One of the hardest things for a concert album to do is capture the experience of actually being there. Sure, you can have the crowd noise, and the inevitable "Thank you, thank you!" from the band, but actually capturing the *energy* of the performance is what a live album should strive for, and this album, like "Frampton Comes Alive", does a surprisingly good job of capturing not just the sound, but the energy of the crowd. When Underworld begins to play "Cowgirl" and the crowd roars its approval, you can feel their excitement, and when the album is finally over, you want to stand up and beg for an encore.

Indeed, fearless and brilliant. And Underworld build to crescendo better than just about anyone I've ever seen. In an auditorium, they make thousands synch together like a single, unified organism. And on disc...wow, it still works.

They bring along all their ingredients, hard-coded to sequencers and samplers and tape, and then, like a "traditional" rock band, they gauge the mood of a crowd and bend the mix to maximum effect. Listen to the way they turn "Juanita/Kiteless" inside out, all the pieces true to the original version, but assembled in a new way to create amazing new shapes. Get inside the audience-fueled peaks of "Push Upstairs" or "King of Snake" or "Born Slippy NUXX," and feel the small hairs on the back of your neck rise up. And finally, this version of "Rez/Cowgirl" leaves me winded, wired, and slack-jawed with admiration. It makes me want to jump up and down and shout and break things. It is a definitive moment in electronic music. Incredible.

For me, the best parts of "Everything, Everything" make me feel like I'm in the middle of the concert all over again. Like I'm seeing and hearing history being made before my eyes, and this is something only the best live albums of the best bands can accomplish. Buy it now, and then wonder how you ever survived without it.

Yeah, it's that good.

To begin: I have never seen Underworld live. I want to so bad, but the last time they came to Cleveland (if ever...), I had no idea who they were. I am a huge fan, and so this is the closest I'll get (until the DVD comes out in October).

I am in awe. As soon as I got home today, I ran to throw E,E into my CD player. It is probably the best live album I've ever heard. It's very nice how the Undies chop up their songs and turn them into something different. The first three tracks are cut from the same performance, and they don't stop in between. Juanita/Kiteless to Cups is so amazing, and then to Push Upstairs....makes you wanna melt.

After that is a pretty nice version of Pearl's Girl, followed by a pretty good version of Jumbo. The version of Shudder/King of Snake is the only weak link on this disc, as it doesn't sound ALL that different, however it's still very good. After that comes Born Slippy (Nuxx), which totally defied all my expectations. Then the album closes with a wonderful version of Rez/Cowgirl. I can't say enough how great it is.

All in all, if you like Underworld, you must own this disc. It is simply amazing, and it serves as a perfect prerequisite for the DVD.

I have been vexing over this review for a while.

A live album needs...hmm, context I guess. So it looks like its going to be a long review.

Underworld were one of the bands of the nineties. Three studio albums - a stunning opener (Dubnobasswithmyheadman), a view from the top (Second Toughest In The Infants), and a closing chapter (Beaucoup Fish).

As if to confirm my description of the third album, Darren Emerson has left the band to develop his DJing career (develop is hardly appropriate - Emerson is one of the worlds leading DJs).

Underworld's work in the studio was only a sideline, for they were the greatest live band on the planet. A bold claim - but many thousands of fans know it as fact.

All gigs start with a room mixed with the followers and the curious. An Underworld gig always ended with a room full of crazed disciples, an orgy of sound and motion.

The songs are mixed up and turned inside out, so that the intro to one turns subtly into another. Playlists are irrelevant, and everything is mixed live so that the band can respond to the audience as they in turn respond to the band.

Karl Hyde's aura extends into the first 20 rows and his body moves like he is possessed... but always with an enormous smile on his face, matched only by the cheesy grins on Rick and Darren. Underworld LOVE to play live!

I saw Underworld three times - the allnighters at Kentish Town and Brixton, and Paris last year. Sadly the English language lacks the words to describe them properly, but I have no doubt that the mere mention of Kentish Town has resulted in a massive smile on the face of anyone who was there!

So, where does that leave us?

Everything Everything is an attempt at capturing the experience of Underworld live. I say 'attempt' because no live album can ever truly reflect the reality.

The track selection is good as far as it goes, but Underworld gigs are long and this should have been a double album - there are simply too many great songs to hold it to one disc.

But that is my only gripe. The sound quality is excellent and it brings the memories flooding back. The crowd are clearly going beserk and it makes me want to wind back the clock and be there again.

The highlights for me are Pearls Girl, Shudder/King of Snake and Rez/Cowgirl (I was never a great fan of Born Slippy).

If you have never seen Underworld live, this is probably as good a recording as could have been made, and will give some insight into what it was all about. If you have seen them, you might well find a lump in your throat and a desire to wave your arms around.

3 stars for the length... 5 stars for the music... and a million twinkling points of light for the memories

I recieved an advance copy of this, and I'm listening to it right now as I write this...I'm shaking. This record is simply astounding, and could well become the "Frampton Comes Alive" for our generation. If you're expecting note-by note retreads of Underworld standards, don't buy this. Each song is slowly and beautifully given new life; improvised, from the haunting "Juanita/Kiteless" to the renewed vocals of a battery-charged "Push Upstairs" to the glorious "Born Slippy NUXX." While drum 'n bass is always referred to as the "new jazz," Underworld prove that they can jazz up their techno-house as well as anyone. "Everything, Everything" is like one long extended electronic jam session. This is simply the best live dance album...ever.