Warren Zevon was on a comeback of sorts when he set out to record "Stand In The Fire." As is well known (and documented in the infamous Rolling Stone cover story), he had his addictions to battle, and this was the first tour after having conquered them. The line-change in "I'll Sleep When I'm Dead" to "I got a .38 special up on the shelf, and I don't intend to use it on myself" was part of that rejuvenation. Zevon was clean and proud and ready to rip.

"Stand In The Fire" is as pure a rock rip as Zevon ever made. Songs up to "Bad Luck Streak In Dancing School" are included here, with two new songs and a goofy Bo Diddly medley. Why in the world it remained out of print (and never even issued to CD) for over 25 years is downright criminal. Somewhere after this - and documented on "Learning To Flinch" - Zevon became more an acoustic live act. When I saw him on "The Envoy" tour, it was just him, his piano and guitar. On "Stand In The Fire," however, Zevon is almost giddy with rock and roll exuberance.

Adding to this five-star document of Zevon at his peak are the four bonus cuts. My guess is (along with time restrictions) that at least two were left off the original album due to their more mellow qualities. "Frank and Jessie James" and "Hasten Down The Wind" are solo piano performances, but "Hasten" is transcendental. The anguish in Zevon's voice is awe-inspiring. This was always a five-star album in my mind, the bonus tracks add to the luster.

But it is the original 10 song album that I had the excitement for when I heard Rhino was finally going to get them out stateside. Warren Zevon is as alive as he ever was on this LP, and when he shouts out to George Gruel to get on stage and dance, it's as inspiring a moment as has ever been recorded for a live album. (I'd add to that the final verse of "Werewolves of London," where Zevon bellows "and he's looking for James Taylor" like he's on the brink of sanity.) It is just another reason why I will miss Warren Zevon and his insight, literary wit and passion. Essential seventies music.

There were better rock 'n roll singer/songwriters than Warren Zevon. Or so I heard somebody say. I think they may have been wrong.

STAND IN THE FIRE captures the Warren-in-concert feel that his newer fans (such as myself) will, alas, never be able to experience for ourselves. This is an album of great rock 'n roll--from the satirical "Excitable Boy," to the deliciously perverse romp of "Poor Poor Pitiful Me," to rollickin' surprise of "Bo Diddley's a Gunslinger," to the exquisite piano/vocal performance of "Hasten Down the Wind." From the very first note the very last, this album (like most of Zevon's records) will captivate you. Older fans will delight in hearing this treasure on CD; newer fans such as myself with simply delight in hearing it at all.

Everyone has their favorite- the live album that seems to capture the artist at his or her best, setting free all the emotion and energy only a live performance can unleash. For me, it has always been STAND IN THE FIRE. The band is ragged, a bar band supplemented by David Landau, plays with energy and just tries to hang on as Zevon cuts loose. This is barely controlled chaos-with Zevon as a hyper kinetic ringmaster. Even when the music slows down, the intensity remains. There is always a feeling that anything can happen. Music from Zevon's first three Asylum releases is the focus here; with an outrageously ad libbed "Werewolves of London" leading the pack, each song is brought to a new life, as if performing it live has created a new song, with a new and different energy. "Excitable Boy" adds new layers of creepiness," "Lawyers, Guns and Money," adds a desperation that is palpable, and "Poor, Poor Pitiful Me" should have been a hit for Zevon as well as Ronstadt. Even the newly added material with Zevon's voice cracking as he speaks to "his friends" brings a wonderful sense of intimacy so often missing from live recordings. (and from the original release of this one!)I hope the release of this and THE ENVOY on CD allows fans another opportunity to discover one of rock's great songwriters and with SITF one of rock's most magnetic performers.

True to its title, an incendiary live record that held out the promise of the late Warren Zevon as a rival to his friend and collaborator Bruce Springsteen--if one can imagine a hard-drinking, bespectacled Boss with a somewhat sick sense of humor vying with an endearing sentimentalism.

Stand in the Fire is 180 proof Zevon, stoked by a relentless drums-bass-guitars-keyboards attack that mixes finesse and force. The man himself is in rare form, in total command of his material but always threatening to go off the edge and take the band and the crowd with him.

Zevon left us with several very strong studio albums, with the most consistent being his self-titled debut (1976) and Bad Luck Streak in Dancing School (1980). Excitable Boy (1978) has several classics including the disturbingly droll title song but is weighed down by an equal number of weaker efforts. Sentimental Hygiene (1987), one of the very few Zevon albums of the 1980s, is perhaps his most underrated work. The farewell album The Wind (2003) is indispensable and quite moving but also uneven. Revisiting Stand in the Fire in its remastered expanded version confirms my belief that this could be the definitive Warren testament.

Warren's unique career had its peaks and valleys--this is a peak that should be the envy of any and all rock and rollers.

This is Warren Zevon unleashed! He was truly a one-of-a-kind songwriter/performer who wrote wierdly literate lyrics with great music and fantastic musicians behind him. When he died we lost a great one but he left behind this uproarious live album to savor...his versions of WEREWOLVES OF LONDON, LAWYERS GUNS AND MONEY, POOR POOR PITIFUL ME, I'LL SLEEP WHEN I'M DEAD and BO DIDDLEY'S A GUNSLINGER are over the top and devastating. I'm glad this is finally out and gladly paid almost $30 to own it. But it is a shame that his record label hasn't released this in the USA for a reasonable price. Maybe they will soon but I couldn't wait. This live music, which is over 25 years old, makes today's so-called performers pale in comparison. The album sleeve says "The dog ate the part we didn't like." Well, I'd take what the dog ate over much that is being released these days as "music." Let's hope there's more in a mouldering vault somewhere.