Alive in New York City＜限定盤/Clear Vinyl＞

2000年の4月にニューヨークで数回公演を行ったがレコーディングが行われた正確な日時はわかっていなかった。今作は20年後に見つけた'DAT'からマスタリングされたもので、彼の素晴らしい演奏が編集されることなく、手を加えられることなくまるごと収録されている。これらの思い出は彼がニューヨークで受けたストリート・インタビューからの短い抜粋で締めくくられている。

Daniel Johnstons ability to craft songs that were somehow simultaneously simplistic and profound made him the ultimate outsider artist, and his almost unbelievable vulnerability was never more fully on display than in his live performances. Usually with just a barely tuned acoustic guitar and a voice that was shaky but unafraid, Johnston sang with naivete, wonder, depth, and awe, in basic patterns that tried to mimic Beatles-styled pop but landed somewhere far stranger. Alive in New York City is an exemplary document of the quiet power in Johnstons live performances, recorded to cassette by producer Kramer at an unremembered venue sometime in April 2000 and quickly forgotten about until it was unearthed years later. Johnston zips through quick songs of his own about an eternal search for love and acceptance, with moments like "Silly Love" and previously unreleased song "Memory of Love" laying bare beautifully raw feelings of yearning and regret. A few reworked Beatles-adjacent tunes show up in the set list ("Live and Let Die" is fun and "Youve Got to Hide Your Love Away" is crushingly sweet), and renditions of fan favorites "Casper the Friendly Ghost" and "Funeral Home" are played as well. Kramers telltale reverb and delay sneak into the recording at times, but for the most part, Alive in New York City sounds like a small room of devoted fans watching a fringe artist bare his weird and loving heart song after song. In addition to the live material from the April 2000 date, the album also includes a snippet from an interview with Johnston around the same time and closes with "The Telephone Demos," an 18-minute track of extremely lo-fi songs, skits, and other sounds he recorded around the time of his 1990 album. Anyone whos already a Daniel Johnston fan will delight in the spirit that courses through both the live songs and the noisy home recordings. Like all of his creations, theyre likely too rough for most mainstream tastes, but they hold untold beauty for those who can see the gold beneath the patina. ~ Fred Thomas