It's speculation, but if I had to bet, I'd agree with you. I feel like within a few years they'll be split up again.

I like the new songs for what they are - a bit catchy, echoes of that old Live feeling, but it just doesn't work for me. What Ed does and what CCP do just don't work together anymore - and haven't since the mid 2000s.

Based on what I heard from the Turn, I can't imagine CCP are happy with this. But what do I know. I guess we'll see.

Awesome.

The new stuff isn't good. Believe me, I've really tried. I just can't get into it.

I still love the band, I still want to see them in concert with Ed just once just to say I was finally able to, because I've never had the opportunity.

But I really don't see anything positive coming from the reunion, music-wise. Sadly.

When I listen to the new song “Anthem” by Greta Van Fleet, I say to myself that is the tone and message and spirit of what the new Live music should be. I think Live’s brand has always been about love and unity and social justice and equality and open mindedness. I feel like they are missing out on an opportunity to recapture their brand at a time when it is needed most and there is a potential audience for that message. And musically, I wish they were in a difference space right now with more open spaces and nuance, and a softer vocal performance that shows off the character of Ed’s unique voice instead of screaming falsetto. But they seem to be reaching for a “face melting” wall of sound to show they “can really rock”. I like to rock and I can’t really describe why I don’t like the new music. But I don’t really like any of it so far. Just my opion. I am happy for, and jealous of, those who love the new tracks. I do wish that I could.

I like the new songs...not loving 'em though.
They lack soul like they (still) had on some tracks on SFBM.
But still better than anything on The Turn or TGF imo.

Hope they get their shit together, because i'm slowly losing interest.
It's embarassing to see how there's nothing left of the exposure/relevance they had 20 years ago.
It's like they have to start all over again.

Review for Live's new EP.

https://crypticrock.com/live-local-717-ep-review/

3.5 out of 5 Stars.

A dozen years have passed since the original Live lineup released new music, but that gap is about to close with Local 717, a brisk twenty-minute EP due out Friday, October 12th through Kavalry Records.

Highly anticipated amongst fans, Local 717 contains four new tracks before ending with a cover of “Venus in Furs,” originally written by the Velvet Underground for their 1967 debut, The Velvet Underground & Nico. The EP also marks the first time founding members Ed Kowalczyk (vocals, guitar), Chad Taylor (guitar, backing vocals), Patrick Dahlheimer (bass), and Chad Gracey (drums, percussion) have recorded together since Songs from Black Mountain in 2006, an album which capped almost two decades of recording success. So, does their return as a unit to the studio live up to expectations?





Before answering that question, let’s briefly look at three decade plus history of Live that has led to this point. Originally performing under the name Public Affection, the band switched to the more familiar Live moniker and released a strong debut, Mental Jewelry, in 1991, but as everyone knows, it was their 1994 sophomore album, Throwing Copper, that would land them massive mainstream success, selling in excess of ten million records. Its two immediate follow-ups, 1997’s Secret Samadhi and 1999’s The Distance to Here, each sold millions more.

Several albums followed, each with limited success, before the band agreed to take a hiatus in 2009. Kowalczyk went on to release his debut solo album, Alive, in 2010, followed by an EP, The Garden, in 2012, and a second solo album, The Flood and the Mercy, the following year. The break soon became effectively permanent, and in the wake of that change, Taylor, Dahlheimer, and Gracey combined forces with Kevin Martin and Sean Hennessy of Candlebox to form The Gracious Few, which released an eponymous debut in 2010. In 2014, those same three members announced they had recruited vocalist Chris Shinn to record a new album of Live material, an effort which materialized in 2014 as The Turn. Fast-forward to the fall of 2016, with a few legal hassles set aside, the four original members began meeting again to discuss live shows and new material.

Which leads us to today where Live is eager to release some new music. Interestingly enough, Local 717 takes its name from the telephone area code which once covered most of eastern Pennsylvania and still covers York, the band’s beloved hometown. Giving fans a sample of the new material, Live has already released two singles from Local 717, “Love Lounge” and “Be a Giver, Man,” with video content to match.

“Love Lounge” is an opener in the truest sense of the word; it was the first single, the first track on the EP, and it is a roaring Rock-n-Roll trip forcefully announcing the opening of the band’s return. The bright wailing guitar riffs almost bring the Cult to mind. This is while the lyrics make subtle suggestion that while the band is back together with positive vibes and a long outlook, things should still move a bit slowly. That said, the call of “shoot that fear!” leaves little doubt that the band is back on solid footing. Furthermore, Taylor’s guitar work is impressively subtle here, and it is clear his time, like that of the other members, was wisely spent in the interim.


“Be a Giver, Man” may have an obvious message, but that is essentially the point – no one seems to want to live by this small, important, almost trite credo. Here, Kowalczyk belts, “I believe / that what you give / is what you receive,” leading into a spaced-out refrain book-ended by calls for decency from Kowalczyk and more impressive guitar from Taylor. Additionally, the track also features an appearance from Drummer Stephen Perkins of Jane’s Addiction.

Moving forward, “Waterfall” is a song dominated by the rhythm section, particularly the drumming of Chad Gracey, as Kowalczyk continues his old habits of near-awkward rhyming and singing patterns. This song slows the rollicking pace of the EP a bit, but perhaps the short rest is necessary. Patrick Dahlheimer moves a little out of the background for “Brother,” taking his distinct bass sound to the forefront for the rhythms behind both the verses and the chorus. Overall, the track picks up the speed again, and closes the original portion of the EP with aplomb.

Finally, the closing cover of “Venus in Furs” feels almost out of place for the band. While this song has been covered by dozens of artists in multiple genres, the execution goes well enough, and the mere choice to cover it is enough to be unique. Kowalczyk has a voice that adapts well to the varied pace of the track, while the rest of the band manages to contain themselves from speeding the tempo as compared to the rest of the EP.

Overall, the four original songs on Local 717 contain more than enough material to get excited about, and the out-of-character cover work as well. That is why CrypticRock proudly gives the return EP from Live 3.5 out of 5 stars.

Excited for Friday!

Patrick Dahlheimer moves a little out of the background for “Brother,” taking his distinct bass sound to the forefront for the rhythms behind both the verses and the chorus.

Maybe there is something to look forward to I think? Hopefully, I don't go 0-5 on this EP.

I’m often quite confused by statements like these. I mean, to each his own, but how can you say SFBM had some good songs ( I agree) and at the same time calling TGF or The Turn no good. You may not like it, it’s all oke, but how is is worse then SFBM. Please, explain, I want to understand.

Sometimes, especially with adding emo’s like “ ” it feels like it’s just to offend fans who like those 2 albums CCP made.

I’m interested in hearing the other three tracks as well, although the first two didn’t live up to my expectations.

The reviewer got quite some facts wrong (recording for the first time since 2006? What about the Paradiso songs. LIVE2.0 coming together in 2014?). I don’t fully agree with his take on the two singles either, but we’ll see!

I put my trust in the cover song. LIVE has always been good at covering songs, no matter which era of the band they were in. Remember ‘God don’t ever change’ even in the SFBM-era. I didn’t like the cover they played in concert this year, but at least it wasn’t bad or cheap.

This post has been edited by SecretInsomnia: Oct 9 2018, 12:08 pm

The statement made in the article is accurate.

Sneak peek of Venus in Furs just posted on Twitter.
https://mobile.twitter.com/Freaks4Live/stat...0500224/video/1

That's a no for me. I know it's just a clip but I really hate Ed's vocals. Oh well...

It's definitely different from Lou's vocal, but I like it a lot.

This post has been edited by san_sao: Oct 9 2018, 7:29 pm

While I don’t yet love the Venus in Furs clip, I do like it better than the Waterfall one. It has a chance to grow on me.
I also can already tell you that no matter what, I’m going to like this cover better than the Blues one from this summer. The more I heard that blues cover, the worse it got.

As with all the songs from this EP, production quality is lacking.

This post has been edited by Voodoo Lady: Oct 9 2018, 7:47 pm