Warren Zevon Stand In The Fire CD

After the release of Warren Zevon's fourth album, Bad Luck Streak in Dancing School, he was clean and sober for the first time in years, and on-stage he was determined to make the most of his newfound strength and self-control. While his songs long had a dark and frantic undercurrent, Zevon was now capable of playing a no-holds-barred rock show where he could bring the sharper edges of his music to the forefront. Anyone who saw Zevon on what he called "The Dog Ate the Part We Didn't Like Tour" can attest to the fact he was in superb form, playing music that rocked hard while displaying intelligence, passion, and a sharply corrosive wit, and Stand in the Fire, recorded during a five-night stand at L.A.'s Roxy near the end of the tour, captures Zevon and his band at their peak. The musicians (anchored by flashy lead guitarist David Landau) pour out these tunes with plenty of fire, and the songs rock a lot harder than anything Zevon had summoned in the studio at that point. And the artist proved he was a superb rock & roll frontman on this tour, singing with mean-spirited glee (for a change, "Werewolves of London" and "I'll Sleep When I'm Dead" sound just as menacing as they were meant to be) and spewing hilarious bile at every turn (his ad-libbed "the Ayatollah has his problems, too" on "Mohammed's Radio" alone is worth the price of admission). The set list is dominated by Zevon's better-known tunes of the period, though there are two otherwise unrecorded originals (the OK title cut and the blazing "The Sin"), and a rave-up encore on "Bo Diddley's a Gunslinger" that revels in the joyous surrealism of the lyrics, and if one might have hoped for a more imaginative selection of material, these guys nail everything on deck. No one argues that Warren Zevon is a gifted singer and songwriter, but Stand in the Fire proves that, when he wants to, he can also rock with the best of 'em. ~ Mark Deming
In an era of wishy-washy singer-songwriters, Zevon immediately stood out as a wild card, a singer unafraid of the heat in kitchen. His first albums revealed a gifted songwriter equally comfortable with heroin-based love songs and manic rockers rife with gunplay. With STAND IN THE FIRE however, he leaps into the flames with headlong abandon. Backed by a band of unknowns, Zevon embraces the spontaneous frenzy of what live performances aspire to but rarely achieve. The band pushes Zevon towards the edge of losing control and he answers every lick with crazed purpose.
He throws in marvelously extemporaneous lyrics during "Werewolves of London," screaming bloodlust while calling for the head of James Taylor. Mayhem reaches an apex during a pounding "Poor, Poor Pitiful Me," in which he actually threatens to kill the audience if they don't dance. There is no real threat of bodily harm while listening in the comfort of your own home, though the urge to light fires and empty revolvers into the sofa may become overpowering. Why this searing live document, which captures the singer at the peak of his powers, has not been released on CD in anybody's guess.

The 1981 live album masterpiece "Stand In The Fire", until now woefully out of print, prompted allmusic.com to write, “No one argues that Warren Zevon is a gifted singer and songwriter, but "Stand In The Fire" proves that, when he wants to, he can also rock with the best of ‘em.” Recorded at L.A.’s Roxy theatre in 1981, the disc features the two unforgettable original songs Zevon debuted on that year’s tour, “The Sin” and “Stand In The Fire.” Also includes searing versions of “Lawyers, Guns And Money,” “Werewolves Of London,” “Poor, Poor Pitiful Me,” “I’ll Sleep When I’m Dead,” “Mohammed’s Radio,” and “Jeannie Needs A Shooter,” a co-write with Bruce Springsteen, among other stellar performances. Boasts liner notes by David Fricke and four previously unreleased cuts including “Johnny Strikes Up The Band,” “Frank And Jesse James,” and “Hasten Down The Wind.”Uncut (9/03, p.96) - "...This is a raging, raw live set that catches Zevon, post-rehab, at the peak of his performing powers..."
Dirty Linen (p.44) - "[The band] was tight, road-ready, and responsive to Zevon, who gave his hits more muscle and bite than they ever had."