters of Mercy/Mission bassist Craig Adams in the line-up. While the album itself was a muddled attempt at a more garage/MC5/Stooges focus crossed with hip-hop and techno touches, ironic considering the slick metal power of Rock's earlier work on Sonic Temple, the varying selections here include many winners. "Breathing Out" has a slow, ominous crawl to the rhythm and delivery, while "Down on Me" is both a slow, T. Rex-style groover and a sharp, passionate rocker, thanks to Astbury's grand delivery. One great number from the vaults is "North," with guest guitarist – and fellow Manchester-born and raised, one-time Morrissey collaborator! – Johnny Marr, a long time friend of Duffy's. The lyrics slyly celebrate being from, indeed, north of London – well north – while all concerned turn in a sharp, smart performance.

To top everything off, even though the set was a limited edition to start with, the earliest numbers in that run themselves had an extra bonus, a separate disc of additional remixes all throughout the group's career. Organized chronologically as the set is, aside from being framed by extended mixes of "Resurrection Joe," it's a fun catch-all for those utterly obsessed with the band, with a few fun tracks to recommend it. A couple of the mixes were never released, including an extended version of the Tom Werman-produced "Soldier Blue" and a searing, ten-minute long rip through "The Witch" that just confirms how utterly amazing song, band and producer were on that effort. As for the rest, some are utterly of their time while others hold up pretty well in retrospect. "Assault on Sanctuary" wins the best title award, being indeed one heck of a revamp job on "She Sells Sanctuary" that even makes the other remix on the set proper look like a clone of the original. Everything from mock-sitars and squirrelly synth lines to a full countdown at the start of the song goes into this particular demolition and reconstruction job. One interesting curiosity is the ‘small soldiers' mix of "Love Removal Machine," so named due to its appearance on the soundtrack to the film of the same name. The band itself was on hiatus, so hearing one Mickey Petralia turn the tight-wound buzz of the original into a dark, charging tech-rocker, not quite industrial or techno but borrowing from both genres, makes for a different listening experience.

Rare Cult deserves notice on a technical level as well. The sound throughout is fantastic, on par with the label's laudable work with its catalog, while the appearance of the set, a smartly packaged black box containing a liner note booklet and the discs, two per fold-out case, is simple and effective. The liner notes themselves, meanwhile, redefine exhaustive, a good case for the abilities of longtime Beggars employee Steve Webbon, who has done similarly inspired work for Gary Numan reissues. Full technical details regarding where and when items were recorded, the performers and folks behind the desk, and where they were originally released if at all are provided for each song, while interview snippets with Astbury, Duffy and others appear throughout the text. The end result is a good canned history of the band, accompanied by a slew of photos from 1984 to 2000 (the final shots are of Astbury and Duffy holding photos of their nearly 17-years-younger selves, a fun coda).

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[gjuro76]

Echo and the Bunnymen - Crystal Days: 1979-1999 [Box Set]

The answer is a resounding yes -- Echo & the Bunnymen's Crystal Days: 1979-1999, a four-disc set boasting a great built-in book with a biography and track-by-track commentary, is worth every penny. Through 71 tracks, it does an excellent job by catering to the longtime fan and merely curious, running through all the hits and selecting standout album tracks, rarities, and unreleased curiosities, all worthwhile. The very fact that compilation producer Andy Zax was driven to put this project into motion after realizing he just had to find a way to get stellar B-sides like the Velvets-meets-Byrds heaven of "Angels and Devils" and the Peel Session version of the experimental "No Hands" into circulation tells you right off that you're in good hands. If this great-sounding box proves anything, it's that the Bunnymen don't deserve to be merely regarded as an excellent '80s band; sure, they've had some bumps along the road, but despite having thrived in a decade known for plasticity and fad crazes, this collection establishes that their legacy exists apart from the negative connotations the "'80s band" tag carries. And by carefully selecting songs from their '90s incarnation, they throw a pie in the face of those who believe all reunions are artistic no-nos. The first three discs run chronologically through the band's first 20 years, occasionally throwing surprises into the mix with alternative versions and outtakes. The only gripe one might have is the favoring of the "All Night Version" of "The Killing Moon" over the original, which would be nitpicky. The final disc is chiefly occupied by live covers, including a great set-closing combo of the Velvets' "Heroin" and their own "Do It Clean." This is no mere nostalgia kick -- it's just solid, ageless rock & roll with attitude and brains.

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