Live: Roseland NYC Reviews

• Portishead, unfiltered

  
  By A2ZBOO3MDE36GF on 1999-07-12
  Normally I wouldn't post a review for an album that has over twenty perfectly credible reviews already, but I'm afraid something must be clarified: the songs on the PNYC live album are not "as good as" the album versions, as so many reviewers have said, but are in fact 30-70% BETTER than their studio counterparts (percentage varies for specific tracks). This mainly has to do with the intensity of the vocals. Maybe it's a natural side-effect of the live performance, maybe it's only a difference in volume, but to put it bluntly, it's hard to believe Beth Gibbons isn't singing with a sock over her face on "Dummy" and "Portishead" after hearing the insane amount of overtone, undertone, and just plain tone that come through on this recording. Whatever was sacrificed of Portishead's usual spooky, distant atmosphere by removing the muffler from Gibbons' voice is more than made up for by the emotion and clarity here. If you buy only one Portishead album this year (though i'd recommend two or three), this *is* the one to get.
  
  

• Never Judge a Song Until You've Heard it Live

  
  By A3PYFCFGO0T1O4 on 1999-12-18
  Some people like this CD, some people didn't. I, personally thought it was one of the best albums I've ever heard. It doesn't really sound live at all, except when the audience cheers,(And when they messed up Roads by clapping all through it.) All of the songs sound as if something has been added to give them more depth. Beth's voice sounds even more beautiful than on the original recordings. If you're new to Portishead and you can't decide on what album to get, buy this one. It has songs from both Dummy and Portishead on it and they sound fabulous. This CD remains my favorite even though I've listened to it thousands of times.
  
  

• Music better listened to alone

  
  By A2CZPJ56EPF59F on 2000-10-05
  First off, for a live album, the recording is outstanding. It's clear, balanced, and the acoustics are excellent. Obviously it's not on par with the ultra-produced "Dummy", but you have no right to expect better from a live performance.

  Beth Gibbons's voice is much more fragile here. At the right emotional moments this can aid a song, but at other times you're trying to will her to hold a note she's straining for, such as in "Humming." There are, however, songs where she seems to be in her comfort zone, like "All Mine." But on the whole, the standard set in the studio albums just isn't reachable.

  I was hoping the orchestra would be more prominently featured. The songs that make use of it definitely benefit, and you'll enjoy the horns in "All Mine" and the strings in "Only You." "Strangers" is the track where it really hits you, and I so dearly wish they had cut the electronic sounds from it entirely so I could fully enjoy it. The more popular songs don't fare as well. "Sour Times" should be skipped. It was an experiment, and I understand why they wanted to try it, but they never should have recorded it. It's barely recognizable in the bad sort of way.

  The audience... I will never forgive them. They mostly stay out of it, but what they did to "Roads" was just criminal. The band had a beautiful set prepared for "Roads," and these escaped mental patients turned it into a clap-along. Yes, "Roads," one of the loneliest songs you can imagine, a clap-along. To this day my enjoyment of the studio recording is lessened due to the experience. Those people should have been sterilized immediately. If the preservation of beauty matters to you, skip that track, always.

  I am not a fan of live albums, but I would say that Roseland is among the more worthwhile of them. Some of these songs are really enlarged in this context, and the rest are at least different enough to make the experience new. But definitely get the studio albums first.
  
  

• 5 stars if not for the "Roads" clap-along

  
  By A2NMPDBX9HEJCS on 2006-11-26
  I remember listening to this album when it first came out, and it's aged pretty well, but for the turn-table bits. Those are an acquired taste. Overall, the Roseland recording improves on almost every song in their catalog -- an exceedingly rare feat for any band. The best you can usually expect is a clean recording, but Portishead goes much further by "re-imagining" each song with orchestral backing. And the results are such that you might find yourself mesmerized by songs that never did much for you before. And they don't screw up the songs that were already good, except perhaps for "Sour Times."
  
  Unfortunately, the most beautiful song, "Roads," is marred by an enthusiastic audience clap-along. All throughout the album, you'll note that the audience is a surprisingly muted presence for a live album (muted in the mix phase, not in the raw audio, it sounds like). But they come out in cheerful force... to the aid of the most haunting and lonesome Portishead song I've ever heard. The incongruity doesn't recede with repeated listens, either. At least the band manages to drown these yahoos out during the peaks.
  
  It makes me wonder if they had the audience on separate mikes and could release a version that doesn't include that part. Wishful thinking, though. If there was a chance that Portishead was still around and putting out more stuff, it wouldn't irk me so much. But this is all we got -- three albums, one of which is this live "greatest hits" recording. In other words, not much. (I don't count Glory Times because it's a remix album, and barely one at that.)
  
  

• If you're going to own one live album make it this one..

  
  By A2TZKXU6Q0EDNP on 2003-11-17
  You probably know the score with live albums. If the sound is bearable without needing to be under the influence of mind-bending substances, if the recording is decent, if the group was up to par without resorting to peculiar versions of their own songs without making them better, if the audience isn't screaming stuff reminiscent of the Jerry Springer show, and if the Hell's Angels arent involved in a brawl during the show (see Iggy Pop's classic 70s live album) then you might (emphasis on 'might') have a half decent album in your hands.

  This is totally, undisputably and unquestionanly NOT the case here. Because, this live album is so good it actually comes across better than Portihead's studio albums!

  Stunning as this might sound for a live recording it is nevertheless the truth. The reasons why this is true are intriguing. To start with, this the blending of a live classical orchestra and an electronic band. Which, of course, could've been another recipe for disaster (has been in countless of cases before with other more 'organic' bands) but it didnt. What in fact happened was that this concert demonstrated that the mix of classic and electronic music is one that can work wonderfully without harming the charm of the overall atmosphere.

  Furthermore, Portishead actually perform versions of their now well-known songs that are actually trippier than the originals. There's tons of psychedelia here to be had, and come to think of it, i wouldnt be able to name another album where a classical orchestra is involved where i could mention 'psychedelia'in the same sentence.
  This is of course extra-rewarding. Portishead's songs when they are good they are brilliant. Some of them here, and especially the slightly less than brilliant ones are transformed to re-worked masterpieces.
  I havent had the chance to see Portishead live yet, but If I'd see anything that comes remotely close to this performance I'd consider myself extremely lucky.
  For the time being I'll stick with this.
  
  

• Impressive.
  By on 2000-08-12
  Impressive is the first word that ocurrs to me now that i'm sitting in front of my pc writing a review for this album, trying to describe it. Beautyfull just might be the second.

  Listen to the whole album and you won't help but being amazed at the enourmous quality of these young british musicians. When one listens to their studio albums (both excelent by the way) the idea of them performing their songs live as good as they originally recorded them seems very improbable. The complexity of the songs seem impossible to accurately reproduce them before a live audience. However, Portishead demonstrates that such notion couldn't be farther from the true. In short: they perform extremely well in concert. In fact, some of their songs actually sound better live, mainly because of the intense vocals by Beth Gibbons.

  The performance by the band is almost flawless, and the string arrangements sound fantastic. The essence of the Portishead albums remains even in concert: dense, moody, hipnotic, whatever you want to call it. "Glory box" is hipnotic as ever and the performance is excelent. "Sour times" is probably the song that is most modified, but the version is splendid also: a bit darker, a bit heavier, a bit more powerfull, and Gibbon's really puts her heart and soul into the song. Every times she screams "'cause nobody loves me, not like you do" i get the chills. "Half a day closing" is also one of the best songs in the album, as well as the powerfull "All mine". However, at least for my taste, the real gem of the album comes almost at the end, with the fantastic interpretation of "Roads". The song is not one of my favourites on the "Dummy" album, but the song really comes alive in this album. The emotion that Gibbons puts in this song is almost unbearable. Put the song in your stereo with maximum volume, close the doors in your room, put out the lights,close your eyes and you will be truly transported into anohter dimension.

  True:it's very odd that such a young band already releases a live album. But when you listen to it, you just gotta be grateful that they did. The album's fantastic, and i dare say it's one of the best live recordings of the past decade. Really, it's very highly recomendable.
  
  

• As close to "Live"
  By A1D2C0WDCSHUWZ on 2005-02-09
  Most live albums pretty much lose the feel of the original studio albums -- sometimes they sound tinny and distant. No such sound here. "Live: Roseland NYC" has not only an orchestra, but the jazzy trip-hop of Portishead's two albums, and the beautiful voice of Beth Gibbons. No wonder it was so good.
  
  Portishead hit the big time with their sophomore album "Dummy," an exquisite blend of smoky jazz and subtle trip-hop. Which, admittedly, sounds like the wrong kind of music to play live, but it works wonderfully here. Portishead includes an almost equal mix of songs from their two albums -- six from "Portishead," five from "Dummy."
  
  And surprisingly, the songs sound like simple redos of the mysterious, melancholy songs from Portishead's too-short career, not stage banter and stripped-down versions of lush songs. It's more than a little unusual to have a band's third album be a live one, but in this case it seems perfectly acceptable.
  
  Backed by an entire orchestra, horns and some wicked turntables, the band plays remarkable versions of their songs. "All Mine" is even more beautiful and haunting than in the album, and "Sour Times" is even more breathtaking than it was originally. Most of the others are faithful renditions, given a powerful new twist with the strings and horns -- only a couple feel less cohesive in a live setting.
  
  Frontwoman Beth Gibbons is known as having a lovely pop voice, and she is in excellent form here. A lot of singers are exposed in live performances as having less-than-stellar vocals, but Gibbons' performance demonstrates what a beautiful voice she has.
  
  "Live: Roseland NYC" is a demonstration of what a good live album should be, showcasing one of trip-hop's best bands. Definitely worth checking out, both as as an accompaniment to Portishead's studio albums, and as a good listen itself.
  
  
• The coolest trip-hop group live with an orchestra
  By A3LIWTQDSQ5UOO on 2008-08-08
  It seems like it might not work at first, but Portishead's "Live: Roseland NYC" album is probably the most stunning and most original live electronica album. And the string orchestra enhances their songs in unexpected ways.
  
  If Portishead's second album sounded like a creepy soundtrack to a Halloween horror movie, the string ensemble take the scary crescendos to a whole new level. Beth Gibbons sings a crooning alto similar to the James Bond singer Shirley Bassey. In the song "Cowboys," the orchestra resounds with a wave of dissonance that escalates to a frightening peak with the electric guitars amplifying the dark tension. Combine that with the squeeky turntable scratches, and the band sounds like a deadly mix of James Bond mystery with electric mayhem.
  
  And believe it or not, there are plenty of smooth and sassy James Bond-style orchestrations. The blaring trumpets and strings in "All Mine" turns the copa cabana song into a smoky, jazzy scene, with guitars to electrify the atmosphere.
  
  Even though the live set begins with songs from their less popular second album, there are still plenty of fantastic mixes of songs from their debut album to spare. The high-pitched screeches of the violins in "Mysterons" transform the electronica song into a soundtrack from an Alfred Hitchcock horror film. "Glory Box" sounds even sassier and sexier with actual strings to back up Gibbons' voice and the funky DJ scratcher. And if Portishead fans thought "Sour Times" sounded cool, just wait until they hear the adrenaline-filled crescendo of strings, organs, drums, guitars and DJ scratches, combined with Gibbons' wailing at the end.
  
  And the band has an especially tender moment in the song "Roads," where the spacy jazz wah-wahs and the strings soften their set with a gorgeous faze of romanticism. Beth Gibbons' softening voice near the end make this ballad reach a wonderful intimate level like no other.
  
  But the strings are the most entrancing in the hip-hop beat-oriented jam "Strangers." The beats, combined with the snazzy horns and strings, make this Portishead exciting and electrifying. It's a great way to end an awesome concert of hip-hop, Halloween rock and orchestral splendor. It also shows Portishead in their prime, with an artistic taste like no other electronica band in the world.
  
  
• Absolut genius
  By A1HX36WJM6J6SF on 2007-09-11
  This is a masterpiece of contemporary music. PNYC is a very complex album, full of arrangements that goes to deep obsesive levels. No matter what kind of music do you really like. Everyone who cares about music should hear this album, and watch the dvd concert...many, many times. Pity i can't give them more than 5 stars.
  
  
• Not the first to say it...this release is amazing.
  By A1TF7NWI1QK6ZC on 2006-03-03
  I love electronica, I like orchestral music. In this release they have the perfect union. Even my friends who have a hard time listening to electronic/ambient music really, really like this release. If you are a serious music aficionado you must own this. This is a stunning piece of work that will spin on and on in all types of players and in all kinds of places.
  
  
• Huge accomplishment on Portishead's Part
  By A3UNTLOPBT7WZ2 on 2002-10-31
  Not only is a Portishead an amazing band, but the fact that they played a live concert that replicates normally recorded studio songs as a trip-hop band is not easily accomplished. The sampling used to write the music for all Portishead songs is a long process where Geoff Barrow actually writes his own music to then sample from, makes Portishead's music completely unique and unreplicable. But then to play this complicated sampled music in a live format is something that should be praised and appreciated. Most trip-hop bands don't tour (at least not often, with the exception of Tricky). Anyone into Portishead or trip-hop music must have this album. (I wish I could have been there, but the album does a wonderful job of making you feel a part of it all. I would also recommend the VHS video or DVD of this performance.)
  
  
• Well, 4.5 stars, precisely
  By A25NUIZZ9N2FJM on 2002-10-17
  Portishead, despite releasing only two studio albums, have been one of the most influential acts in modern music. Along with Massive Attack and notable others, they helped give birth to the nebulous non-genre of "trip hop," which, in the case of Portishead, can be described as "lazy hip-hop-esque beats spliced with a musical sensibility straight from the 1940's and a talented female vocalist." On their two studio albums, which are both worth picking up, Portishead relies heavily on studio trickery to help deliver their patented style of chilling, distant, brilliant composed and profoundly sad music. How would such an obviously studio-centric band handle the daunting leap to a live performance?

  With surprising grace and aplomb, actually. With only a few dips, the quality level is superb here. The anal-retentive nature of the band really pays off, as Portishead, complete with backing orchestra, sound incredibly polished and rehearsed. To be blunt, this band is one of the tightest you will ever come across. Everything seems to be planned and meticulously executed, like a military strike, or brain surgery. This approach is to the benefit of the listener.

  Tracks such as 'Humming,' 'Cowboys,' 'Mystyrons,' 'Strangers,' and 'Over' come alive with new, startling emotion. The same musicial brilliance as the studio cuts remains, but the sheer power of the songs in their live incarnations is an awesome thing to behold. The timpani on 'Over' thunders live, where it simply thudded in the studio. Mystyrons is a high-strung epic masterpiece building to a glorious climax. The ugly 50's sci-fi of the studio verison of 'Cowboys' is transmuted into raw rage by the live version. For the most part, the songs improve drastically live, (which is really saying something, as Portishead is an excellent studio band.)

  There are a few mis-steps, however. While the rock-out at the end of 'Sour Times' is jaw-dropping and visceral, the first four minutes of the song I could easily trade in for the James Bond-esque studio version. Portishead was never meant to be a grunge or punk band, and the live incarnation of Sour Times shows this.

  The other mistake would be 'Roads.' While an already sad and delicate song could become even more fragile and ethereal live, the audience sees fit to begin clapping along, as if the concert is a country hoe-down. This human drum loop is not appreciated, and detracts from a potential moment of beauty.

  However, the moments of pure and amazing power - so surprising in such a formerly subdued band - make the mistakes more than forgiveable. If you are looking for a good entry into the world of Portishead, this is the cd for you.
  
  

• The best live electronic music album ever.
  By AUXMBYH0UYOM8 on 2008-05-21
  I read a review for Third in the New Yorker, and I found out that this live album existed. I had to get it right away because the reviewer was basically saying that Third is great, but nothing can ever beat the Roseland NYC album.. I have to say that Roseland is genius and I am extremely sd to have missed out on it for so long. Roseland really is a masterpiece.
  
  
• Terrific concert!!
  By A2Q5FFL7FR2DJW on 2006-08-15
  This disc was the first one I heard from Portishead. After a couple of listenings I was kind of confused about the rhythms, voice tones, samplers and musical instruments. At the end you would love all this stuff and how they have conceptualized the idea of music without barriers, without all that common rhythms that have appeared in music history. I would strongly recommend this disc for every one who has never listened to Portishead, it is the starting point to enjoy all their creations.
  
  
• Truly amazed
  By A2OPXI5AK3M8U6 on 2005-12-08
  This has to be one of the best live CDs I've ever had the pleasure of owning. Typically I wouldn't recommend a live CD to a new fan, but this is different. I listen to this disc much more than the studio albums. Something about working with a live orchestra brings out the nuances and subtleties of the music. The DVD is exceptional too and contains additional songs and some different versions of the songs on the CD.
  This is one of my favorite albums of the last couple of years.
  -James
  
  
• To Kill A Dead Fan, Part 2
  By AR8IXJZGR31J0 on 2002-01-28
  Anyone who thinks Portishead is all about electronics and sampling should check this one out quick! 'Roseland' proves once and for all that they are even better live. Enhanced by orchestral strings (and even horns) on many tracks, some of these tracks are 'expanded' beyond the recorded versions. For those who've heard the original a few too many times, the strange, almost bluesy treatment of 'Sour Times' will be a treat. Also includes great versions of 'Humming' and 'Roads'. If you're a fan, don't pass this by. Now, if only they'd put out a new record....
  
  
• Surpasses their studio recordings
  By AKNSC7IXWEYLA on 2008-09-19
  Hot on the heels of two acclaimed studio albums, the trio of Geoff Barrow, Adrian Utley and singer Beth Gibbons toured the United States and in doing so worked with an orchestra and horns for a live release.
  
  It is often thought that electronic music is difficult to capture outside a studio, but "Live: Roseland NYC" is at the very least an exception. Whilst many critics have said Portishead's releases are too similar to each other, a good listen to "Live: Roseland NYC" with reveal a great many surprises about how Portishead adapt their songs to a concert setting. Contrary to what some might expect all the samples of their studio work are present, notably on "Only You" where they are used to create a crescendo effect in the middle of the song.
  
  The strings add a great deal of melody to the songs compared to the stripped-down versions seen on their second album, but what is really surprising and overlooked in the much greater range of Beth Gibbons' voice found in the live setting. At the end of the dark "Sour Times" her voice - so restrined in the studio version - turns into an absolute growl that might put off some fans, but is as impressive as anything Bjork could ever manage. The quiet-to-loud dynamic of "Over" is similar in its effect, notably when Beth sings "recognise me any more" in an angry tone. On the other side, "Half Day Closing" is quite remarkably eerie and out-does any post-rock band. The opening tracks, "Cowboys" and "All Mine", and the earlier "Roads" are more akin to the studio versions but their powerful beauty is so unlike most pop music that it always captures the attention of someone weaned on the commercial music of the eighties.
  
  All in all, "Live: Roseland NYC" is the most essential release from Portishead and one of the very best albums of the 1990s. The material is played in a subtly but genuinely darker, moodier, more intense yet more wistful tone than in the studio, and the accompanying orchestra is completely part of the songs as they are arranged. The cover, too, which reminds me of a school orchestra as I once played wihtout success in, is very fitting.
  
  
• Introducing...
  By A25NMMI7AH30W2 on 2005-12-05
  Although this album is only compiled from two albums, Portishead managed to release a live album Roseland NYC Live. With this being a live LP, it sounds strikingly similar to its original studio albums with little or no alterations from that. Because Portishead's sound and style is really dark, slow and deep with emotions there's nothing that involve getting the crowd involved, but they still seemed pleased with the performance. Beth Gibbons' vocals sound just as spectacular live as does on the studio albums!
  
  
• Acousticonica
  By AMM6CMVHL0Q05 on 2003-11-26
  Despite what everybody says about "Dummy", Roseland Live is their best album. This recording takes some of the best tracks from Dummy and the self-titled LP...and the hollow-ish echo-chamber quality of Portishead's studio albums unexpectedly comes alive. The first track begins slowly (what orchestras call an "overture") and builds to the thump-thump-thump of the live drums which immediately gets you hooked. Astonishing album. Portishead remains detached and trip-hoppy as usual, but the live drums, real orchestra, and Gibbons' wails pretty much put this album in the pantheon of post-mod classics. The "Roads" track recorded in Norway is too beautiful.

  Caveat to the Portishead novice: listen to their studio albums first. The Live album is better as a compliment to the studios, not the other way around.
  
  

• Portishead for real
  By A356O20QKWUOPR on 2000-04-26
  The success of a live album depends on how much the artist gets involved in its own songs and how expressive he or she is. In the hands of a good artist a live album can be more rewarding than the studio version, although they come few and far between. Portishead live in NYC is one of those life affirming exceptions. By the time you listen to "over" the quality of her voice is no longer the matter, you can actually FEEL that she is not faking it. Portishead live become the sound of pain, pleasure in pain, longing, desire, loss, and love. Like vintage Nina Simone, Beth's emotions are on top of the songs and not the opposite because she intuitively knows that artists like lovers, can't have a greater triumph than making the listener feel what they feel. Live in this case means alive and real. If the amazing singing wasn't enough, the strings are wonderfully used adding tension in a no-nonsense fashion to the already well crafted songs. The scratching, the guitar scrapping, and the programming make it an amazingly mind expanding experience too, a lot more powerful than the studio versions of the songs. Portishead had everything before recording this album, the good songs, the good musicians and the right ideas, they just went a step beyond and excelled themselves. Buy this record now.
  
  
• Where is Roads?
  By AAHSKX20RK4Y2 on 2004-03-20
  I'm going to keep this short and sweet. I own this DVD and it one of the most beautiful concerts I've ever heard. Since Portishead is probably done, at least we have this CD to document their live shows. However, the glaring omission is the outstanding version of Roads on the DVD. It is the only song that gets a standing ovation, and is just breathtaking. Instead we get a version with a bunch of idiots clapping. I almost compare it to Street Spirit from Radiohead, Thom Yorke once said he couldn't believe people sang along and were happy when the song was played live, because it is such a melancholy song. Same goes here, great concert, poor choice of CDs. Do yourself a favor and buy the DVD.
  
  
• The Music Gods Have Blessed Us All
  By A12YRUY07AM6AE on 2002-04-21
  this is an amazing CD. i have never heard such an unbelievable live CD...
  Beth's voice soars yet still manages to instill a chill that sets into your bones...haunting through and through. the element of the live orchestra is incredible...everything comes together with such fluidity. every track is complete musical-perfection...from "cowboys" to "glory box" to the scorching, blues version of "sour times", this CD belongs in your collection. as a buddy of mine said to me the other day after i gave a copy to hime to listen to on his way home from work, all he could say was "it was an experience"...and indeed it is. a musical experience that all should enjoy....Portishead is not as much a music group as it is a music experience...
  trust me: pick up a copy of PNYC, press play, and chill.

  peace
  
  

• One of the best live albums ever!
  By A1VAAMDEJR8X7S on 2002-09-27
  This is the album that made me a Portishead fan! The amalgam of Acid Jazz and Hip Hop combined with sultry voice of Beth Gibbons peeked my curiosity from the very first track. From the upbeat tempo of "All Mine" to the self-loathing undertones of "Roads", I could visualize the stories told in these songs. This recording is on its way to becoming a classic.
  
  
• Be prepared to be blown away.....
  By on 1999-04-16
  Well, I bought this CD back in January after I read some reviews of it. I must say that I was not a fan of Portishead before (only because I had never really heard their music). But I want to recommend getting this LIVE CD, regardless of whether you have other albums of their's. And, frankly, after listening to this, and then going out to by Dummy, I'm disappointed with their STUDIO recordings!!! I LOVE the Live CD. In fact, I love MOST live CDs of bands because it's raw and real and much more emotional. This CD surpasses almost everything else I listen to. The music belongs in a category all its own. (And I also discovered that I can hit that super high note on Half Day Closing like Beth--although know doubt she's better!!!) The opening of Humming reminds me of a Dracula silent film---creepy as hell! I love it. I love ALL of it!!! And it sets the mood and tone for the rest of the CD. BUY IT!!!
  
  
• simply outstanding
  By on 2004-06-25
  One of the best live recordings I have ever heard, this album is as beautiful and uniquely melodic as it is soulful. Beth Gibbons tugs at heart strings, and her performance is legendary. If Portishead never records again, I believe it would be a travesty. Modern music has been bastardized, making stars out of gimmicks whilst failing to relate to the human condition at even its fundamental levels. With Portishead, the themes of love, loss, regret, loneliness and obsession are treated with an honest and appropriate delicacy; and the wall of sound that serves as its backdrop is like nothing you've heard before. There isn't a trace of superficiality here, and the live recording serves only to enhance the nakedness of its themes. Technically speaking, this isn't your standard 4 piece perfromance, this is a comprehensive array of instrumentation.

  This album is a classic, pure and simple. And while trip-hop has evolved itself into near oblivion, we are left with a live album that does not merely define a lost genre, it transcends it. It is a standalone effort that defies classification. It is, quite simply, what it is - a great listen. a must have.
  
  

• "Flowers Bloom"
  By A2DP4GQ4LAP3MK on 2004-03-04
  Love the PYNC live...but I am posting for the person who wanted to know who performs "Flowers Bloom." That song is by an incredible band called Mandalay. They released two albums in the UK, numerous singles, and a US album featuring tracks from both of their UK releases called "Solace.' Sadly, the band broke up last year and the lead singer, Nicola Hitchcock, is now moving on with solo projects. She has her own website too. I love Mandalay, and though they are compared to Portishead, I think they are very unique in their own way.
  
  
• Never record ANYTHING in NYC again
  By A1XTPY4GWW4VLK on 2008-01-24
  One word: "Roads." What a mess the dimwitted NYC audience made of this song. Their stupid little clap-a-long and early applause ruin what really would have been one of the standout tracks on this album. Good news: no clapping on the DVD version! That said, I think most people will be happier with the DVD audio. Buy the DVD, and download "Sour Times" as this is the only performance that is really missing from the DVD.
  
  
• An excellent musical journey
  By on 1998-11-19
  To be honest, I rarely purchase live CD's. The recording is usually horrible, and it is usually a repeat of the latest album. This is not the case with PNYC. The sound quality is excellent, and the songs sound even better with the full string section. This CD crosses the boundries between creepiness and beauty. The live version of "Roads" was one of the most beautiful live presentations on the album. "Humming" has a more powerful introduction, with the mixture of a full string section and the creepy sci-fi organ, that was beautifully executed both on this and the self titled album. Another plus for this CD is the mixture between the older and newer material. Overall, this CD is a must for any Portishead fan, and is an excellent introduction to the band for any newer fans.
  
  
• Best U.S. Release since "Dummy"!!!
  By on 1998-11-19
  A MUST FOR ALL "P" FANS!!! A someone who has seen this band live more than once, I highly recommend this recording. Their live performances always surpass their studio efforts, and this album is no exception! The PNYC version of "Sour Times" is one of the best I have heard, Beth Gibbons' vocals on this one blow me away! "Over" and "Roads" are tracks to check out as well. I conclusion, if you love this band, as I do, YOU NEED THIS ALBUMN! The Portishead experience is best savored LIVE!!!
  
  
• Sublime
  By A2DKBHVAFDLIAG on 2000-01-21
  It was difficult for me to imagine what Portishead would sound like live before I heard this record. Their sound seems so dependant on a variety of synthisizers and samples, so my expectations were low. Suprisingly, however, this is their best album. Whether it is the addition of the orchestra, or the different (yet the same) way the songs are arranged, or simply the less produced vocals, I dont know. But something on this album made these songs sound better. They are more moving, more gut wrenching. This is a great album. I highly reccomend it to those of you who like Portishead, as well as those of you who are simply curious. I think this album would make the perfect gift for a person whos musical tastes you dont know very well, Since Portishead is kind of difficult to categorize, but consistantly makes beautiful music.
  
  

• Portishead
• Dummy
• Third
• Portishead - Roseland New York
• Mezzanine