Leaving politics alone and getting back to music, I started to listen
to this album again - for the umpteenth time - and have decided it is
one of the best Hammill has done and is one of my favorites.

Not to be outdone by Raja and his descriptive lists, I have to say
this collection of live songs is some of the most emotional material
that I've heard by Hammill. Let it suffice to say, I have about 90%%
of his works.

Blemishes, zits and faux pas all, like off note and other issues on
"Our Oyster", his voice holds the stage and the crowd with ease. He
seems to be in his prime here, shifting between the soft and the
overbearing range of volume he tends to produce. This is a mature
Hammill, in his home habitat.

Accompanied by Nic Potter on bass and Graham Smith on violin, this is
an oft powerful pseudo-acoustic setting that at times drills right
through you with Smith's slashes and Potter's growling / thumping bass
lines. Hammill alternates between keyboards and guitar, as per his
usual solo performances.

Some have mentioned the cheesy sounds he plays on the keyboards, but
this was 1990 and the dawn of digital synths were upon us. Why carry
a full Steinway when you can have a shoulder bag keyboard? That may
have taken away some of the dynamics and maybe he was also somewhat
new to the devices. Smith lets out snarls, squiggles, humor and
sometimes intensely provocative, haunting lines on violin. He is not
just a backup player, but melds into the mix nicely. Potter, although
absent on some songs, is restrained - but to the point, like a needed
condiment to the dinner Hammill serves up.

This album captures many of the better known songs live, such as
"Traintime", "Modern", "If I Could". Ysabel's Dance is truly
haunting. He also tosses in some of his newer material, such as
"Skin", After The Show", "A Way Out" and one of my favorites "Happy
Hour" that truly dumps a kegger on the heads of those who partake.

I know I have mentioned my fondness for Hammill's lyrics. Some
posters here and in other newsgroups poo-hoo this and state it's just
pretentious slush. Oh well... An old friend / prog-rock (successful)
musician told me once that he thought Hammill was the "Shakespeare" of
rock. Another poo-hoo probably at this comment as well. I most
certainly do not know many other writers of his talent. I'm not
talking pop songs that make a million $, but rather songs that have a
feel, make a statement and are more than a record contract to fulfill.

If those who haven't heard Room Temperature Live, if may be a way into
the Hammill / Van Der Graaf area. If you're looking for rocking, kick
ass arena rock, you won't find it here. If you're looking for techno
babble, symphonic rock or legendary blues harp, you're in the wrong
room. Leave your disco shoes at home.

If, however, you may be looking for something to make you think
outside the box, listen to this for a change in your musical diet. The
lyrics are as important as the musical theme...