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4.5 out of 5 stars
4.5 out of 5 stars
We Live Here
Format: Audio CD|Change
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on 8 October 2017
A fantastic album, the verge of jazz and an electronic edge from the synth guitar.
I cannot fault any track from this Pat Metheny Group.
This is the pure work of a genius.
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on 15 December 2000
We Live Here is the Metheny album that started it all off for me. It's full of great tunes with mellow grooves, but any accusations of 'smooth jazz' just don't wash. Smooth jazz afficianados should take a listen to this and check out what jazz guitar is really all about -- Metheny is no three-lick player... It's probably the group's most 'produced' album, making clever use of plenty of samples and borrowed loops from early 1990s hip-hop. Check out the thunder storm in the middle of "To the end of the world" -- recorded as the band were driving along on tour someplace! Produced it might be, but not over-produced -- the music is rich and complex, yet every line and bit of percussion can be picked out clearly from the rest, and there is still emotion in with the groove. The rest of the band are in fine form, with Lyle Mays doing his usual superb work on synclavier and piano, and Metheny gives his guitar synthesizer a good outing too. If you enjoyed Still Life (Talking) or Letter From Home odds are you'll like this too; if your only experience of Metheny is Song X or Zero Tolerance for Silence then suffice it to say Metheny can play good jazz in more than one style...
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on 9 April 2007
There is a tendency amongst 'serious' fusion fans to disregard this and some of the other breezier Metheny Group offerings as somehow less than worthy of a place in the pantheon of Metheny greats. They are missing the point. As a former pro musician I know you have got to have the range to bring as many people to your back catalogue as possible - not everyone is going to immediately take to 'Offramp' or 'Song X' and hell why shouldn't the guys have some fun and God forbid make some 'happy' music! That is not to agree with the 'serious' critics but just because some of the tracks on this album are not in kooky time signatures like 'First Circle' or make you weep with melancholy like some of the cuts on 'New Chautauqua' does not mean they are not great pieces of writing. Pat and Lyle's harmonic and time sig intricacies are all too evident on 'Episode d'Azur' and the title track has all the loose free jazz structure overlaid with billowing anthemic melodies that serious Metheny Group fans could want. The standout track for me is the incredible 'To the End of the World' whose beautiful melody is developed through constantly escalating harmonic changes until the sublime guitar synth intro which still takes my breath away every time I listen. The whole piece continues to build to an almost orgasmic frenzy until collapsing like a spent lover to a quiet afterglow. This track as you can tell is one that I would happily have played at my funeral as an example of the great joys of life that can be experienced on this earth. Get this album and along with the excellent 'Shadows & Light' double live Joni Mitchell album from 78 you will have heard some of the finest Pat Metheny can give you.
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on 20 June 2002
Possibly Pat Metheny's most approachable & certainly his most commercial album, We Live Lere none the less manages to appeal to jazz afficionados as well as "middle of the road" or "smooth" music lover alike.
From the George Benson like Here To Stay to the driving Stranger In Town (Steve Rodby has seldom sounded better on electric bass!) the whole album manages to skirt past elevator music while dipping in & out of jazz funk with consumate ease.
Lyle Mayes gets to solo a bit more than in the past (good), but as usual there is one poor track! (one day this group will release an album FULL of good stuff!).
A worthy addition to any Pat Metheny fan's collection.
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on 9 February 2008
The current remastering of the Geffen Metheny albums are superb. The recordings were very good to start with but the 24 bit remasters really do their stuff. The bass is much much deeper than the previous master and you can hear much more detail and timbre of the instruments. The upper end, especially Pat's guitar sounds a lot smoother and there's more space around the instruments. The dynamic range is much improved. Complex bass line on the last track can now be followed easily which my current hi fi set up had problem doing until now. This is well worth buying because it shows what Metheny must have been hearing in the studio. Rediscover this music all over again with these amazing remasters. Also check out "The Road To You" "Song X" "Quartet" & "Still Life Talking" all have fresh life born into them.
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on 4 January 2011
This is one of my favourite works recorded by the Pat Metheny Group. Metheny, Mays and Steve Rodby on bass are a perfect ensemble. Compositions 'Here to stay' and 'To the end of the world" are as good as anything Metheny has written. Brilliant.
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on 22 February 2014
Ok. I'm ready for you to call me a too formal and uncompromising guy, but this is to me one of the few dispensable Pat Metheny records (I own, and mostly love, about 40 of his albums, from Bright Size Life to Kin).
I understand different points of view, though. For example his right to relax and simply have a good time making a non emotionally demanding, dramatic, moving or cerebral music (by the way other guitar greats have done so, v.g. John Scofield or Bill Frisell). I also consider, as another reviewer suggested, that this album could be a wise move in order to attract new followers to his body of work as a whole. So, no problem, I will not condemn Pat to the eternal fire for this. Musicians are human beings, and have their right to change, play, try a new register, embody a transitory different character, relax, have fun, experiment, even if that leaves some fans baffled or disappointed.
But that doesn't change the fact that this album is what it is. In my humble opinion, a masterfully well executed piece of good-time, entertaining music, which probably could've been written and played by someone else. I'm not interested in lounge, smooth jazz and so on. To me this album lacks the most notable and unique Pat Metheny impressions as an artist (which have to do with virtuosity accompanied by emotion, depth, a feel of trascendece and spiritual quest) and in that sense, is a disappointing one. Could I give this album 5 stars as if it was Offramp, Secret Story, The Way Up and many more ? Definitely not. Just enjoyable.
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TOP 500 REVIEWERon 5 October 2015
This is a wonderfully enjoyable album. It has all the usual characteristics of a PMG outing: accomplished performance, tasty arrangements and a crystal clear production job that makes the music very 'present' and immediate. On this album Pat is aiming at and fully achieving an ear friendly sound, bordering sometimes on smooth jazz but retaining just enough drive and musical inventiveness to avoid the dreaded elevator music syndrome. The rhythms may be slightly more trip-hop flavour to them in some cases, but this just freshens up the PMG brand for the better. Fans will enjoy the melodies, the odd touches of Braziliana and the soaring vocal lines. They will also be in awe of some great guitar playing. To hear Pat on 'Strangers in Town' is to hear a player who effortlessly takes the guitar to new places without ever seeming to draw breath or run out of ideas.

Highly recommended.
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on 6 October 2011
Great album. The last four tracks are sensational, and Episode d'Azur is among the best things PMG has done (along with about 500 other tracks!!)
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on 2 February 2016
This one is a real slow grower.At first you'll think its too lightweight; too George Benson wine -bar territory. But after you've lived with it for a few plays the tunes start to sink in, and its a good un. Parhaps the only fault is its a bit samey throughout.
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