This 75 minute album, originally a double-LP (recorded live at the University of Utah in Salt Lake City on April 3, 1970) is a valiant attempt at capturing their concert sound on record. Unfortunately, it fails for several reasons, beginning with the fact that the instrumental mix is very bass-heavy--even with adjustments to compensate, this overwhelms much of the rest of the band on several key numbers. Additionally, the group's singing, though more than adequate, lacks the presence needed to give their harmonies the necessary radiance to make the music fully attractive, coming off instead as anemic. The real problem is that cutting a live album was a thankless task for this group--so much of their sound was dependent on a studio-driven perfection, that live recording was an exercise in futility (let's put it this way--the Beach Boys pulled this off more than once, but they had a resident genius around part of the time doing their arrangements; the Association, no genius in the ranks). "Goodbye Columbus" is a case in point, receiving a breezy, cheerful number that gets a spirited performance, but it still sounds thin and emaciated, because the single is the way that song is supposed to sound, period. By contrast, their rendition of "Get Together," complete with lyrical and soaring harmonies, is a masterpiece of a kind--or it would be if it were a prelude to a studio recording where the balances could be refined and perfected. As it is, the band often sounds clunky on their instruments, even as they sing their hearts out. "Seven Man Band" features some ferocious fuzz guitar that gets buried in mix. Some songs do work--"Cherish" is a bit emaciated but ultimately makes for interesting listening, while "Requiem For The Masses" and "Enter The Young" come off well on any terms. It's hardly worth the inflated price of the Japanese imported CD, except for the most hardcore completists.

(by Bruce Eder, All Music Guide)

You wouldn’t think that a band with such a polished studio sound would be a good live act, but the Association were real pros, not only capable of hitting those incredible harmonies in a live (and high-altitude!) setting, but also—given their reliance on studio musicians—surprisingly capable players as well. This April 3, 1970 show at the University of Utah also reveals some other sides of the band, as they cover some songs (Let’s Get Together; Babe, I’m Gonna Leave You) that reveal, lurking behind those note-perfect arrangements, was a pretty fine folk-rock group. We’ve squeezed the entire, 74-minute double live-album on to one CD—it’s a great listen! Includes One Too Many Mornings; Along Comes Mary; I’ll Be Your Man; Goodbye, Columbus; Get Together; Wasn’t It a Bit Like Now; Never, My Love; Goodbye Forever; Just About the Same; Babe, I’m Gonna Leave You; Seven Man Band; Time It Is Today; Dubuque Blues; Blistered; What Were the Words; Remember; Are You Ready; Cherish; Requiem for the Masses; Windy, and Enter the Young.

(www.amazon.com)

Known primarily for their late-60's hit singles, one thing that too many people overlook about the Association is that they were also a great live band, as this 1970 release, "The Association: Live" proves beyond a doubt. Recorded in concert on April 3, 1970 at the University of Utah in Salt Lake City, this seven-man band are in top form. They're more raw-sounding live, but still with all of the great vocal harmonies and musical chemistry that made them so good on record. This is a 74-minute, 22-song set with the Association going through their repertoire up through their 1969 self-titled masterpiece, which they were touring for at the time. Many Association favorites are featured, including "Along Comes Mary," "Goodbye Columbus," "Never My Love," "Time It Is Today," "Cherish," and their biggest hit, "Windy," all performed wonderfully. Not only that, but the band do a fine cover of the Youngbloods' "Get Together," plus a jaunty, previously unheard song called "Just About The Same," as well as absolutely haunting renditions of "Remember" and "Requiem For The Masses." And if that wasn't enough, the Association also perform three songs from their brilliant self-titled album: "Goodbye Forever," "Dubuque Blues," and "What Were The Words." The band are also very funny showmen, such as the bit where they try to get the audience to "get in touch" with one another, and Larry Ramos---the lone Hawaiian in the band---remarking how hard it is working in a group "with six token whites." Priceless!Interestingly, though, the Association don't look back upon this live album with great affection. The University of Utah, where this gig was recorded, is apparently at a high altitude, and the band say that the slightly-thinner air affected their vocal performances. Well, guys, you could've fooled me, because you sound superb on this recording. To heck with thinner air---this is a GREAT live performance. If you love this band as much as I do, then you just *gotta* pick up "The Association: Live." And thank you, Association, for all of your great music.

(Alan Caylow, amazon.com)

True, the band wasn't exactly the hippest property around at the time (heck, this is from a Salt Lake City concert). And yes, there is a definate aura of studio tamper-ment that hovers around the album. But let's be honest, folks; how much does hearing The Association live and "raw" really matter?

In fact, when this album works best, it works as a wonderful "prism" through which their sixties hits are refracted. For although their self-titled album was slightly behind them by this point, the spirit that formed it was clearly still in attendence (and you can read my review of their self-titled album if you want to know my opinion on THAT heavenly piece of plastic). Thus, pure live, slightly overdubbed, or pure studio, each song is given a spirited re-arrangement that manages to freshen up even the most saccharine of their hits. Call me a heretic, but I think the version of "Goodbye Columbus" here absolutely blows away the hit version; while some of the studio perfection is inevitably lost, the sheer energy (And these guys are more than capable!) of the rendition and rearrangement let it become something *more* than the studio version. The same goes for the played-to-death "Cherish," which I enjoy here far more than I do the hit version.

Additionally, some of the re-arrangements are very indicative of a lot of thought and creativity. In particular, Terry Kirkman's flute becomes a primary instrument in many songs, and in some cases ("Along Comes Mary" and "Time it Is Today") this manages to completely transform the songs.

Downsides? Well, some of the selections chosen are a bit dubious (although I absolutely love the inclusion of "Goodbye Forever," one of the oft-overlooked gems from Self-titled/Stonehenge), and while some of the rearrangements work, I'm ambivalent regarding the decision to turn "Dubuque Blues" into a "shouter." And the crowd banter, while amusing the first few times through, is occasionally a bit awkward (one skit about "getting in touch with those around you" goes on for uncomfortably long).

This all used to be something of a foregone conclusion, though, as "Live" was previously only available as a prohibitively-expensive Japanese import. Thankfully, Collectors Choice has reissued the set domestically, and while these domestic CDs have come under fire for losing the bonus tracks on the Japanese issues, this had nothing to lose in the first place! A few listens have revealed nothing obvious missing from the import CD version.

Still, most listeners (and especially Association neophytes and/or those who aren't exactly sure if a live album by such a historically-unhip band is a great investment) will do well by first tracking down a cheap vinyl copy of the album, which tends to be fairly easy to do. I love "Live" for its rearrangements of some seriously-overplayed tracks and uncelebrated gems, but those looking for something more approximating the hits will do better to stick with the studio incarnations.

(Dave Goodwin, amazon.com)

I like to think that GOR strives to publish some important literary or philosophical works--pieces designed to better advance the understanding of mankind. And then there's fluff.

As of late, I've been downloading pieces of music which are over thirty years old. I suppose I should feel dated, but the recently released movie The Talented Mr. Ripley is based upon the fifty-plus year old mystery of the same name, and the Lord Of The Rings trilogy is nearly a tottering sixty-five years of age. So, snide remarks from a few of you aside, I don't feel quite as dated as I thought I might.

That leads me to The Association Live at the University of Utah circa 1970. I've tormented family and friends with this album for a couple of weeks now, and no one seems to understand its appeal. Jeef and Dagny put on pained smiles and attribute it to a lapse in the effectiveness of my medication. After all, I admit that I didn't see this concert live, I was overseas at the time. So why the fond memories?

The group hit its artistic peak in this era, with the arguable exception of one later released song which was never a top forty hit. Started by jazz and pop musician, Terry Kirkman and folk guitarist, Jules Alexander, the Association is currently the staple of oldies stations and soft rock stations everywhere--a sure guarantee for the prospect of fading into oblivion if anyone ever needed one. Those of you who might be willing to check in with your parents will hear them say things like, "Oh yeah, 'Cherish' and 'Along Comes Mary'," [from the album Along comes the...Association, 1966] or possibly, "Didn't they do 'Never My Love' and 'Windy'?" [Insight Out, 1967] Then, of course, your parents can move on to far more important issues like current online mortgage rates or "Survivor on The French Riviera" finalists.

So what is the purpose of reviewing a time capsule artifact which no one will ever hear? The answer lies somewhere between melody and musicianship. This album is a composite of vocal/symphonic moments which overcome the technical recording deficiencies of the day.

Wait a minute, how can an album without symphonic instruments [other than the occasional horn, flute, keyboard, or percussion embellishment] be considered symphonic?

God, I'm glad you asked. What is the difference between pop vocal and art music choral? Intention? Formal training? Arrangement? Ah, a touch of all three is the best answer. Seven strong voices--okay, six strong and one pretty damn adequate--can ring out and intricately blend caressing the ear with a symphonic presence which is totally unexpected to the casual listener.

Melody--let's push the obvious songs--"Cherish," "Never My Love," "Windy," off to the side for moment. Tenor, Jim Yester's haunting ballad, "Remember," still captures the imagination and the heart due to its gorgeous imagery and Yester's unparalleled vocal range. Baritone, Russ Giguere's "I'll Be Your Man" slowly builds into a full group vocal which punctuates his final plaintive statement with a strength which surpasses the meaning of the words showcasing the moment with an emotional impact which is pure melody.

The group symphonic voice reaches its epitome in "Requiem For The Masses," Terry Kirkman's anti-war anthem which still carries surprising impact in these aftermath days of Mr. Bush's conflict. "Black and white was the question that so bothered him...He never asked...He was taught not to ask...But was on his lips as they buried him." Never underestimate the power and flexibility of the human voice. This is where the layered symphonic effect rings out at its most orchestral.

There are some "classic sixties philosophical screw-up" moments in the piece, but one must forgive them in an album released in early 1970. Is it a nostalgia piece? Of course it is. After all, I'm not only human, but I am dreadfully dated as well. But might it put a smile on any music listener's face? I'm counting on it.

(by Chuck Davis, www.godsoframen.com)