Son Seals - Live & Burning
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Music CD Cover
Artist: Son SealsEdition: Music CD
Audio: English (Original Language)
Format: Live
CD Release Date: 1993-04-20
Music Label: Alligator Records
Soundtracks:
- I Can't Hold Out
- Blue Shadows Falling
- Funky Bitch
- The Woman I Love
- Help Me, Somebody
- She's Fine
- Call My Job
- Last Night
- Hot Sauce
Free Music Notes for Live & Burning
Free Music Review: Seals discards the velvet alligator
Hit: 5 Stars
David J. Brown, reviewer below, has a problem with Alligator Records. I have that same problem - Bruce Iglauer's studio sucks most of the energy out of his blues artists' performances when it records studio albums. It is ironic that this happens because Iglauer's first label signing, Hound Dog Taylor, recorded his albums with a lot of excitement, much like live albums (in fact on several of his songs, his live versions were a bit more tame than the studio versions). One of Iglauer's greatest finds, Lil' Ed and the Blues Imperials (fantastic live band, incidentally) had no concept of how a studio album was to be recorded and in the space of a few hours in their first trip to Alligator's studio, ripped off ten songs as if they were performing for an audience at a club and came up with Roughhousin', which might be be the best "studio" album Alligator ever put out. If you look a bit further in Alligator's catalog, you'll also find a solitary Buddy Guy album, Stone Crazy, which is a studio album that captures a great deal of Guy's live passion and dispenses with the politeness of most of his studio albums; however, there is a caveat - this album was actually recorded in France by another label and merely released in the U.S. by Alligator.
It is also ironic that I first heard Live & Burning at the venue where it was recorded, the resurrected Wise Fools Pub, in Chicago in the fall of 2001. Dave Hole, unquestionably the most brilliant artist Alligator has ever signed (I've seen 300+ live acts and Dave Hole is hands down the most exciting guitarist I've ever seen), was playing there that night and they played the entirety of Seal's outstanding live album there while waiting for the place to fill up. They waited in vain because Iglauer and/or the owner of the club dropped the ball ridiculously by not promoting the show. As far as I could tell, there were two places on the face of the earth that advertised the show, the website of the Perth, Australia guitarist himself, and the billboard next to the front door of the club. Consequently, there were never more than 20 people there at a time, a crime for which Iglauer should have been publicly flogged. Hole played a great show, notwithstanding that at points the "crowd" was barely in double digits. During the break after his first set, I approached Hole and the mighty Bruce Iglauer himself, introduced myself, told Hole I drove over 150 miles to see him play and chatted for a bit. I then asked both Hole and Iglauer why it was almost a universal truth that blues studio albums never capture more than a small fraction of the excitement and intensity of a live blues show. Iglauer seemed personally insulted by the question and didn't particularly agree with my premise and mumbled some nonsense. Dave Hole, in contrast, said "That's a really good question!" thought for a bit and explained that he can really channel and feed upon the crowd's enthusiasm into his playing at a live show and also stated that the acoustics of a studio are so different from that of a club that it makes a big difference, too.
Most of the under-50 crowd out there that grew up listening to guitarists like Jimmie Page and Eddie Van Halen and have graduated toward less guitar-specific alt rock bands probably have a fairly dim view of blues if all they have heard are the typical blues studio albums featuring what sounds like a big band playing with a few featured BB King-esque 20 second guitar solos. In contrast, Live & Burning is the real thing - raw, exciting, passionate and fiery, much more so than Seal's Alligator studio albums. If you have a friend who is a rock fan who you want to convert to a blues fan, this might be the album that will open his or her eyes about the true nature of blues. If you are a fan of the prim and proper old-style blues from half a century ago, this live disk probably won't be your cup of tea, but who knows - maybe Son will open your eyes too. Buy this disk and enjoy something exciting.
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