Reception
| Professional ratings | |
|---|---|
| Review scores | |
| Source | Rating |
| Allmusic | |
| bbc.co.uk | (not rated) |
| Robert Christgau | (A) |
| Scott Floman | A− |
| Rolling Stone | |
Biographer John Collis calls this album, "one of the most impressive of all attempts to squeeze the stage excitement of a rock performer on to vinyl." Jason Ankenny with Allmusic ended his review by concluding that it was "An engaging, warm portrait of the man at the peak of his powers".
Chris Jones of the BBC wrote: "In a live setting all the hyperbole about Morrison's blend of genres into one Celtic, mystic vision makes perfect sense. This is soul music in a very real sense." Robert Christgau gave the album an A rating and noted that "Morrison documents his debt to blues and r&b definitively--you can hear Bobby Bland all over the record, and cover tributes are paid as well to Ray Charles, John Lee Hooker, Sonny Boy Williamson, Muddy Waters, and Sam Cooke."
Ken Emerson with Rolling Stone remarked: "On It's Too Late Morrison's voice is in fine form, but much else is not...The other musicians, most of whom have played with Morrison many times before, never detract, but Morrison could be better served....But the power of Morrison's vocals overcomes these drawbacks." Scott Floman gave it an A- rating, while calling it "one of the great live albums".
Hal Horowitz with American Songwriter on reviewing the 2008 remasters of some of Morrison's albums, rated this album with five stars and commented: "The classic is 1974’s double live It’s Too Late…, rightfully on anyone’s shortlist of finest concert albums. Van typically blows hot and cold on stage, but when he ignites on the oldies and choice blues covers here, few can touch him for pure blue-eyed soul passion."
Read more about this topic: It's Too Late To Stop Now
Famous quotes containing the word reception:
“Aesthetic emotion puts man in a state favorable to the reception of erotic emotion.... Art is the accomplice of love. Take love away and there is no longer art.”
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“Satire is a sort of glass, wherein beholders do generally discover everybody’s face but their own; which is the chief reason for that kind of reception it meets in the world, and that so very few are offended with it.”
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“I gave a speech in Omaha. After the speech I went to a reception elsewhere in town. A sweet old lady came up to me, put her gloved hand in mine, and said, “I hear you spoke here tonight.” “Oh, it was nothing,” I replied modestly. “Yes,” the little old lady nodded, “that’s what I heard.””
—Gerald R. Ford (b. 1913)