Billy Connolly — Live!

Originally released in 1972, Connolly’s first solo album after the breakup of the Humblebums is an interesting mix of his earlier career and the stand-up comedy that would become his stock and trade. This blending of folk music and Connolly’s ability to make people laugh makes the album feel like the end of one era in his career and the beginning of another.

Opener "Stainless Steel Wellies (Govan Dunnie Blues)" is a-rockin' blues standard that brings to the fore Connolly’s unique brand of comedy. "Song for A Small Man" is up next, sounding more like the Humblebums in style, the track features some nice guitar work from Billy and Roger Brown who both work really well together. This is one of the more serious tracks on the album, that shows a different side to Billy than the comedian we have come to love over the years since the album’s release. "The Donkey" is a fun singalong track that encourages the crowd to join in, whilst "Telling Lies" is another pleasant folky number with a big hooky chorus, that could be any of the myriad of folk-rock bands of the time if it weren’t for Connolly’s distinctive voice. Glasgow Central represents a turn back towards the comedic side of Connolly.

We reach the album’s midway point with "Good Love", a decent folk-rock tune but not one of the album’s stronger numbers. This is followed by "A Little of Your Time" which remains one of my favorites on the album. It’s a typical folk-rock ballad with some sweet melodies and some even sweeter performances from the band. After some spoken word/stand-up comedy. "Near You" is a fresh sounding, a gentle folk ballad that wouldn’t sound out of place on many of the albums of the time. Instrumental "Winchburg Junction" is an enjoyable slice of bluegrass that allows Billy to show off his talents with the banjo. "Oh, Dear" is Billy’s hilarious ode to outside lavatories, which may sound very familiar to most over a certain age. Final track "McGinty" is about a man he used to know, who kept greyhounds and suffered from a drinking problem.

Overall, the album makes for a very pleasant listen, mixing more serious material with stand-up and satirical songs. Musically the album is a pretty solid, old school, folk-rock record, albeit it also signifies Connolly’s transition from musical performer to stand-up comedian. Whilst there is nothing revolutionary to his work here, it makes for an interesting time capsule.