Recorded over the course of two years of shows, Ben Harper's live double disc set Live From Mars is the type of live performance document that every artist should strive for.

I first became aware of Harper in 1998, when I saw him open up for Pearl Jam. I was impressed by his performances, though I wouldn't see him again until 2001, when he played a terrific show here in my hometown. Despite meaning to do otherwise, at that point, I still hadn't bought a single album from the man. Even now, after another 3 years, the only thing I own is this live set. I'll chalk it up to only so much money for only so much music, ya know?

While some people abhor the live album, I've always thought them to be much more alive when done right than anything recorded in the studio (of course, I also love bands who were just better live bands period, PJ and the Black Crowes among them). While I have listened to a couple of Ben Harper's studio albums, I find him to be much more engaging as a live act.

The first disc of this set finds Harper tackling his harder rocking and poppier numbers, mostly with his trusty slide guitar that sits across his lap for many of these songs. The set opens with the rollicking and joyous Glory & Consequence, a song colored by Harper's deft guitar playing and his unwavering voice. It is his voice, after all, that draws you into this man. Sure, he's an accomplished guitar player, but it is the pure emotion he pours into his songs that make him enthralling to listen to.

This is true whether he's tackling a cover that can be daunting to pull off with any kind of respect (i.e. his take on Marvin Gaye's Sexual Healing), or a hard rocking original that asks nothing more of him than to make sure he sings it in a way as to fit the song's structure (as on Ground on Down).

The disc begins to hit an energetic zenith when Harper begins his only top 40 hit to date, Steal My Kisses. He then moves into the Bob Marley tinged Burn One Down, which has become a definitive crowd favorite at Harper's shows, thanks to its pro marijuana stance ("if you don't like my fire then don't come around, cause I'm gonna burn one down").

Harper continues his playful mood with Mama's Got a Girlfriend, before moving into Welcome to the Cruel World, which earns it's almost six minute length by finding Harper sounding more soulful than most neo-soul singers out there today.

Disc one closes out with an electrifying Faded/Whole Lotta Love combo that, even despite the disc's previous great jamming moments, proves that Harper and his backing band, The Innocent Criminals, can jam with the best of them. At almost 11 minutes, it won't be overkill with jamheads while also giving a hearty taste of inventiveness to more straight ahead rock fans.

Throughout disc one, The Innocent Criminals lay down thick grooves and solid jams. Don't discount how much this band brings to Harper's performance here, as it would be a huge mistake. The rhythm section of bassist Juan Nelson and drummer Dean Butterworth are especially tight, especially when called upon to do a bit more than just play behind Harper.

Disc two finds Harper alone on his acoustic guitar, with minimum accompaniment from his backing band. Without his band, the jams become non-existant. Instead, Harper works through 13 other songs with nothing more than an acoustic guitar and his voice.

Not Fire, Not Ice, one of Ben's finest works is given a powerhouse performance that is positively unbelievable. His voice sounds fragile as ever on this song, and as he sings you actually feel that he feels every single word he sings with an emotion that rivals mid-80s Bono.

Ben's cover of The Verve's The Drugs Don't Work is equally charming, as he starts out slow but builds up a little bit of momentum that is welcome given the admittedly slow pace of the second disc. That's not to say that tracks like Waiting on an Angel and Pleasure and Pain don't work; they do, it's just that I wish they had tried harder to streamline the two discs somehow.

The closing combo of Like A King and I'll Rise (the latter based on a Maya Angelou poem) is as good as it gets here, with Ben sounding fiery and determined, a nice change from the somewhat draining emotional effect his singing can have on you over the course of this second disc.

And for the most part, the second disc is as riveting as it is because you feel like you're listening to an amazing songwriter in his prime armed with nothing but a guitar and a voice, a haunting, soulful voice.

There's something romantic about that, just a guy with his guitar, on stage singing songs about things that matter. In an era where it seems so few artists are willing to do that, we should be embracing Ben Harper rather than turning our backs on him.

4.5 stars.


Recommended: Yes