It’s in Zevon’s ferocious growls all over a swaggering, lethal “Werewolves”, the way a “wahooo” turns irrepressibly into a guttural “yeeeeaaaah”, and a blood-curdling “rip your lungs out, Jim” just before we find out who the wolf’s REALLY after What is it about the greatest ever live rock’n’roll recordings that remind you all over again of why this all matters so much? Here are a few clues from the reissue of Stand in the Fire, the long-deleted recording of Warren Zevon tearing up the Roxy, L.A. I started a little thread about stand in the fire last week when I listened to the remaster for the first time.
I'm not sure where they fit in the whole scheme of the concert but it sounds terrific. Hasten Down the Wind-the latter two close the album out on a "quieter" note compared to the "Bo Diddley" closer. The album has been augmented by some terrific bonus tracks. He had enough energy to light up a stadium that night and the band was in terrific form. I actually saw Warren on this tour at the Old Waldorf in San Francisco sitting about ten feet or so away from him. I'll Sleep When I'm Dead (with a nice change to the lyrics to confirm his new life affirming approach)īo Diddley's a Gunslinger/Bo Diddley (A classic remake to close out a strong album). The Sin (Another original for the concerts) Werewolves of London (Evidently he's still looking for James Taylor!) Mohammed's Radio (with lyrics changed to reflect Jimmy Carter's issues with Iran at the time) Jeannie Needs A Shooter (see the previous comments on this great track) Stand in the Fire (an original written just for the shows he performed at the Roxy for this album)
Warren had finally cleaned up his life and rolled out on the road with a kick butt band.
This classic live album finally arrived this year with some very nice bonus tracks.
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