![]() Hell, even the man himself forget he recorded the fucking thing…Īt least Dave and Paul fondly remember Stand in the Fireīy the time of 1980, Zevon had released four records (if you count his equally often forgotten debut, Wanted Dead or Alive) and was an extremely talented and respected songwriter, though that respect came more from fellow musicians than the public itself. Yet Warren Zevon's absolutely fabulous, outright balls out first live affair, Stand in the Fire: Live at the Roxy is rarely, if ever, mentioned in such conversations. I don't know about you, but hearing the Who drunkly sing their songs off key makes no interest to my ears. If I have to see the Who's Live at Leeds on another list I'm gonna pull Kurt Cobain and have my wife set me up as a suicide. Which brings me to another issue, which is the actual lists people come up with of greatest live records of all time. Remember when the Black Eyed Peas performed at the SuperBowl? Yeah, me neither, certainly didn't give me the drive to go see them live, just reminded me Fergie is the poster child for Butterface. Nobody gives a fuck about the music or content or what she has to say, it's just about what dumbass antic she'll come up with and how drunk you can get watching it. ![]() Truth is? Nobody wants a live album from Miley Cyrus, because all it would be is studio tracks with canned audience audio. Why is that? Well let's be honest, Miley Cyrus (to take one pathetic example) isn't going to make headlines on her tour except for one reason: making controversies regarding, say, her ass and another countries flag, or absolutely butchering a cover song. You notice there aren't many live records from more recent artists released these days? Sure, you get some, even occasionally brilliant releases like Wilco's Kicking Television, but the truth is if you glance over anyones greatest live releases of all time lists and you're not gonna see many recent records make it. Still, tracks such as the politically and personally narcissistic bad rich boy in trouble anthem of rocker “Lawyers, Guns and Money,” the tender heart at the center of a woman chaser reminiscing in the lovely ballad “Accidentally Like a Martyr” and the obvious yet twisted intelligence behind the pop-wise, sociopath title song showed that Zevon could churn out commercial product with real teeth.Beautiful Melodies Telling You Terrible Things Vol. Job well done many would say, even though only a few of the songs matched the quality of his earlier release and with nine tunes clocking in at just over a half hour, this was a short and somewhat of an artistic disappointment. Now reissued for the second time (without the extra tracks from Rhino’s 2007 edition), Excitable Boy slicked up Zevon’s sound and, in “Werewolves of London,” provided him with a much needed radio hit (a respectable #21 on Billboard’s singles chart) as it pushed the album to a chart peak of #8. That was plenty to fuel Asylum allowing Zevon another chance, which yielded this left field 1978 hit. Regardless, Linda Ronstadt was an early supporter of Zevon’s writing talent and she dipped into that album to successfully cover three of its songs. ![]() But anyone who listened closely to his Jackson Brown produced 1976 debut-it was actually his second try, but he disavowed 1969’s Wanted Dead or Alive- knew there was an eerie wit and somewhat misanthropic streak that ran through his music on an album that despite its obvious quality, never broke through to the masses. Behind the cover shot of that impish, innocent boyish face framed by round, wire rim glasses, lurked the dark and devilish mind of Warren Zevon.
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