| | Bad Company In Concert: Merchants Of Cool. CD Bad Company Discography of CDs
 (3 Customer Reviews)
Principally recorded live at The Paramount Theater, Denver, Colorado; The Grove Of Anaheim, Anaheim, California, in January 2002.
Oddly enough, on this 2002 live recording by Bad Company, vocalist Paul Rodgers sounds younger than he ever has on record. And no, that's not necessarily a good thing. Bad Company's original members number two: Rodgers and drummer Simon Kirke; bassist Jaz Lochrie and guitarist Dave Colwell have replaced Boz Burrell and Mick Ralphs, who were smart enough to bail after the obligatory reunion tour that resulted in a previous live album. True enough, Bad Company was once able to inspire legions of rock fans with their melodic, memorable, tough, and lean bluesy paeans to lovers, losers, gamblers, and ramblers, and one would hope that even with a new lineup some of that inspiration and fire remained. But those days are long, long gone. One wonders why anyone, even a die-hard fan, would appreciate this tired, plodding, going-through-the-motions set of hits. The singalong on "Can't Get Enough" is nauseating, and the redone "Feel Like Makin' Love" sounds like a cover band in a bar doing Bad Company songs. This should have been called Former Merchants of Cool Ready for the Old Rock Stars' Home. ~ Thom Jurek
Sanctuary's 2002 release In Concert: Merchants of Cool captures a latter-day lineup of Bad Company fronted by Paul Rodgers running through their big hits circa 2001 (the album is culled from dates at the Paramount Theatre in Denver and the Grove of Anaheim, but no specific dates are mentioned). The performances are sturdy, solid, and, at times, even a little spirited; though this couldn't be mistaken for the band at their peak in the mid-'70s, it will certainly entertain those who have stuck with them ever since then. In addition the concert tracks, there are two new studio tracks that are the equal of the live cuts. ~ Stephen Thomas Erlewine
This release includes a bonus DVD.
Full title: Bad Company In Concert: Merchants Of Cool.
Bad Company: Paul Rodgers (vocals, arranger, guitar, piano); David "Bucket" Colwell (guitar); Jaz Lochrie (bass); Simon Kirk (drums, percussion). Bad Company In Concert: Merchants Of Cool. Music Bad Company In Concert: Merchants Of Cool. Songs Bad Company In Concert: Merchants Of Cool. Music Bad Company In Concert: Merchants Of Cool. Music Review Average Rating: (4 out of 5 stars)   paul rodgers at hisbest
this is as good as the first album just got back from seeing merchant of cool show in columbia sc paul is singing better than ever on this album this is a must have and see concert for the true fans of paul rodgers and bad company you want be disapointed best show i have seen in 20 years
Submitted by a reviewer (cohutta ga)
Was This Review Helpful? Yes No 1 of 1 found this helpful.
Bad Company "Treat" Worth The Wait
It has been a long wait,but now it's over.
This is "Paul rodgers" at his best & the band members play nice & tight a real gem !!
Excellent choice of songs,only missing one classic "Seagull" but besides that production is AA+ & "Joe Fabulous" is just that "Fabulous" takes you back to the real "Bad Company" roots of old,can't wait to see the "Merchant's of Cool" DVD
Submitted by a reviewer (Down-Under)
Was This Review Helpful? Yes No  Merchants of Cool
Paul as ever is in fine form - a voice to die for......... The rest of the band perform really well. Simon is as good as ever and Jaz plays a sweet bass. For me the songs fall short with the lead guitar from Dave Colwell. Dave is a fantastic guitarist but fails to reach the sound of Mick Ralphs. Why, oh why, didn't Paul use Howard Leese - or even Geoff Whitehorn or Joe Shikani?
The highlight of the album is the new track 'Joe fabulous' - a great song in the Bad Co vein.
As a devoted fan, I feel that the original line up can never be matched.............
Submitted by a reviewer (London UK)
Was This Review Helpful? Yes No
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In 2004 experimental rock band Battles released the material they had recorded to date on three EPs on three different labels nearly simultaneously. The first of those was Tras, which could better be described as a single with "Tras" as the A-side and "Fantasy" as the B-side. It was released on Los Angeles indie label Cold Sweat, followed by the five-song EP B, released on L.A.'s Dim Mak, and EP C, also five songs, on Monitor out of Maryland. An unusual strategy to be sure, but apparently effective since venerable electronica uber-label Warp Records subsequently released the combined material from B and C in 2006 and signed the band for future releases. The omission of the two songs found here may result in their becoming somewhat of a collector's item, which is unfortunate because Tras perfectly captures the Battles ethos, if not its formula, as this enigmatic ensemble of indie rock veterans refuses to pigeonhole its sound. Comprised of former Don Caballero guitarist Ian Williams, former Helmet/current Tomahawk drummer John Stanier, former Lynx guitarist Dave Konopka, and multi-instrumentalist/vocal sampler Tyondai Braxton, son of avant-garde jazz musician Anthony Braxton, this supergroup fairly defines experimental/instrumental rock and its limitless possibilities; songs vary greatly in approach and appear in multiple "versions" which may or may not resemble each other, constantly shapeshifting according to whims that exist far outside the rock rule book. Casting limitations aside, however, does not result in formlessness; rather, songs like "Tras" have a palpable swing that usually doesn't exist in the avant-garde world. Beginning with a circular guitar riff and its harmonic echo, "Tras" careens through rhythms bouncing back and forth between live drum kit and sampler crunch and synth squiggle, punctuated by handclaps and percussive bursts throughout its 3:40 length. At over nine minutes, "Fantasy" is a study in polar opposites, its minimalist percussion workout being the antithesis to the Technicolor chug of "Tras." Consisting of nothing but sampled beats and vocal hisses marked by the occasional staccato keyboard stabs, it results in a more greyed-out composition that wears on the listener before it even reaches its halfway point. Definitely worthwhile for the completist, but newcomers should ...
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