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Billy Connolly|The Big Yin: Billy Connolly In Concert (Live)

The Big Yin: Billy Connolly In Concert (Live)

Billy Connolly

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Idioma disponible: inglés

The Big Yin compiles ten live comedic song routines from Billy Connolly's early humor-based folk artist period. The title, of course, refers to Connolly's nickname, which translates as "Big One." Most of the numbers seem culled from dinner theaters, as audience members can be heard clinking knives and forks as they explode with laughter at the Scottish comedian's absurdist observational stories. U.K. fans, Scots in particular, will get the most enjoyment from the album, as Connolly's accent is thicker here than usual and the lisps and impediments he affects throughout the pieces make it even harder going for non-Scots. Further, much of the humor is based on the customs and lifestyles of the folks for whom he's performing, meaning many of the local in-jokes go over the heads of non-regional listeners. Connolly's timing and general demeanor, though, come across as hilarious as ever, even if his banjo playing and overall musicality are hardly praiseworthy. Really, only Scots and die-hard Connolly fans should seek out this compilation, as the humor is too place-specific and Connolly's material isn't as honed as it would become in later years.

© Tim DiGravina /TiVo

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The Big Yin: Billy Connolly In Concert (Live)

Billy Connolly

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1
Glasgow Accents / Nine and a Half Guitars (Live)
00:09:17

Gordon Mills, Composer - Billy Connolly, Composer, Performance, MainArtist

© 2007 Sanctuary Records Group Ltd., a BMG Company ℗ 1974 Sanctuary Records Group Ltd., a BMG Company

2
The Jobbie Weecha !!!! / Please Help Me, I'm Falling (Live) Explicit
00:16:05

Donald Robertson, Composer - Billy Connolly, Composer, Performance, MainArtist - Hal Blair, Composer

© 2007 Sanctuary Records Group Ltd., a BMG Company ℗ 1974 Sanctuary Records Group Ltd., a BMG Company

3
Glasgow Central (Live)
00:01:59

Billy Connolly, Performance, MainArtist

© 2007 Sanctuary Records Group Ltd., a BMG Company ℗ 1972 Sanctuary Records Group Ltd., a BMG Company

4
Marie's Wedding (Musical Appreciation): The Music Teacher / Campbell's Farewell to Redcastle / Soldier's Joy / Marie's Wedding (Live)
00:09:23

Billy Connolly, Performance, MainArtist

© 2007 Sanctuary Records Group Ltd., a BMG Company ℗ 1974 Sanctuary Records Group Ltd., a BMG Company

5
Oh, Dear (Live)
00:03:41

Billy Connolly, Composer, Performance, MainArtist

© 2007 Sanctuary Records Group Ltd., a BMG Company ℗ 1972 Sanctuary Records Group Ltd., a BMG Company

6
The Crucifixion (Live)
00:15:20

Billy Connolly, Composer, Performance, MainArtist

© 2007 Sanctuary Records Group Ltd., a BMG Company ℗ 1974 Sanctuary Records Group Ltd., a BMG Company

7
Why Don't They Come Back to Dunoon (Live)
00:04:26

Billy Connolly, Performance, MainArtist

© 2007 Sanctuary Records Group Ltd., a BMG Company ℗ 1969 Sanctuary Records Group Ltd., a BMG Company

8
Nobody's Child (Live)
00:05:52

Billy Connolly, Composer, Performance, MainArtist

© 2007 Sanctuary Records Group Ltd., a BMG Company ℗ 1974 Sanctuary Records Group Ltd., a BMG Company

9
Harry Campbell and the Heavies / The World Is Waiting for Sunshine (Live)
00:07:11

Eugene Lockhart, Composer - Billy Connolly, Performance, MainArtist - Ernest Seitz, Composer

© 2007 Sanctuary Records Group Ltd., a BMG Company ℗ 1974 Sanctuary Records Group Ltd., a BMG Company

10
Saltcoats At the Fair (Live)
00:03:21

Billy Connolly, Performance, MainArtist

© 2007 Sanctuary Records Group Ltd., a BMG Company ℗ 1969 Sanctuary Records Group Ltd., a BMG Company

Presentación del Álbum

The Big Yin compiles ten live comedic song routines from Billy Connolly's early humor-based folk artist period. The title, of course, refers to Connolly's nickname, which translates as "Big One." Most of the numbers seem culled from dinner theaters, as audience members can be heard clinking knives and forks as they explode with laughter at the Scottish comedian's absurdist observational stories. U.K. fans, Scots in particular, will get the most enjoyment from the album, as Connolly's accent is thicker here than usual and the lisps and impediments he affects throughout the pieces make it even harder going for non-Scots. Further, much of the humor is based on the customs and lifestyles of the folks for whom he's performing, meaning many of the local in-jokes go over the heads of non-regional listeners. Connolly's timing and general demeanor, though, come across as hilarious as ever, even if his banjo playing and overall musicality are hardly praiseworthy. Really, only Scots and die-hard Connolly fans should seek out this compilation, as the humor is too place-specific and Connolly's material isn't as honed as it would become in later years.

© Tim DiGravina /TiVo

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