Given that Radiohead are one of the most zealously bootlegged bands in the world-nearly every public utterance is out there somewhere-the emergence of I Might Be Wrong, the band's first ever official live album, would seem a tardy and superfluous gesture. Conversely, Radiohead have never gone out of their way to actively discourage the black market trading of their live wares. Which makes you wonder just what is the intention of this live album? Could it be for hardcore fans who wish to remain on the right side of the law? Or could it be symbolic; the drawing of a double-ledger line under the sporadically interesting but frustratingly contrary anti-guitar rock intransigence of the Kid A/Amnesiac era and the opening-up of whole new chapter? Or perhaps it's because they just wanted to put out a live album? We must wait and see. And so, in all probability, must they. Nevertheless, I Might Be Wrong-featuring eight songs culled from live shows in Berlin, Oslo, the Roman amphitheatre at Vaison le Romaine (how very Pink Floyd of them) and their triumphant homecoming gig at Oxford's South Park-is pretty much beyond reproach, even if the renditions here-"National Anthem" (Charlie Mingus inspired with a raspy Motorhead bass line) "I Might Be Wrong" (Led Zeppelin meets Blondie's "Rapture") deviate little from the script of the original studio versions. The notable exception is an enchanting recital of "Like Spinning Plates", wherein the backwards electronica of the Amnesiac original is superseded by a romantic, ornate piano accompaniment for a classic Radiohead moment. Long-term devotees will also notice the first ever appearance on record of "True Love Waits" (Yorke with solo acoustic guitar), a song which Radiohead have grappled with for years and which finally finds a handle-and a home-right here. -Kevin Maidment.

It's doubtful whether Queen would have been able to sell out Wembley stadium prior to their Live Aid performance. A year later though, it made perfect sense to return to the scene of that famous victory, if only to finish the job off. Inevitably, many of the greatest moments of this double CD will already be familiar: the Nuremberg-style clapping on "Radio Ga Ga", the bowel shaking "We Will Rock You" and the silly-yet-moving "We Are the Champions". Over two hours though, you can really be audacious. And Freddie Mercury, a man not known for his restraint, clearly understood his role. "Hey Big Spender", in particular, is a gas-as is "I Want To Break Free", assisted by 72,000 eager backing vocalists. Best of all, though, is the finale. With every song a drama in itself, it takes something a bit special to conclude a Queen show. Hence a quite Freddie-tastic "God Save the Queen". Truly, we may never see their like again. [+]

The Very Special Christmas series has become almost as much of a Christmas tradition as decking the halls and trimming the tree. Although lacking the charm and breadth of previous in-studio discs, Special Christmas Live partially makes up the deficit with interesting pairings. There's Mary J Blige and Sheryl Crow "Rockin' Around the Christmas Tree," Eric Clapton and Crow doing "Merry Christmas Baby," Clapton and John Popper trading licks in "Christmas Blues," and old Slowhand and Tracy Chapman reprising Chapman's delicious "Give Me One Reason," a tune that has absolutely nothing to do with Christmas. Obviously Clapton-heavy (there's even a solo slot with the blues ballad "Christmas Tears"), the set also includes Jon Bon Jovi getting on his knees to plead "Please Come Home for Christmas" and "Christmas (Baby, Please Come Home"), Vanessa Williams singing "What Child Is This," and Chapman doing a soulful acoustic take of "O Holy Night. " The all-star line-up closes en masse with "Santa Claus Is Coming to Town. " -Martin Keller.

Wonderful Electric is a two disc set featuring the band live at Somerset House and Shepherd's Bush Empire in London. Also included are two documentaries, "Twisted Summer" and "Trip to Felt Mountain".

"I've been thinking lately 'bout the people I meet," sings Prine at the beginning of "Fish and Whistle. " Yes, we all think about those people, but only Prine can relay their (or his own) heartbreaking stories in such a heartwarming fashion. The bulk of this cozy record was recorded at an intimate solo-acoustic show at the Coach House in San Juan Capistrano, California, and is augmented by a pair of full-band cuts recorded at Nashville's Cannery plus one duet each with Bonnie Raitt and Steve Goodman. Even longtime Prine collectors will relish these pared-down tender readings for the snug setting calls even more attention to Prine's uncanny eye for detail, his acute empathy for human suffering, and ultimately, his ability to find humor where most only find misery. And try not to crack an "Illegal Smile" when the whole crowd sings along with him. -Marc Greilsamer.