Posts tagged Live

(Review from amazon, allmusic)

This is the live performance at the Hartwall Arena in Helsinki on October 21, 2005, the final concert of a long worldwide tour for their album “Once”.

With high energy all around, the intensity level stays up throughout the entire show, everyone in the arena seems to be fully engaged in the event, the band’s performance is great, the audio is the best yet, and the video work is generally solid too. Realistically, its just about as much as one could hope for as far as capping things off in a positive and energetic way.

There are 18 songs with a concert length of 103 minutes. Despite reputedly having the flu that day, both Marco Hietala and Tarja Turunen sound fantastic – at the top of their form. Hietala adds a lot of onstage chemistry compared to Sami Vanska, as expected.

The biggest strength of “End of an Era” is its ability to re-create the concert experience; the band is at the forefront, but the cheering, clapping, and chanting of the crowd are included as an integral element of the music, not a separate entity. There’s nothing more authentic on a live recording than capturing the requisite concertgoer whose duty it is to break the mood by shouting at inappropriate times.

The opening number, “Dark Chest of Wonders” brings it all together — the song itself, dark, theatrical and operatic, with Turunen’s rich voice floating over power chords, a charging rhythm section, an orchestral backing track, and the enthusiastic crowd at her feet. The vibe continues on “Planet Hell”, the first of several songs to showcase a Turunen/Hietala duet and solos by keyboardist Tuomas Holopainen and guitarist Emppu Vuorinen.

Powerful performances and dark, romantic themes continue to dominate throughout the album. Each song plays to the band’s strength and uses the crowd’s energy and enthusiasm to drive forward and craft memorable moments. A notable cover of Pink Floyd’s High Hopes features Marco Hietala’s vocals as Tarja Turunen takes a break.

As in the beginning of the concert, the final songs are rousing, passionate, and dramatic. “Creek Mary’s Blood”, a lament inspired by Dee Brown’s novel of the same name, benefits from the talent of Native American musician John Two Hawks, who also appeared on the studio version of the song. After an extended flute solo named “Stone People”, Two Hawks sings and plays in a striking duet with Turunen, whose operatic tremolo stands in contrast to her partner’s straighter tone.

The sound takes an abrupt turn immediately afterward as Nightwish launch into a rollicking cover of Gary Moore’s “Over the Hills and Far Away” transformed into a power metal epic as Holopainen and Vuorinen trade riffs between verses and choruses. The album comes to a close with the sprawling, gothic “Wish I Had an Angel”, a looser and more straightforward rock song that sees Turunen and Hietala alternating their vocal duties for what would be the last time.

The aptly titled “End of an Era” is the final Nightwish production to feature Tarja Turunen on vocals. She and the rest of the band parted mere hours after this concert.

Line-up:
- Tuomas Holopainen / Keyboards and Piano
- Tarja Turunen / Vocals
- Marco Hietala / Bass guitar, male vocals
- Erno “Emppu” Vuorinen / Lead guitars
- Jukka Nevalainen / Drums
with
- John Two-Hawks / Vocals, Native American flute

Track List:
CD1
01. Dark Chest Of Wonders – 5:08
02. Planet Hell – 4:44
03. Ever Dream – 5:27
04. The Kinslayer – 4:08
05. Phantom Of The Opera – 5:11
06. The Siren – 4:52
07. Sleeping Sun – 4:55
08. High Hopes – 6:54
09. Bless The Child – 6:24
10. Wishmaster – 4:43
CD2
01. Slaying The Dreamer – 5:04
02. Kuolema Tekee Taiteilijan – 4:13
03. Nemo – 4:46
04. Ghost Love Score – 10:29
05. Stone People – 4:08
06. Creek Mary’s Blood – 8:39
07. Over The Hills And Far Away – 5:26
08. Wish I Had An Angel – 7:52

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Live, Marco Hietala, Nightwish, Tarja Turunen, Video

Nightwish – Live at Summer Breeze 2002 (@256)

11 Apr 2010

(Info from wikipedia)

Included as a bonus to the documentary “End of Innocence”, this live album shows Nightwish performing eight songs in the Summer Breeze Festival in Germany, 2002.

Line-up:
- Tuomas Holopainen / keyboards
- Tarja Turunen / lead vocals
- Marco Hietala / bass, vocals
- Jukka Nevalainen / drums
- Emppu Vuorinen / guitars

Track List:
01. End of All Hope – 4:15
02. Dead to the World – 4:42
03. 10th Man Down – 5:29
04. Slaying the Dreamer – 4:53
05. Over the Hills And Far Away – 6:02
06. Sleeping Sun – 4:29
07. The Kinslayer – 4:10
08. Come Cover Me – 5:08

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Live, Marco Hietala, Nightwish, Tarja Turunen

Moody Blues – A Night At Red Rocks (Live 1993) (@256)

10 Apr 2010

(Review from progarchives.com, wikipedia)

Performing on tour with a series of regional orchestras, they brought the majesty of their old studio sound onto the stage for the first time and audiences responded by turning them into one of the top concert draws of the decade.

Red Rocks is a natural amphitheatre near Denver in the USA, into which an outdoor concert arena has been built. A number of artists have released live albums recorded there, presumably due to the favourable acoustics. Moody Blues was there with the Colorado Symphony Orchestra.

The songs included in the concert are largely predictable, their live repertoire showing relatively minor variations over the years. There is no criticism in this, the tracks selected are among their best, and cover a good cross section of their albums.

The performance here is very good, and the songs are recreated pretty faithfully throughout. The addition of an orchestra does enhance the overall sound, but they are kept firmly in check in terms of the mix, with the band very much to the fore. There are some notable exceptions, such as the wonderful orchestral break on “Isn’t life strange”, which helps to give this majestic song an impressive new dimension.

Line-up:
- Graeme Edge / drums
- Justin Hayward / guitars, vocals
- John Lodge / bass, acoustic guitar, vocals
- Ray Thomas / flutes, vocals
with
- Spencer Allen / keyboards
- Paul Bliss / keyboards
- Bias Boschell / keyboards
- June Boyce / backing vocals
- Matt McShane / guitar
- Sue Shattock / backing vocals
- Allan Terry / drums

Track List:
01. Overture – 2:58
02. Late Lament – 1:35
03. Tuesday Afternoon (Forever Afternoon) – 4:42
04. For My Lady – 4:11
05. Lean On Me (Tonight) – 4:39
06. Lovely To See You – 4:04
07. I Know You’re Out There Somewhere – 5:22
08. The Voice – 5:28
09. Your Wildest Dreams – 4:57
10. Isn’t Life Strange – 6:44
11. The Other Side Of Life – 7:05
12. I’m Just A Singer (In a Rock and Roll Band) – 6:55
13. Nights In White Satin – 6:33
14. Question – 6:22
15. Ride My See-Saw – 5:26

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Graeme Edge, John Lodge, Justin Hayward, Live, Moody Blues, Ray Thomas

Nightwish – From Wishes To Eternity (Live 2001) (@256 + Video)

07 Apr 2010

1 comment

(Review from wikipedia, progarchives.com, metaleater.com)

The band’s first live album was recorded in Tampere, Finland on the 29th of December 2000, during the Wishmaster tour. Nightwish was becoming a international smash, but they were still with that novice’s passion and eager to show the world their power.

The songs sound fantastic and are almost studio quality. Aside from the bassist who stands in one place, the band members are energetic and get due attention from the camera, though Tarja remains the focus. Jukka Nevalainen likes to twirl his drumsticks, which adds an entertaining flare to his tight playing.

The performance is bolstered by a tasteful use of lighting and pyro. Often you see the silhouettes of crowd members clapping along to the songs, which is a nice touch. While there’s not much by way of stage banter, at least the dialogue is in English and Tarja’s accent rules: “I vant you to sing vith me”.

The atmosphere at the concert is superb and every time the camera cuts randomly to a section of the audience, there is a sea of outstretched arms and pointing index fingers of fans who are singing along word for word.

In addition to a show of Nightwish material, the band also performes a medley, “Crimson Tide, Deep Blue Sea”, which borrows melodies from many sources, including Hans Zimmer’s music in the 1995 movie Crimson Tide.

Line-up:
- Tuomas Holopainen / synthesizers
- Jukka Nevalainen / drums
- Tarja Turunen / lead vocals
- Sami Vanska / bass
- Emppu Vuorinen / guitar
with
- Tapio Wilska / male vocals (4)
- Tony Kakko / male vocals (14)

Track List:
01. The Kinslayer – 4:12
02. She Is My Sin – 4:49
03. Deep Silent Complete – 4:24
04. The Pharaoh Sails to Orion – 6:39
05. Come Cover Me – 4:44
06. Wanderlust – 4:34
07. Instrumental (Crimson Tide / Deep Blue Sea) – 3:29
08. Swanheart – 3:55
09. Elvenpath – 4:51
10. FantasMic Part 3 – 3:24
11. Dead Boy’s Poem – 6:52
12. Sacrament of Wilderness – 5:06
13. Walking in The Air – 5:10
14. Beauty & The Beast – 6:40
15. Wishmaster – 5:03

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Live, Nightwish, Sakalli's Pick, Tarja Turunen, Tony Kakko, Video

Moody Blues – Caught Live +5 (1969) (@256)

25 Mar 2010

(Review from allmusic, wikipedia)

Caught Live + 5 is a 1977 Moody Blues double album consisting of a December 12, 1969 live show at the Royal Albert Hall and five previously unreleased studio recordings from the same time period.

The unofficial word among fans is that several of the group members were under the influence of controlled substances during the show and were, thus, less sharp than they might otherwise have been, though you’d never know it from the results here.

The 1969 Royal Albert Hall show sounds a lot better on this CD edition than it did on the LP, with a closeness that was never evident before — Justin Hayward’s guitar and Mike Pinder’s various Mellotrons, in particular, sound really crisp, and all of the singing comes out with more detail as well.

Their repertory at this time came primarily from “Days of Future Passed”, “In Search of the Lost Chord” and “On the Threshold of a Dream”, plus “Gypsy”, the one number from “To Our Children’s Children’s Children” — their then new album — that they actually performed live; the latter is also the opening number, and Hayward’s guitar work is most impressive, whether he’s playing the melody in the opening, or crunching out chords on the break.

“The Sunset” from Days of Future Passed, is a showcase for Pinder’s Mellotrons, the keyboard player slowly weaving lush Arabesques and misteriosos while Hayward strums out muted chords, Graeme Edge’s drums impersonate the sound of a tabla and Ray Thomas’ flute hovers above it all with its lilting phrases. “Dr. Livingston, I Presume” lightens the tone with a more witty, whimsical side of psychedelia that still allows Pinder a chance to show off the Mellotron’s range and Hayward a surprisingly hard-rocking solo — one audience member, in particular, seems taken with it all, punctuating the crescendos with shrieks of appreciation that don’t detract a bit from the listening.

Edge’s nimble playing is most impressive on “Peak Hour,” a frenetically paced number off of Days of Future Passed, and the other highlights of the set include the hits “Tuesday Afternoon” and “Nights in White Satin,” and the closing suite from On the Threshold of a Dream, which works well despite Pinder’s being limited to just two keyboards — one scarcely misses the grand piano, and the opening sequence, “Are You Sitting Comfortably,” gives Thomas’ flute its best showcase.

The group is tight throughout, both in their playing and singing, and the show ends on a hard-rocking note with “Legend of a Mind” and “Ride My See-Saw” — and the former is a great vehicle for John Lodge’s bass work.

As for the studio cuts, they’re salvaged from failed album sessions in 1967 and 1968, and they’re not bad songs — “Gimme a Little Something” has a great opening verse, guitar part, and chorus, even if it doesn’t quite hold together perfectly as a song, and “King and Queen” and “What Am I Doing Here” both have hauntingly beautiful melodies. But they’re also not quite up to the standard of what the group released during that period, and work best in a historical, archival context, which is how they were issued.

Line-up:
- Justin Hayward / guitars, vocals
- John Lodge / bass guitar, vocals
- Michael Pinder / keyboards, vocals
- Ray Thomas / harmonica, flute, vocals
- Graeme Edge / drums, percussion

Track List:
01. Gypsy – 4:03
02. The Sunset – 4:33
03. Dr. Livingstone, I Presume – 3:23
04. Never Comes The Day – 5:39
05. Peak Hour – 5:13
06. Tuesday Afternoon – 4:51
07. Are You Sitting Comfortably – 4:21
08. The Dream – 0:58
09. Have You Heard Part 1 – 1:22
10. The Voyage – 3:37
11. Have You Heard Part 2 – 2:33
12. Nights In White Satin – 5:55
13. Legend Of A Mind – 7:05
14. Ride My See-Saw – 4:30
15. Gimme A Little Somethin’ (Bonus Studio) – 3:13
16. Please Think About It (Bonus Studio) – 3:44
17. Long Summer Days (Bonus Studio) – 3:12
18. King And Queen (Bonus Studio) – 3:55
19. What Am I Doing Here (Bonus Studio) – 3:33

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Graeme Edge, John Lodge, Justin Hayward, Live, Mike Pinder, Moody Blues, Ray Thomas

Moody Blues – Live At The Isle Of Wight Festival 1970 (@256)

24 Mar 2010

(Review from amazon, about.com)

British art-rock pioneers the Moody Blues are captured in concert at their peak here, in a performance from the momentous Isle of Wight festival.

The Moodies were a hugely talented live band, no small feat considering the circumstances: the complexity of both their vocal harmonies and their instrumentation, and the fact that the electronic gadgetry they pioneered was still in its infancy, and demanded first-take perfection when performing live.

In spite of the challenges of pulling off complicated music in front of 600,000 people, the band seems relaxed and comfortable in this performance. Even when the vocals get a little out of sync at one point, they shake it off with a laugh and a quick one-liner and keep moving.

Proving that there was a powerful live unit beneath those big orchestral arrangements, the album displays several sides of the band’s musical personality. From the psychedelic pop of “Legend of a Mind” to the proto-prog epic “Nights in White Satin” and the concise rocker “Question”, this is a multifaceted sound in full flight, buoyed by keysman Mike Pinder’s distinctive Mellotron work.

Line-up:
- Justin Hayward / vocals, guitar
- Ray Thomas / vocals, flute
- Mike Pinder / mellotron
- John Lodge / bass
- Graeme Edge / drums

Track List:
01. Gypsy – 3:16
02. The Sunset – 3:59
03. Tuesday Afternoon – 4:18
04. Minstrel’s Song – 4:25
05. Never Comes The Day – 4:45
06. Tortoise And The Hare – 3:29
07. Question – 5:44
08. Melancholy Man – 5:32
09. Are You Sitting Comfortably – 3:45
10. The Dream – 1:41
11. Have You Heard (Parts 1 And 2) – 7:56
12. Nights In White Satin – 5:00
13. Legend Of A Mind – 6:37
14. Ride My See Saw – 3:36

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Graeme Edge, John Lodge, Justin Hayward, Live, Mike Pinder, Moody Blues, Ray Thomas

Matching Mole – Smoke Signals (Live 1972) (@256)

23 Mar 2010

(Review from progarchives.com)

‘Smoke Signals’ was recorded in spring 1972 during an European tour mainly in Belgium and France. As these tapes were not planned for release the sound quality is just acceptable.

Most tracks appearing here were written by Dave Mc Rae and Phil Miller and would be recorded later for ‘The Little Red Record’. Dave Sinclair who started the tournee with the band had left and was replaced by keyboarder Dave Mc Rae who had already guested on the first record and brought with him some fine tunes like ‘March Ides’ and ‘Smoke Signal’ presented here for the first time in a rough version.

The band introduction by Wyatt, launches into ‘March Ides’.The theme is played by Phil Miller, who is soloing then over an ostinato bass line, followed by a drum solo. The second theme is ‘Smoke Signal’ (here re-named ‘Smoke Rings), maybe the most beautiful ‘Matching Mole’ theme by Dave Mc Rae. The theme is then followed by a longer improvisation until the re-exposure.

The next theme “Nan True’s Hole” was written by Phil Miller, who plays a repeated riff over which Dave Mc Rae plays an improvisation followed by another drum solo. ‘Brandy As In Benji’ follows the same structure of expostion solo, followed by a heavily distorted e-piano solo, that launches again into the ‘March Ides’ theme, followed by ‘Instant Pussy’ the only Robert Wyatt composition from the first record, with treated vocals by Robert and an e-piano improvisation.

The ‘Smoke Signal’ appears again, followed by another improvisation and a bass solo and finally the band launches into ‘Lything and gracing’ a Phil Miller composition, that would appear only as a Hatfield leftover on ‘Afters’.

The live sound of the band is for the most part instrumental fusion that point at which directions all future Canterbury related bands will go at. One might consider that Hatfield and the North, Gilgamesh, National Health are direct descendants from these live sounds provided on these archival tapes.

Line-up:
- Phil Miller / guitar
- Bill MacCormick / bass
- Dave McRae / electric piano
- Robert Wyatt / drums, vocals

Track List:
01. Intro – 0:44
02. March Ides I – 4:22
03. Smoke Rings – 7:51
04. Nan True’s Hole – 6:00
05. Brandy As In Benji – 4:22
06. Electric Piano solo – 1:11
07. March Ides II – 4:56
08. Instant Pussy – 2:52
09. Smoke Signal – 6:59
10. Lything & Gracing – 11:53

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Live, Matching Mole, Phil Miller, Robert Wyatt

Matching Mole – March (Live 1972) (@256)

22 Mar 2010

(Review from bbc.co.uk, progarchives.com)

By the time this album was recorded (March 1972, a month after Sinclair’s departure) the band were playing continuous sets with much room for collective improvisation amid the more arranged pieces. “March” captures both the uncertainties and glories of this method beautifully.

The material is drawn mainly from their eponymous first album, with guitarist Phil Miller’s rifferamas “Part of the Dance” and “Lything and Gracing” in full effect. Despite their progressive tricksiness, the Mole’s renderings of them are faintly haphazard, teetering on the brink of destruction then turning away at the last nanosecond. Wyatt’s extraordinary drumming comes across as a wired concoction of Tony Williams and Keith Moon; he and bassist Bill MacCormick sometimes appear to be operating in seperate time zones.

The sublime “Instant Pussy” features Robert’s trademark cosmic scatting, though without the usual echo (‘Where’s the sheets of sound?’ he repeats as the engineer desperately searches for the right buttons and fails to find them). Another vocal gem is “No Alf Measures”, Wyatt’s lovely arrangement of an early Kevin Ayers tune. Their cover of Caravan number Waterloo Lilly is surprising and vocal-less.

Miller’s distinctive playing has a keening, bluesy quality that sits nicely with his nibbled distortojazz stylings. His and MacCormick’s playing is kept in check by McCrae’s measured, shimmering electric piano.

So powerful, so thrilling, and so vital and lively their play should be.

Line-up:
- Bill MacCormick / bass
- Dave McRae / electric piano
- Phil Miller / guitar
- Robert Wyatt / drums, vocals

Track List:
01. March – 4:49
02. Instant Pussy – 4:53
03. Smoke Signals – 6:20
04. Part Of The Dance – 9:54
05. No Alf Measures – 5:44
06. Lything And Gracing – 11:36
07. Waterloo Lilly – 4:21

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Live, Matching Mole, Phil Miller, Robert Wyatt

Matching Mole – On the Radio 1972-1973 (@256)

21 Mar 2010

(Review from progarchives.com)

Over the year Matching Mole were together, they managed four BBC sessions but only one of them had been issued as “BBC in Concert” in 1992. This “On the Radio” album contains all four sessions (including the “BBC in Concert” session) with a good sound quality. The sessions aren’t chronologically ordered (the Jan 72 session is even broken up in two parts).

The first session we are subjected to is the April 1972 one, where all three tracks are meddled into a 20-mins — the band already has some tracks down for their second album. Indeed “Marchides” and “Smoke Signals” were only works-in-progress and both sound much different than in their future studio version (including a drum solo in the former); and are sandwiching “Instant Pussy” where Wyatt explodes his scat voice into echo effects.

Up next is the Jan 1972 session, broken up by the March 1972 session, with the delicious “Part Of The Dance” (with Sinclair still in the line-up and McRae in as well), with their first album just about to be released. The Miller-penned “Part of the Dance” song features both an Hammond organ and a Fender Rhodes, and even though the sound quality is a bit approximate, this is one of the album’s highlights. The two March session tracks (Sinclair was gone by then) are much clearer sounding, especially the Ayers cover “No ‘alf Measures” and the never studio-encapsulated “Lithing and Gracing” track, an exciting Miller, McRae & Wyatt composition. Rounding up the unreleased tracks is an extended version of “Immediate Kitten”, where Sinclair’s organ charms into the superb intro, then going fuzz into the body of the song. An extended and excellent workout that confirms that Matching Mole’s best moments were with both Sinclair and McRae in the band.

The second part of the album is an In Concert feature from late July 1972, just as their second album was almost finished; less than three months away from the group’s demise. This “session starts on the best Wyatt scat vocals ever with Instant Pussy, he yodels away madly in their best-ever version of this track. The next three tracks have been already featured in this archival release but are presented in much different versions and you’d have to be a chiefmasterconoisseur to guess blindly where “Lithing And Gracing” track begins. It sees Matching Mole in full madness roaring and “Marchides” sees McRae’s Fender Rhodes take a solid intro, before the group blinds us with their dexterity and virtuosity a bit further down the track. “Part Of The Dance” is again much livelier in this version than either the radio or studio version. Here, it is the pinnacle of Matching Mole’s short career, with Phil Miller shinning throughout the 6 minutes of the track. Absolutely essential stuff, with the closer ode to Benj (a roadie) melted in as a finale for the track.

Line-up:
- Robert Wyatt / drums, vocals
- Phil Miller / guitar
- Dave MacRae / e-piano.
- Bill MacCormick / bass
- Dave Sinclair / organ

Track List:
01. March Ides + Instant Pussy + Smoke Signal – 20:33
02. Part Of The Dance – 7:56
03. No ‘alf Measures – 6:49
04. Lithing And Gracing – 7:18
05. Immediate Kitten – 9:59
06. Instant Pussy – 5:47
07. Lithing And Gracing – 4:49
08. Marchides – 6:49
09. Part Of The Dance – 6:32
10. Brandy As In Benj – 1:16

Link in comments.

Dave Sinclair, Live, Matching Mole, Phil Miller, Robert Wyatt

Vanilla Fudge – Good Good Rockin’ (Live at Rockpalast 2004) (@256)

18 Mar 2010

(Review from amazon)

Vanilla Fudge’s unique psychedelic variant of classic rock, consisting of a trademark epic and complex arrangements of hits, proved a successful formula that has sustained a worldwide fan base for more than 35 years.

Good Good Rockin’ was recorded live at the Crossroads Club Festival – Rockpalast (WDR) show at the Harmonie in Bonn, Germany on March 24th during the band’s 2004 tour of Europe.

Line-up:
- Tim Bogert / bass
- Carmine Appice / drums
- Teddy Rondinelli / guitar
- Bill Pascali / organ

Track List:
01. Good Good Lovin’ – 4:59
02. Take For A Little While – 7:30
03. People Get Ready – 7:36
04. Shotgun – 6:07
05. Carmine Appice Drum Solo – 5:25
06. She’s Not There – 5:56
07. Tim Bogert Bass Solo – 8:09
08. Do Ya Think I’m Sexy – 9:51
09. You Keep Me Hangin’ On – 6:38
10. Tearin’ Up My Heart – 8:01

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Carmine Appice, Live, Tim Bogert, Vanilla Fudge

Budgie – Life In San Antonio (Live 2002) (@256)

16 Mar 2010

(Review from allmusic)

The British metallic power trio Budgie were never more than a cult attraction — actually best known for their songs being covered by other bands. But the group always seemed to have a stronghold in Texas, which served as the site for a 2002 live album, “Life in San Antonio”.

For many years by this point, singer/bassist Burke Shelley was the lone original member left in attendance — joined on this August night by guitarist Andy Hart and drummer Steve Williams.

Highlights include two nearly eight-minute medleys of Budgie classics — “In for the Kill / Rape of the Locks / Guts” and the set-closing “Breadfan / Nude Disintegrating Parachutist Woman” — as well as another early nugget, “Zoom Club”.

Shelley’s unmistakable banshee wail has never sounded sweeter, and the boys in the band can still churn out Sabbathy metallic slabs with the greatest of ease.

Line-up:
- Burke Shelley / Bass and vocals
- Steve Williams / Drums and percussion
- Andy Hart / Guitar and vocals

Track List:
01. Crime Against The World – 5:58
02. Melt The Ice Away – 4:01
03. Gunslinger – 5:41
04. Panzer Division Destroyed – 6:26
05. I Turned To Stone – 6:23
06. Black Velvet Stallion – 6:59
07. In For The Kill / Rape Of The Locks / Guts – 7:45
08. Breaking All The House Rules – 3:04
09. Zoom Club – 6:15
10. Napoleon Bona Parts 1 & 2 – 7:33
11. Wildfire – 7:25
12. Breadfan / Nude Desintegrating Parachutist Woman – 7:53

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Budgie, Live

Present – A Great Inhumane Adventure (Live 1998) (@320)

15 Mar 2010

(Review from allmusic, progreviews.com)

In 1998, Present toured the US for the first time, promoting “Certitudes” album, a month-long journey that found the quartet playing venues across the country, ending in Baltimore, where “A Great Inhumane Adventure” was recorded.

The band certainly made an impression on the audience with the powerful, dark, repetitive music, Dave Kerman playing the drums with seemingly anything he could get his hands on, Roger Trigaux towering over the audience in his dark trench coat, and even pounding on the stage with a big, red pipe.

Three of the tracks on the earlier live 1996 CD are repeated on “A Great Inhumane Adventure”, including the monumental “Promenade au Fond d’un Canal,” which was the featured piece on Triskaidekaphobie, Present’s inaugural 1981 recording. The two guitars entwine exquisitely on the newer live version of the piece, and Pierre Chevalier assaults his keyboards with dissonant, propulsive energy throughout the program. Dave Kerman is a congenial force on drums, and he combines with bassists Jean-Pierre Mendes and (on “Promenade”) Keith Macksoud for the thick, bottom-heavy sound associated with the classic French progressive rock groups. The accented vocals of Roger Trigaux (and Reginald Trigaux’s occasional wailing counterpoint) is an acquired taste, depending upon the listener’s tolerance for goth posturing.

“Laundry Blues” is a typical Present track, though note-worthy if only because it has yet to be seen in a studio album.

This album makes a good companion to 1996′s “Live”. If you already like the band, then “A Great Inhumane Adventure” is a must.

Line-up:
- Pierre Chevalier / Roland piano, keyboards
- Dave Kerman / drums, percussion
- Jean-Pierre Mendes / bass
- Reginald Trigaux / guitar, vocals
- Roger Trigaux / guitars, vocals, keyboards
with
- Keith Macksound / bass solo (5)

Track List:
01. Delusions – 14:47
02. Alone – 10:58
03. Le Poison Qui Rend Fou – 10:16
04. Laundry Blues – 13:01
05. Promenade au Fond d’un Canal – 23:33

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Live, Present, Reginald Trigaux, Roger Trigaux

Lynyrd Skynyrd – Live at Cardiff Capitol Theatre 1975-11-04 (@256)

14 Mar 2010

(Review from itunes)

This album captures a concert Lynyrd Skynyrd gave at the Cardiff Capitol Theatre in Wales on November 4, 1975. Skynyrd was supporting their third album and they were operating like a well-oiled machine, giving a tight, focused set that draws pretty equally from Second Helping and Nuthin’ Fancy.

Surprises aren’t the order of the day here, either in song selection or performance — it’s an efficient, entertaining concert by a working band determined to give their paying audience a good show. And that they do — not a great show, but a good one, one that satisfies even if it’s not necessarily memorable.

Line-up:
- Ronnie Van Zant / lead vocals
- Allen Collins / guitars
- Gary Rossington / guitars
- Billy Powell / keyboards
- Leon Wilkeson / bass, background vocals
- Artimus Pyle / drums, percussion

Track List:
01. Double Trouble – 3:01
02. I Ain’t the One – 3:48
03. The Needle & The Spoon – 4:41
04. Saturday Night Special – 5:24
05. Gimmee Three Steps – 5:27
06. Whiskey Rock & Roller – 3:57
07. Call Me The Breeze – 5:35
08. Sweet Home Alabama – 5:27
09. Free Bird – 12:19

Link in comments.

Live, Lynyrd Skynyrd

Ten Years After – Roadworks (Live 2005) (@256)

08 Mar 2010

(Review from tenyearsafternow.com, amazon)

Recorded on their sell-out tour of Europe in November/December 2004 comes the double live album “Roadworks”.

Ten Years After plays most of their classics, but it is not an oldies band only riding around on past successes. It has taken up the reins and is riding into the future. Joe Gooch is fully conversant with all of Ten Years After’s previous triumphs, but he has a distinct personality that breathes new life into the band’s performance and helps forge a new direction with this highly respected team of legendary musicians.

The new songs from “Now” are impressive. All of them are great great driving blues rock, and on the song “Reason why”, it brings memories of “Roadhouse Blues” and the live version of Status Quo’s “4500 Times”.

Classics such as ‘Love Like A Man’, the Woodstock Festival anthem ‘I’m Going Home’ ,’Good Morning Little Schoolgirl’, ‘Hear Me Calling’ and the first ever live version of ‘I’d Love To Change The World’ aren’t forgotten. Bonuses include one never-before released tune, ‘Living It Up’ and a brand new version of ‘Big Black 45′.

A splendid mix of old and new by the new Ten Years After.

Line-up:
- Leo Lyons / bass
- Chick Churchill / keyboards
- Ric Lee / drums
- Joe Gooch / guitar, vocals

Track List:
CD1
01. King Of The Blues – 4:17
02. Hear Me Calling – 6:19
03. Good Morning Little Schoolgirl – 6:52
04. When It All Falls Down – 4:36
05. Working On The Road – 4:54
06. Big Black 45 – 5:23
07. The Hobbit – 7:48
08. Living It Up – 4:04
CD2
01. Love Like A Man – 7:21
02. I’d Love To Change The World – 5:52
03. Time To Kill – 6:25
04. I Can’t Keep From Crying Sometimes -Jam On One Chord – 14:48
05. I’m Going Home – 10:38
06. Reasons Why – 5:01
07. Choo Choo Mama – 4:51

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Live, Ten Years After

Alvin Lee – In Flight (Live 1974) (@256)

23 Feb 2010

(Review fro amazon)

‘In Flight’ is a two-disc live recording made by Alvin Lee in 1974 at the Rainbow Theatre in London. It was the follow-up to 1973′s ‘On the Road to Freedom’, Lee’s first album without his Ten Years After colleagues. He arrived with a cargo hold (‘In Flight’ analogy…) of new tunes and a supersized backing band, including horn man Mel Collins and a trio of backing singers.

It’s a lively, high-energy set, sure to please someone, but probably not the old Ten Years After crowd. Until the second half of the second disc, Alvin’s trademark lead guitar excursions are in short supply, instead being supplanted primarily by Collins’ up-front and center presence. The texture of the music has changed as well. While Ten Years After segued effortlessly from blues-rock to psychedelia to folk and country-rock, this new Alvin Lee is pounding out something perhaps best described as boogie-rock.

The compositions unquestionably announce Alvin Lee as a matured writing talent. There is a wealth of new, well-turned tunes that Lee pulls out of his back pocket here, beginning with the “chug-along blues” (as Lee describes it in his personally scripted liner notes) opener, ‘Got To Keep Moving’. Other highlights include the funky ‘You Need Love Love Love’ which possesses a great vocal hook, the sweet boogie of ‘Let’s Get Back’, and the most Ten Years After-sounding number, ‘Ride My Train’.

As you move deep into the second disc, Alvin moves his lead guitar heroics to the front burner, displaying his firy skills on tracks such as ‘Keep a Knocking’, and a Chuck Berry sound-alike ‘Johnny B. Goode’ rave-up on ‘I’ve Got Eyes For You Baby’.

There are several other covers that deserve mention here. Alvin’s version of ‘Slow Down’ may best represent how his solo work differ from Ten Years After. While you might expect him to go bonkers with his guitar and vocals on this potentially scintillating track, it comes across as a much more smooth and polished piece. The mid-70s did that to a lot of psychedelic and blues-rockers from the 60s, and Alvin seems infected. The same can be said for his covers of Elvis Presley’s ‘Don’t Be Cruel’ and ‘Mystery Train’ as well as ‘Money Honey’. Each of these songs relies heavily on Mel Collins’ sax and backing vocals rather than Lee’s astounding guitar virtuosity.

There are also two bonus tracks: ‘Somebody Callin’ Me’ is live boogie-rock from an unidentified venue. The recording is of good quality, but Lee’s vocals, in particular, feel buried compared to the stunning vibrancy of the original album. The other, “Put it in a Box” is a studio recording. It launches into a sweet funk-groove from the first strains, and features a fat, fuzzy guitar foundation, setting up Lee’s exquisite leads. Back vocals strike a nice balance with the other key elements of the performance.

Given the right audience, ‘In Flight’ could certainly bring hours of listening pleasure.

Line-up:
- Alvin Lee / Guitar, Vocals
with
- Mel Collins / Flute, Saxophone
- Tim Hinkley / Keyboards
- Neil Hubbard / Guitar
- Alan Spenner / Bass
- Ian Wallace / Drums

Track List:
CD1
01. Got To Keep Moving – 5:02
02. Going Through The Door – 4:21
03. Don’t Be Cruel – 2:39
04. Money Money – 3:05
05. I’m Writing You A Letter – 4:52
06. You Need Love Love Love – 5:24
07. Freedom For The Stallion – 6:26
08. Every Blues You’ve Ever Heard – 5:24
09. All Life’s Trials – 2:59
CD2
01. Intro – 0:53
02. Let’s Get Back – 4:58
03. Ride My Train – 4:14
04. There’s A Feeling – 4:02
05. Running Round – 5:38
06. Mystery Train – 4:42
07. Slow Down – 3:38
08. Keep A Knocking – 2:14
09. How Many Times – 2:04
10. I’ve Got Eyes For You Baby – 3:36
11. I’m Writing You A Letter – 4:18
12. Somebody Callin’ Me (Bonus) – 6:26
13. Put It In A Box (Bonus) – 8:06

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Alvin Lee, Ian Wallace, Live, Mel Collins

Yes – Symphonic Live (2002) (@256)

14 Feb 2010

(Review from Metal Minute)

Running on full steam with that conjecture, Symphonic Live may not be the grandest achievement in rock orchestration, but when it clicks, Yes sounds nearly as triumphant as their golden era.

Simply having Jon Anderson’s calming stability on vocals makes it worth the listen as well as Chris Squire’s reliably slicing bass notes, which have historically been their own character for Yes. Steve Howe naturally is the deep-ingrained soul of Yes, really sparkling up his licks on “The Gates of Delirium” as well as during his crowd-silencing guitar solo. Tom Brislin does all that is required of him and Yes operates on full cylinders because of it.

The concert’s watermark moment comes courtesy of the aforementioned “Gates of Delirium” from Relayer. Breathtaking and complex originally, Yes, which sometimes tends to keep the orchestra’s role subordinate to their own projection (often to point of absenteeism), turns their guest performers loose here, as they do during the climactic moments of “Ritual” and “Magnification.” “The Gates of Delirium” thus becomes more superficially magical as should be expected with this sort of venture.

As Yes dishes out a half hour of Close to the Edge along with “Long Distance Turnaround” and “Roundabout” from Fragile and “Starship Trooper” and “I’ve Seen All Good People” from The Yes Album, the core balance of Yes’ original compositions are so strong the orchestra need not dial in necessarily. At times they simply provide subliminal earthy weaves that are mostly drowned out by Yes’ determination to recapture the old rub, which they do admirably.

Symphonic Live is not exactly as advertised, Yes utilizes their orchestra’s assets but only when appropriate. As a concert album in whole, it’s as entertaining as you’d want it to be.

Line-up:
- Jon Anderson / vocals
- Steve Howe / guitars, vocals
- Chris Squire / bass, vocals
- Alan White / drums
with
- Tom Brislin / keyboards
- Wilhelm Keitel / orchestra conductor

Track List:
CD1
01. Overture – 2:30
02. Close to the Edge – 20:30
03. Long Distance Runaround – 5:28
04. Don’t Go – 4:29
05. In the Presence Of – 11:03
06. The Gates of Delirium – 23:30
07. Steve Howe Guitar Solo – 6:25
CD2
01. Starship Trooper – 12:18
02. Magnification – 7:23
03. And You and I – 11:15
04. Ritual – 28:21
05. I’ve Seen All Good People – 7:20
06. Owner of a Lonely Heart – 5:48
07. Roundabout – 6:28

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Alan White, Jon Anderson, Live, Steve Howe, Yes

Ten Years After – Undead (Live 1968) (@256)

13 Feb 2010

(Info from wikipedia)

The band’s eponymous first album was bluesy, but less emotional and passionate, and so the band decided to record their second album live. “Undead”, recorded live at the small jazz club, Klook’s Kleek, is set out to give listeners a real feel to what it was like to hear Ten Years After.

The result iss a combination of blues, boogie and the sometimes remarkable jazz playing ability of the band members. The approach of the band on this album remains unique in that it is a rock/blues approach to swing.

And swing it does! Although the soloing remains almost exclusively in the pentatonic scale and adheres strictly to a basic 1/IV/V 12 bar blues (with no traditional jazz substitutions), the band manages to pull off a confident and aggressive post bop feel.

This album became the introduction that many aspiring musicians used as a learning tool to explore beyond rock and pop boundaries and into more improvised stylings.

Line-up:
- Alvin Lee / guitar, vocals
- Chick Churchill / organ
- Ric Lee / drums
- Leo Lyons / bass

Track List:
01. Rock Your Mama – 3:54
02. Spoonful – 6:42
03. I May Be Wrong, but I Won’t Be Wrong Always – 10:01
04. Summertime – Shantung Cabbage – 5:54
05. Spider in Your Web – 7:52
06. Woodchopper’s Ball – 7:38
07. Standing at the Crossroads – 5:12
08. I Can’t Keep From Crying, Sometimes – Extension on One Chord – I Can’t Keep From Crying Sometimes – 17:04
09. I’m Going Home – 6:24

Links in comments.

Alvin Lee, Live, Ten Years After

Rufus Zuphall – Outside the Gates of Eden (Live 2006) (@256)

04 Feb 2010

(Review from ohrwaschl.de)

In summer 2006, the band performed at famous Belgian rock-underground club “Spirit of 66″. This show was broadcast by German radio station “Deutschlandfunk”.

Over more than 120 minutes Rufus Zuphall played a hand-picked show including their classic titles like “Weiss der Teufel”, “Avalon”, “Spanferkel”, “Portland Town”, “Knight of 3rd degree” and others.

Also new songs like the title track of this double album “Outside the gates of Eden”, a superb work, which is reminiscent of the best moments of their classic second Album “Phallobst” are included. Further new titles like “Blue Zone”, “Lover Mine” and “Sixpack” shows Krause is still able to pin compositions.

Rufus Zuphall continues to use different musical elements and though now the new compositions can be characterized rather as songs than pieces, one essential component has been preserved the love of the long musical form.

This great concert is a showcase for the tremendous passion and performing abilities of Rufus Zuphall.

Line-up:
- Klaus Gulden / flute, percussion
- Gunter Krause / guitars, vocals
- Helmut Lieblang / bass
- Gero Korner / hammond organ, keyboards
- Roland Hegel / drums

Track List:
CD1
01. Spanferkel – 2:47
02. Portland Town – 4:21
03. Outside The Gates Of Eden – 6:41
04. Blue Zone – 5:23
05. Lover Mine – 6:04
06. Knight Of 3rd Degree – 7:35
07. Sixpack (Into The Night) – 5:41
08. Avalon – 12:38
09. 1000 Mothers Weeping – 5:57
10. Rain Keeps Fallin’ – 8:26
CD2
01. Angels Fly By Night – 4:07
02. A Deeper Shade Of Blue – 6:49
03. 900 Miles – 8:07
04. 60 Ways To Sing The Blues – 7:28
05. Colder Than Hell – 9:41
06. Weis Der Teufel – 19:39
07. Through The Night – 3:58

Links in comments.

Live, Rufus Zuphall

Rufus Zuphall – Colder Than Hell (Live 2000) (@256)

03 Feb 2010

(Info from rufus-zuphall.de, alexgitlin.com)

Rufus Zuphall is one of the significant German rock bands of the early seventies. Formed in Aachen in 1969 the band melted together blues elements, Anglo-Saxon folk, classical influences and driving guitar rock with progressive song structure into an autonomous instrumental dominated, unmistakable style. In 1972 the band broke up due to the pressure of commercialization.

In 1999, thirty years after the forming of the band, a promoter succeeded in persuading the original members of the band to play once again. On June 19th they made a fantastic, cheered, and critically acclaimed reunion concert supported by the ingenious youngster Gero Korner playing keyboards.

This one-off concert’s terrific success made it easy for the “old guys” to give it one more try. Since then, the band have been playing at different locations and festivals with the addition of Roland Hegel who is more than a substitute for their original exceptional drummer Udo Dahmen.

This live album captures the band during their tour in 2000, performing both old classics and some new songs.

Line-up:
- Gunter Krause / guitar, vocals
- Helmut Lieblang / bass
- Klaus Gulden / flute
- Gero Korner / keyboards
- Roland Hegel / drums

Track List:
01. Schupfner – 3:19
02. Portland Town – 4:30
03. Makrojel – 6:51
04. Angels Fly By Night – 3:59
05. And The Rain – 7:37
06. Freitag – 5:52
07. Colder Than Hell – 7:19
08. People – 8:07
09. A Thousand Mothers Weeping – 5:25
10. Weis der Teufel – 17:25
11. No Face Today – 6:37

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Live, Rufus Zuphall

Queen – Queen on Fire (Live at the Bowl 1982) (@256)

29 Jan 2010

(Review from bbc.co.uk, allmusic)

The bowl in question is the MK Bowl in Milton Keynes, a venue that Queen performed at on June 5, 1982. That concert is documented on this 25-track double-disc set.

Except for the four songs from their latest album, Queen On Fire is practically Greatest Hits I in concert, give or take a few tracks. All the live favourites are here: “Love Of My Life”, equal parts graceful lullaby and football terrace chant, but as charming as ever; “Now I’m Here”, spliced cleverly with The Game’s “Dragon Attack”, and “Fat Bottomed Girls”, sounding fatter than ever. And of course, it wouldn’t be a Queen gig without a little of Freddie’s playful crowd mastery.

The set finishes predictably but majestically, with Queen’s pomp-rock coup de grace: “We Will Rock You”, followed by “We Are The Champions” and “God Save The Queen”. If you need a reminder of just how invincible Queen were in concert, look no further.

Line-up:
- Freddie Mercury / vocals, keyboards
- Brian May / guitars, vocals, keyboards
- John Deacon / bass
- Roger Taylor / drums, percussion, vocals

Track List:
CD1
01. Flash – 1:54
02. The Hero – 1:44
03. We Will Rock You (Fast) – 3:17
04. Action This Day – 4:52
05. Play The Game – 4:30
06. Staying Power – 4:03
07. Somebody To Love – 7:53
08. Now I’m Here – 6:18
09. Dragon Attack – 4:16
10. Now I’m Here (Reprise) – 2:20
11. Love Of My Life – 4:22
12. Save Me – 4:00
13. Back Chat – 5:00
CD2
01. Get Down Make Love – 3:39
02. Guitar Solo – 6:22
03. Under Pressure – 3:47
04. Fat Bottomed Girl – 5:25
05. Crazy Little Thing Called Love – 4:15
06. Bohemian Rhapsody – 5:38
07. Tie Your Mother Down – 4:09
08. Another Bites The Dust – 3:49
09. Sheer Heart Attack – 3:25
10. We Will Rock You – 2:08
11. We’re The Champions – 3:28
12. God Save The Queen – 1:24

Links in comments.

Live, Queen

French TV – Live Yoo-Hoo! (1997) (@256)

29 Jan 2010

(Review from frenchtvonline.com)

This live album was recorded live on November, 3rd 1995 at the Kentucky School for the Blind Recital Hall. It pretty much features the same line-up as for “Intestinal Fortitude” – with guitarist Dean Zigoris (who played in “Virtue in Futility” before), the one newcomer. The result is a totally instrumental set featuring tracks from all four studio albums with lighter arrangements to allow them to be played by the four-piece.

“Yoo-Hoo!” showcases French TV’s tightness as a unit, as well as their playfulness and their ability to spark creatively off of one another. Keyboardist John Robinson utilizes many different sounds and styles, as adept at riffing a classical theme on piano as he is playing what sounds like kid’s TV themes on Casiotone. Guitarist Dean Zigoris swings between funky chops and jazzy chords, always tasteful and precise. The rhythm section of Mike Sary and Bob Douglas work almost like a trapeze act, flying high, doing insane aerial flips, catching each other right when it seems like one or the other might be plunging toward the net.

This is an impressive live re-creation of French TV’s studio material with the scope to further develop and improvise the compositions.

Line-up:
- Mike Sary / bass
- John Robinson / keyboards
- Bob Douglas / drums
- Dean Zigoris / guitars, guitars synthesizers

Track List:
01. Happy Armies Fight in Their Sleep – 5:47
02. The Tingler – 6:19
03. Clanghonktweet – 6:45
04. Friendly Enzymes – 7:07
05. The Souls of the Damned Live in Failed Works – 9:55
06. The Family That Oonts Together Groonts Together – 7:21
07. And The Dead Dog Lept Up And Flew Around the Room! – 7:47
08. The Artist’s House, Hey – 6:15
09. Hey! Real Executives Jump From the Fiftieth Floor! – 12:34

Link in comments.

French TV, Live

Queen – Rock Montreal (Live 1981) (@256)

27 Jan 2010

(Review from amazon, allmusic)

Essentially, “Queen Rock Montreal” is the soundtrack of the “We Will Rock You” concert highlights video. This double-disc contains the full set, including the previously unreleased “Flash” and “The Hero” and it benefits from the ebb and flow of a full concert, giving a broader, fuller sense of the band’s two-night stand at the Montreal Forum on November 24 and 25, 1981.

This is an aggressive Queen live set with with first 10 or so songs played at breakneck speed. The fast and furious playing is great to hear from a band who are sometimes criticised for being too precise.

Some of the highlights are “Let Me Entertain You” for it’s sheer pace and aggression, “Killer Queen” for the variations on the vocal, “Keep Yourself Alive” (which unlike all the other songs is played at something closer to the pace of the original recording), a great rendition of “Love of My Life” and the two tracks from “Flash”.

Line-up:
- Freddie Mercury / vocals, piano, acoustic guitar
- Brian May / guitars
- John Deacon / bass
- Roger Taylor / drums

Track List:
CD1
01. Intro – 1:59
02. We Will Rock You (Fast) – 3:06
03. Let Me Entertain You – 2:48
04. Play The Game – 3:57
05. Somebody To Love – 7:53
06. Killer Queen – 1:59
07. I’m In Love With My Car – 2:03
08. Get Down Make Love – 4:45
09. Save Me – 4:14
10. Now I’m Here – 5:31
11. Dragon Attack – 3:11
12. Now I’m Here (Reprise) – 1:53
13. Love Of My Life – 3:54
CD2
01. Under Pressure – 3:50
02. Keep Yourself Alive – 3:29
03. Drum And Tympani Solo – 3:00
04. Guitar Solo – 5:11
05. Flash – 2:11
06. The Hero – 1:51
07. Crazy Little Thing Called Love – 4:15
08. Jailhouse Rock – 2:32
09. Bohemian Rhapsody – 5:28
10. Tie Your Mother Down – 3:52
11. Another One Bites The Dust – 4:00
12. Sheer Heart Attack – 3:53
13. We Will Rock You – 2:09
14. We Are The Champions – 3:27
15. God Save The Queen – 1:25

Link in comments.

Live, Queen

Queen – At the Beeb (Live 1973) (@256)

18 Jan 2010

(Info from wikipedia)

The album comprises tracks recorded in two sessions for the BBC Radio 1 Sound of the 70s programme. The first four tracks were recorded on 5 February 1973; the rest were recorded on 3 December 1973. All but one track appeared on the album Queen; the exception is “Ogre Battle”, which appeared on Queen II.

However, the versions featured on At the Beeb are different from the original versions, being closer to the songs as performed live. This is most notable on “Ogre Battle”, as it starts right away with its riff (without any long intro), doesn’t have any effects that the version on Queen II has and sounds much less polished. The BBC version of “Ogre Battle” did originally have a long intro featuring a grand guitar build up. It was not used for this release, allegedly because the original tape was damaged.

Line-up:
- Freddie Mercury / vocals, piano
- Brian May / guitar
- John Deacon / bass
- Roger Taylor / drums

Track List:
01. My Fairy King – 4:06
02. Keep Yourself Alive – 3:48
03. Doin’ Alright – 4:10
04. Liar – 6:30
05. Ogre Battle – 3:57
06. Great King Rat – 5:59
07. Modern Times Rock ‘N’ Roll – 2:00
08. Son And Daughter – 7:08

Link in comments.

Live, Queen

Joan Baez – Montreux Jazz Festival (Live 1989) (@256)

16 Jan 2010

This is a soundboard recording of Joan Baez’s performance with the Malaco Band on July 14th, 1989 at the Montreux Jazz Festival. James Taylor & Peabo Bryson guest on the last track.

Line-up:
- Joan Baez / vocals, guitar
with
- Jamie Fox / bass
- Cesar Cancino / keyboards
- James Robertson / drums
- Ray Griffin / bass
- Harvey Thompson / saxophone
- Harrison Calloway / trumpet
- Charles Rose / trombone

Track List:
01. Warriors Of The Sun – 4:56
02. Ain’t Gonna Let Nobody Turn Me Around – 1:36
03. No Woman No Cry – 3:39
04. Biko – 4:55
05. Ellas Danzan Solas – 8:04
06. Elpreso Numero Nueve – 3:19
07. Carrckfergus – 6:40
08. The Boxer – 4:17
09. Angelina – 3:05
10. Diamonds And Rust – 4:09
11. Sweet Chariot (a capella) – 3:03
12. Blowing In The Wind – 3:13
13. Gracias A La Vida – 5:44
14. China – 6:48
15. M. L. K. – 8:20
16. Let It Be – 5:25

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Joan Baez, Live

Joan Baez – Not Too Hip (Live 1977) (@256)

15 Jan 2010

This is a good sounding bootleg; recorded live at the Palladium, New York City, on June 1977.

Track List:
01. Silver Dagger – 4:27
02. There But for Fortune – 4:19
03. Suzanne – 4:16
04. Love is Just a Four Letter Word – 3:15
05. Soul – 3:07
06. Jessy – 3:56
07. Blessed Are – 2:31
08. Sailing – 4:25
09. Many a Mile to Freedom – 3:26
10. Miracles – 5:03
11. Cry Me a River – 3:04
12. Diamonds and Rust – 4:58
13. Amazing Grace – 4:05

Link in comments.

Joan Baez, Live

Budgie – BBC Recordings (1972-82) (@256)

15 Jan 2010

(Review from allmusic)

In this collection of BBC recordings, there are five live sets – 23 songs.

The first earliest concert was recorded in Paris Theatre in 1972. There’s only four songs and the sound quality is not perfect but it’s the best you can get right now. It’s just great to hear live songs from the two first Budgie albums. There’s also a concert in Reading Festival 1980 after those four songs. There’s “Breaking All the House Rules” and more, especially “Napoleon Bona Part 1&2 is a great live version. “Breadfan” is a “lost edit not transmitted” – there’s a guitar solo after the song – or actually it’s only half of a song.

There’s two songs “Sky High Percentage” and “In the Grip Of A Tyrefitter’s Hand” performed in John Peel Show in 1976. Those two live versions are absolutely amazing! Then Friday Rock Show tracks in 1981 “I Turned to Stone”, “Superstar” and “She Used Me Up” sound more like second studio versions but they are still great material for Budgie fans.

Reading Festival 1982 starts with “Forearm Smash” and is perfectly played, but quite similar to Reading Festival 1980 – except there’s no 70s material in set list, only 80s.

Track List:
CD1
01. Rape Of The Locks-Paris Theatre 19:10:1972 – 5:48
02. Rocking Man-Paris Theatre 19:10:1972 – 5:39
03. Young Is A World-Paris Theatre 19:10:1972 – 8:35
04. Hot As A Dockers Armpit-Paris Theatre 19:10:1972 – 5:41
05. Breaking All The House Rules-Reading Festival 1980 – 7:15
06. Crime Against The World-Reading Festival 1980 – 5:37
07. Napoleon Bona Part 1 & 2-Reading Festival 1980 – 7:48
08. Forearm Smash-Readi – 5:42
09. Panzer Division Destroyed-Reading Festival 1980 – 6:15
10. Wildfire-Reading Festival 1980 – 6:06
11. Breadfan (Lost Edit Not Transmitted)-Reading Festival 1980 – 6:59
CD2
01. Sky High Percentage-John Peel Show 1.7.1976 – 5:39
02. In The Grip Of A Tyrefitters Hand-John Peel Show 1.7.1976 – 5:45
03. I Turned To Stone-Friday Rock Show 18.12.1981 – 6:09
04. Superstar-Friday Rock Show 18.12.1981 – 3:53
05. She Used Me Up-Friday Rock Show 18.12.1981 – 3:09
06. Forearm Smash-Reading Festival 1982 – 7:06
07. Crime Against The World-Reading Festival 1982 – 5:18
08. I Turne – 6:16
09. Truth Drug (Not Transmitted)-Reading Festival 1982 – 4:45
10. Superstar-Reading Festival 1982 – 4:24
11. She Used Me Up-Reading Festival 1982 – 3:31
12. Panzer Division Destroyed-Reading Festival 1982 – 6:48

Link in comments.

Budgie, Live

Joan Baez – Rare, Live & Classic (@256)

14 Jan 2010

(Review from amazon, allmusic)

This box-set contains Joan Baez songs you’ve never heard of, never knew existed, never dreamed of! A live performance with the fabulous Odetta. Duets with Bob Dylan, Donovan, Kris Kristofferson and others. Cuts with Grateful Dead. Early singing from before she was famous. Later songs that sound like they ought to be famous, yet you’ve never heard them before! And plenty of standard Joan Baez “must haves”…

For the hardcore collector, there are plenty of interesting items here but for the casual fan, there’s simply too much material; they would be better off with her original albums or single-disc compilations.

Track List:
CD1
01. Scarlet Ribbons – 2:50
02. Jimmy Brown – 2:57
03. Careless Love (Duet with Bill Wood) – 2:28
04. Auctioneer (Duet with Bill Wood) – 2:21
05. Black Is The Color – 2:29
06. John Hardy – 3:04
07. We Are Crossing Jordan River (Duet with Bob Gibson) – 2:49
08. John Riley – 3:54
09. Silver Dagger – 2:31
10. House Of The Rising Sun – 2:57
11. Low Down Chariot (Duet with Eric von Schmidt) – 1:45
12. Wagoner’s Lad – 2:14
13. Last Night I Had The Strangest Dream – 2:37
14. Geordie – 3:36
15. What Have They Done To The Rain – 2:41
16. Troubled And I Don’t Know Why (Duet with Bob Dylan) – 3:14
17. With God On Our Side – 6:22
18. We Shall Overcome – 3:37
19. Go ‘way From My Window – 2:15
20. Mama, You Been On My Mind (Duet with Bob Dylan) – 2:57
21. There But For Fortune – 3:16
22. Colours (Duet with Donovan) – 3:22
23. The River In The Pines – 3:35
CD2
01. Pack Up Your Sorrows – 2:51
02. The Swallow Song – 2:49
03. Legend Of A Girl Child Linda (Trio with Mimi Farina & Judy Collins) – 4:24
04. Children Of Darkness – 3:55
05. Catch The Wind (Duet with Mimi Farina) – 2:38
06. I Am A Poor Wayfaring Stranger (Duet with Mimi Farina) – 4:36
07. Sweet Sir Galahad – 3:44
08. Donna Donna – 4:00
09. Long Black Veil – 3:24
10. Mama Tried (Duet with Jeffrey Shurtleff) – 3:13
11. Sing Me Back Home (Duet with Jeffrey Shurtleff) – 4:02
12. Joe Hill – 3:03
13. The Night They Drove Old Dixie Down – 3:25
14. Blessed Are… – 3:06
15. Hello In There (Duet with Kris Kristofferson) – 3:40
16. Love Song To A Stranger – 3:53
17. In The Quiet Of The Morning (For Janis Joplin) – 2:55
18. Angel Band (Duet with Jeffrey Shurtleff) – 2:52
19. Johnny, I Hardly Knew Yeh – 3:25
20. Gracias A La Vida – 3:33

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Joan Baez, Live

Joan Baez – Bowery Songs (Live 2004) (@256)

12 Jan 2010

(Review from allmusic)

Bowery Songs is a collection of live tracks taken from Joan Baez’s performance at the Bowery Ballroom in New York on November 6, 2004.

Baez and her band take on material old — “It’s All Over Now Baby Blue,” “Farewell Angelina,” “Joe Hill,” “Deportee,” etc. — and some fine performances from her last studio outing, “Dark Chords on a Big Guitar” — including “Christmas in Washington” and “Rexroth’s Daughter”.

The big news for fans is that there are four unrecorded songs that have been part of Baez’s standard stage repertoire and are often requested by fans. The album’s bookend pieces are an a cappella read of “Finlandia” and a fine reading of Steve Earle’s “Jerusalem”. She also does an amazing version of Bob Dylan’s “Seven Curses” here, as well as “Dink’s Song”.

During the read of Earle’s “Christmas in Washington”, Baez brings a much deeper sense of history and social justice struggle to the tune and she brings it to bear in every line. One can hear her heartbreak as she cracks the song open, bringing the tattered banners of labor unions to the listeners’ eyes, and as she invokes the ghosts of Emma Goldman, Malcolm X, Martin Luther King, and Woody Guthrie, among others, to the fore, one can feel the sense of hurt, betrayal, and failed promise, but also the trace of rigorous perseverance that the original does not hold.

Except for a dedication to Michael Moore and a few thank-yous, the album eliminates all between-song patter, letting the material speak for itself.

Line-up:
- Joan Baez / vocals, guitar
with
- George Javori / drums, percussion
- Graham Maby / bass, background vocals
- Duke McVinnie / guitar, background vocals
- Erik Della Penna / banjo, guitar, lap steel guitar, background vocals

Track List:
01. Finlandia – 2:08
02. Rexroth’s Daughter – 5:00
03. Deportee – 5:24
04. Joe Hill – 4:18
05. Christmas In Washington – 5:17
06. Farewell, Angelina – 3:36
07. Motherland – 5:16
08. Carrickfergus – 5:41
09. Jackaroe – 5:07
10. Seven Curses – 5:26
11. Dink’s Song – 4:37
12. Silver Dagger – 3:52
13. It’s All Over Now, Baby Blue – 4:26
14. Jerusalem – 4:17

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Joan Baez, Live

Joan Baez – Live Europe 83 (@256)

06 Jan 2010

(Review from wikipedia, amazon)

These live recordings are taken from performances during her 1983 European tour.

The album finds Baez beginning to update her image (which she would continue to do on subsequent releases) by including songs like “Children of the Eighties” (her own composition, written for the children born after the 1960s) alongside old fan favorites like “A Hard Rain’s A-Gonna Fall” and “Farewell Angelina”. She subsequently rewrote some of the lyrics on to “Warriors of the Sun”, as can be heard on the version of the song that appears on 1989′s Speaking of Dreams.

Hightlights include Baez singing “The Love Inside” like a cello and doing “Jaria Hamuda” as if she were a native of Baghdad.

Track List:
01. Farewell Angelina – 3:06
02. Warriors of the Sun – 4:18
03. A Hard Rain’s a Gonna Fall – 5:44
04. Lady Di and I – 4:37
05. Wozu sind Kriege da – 4:11
06. Wenn unsere Bruder kommen – 2:39
07. (For The) Children of the Eighties – 4:09
08. The Love Inside – 3:52
09. Me and Bobby McGee – 3:31
10. No Woman No Cry – 3:46
11. Imagine – 3:16
12. Jaria Hamuda – 1:40
13. Here’s to You – 2:31
14. The Land of a Thousand Dances – 3:15

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Joan Baez, Live

Joan Baez – From Every Stage (Live 1976) (@256)

01 Jan 2010

(Review from allmusic, amazon)

This live album was recorded on the tour supporting the release of her last studio album. Baez’s touring band is a “who’s who” of music industry legends: Jim Gordon, Drums; David Briggs, Keyboards; Dan Ferguson, Guitar; Larry Carlton, Guitar; and last, but certainly not least, legendary Motown bass player James Jamerson.

The vitriol of the opening number, “(Ain’t Gonna Let Nobody) Turn Me Around” is all over the Ford administration of her country. Otherwise, Baez’s trembling falsetto is in beautiful shape on songs ranging from Leonard Cohen’s “Suzanne” to “Oh, Happy Day”.

Though it is the tour of “Diamonds & Rust”, nothing of that album except the title track is represented here; rather, Baez performs five Bob Dylan songs (which get the most rousing reception), three of her better originals, including “Blessed Are” and “Diamonds and Rust” and a brace of traditional songs and covers of a handful of other composers’ work, including “The Night They Drove Old Dixie Down”.

Apart from the opening outpouring of political venom, there’s not too much controversy here — a pair of songs, “Natalia” and “The Ballad of Sacco and Vanzett”, dedicated to political prisoners and an ambitious but ultimately awkward adaptation of “Stewball” are as topical as most of the show gets.

Baez is in superb voice and the backing septet, mostly heard on the second disc, has a surprisingly lean sound.
Ultimately, From Every Stage is a good, albeit far slicker follow-up to Baez’s two early-60s live albums.

Line-up:
- Joan Baez / vocals, guitar
with
- David Briggs / keyboards
- Larry Carlton / guitar
- Dan Ferguson / guitar
- Jim Gordon / drums
- James Jamerson / bass

Track List:
CD1
01. (Ain’t Gonna Let Nobody) Turn Me Around – 2:50
02. Blessed Are – 2:51
03. Suzanne – 4:21
04. Love Song To A Stranger (Part II) – 4:53
05. I Shall Be Released – 2:11
06. Blowin’ In The Wind – 2:35
07. Stewball – 4:36
08. Natalia – 4:06
09. The Ballad Of Sacco & Vanzetti – 4:26
10. Joe Hill – 2:59
CD2
01. Love Is Just A Four Letter Word – 3:28
02. Forever Young – 3:39
03. Diamonds & Rust – 4:19
04. Boulder To Birmingham – 3:59
05. Swing Low, Sweet Chariot – 3:49
06. Oh, Happy Day – 3:26
07. Please Come To Boston – 4:15
08. Lily, Rosemary And The Jack Of Hearts – 8:49
09. The Night They Drove Old Dixie Down – 3:47
10. Amazing Grace – 4:28

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Jim Gordon, Joan Baez, Live

Jethro Tull – Live At Madison Square Garden (1978) (@256)

31 Dec 2009

(Review from seaoftranquility.org)

Jethro Tull’s TV broadcast of 1978 show at New York’s Madison Square Garden has been circulating around the bootleg for some time. Now it has been officially released with all the additional audio of the songs that didn’t make the BBC show.

The band tears into classic numbers such as “Thick as a Brick”, “No Lullaby”, “Songs From the Wood”, “Aqualung”, “Locomotice Breath”, and the medley of “My God/Cross Eyed Mary”, thrilling the New York crowd with their mix of prog, hard rock, and folk styles. Anderson is as always the perfect frontman, his theatrical vocal style, flute, and acoustic guitar work constantly drawing attention, while the ever consistent Barre delivers plenty of crunchy riffs and blazing solos.

With a slew of fan favorites performed, this concert delivers on every front.

Line-up:
- Ian Anderson / vocals, flute, guitar
- Martin Barre / electric guitar
- John Evan / piano, organ, synthesizers
- Barriemore Barlow / drums, glockenspiel
- David Palmer / portative pipe organ, synthesizers
- Tony Williams / bass guitar

Track List:
01. Sweet Dream – 6:52
02. One Brown Mouse – 3:24
03. Heavy Horses – 7:22
04. Thick As A Brick – 11:23
05. No Lullaby (inc. Flute Solo) – 9:00
06. Songs From The Wood – 4:53
07. Quatrain – 0:41
08. Aqualung – 8:04
09. Locomotive Breath (inc. The Dambusters March) – 15:40
10. Too Old To Rock ‘N’ Roll Too Young To Die – 4:17
11. My God -Cross-Eyed Mary – 6:59

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Ian Anderson, Jethro Tull, Live, Martin Barre

Vander-Top – Paris 1976 (Live) (@256)

29 Dec 2009

(Review from rateyourmusic.com)

When Jannick Top briefly reintegrated Magma in 1976, the band toured under the moniker Vander-Top.

Recorded in Theatre de la Renaissance on November 2nd 1976, this is a wonderful and dynamic live performance from one of the more underrated periods of Magma’s history, with Top’s bass and Vander’s drums featured prominently.

Line-up:
- Jannick Top / Bass
- Christian Vander / Drums
- Klaus Blasquisz / Vocals
- Didier Lockwood / Violin
- Gabriel Federow / Guitar
- Michel Grailler / Keyboards

Track List:
01. Hhai – 8:55
02. La Musique Des Spheres – 22:06
03. De Futura – 25:35
04. Troller Tanz – 4:19

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Christian Vander, Jannick Top, Live

King Crimson – KCCC40 Live in Boston (1972) (@256)

28 Dec 2009

(Review from collectorsmusicreviews.com)

This archival live recording once again revisits the “Islands” era line up who played together in 1971 and 1972. The March 27th Boston gig was at the end of their second visit to the US and were supporting Yes, who were touring for Fragile. Such a situation was precipitated, according to the liner notes, by the instability of the band in their formative years. Nearly two years later in 1971 that the band returned to the USA. Having lost the momentum that a speculative tour during 1970 might have gained them, King Crimson were once again forced to “pay their dues” supporting bands such as Procol Harum and Yes.

This date survives in progressive rock mythology as the day when Bill Bruford (Yes drummer at the time) approached Robert Fripp about joining Crimson with Fripp’s famous reply “I think you’re about ready now, Bill…”.

The show itself is the perfect illustration of the band going in two directions. It is well known that Robert Fripp disbanded this line up in January only to be coerced into this final tour. The joy of playing this material is evident in the band except for the guitarist who voices his protest through his instrument.

The scorching “Pictures Of A City” starts the set. Mellotron tuning precedes the gentle “Forementera Lady” and in the long improvisation Mel Collins takes the lead saxophone. Fripp responds by playing the nasty angular riff that would used later in the year in “Larks Tongues In Aspic Part I”. The improvisation leads directly into the jazzy “A Sailor’s Tale”.

“Cirkus” from Lizard is one of the constants during these tours. Although it began as the opener by this time it was played in the middle of the set as a respite from the endless jams. “Groon”, which on a good night could push fifteen minutes lasts about nine in Boston. “21st Century Schizoid Man”, the only song from the classic first album to survive in the set, is segued with the preceding number. A seven minute funky improvisation lead by Boz serves as an introduction to “Cadence And Cascade” featuring a gorgeous flute melody before the tape cuts out.

This is another fantastic document from the most intriguing King Crimson line up.

Line-up:
- Robert Fripp / guitar, mellotron
- Mel Collins / saxes, flute, mellotron
- Boz Burrell / bass, lead vocals
- Ian Wallace / drums, vocals

Track List:
01. R.F. Announcement – 1:35
02. Pictures Of A City – 8:44
03. Formentera Lady – 8:33
04. The Sailor’s Tale – 7:26
05. Cirkus – 8:43
06. Groon – 10:18
07. 21st Century Schizoid Man – 10:03
08. Improv – 7:45
09. Cadence And Cascade – 4:16

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Boz Burrell, Ian Wallace, King Crimson, Live, Mel Collins, Robert Fripp

David Cross – Alive in the Underworld (Live 2006) (@256)

24 Dec 2009

(Review from Sid Smith)

Often underrated by fans and even some of his fellow band members during his tenure in Crimson, Cross has since carved himself a rewarding niche in both improvised and rock music that is both powerful and distinctive.

Documenting a series live dates in the UK during 2006, this release finds his band in fine fiery form here, storming their way through his back catalogue of solo releases and arrangements of popular King Crimson toe-tappers such as “Exiles”, “21st Century Schizoid Man” and “Starless”.

The obvious abilities of the various musicians are well showcased in tracks such as “Nurse Insane” and “Learning Curve” going through some sophisticated Mahavishnu-like machinations with racy outbursts and a decisive metallic edge from guitarist Paul Clark.

Strong and smart in equal measure, the live dimension of the band is complimented by a studio track “Floodlights”, adapted an improvisation and fashioned into song format just as Cross did with his old band mates circa 1972-74, and combining the best of both worlds in the process. If you thought the electric violin wasn’t up to the job of keeping pace with the blood and thunder of the rock backline then even a cursory listen to Cross and his full-blooded playing on “Tonk” and “I Buy Silence” should quickly put you right on that score.

Line-up:
- David Cross / Violin
- Arch Stanton / Vocals
- Joe Crabtree / Drums
- Alex Hall / Keyboards
- Paul Clark / Guitar

Track List:
01. Out of the Darkness – 2:12
02. Nurse Insane – 5:43
03. Learning Curve – 6:36
04. Are We One? – 5:56
05. Exiles – 10:07
06. Tonk – 4:42
07. I Buy Silence – 5:48
08. Starless – 12:29
09. 21st Century Schizoid Man – 8:59
10. Floodlights – 5:17

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David Cross, Live

King Crimson – KCCC39 Live in Milan (2003) (@256)

23 Dec 2009

9 comments

(Review from allaboutjazz.com)

This archival live album captures the last commercially recorded incarnation early into its final European tour before Warr touch guitarist Trey Gunn’s departure and, while it may have a few more warts than other KCCC recordings, they only serve to make Crimson more human.

Amongst the more noticeable warts: a barely perceptible ungluing of the interlocking guitars near the end of the Neuvo Metal anthem, “Level Five”; a false start into “The ConstruKction of Light” before a gritty “ProzaKc Blues,” despite featuring one of guitarist Adrian Belew’s best vocals; and momentary sonic glitches during what are meant to be silent sections during the power-pop “Dinosaur” and pulsing complexity of “Larks’ Tongues in Aspic: Part Four,” the latter just before Belew delivers one of the most blistering solos of any documented version.

The show is similar in structure to many other shows around that time, weighing heavily on material from the then recently released “Power to Believe”. Still, a special energy imbues some of the material, and a particularly gossamer-like feel to the intersecting guitars of “The ConstruKction of Light.” “Elephant Talk” — a favorite dating back to the 80s Crim with Fripp, Belew, bassist Tony Levin and drummer Bill Bruford — plods along more, well, elephant-like, courtesy of the overdriven bottom end of Gunn’s touch guitar and sports a simply stunning, never-before-documented Middle Eastern-inflected solo from Belew that also layers either his radically processed voice or an effect applied to his guitar that’s unique, even in his seemingly infinite sonic palette.

There have been briefer “Introductory Soundscapes” on other Crimson live recordings of the period, but this is the first time a full-length opening set by Fripp, nearly 26 minutes long, is included. Ethereal and tranquil, it’s the calm before the storm as it segues into the equally rarified miniature, “The Power to Believe I,” before Crimson—with drummer Pat Mastelotto’s acoustic/electric kit thundering across the stereo landscape—hits the crowd with the one-two punch of “Level Five” and “ProzaKc Blues.”

Other highlights are an especially poignant “The Deception of the Thrush,” a screaming, frantically strummed Fripp solo over the head-banging riff of “Facts of Life” and the texturally rich, part Gamelan “The Power to Believe II.”

“Live in Milan” may not be essential Crimson, but there are plenty of rewards to differentiate it from others in the series, and the warts-and-all approach just cements Crimson as a group that takes risks and isn’t afraid to show its tremendous strengths…and very occasional weaknesses.

Line-up:
- Adrian Belew / guitar & vocals
- Robert Fripp / guitar, soundscapes
- Trey Gunn / touch guitar
- Pat Mastelotto / acoustic and electronic drumming

Track List:
CD1
01. Introductory Soundscape – 25:57
02. The Power To Believe I – 0:43
03. Level Five – 7:26
04. ProzaKc Blues – 5:27
05. The ConstruKction Of Light – 8:40
06. Facts Of Live – 5:34
07. EleKtriK – 7:51
08. The Power To Believe II – 7:32
09. Dinosaur – 6:18
CD2
01. One Time – 6:33
02. Happy With What You Have To Be Happy With – 3:59
03. Dangerous Curves – 5:41
04. Larks’ Tongues In Aspic, Part Four – 13:07
05. The Power To Believe III – 7:39
06. Elephant Talk – 6:45
07. Red – 6:23

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Adrian Belew, King Crimson, Live, Pat Mastelotto, Robert Fripp, Trey Gunn

Joan Baez – Live At Newport (1963-65) (@256)

23 Dec 2009

(Review from allmusic)

This album draws tracks from Joan Baez’s appearances at the 1963, 1964, and 1965 Newport Folk Festivals, a time period in which she was the very epicenter of the folk scene.

With her clear, strong, and bell-like soprano, Baez brought together traditional-folk materials with some of the best songs of the then-emerging songwriters of the so-called folk revival (she was the introduction for many to the work of Bob Dylan, Phil Ochs, Richard Farina, and others), projecting a thematic unity between the old and the new that was instrumental in the success of the 1960s folk boom.

This collection isn’t quite as striking as her other live albums from this period, although only by degree, and there are several interesting tracks here, including the opener, a live version of Dylan’s beautiful “Farewell Angelina”. A duet with Mary Travers on “Lonesome Valley” is another highlight, as is an audience singalong on “Johnny Cuckoo”.

The final two tracks, “It Ain’t Me Babe” and “With God on Our Side,” are duets with Dylan, and while these performances may have strong historical value, the truth is that Baez and Dylan didn’t sing well together at this point in their association, with both singers dragging the song in two different directions at once, almost as if it were a battle for dominance, which, time suggests, it may well have been.

Track List:
01. Farewell Angelina – 3:41
02. Long Black Veil – 3:10
03. Wild Mountain Thyme – 4:48
04. Come All Ye Fair and Tender Maidens – 4:05
05. Lonesome Valley (Duet w/Mary Travers) – 3:38
06. Hush Little Baby (Duet w/Peter Yarrow) – 1:07
07. Te Ador/Te Manha – 3:57
08. All My Trials – 4:37
09. It’s All Over Now, Baby Blue – 3:54
10. The Unquiet Grave – 3:02
11. Oh, Freedom – 3:15
12. Satisfied Mind (Duet w/Lilly Brothers) – 3:12
13. Fennario – 3:47
14. Don’t Think Twice, It’s Alright – 3:37
15. Johnny Cuckoo – 4:28
16. It Ain’t Me Babe (Duet w/Bob Dylan) – 4:45
17. With God On Our Side (Duet w/Bob Dylan) – 6:37

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Joan Baez, Live

King Crimson – KCCC38 Live In Philadelphia (1996) (@256)

22 Dec 2009

(Review from allaboutjazz.com)

As ever, the Crimson Double Trio culled its set from a larger pool of material with certain consistencies, including the proto-nuevo metal of “Red,” the elliptically grooving “Elephant Talk,” the weighty stream-of-consciousness “Sex, Sleep, Eat, Drink, Dream” and power-pop “Dinosaur.” But this is the only officially released recording of the sextet playing the stylistically hybridized, wood drum-driven “Sheltering Sky,” making it of clear interest to committed Crimson followers.

This final (ever) performance of the Double Trio finds a band that is undoubtedly tired and feeling the strains of such intensive energy-consuming dates. Adrian Belew whips through the beat poetry of “Indiscipline” faster, perhaps, than any live version on record, but it sure doesn’t feel tired. Instead, there’s a different kind of energy at play, of a group sprinting with last-minute energy to the finish line.

If there’s a star of this show, it has to be Belew, who’s particularly vicious during his solos on “Elephant Talk,” the perennial “21st Century Schizoid Man” and relentless “Larks’ Tongues in Aspic Part II.” Drummer Pat Mastelotto, who didn’t really get the chance to blossom in this incarnation, is more a foil to longstanding Crimson drummer Bill Bruford’s precision grooves. Meanwhile, touch guitarist Trey Gunn doesn’t stand out as much as the group’s ineffable groove-meister, bassist/stick man Tony Levin. But they both add to the jagged density that was a differentiator of this line-up, as it reaches out for greater improvisational territory on the complex head-banger, “THRAK”.

“Live in Philadelphia” may not be the Double Trio’s best show, but it’s still a fine one, and a worthwhile document for those who continue to follow this group’s every move.

Line-up:
- Adrian Belew / Guitar, Vocals
- Robert Fripp / Guitar, Soundscapes
- Trey Gunn / Touch Guitar
- Tony Levin / Basses, Stick
- Pat Mastelotto / Acoustic & Electronic Drums And Percussion
- Bill Bruford / Acoustic & Electronic Drums And Percussion

Track List:
CD1
01. Conundrum – 1:32
02. Thela Hun Ginjeet – 6:00
03. Red – 6:19
04. Dinosaur – 6:49
05. One Time – 5:55
06. VROOOM VROOOM – 4:56
07. Waiting Man – 4:32
08. Neurotica – 4:34
09. Elephant Talk – 4:59
10. Sheltering Sky – 6:52
CD2
01. B’Boom – 5:44
02. THRAK – 8:39
03. Sex, Sleep, Eat, Drink, Dream – 4:47
04. Indiscipline – 6:04
05. Lark’s Tongues in Aspic Part II – 7:01
06. Prism – 5:11
07. 21st Century Schizoid Man – 7:16
08. VROOOM – 3:52
09. Coda – 3:33

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Adrian Belew, Bill Bruford, King Crimson, Live, Pat Mastelotto, Robert Fripp, Tony Levin, Trey Gunn

King Crimson – KCCC37 Live At The Pier (1982) (@256)

21 Dec 2009

(Review from allaboutjazz.com)

“Live at the Pier” is a crisp and clear recording that finds 1980s Crims about half-way through its near four year run. And it’s a hot one.

With five of the ten tunes culled from the group’s just-released second album, “Beat”, the new wave edge-meets-gamelan-meets-minimalism ethos of 1980s Crim had evolved considerably from its early days as “Discipline”. This may be the least expansively improvisational Crimson line-up, with no extended group improvs heard in prior and subsequent incarnations. But that doesn’t mean that this more song-friendly, groove-happy Crimson didn’t take risks each and every night. The differences could be as subtle as Robert Fripp’s gradually evolving elliptical patterns behind fellow guitarist Adrian Belew’s solo of reckless abandon on “Waiting Man” or more direct during drummer Bill Bruford’s lengthy electro-acoustic solo at the beginning of the lyrically obtuse “Indiscipline”.

The group stretches out a little more with Belew’s ad lib of “New York, New York” on “Indiscipline”, some added mayhem on a slightly longer take on one of the few pre-1980s songs this Crimson would perform, “Larks’ Tongues in Aspic: Part II” and a lengthier solo from Fripp on the log drum-driven “The Sheltering Sky”. What made 1980s Crimson so unique was its ability to challenge even the committed progressive fan, but in a most approachable way; it was music that you could dance to… as long as you weren’t challenged by moving your feet in 21/8.

It’s also a performance that helps dispel a common (and unfounded) misconception that Belew, the singer, was merely aping Talking Heads’ David Byrne. As good as Byrne was and is, he could never match Belew’s gritty delivery of a definitive version of “Neal and Jack and Me” that’s more open-ended than Beat’s considerably more concise studio take.

Live at the Pier, with its greater emphasis on Beat’s repertoire and with equally excellent sound, deserves to be heard by more than just undying Crimheads.

Line-up:
- Adrian Belew / Guitar, Vocals
- Robert Fripp / Guitar
- Tony Levin / Stick, Bass Guitar
- Bill Bruford / Drums, Percussion

Track List:
01. Waiting Man – 7:40
02. The Howler – 4:53
03. Frame By Frame – 5:31
04. The Sheltering Sky – 11:05
05. Neal And Jack And Me – 6:09
06. Neurotica – 5:42
07. Elephant Talk – 5:14
08. Indiscipline – 12:22
09. Sartori In Tangier – 5:02
10. Lark’s Tongues In Aspic- Part II – 7:17

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Adrian Belew, Bill Bruford, King Crimson, Live, Robert Fripp, Tony Levin

King Crimson – KCCC36 Live in Kassel (1974) (@256)

20 Dec 2009

(Review from planetmellotron.com)

Live in Kassel, April 1, 1974 is anything but an April Fool; a slightly unusual set for the time, featuring four “Starless & Bible Black” pieces, and another “Dr Diamond” (so why didn’t they record this for Red, anyway?), with only two from “Larks’ Tongues”, although it’s truncated a few minutes into “Fracture”, probably missing a closing “Larks’ Tongues II”.

Previous KCCC releases have diligently given retrospective titles to thirty year-old jams, but all we’re given here is Improv I/II/III. I is essentially an extended intro to Dr Diamond and II performs the same function for Exiles, only more extended, leaving the brief guitar/violin duet III as the only one of the three worthy of particular mention.

There is a reasonable helping of mellotron, with the customarily short flute part on opener “Great Deceiver” and the standard segments on “Exiles”, “Night Watch”, “Lament” and “Starless”.

Line-up:
- David Cross / Violin, Mellotron, Electric Piano
- Robert Fripp / Guitar, Mellotron, Electric Piano
- John Wetton / Bass Guitar, Vocals
- Bill Bruford / Drums, Percussion

Track List:
01. The Great Deceiver – 3:55
02. Improv. I – 2:11
03. Doctor Diamond – 5:00
04. Improv. II – 6:08
05. Exiles – 6:00
06. The Night Watch – 4:53
07. Lament – 4:16
08. Starless – 12:13
09. Improv. III – 2:04
10. Easy Money – 7:01
11. Fracture – 4:00

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Bill Bruford, David Cross, John Wetton, King Crimson, Live, Robert Fripp

King Crimson – KCCC35 Live in Denver (1972) (@256)

19 Dec 2009

(Review from planetmellotron.com)

Six months before the Mark 2 lineup dissolved, the band sound like they were having a whale of a time the night Live in Denver, March 13, 1972 was recorded.

“Ladies Of The Road” has Boz Burrell introducing “Fingers Fripp, playing his blues licks”, while various members are laughing too hard to sing their backing vocal parts. The rest of the set is at least played properly, but is a case-book study as to why Fripp eventually tired of their approach.

Apart from the evergreen Schizoid Man, the two tracks containing mellotron standout with a fine The Sailors Tale and a ripping Cirkus.

It’s a great shame Fripp threw the repertoire baby out with the bathwater for his next version of the band, as that line-up would’ve more than done the song justice.

Line-up:
- Robert Fripp / guitar, mellotron
- Mel Collins / saxes, mellotron
- Boz Burrell / bass, vocals
- Ian Wallace / drums

Track List:
01. Formentera Lady – 9:27
02. The Sailor’s Tale – 6:41
03. Circus – 10:00
04. Ladies Of The Road – 6:33
05. The Letters – 6:35
06. Groon – 17:16
07. 21st Century Schizoid Band – 11:42
08. Cadence And Cascade – 4:56

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Boz Burrell, Ian Wallace, King Crimson, Live, Mel Collins, Robert Fripp

Great White – Great Zeppelin (Live 1996) (@256)

18 Dec 2009

(Review from leisuresuit.net, amazon)

“Great Zeppelin” was recorded in 1996 at the Galaxy Concert Theatre in Santa Ana, CA.

Great White performs 14 Zeppelin songs and sticks essentially to the studio versions. No extended jams, no new twists, no Great White flavor or interpretation, just basic rockin’ Zep. Jack Russell does a great job on vocals, very Robert Plant like in most cases, on some songs, he is tremendous – “In The Light”, “Ramble On”, “No Quarter”, “Going To California”, “Immigrant Song”. The bands’ music is on the mark.

The concert is full of “live album” nuggets such as “Now a lot of people think this song is pronounced Die-r Maker . . . “, “We’re gonna get the Led out!!!” and of course, the genuine Zep-ticle was guilty of this too — “Does anybody remember laughter?”.

The cover art has to be mentioned; it’s a large, airborne great white shark (reminiscent of a zeppelin), crashing through and blowing up what looks like a radio transmitter tower.

“Great Zeppelin” is good and it’s an entertaining listen the first couple of times, mostly because it’s fascinating that Great White could reproduce Zeppelin music so faithfully and flawlessly.

Line-up:
- Jack Russell / Vocals
- Mark Kendall / Guitar, Vocals
- Michael Lardie / Guitar, Keyboards
- Sean McNabb / Bass
- Audie Desbrow / Drums

Track List:
01. In The Light – 6:06
02. Living Loving Maid (She’s Just A Woman) – 3:30
03. Ramble On – 5:11
04. Since I’ve Been Loving You – 6:44
05. No Quarter – 8:03
06. Tangerine – 3:05
07. Going To California – 4:11
08. Thank You – 4:37
09. D’yer Maker – 4:44
10. All My Love – 6:12
11. Immigrant Song – 2:21
12. When The Levee Breaks – 6:51
13. The Rover – 6:00
14. Stairway To Heaven – 8:35

Link in comments.

Live

Joan Baez – In Concert Part 2 (1963) (@256)

16 Dec 2009

(Review from allmusic)

Like its predecessor, Joan Baez in Concert, Pt. 1, this live album was a huge success.

Though it was recorded not long after Joan Baez in Concert, Pt. 1 and is also a live album on which the only accompaniment is her own acoustic guitar, it’s not merely a second set of recordings of similar material. Her repertoire was evolving from purely traditional folk to encompass significant work by contemporary folksinger/songwriters.

Most prominent among those, of course, was Bob Dylan, and In Concert, Pt. 2 features her first two Dylan covers, “With God on Our Side” and “Don’t Think Twice, It’s All Right.” For that alone, the album was notable, but there were other notable expansions into interesting new territory, like the country classic “Long Black Veil,” Derroll Adams’ great melancholy “Portland Town,” the civil rights anthem “We Shall Overcome” and bossa nova great Luiz Bonfa’s “Manha de Carnaval”.

Baez’s growth was not so radical as to alienate any of her folk followers, and the album still featured several traditional folk songs of the sort that had launched her career, like “Once I Had a Sweetheart” and “Jackaroe”.

The introduction of less-hidebound excursions, though, did much to lighten her approach and keep her from falling into too much of a maiden-of-constant-sorrow rut.

Track List:
01. Once I Had A Sweetheart – 3:11
02. Jackaroe – 3:05
03. Don’t Think Twice, It’s All Right – 3:10
04. We Shall Overcome – 3:30
05. Portland Town – 2:48
06. Queen Of Hearts – 2:30
07. Manha De Carnaval – 4:50
08. Long Black Veil – 3:04
09. Fennario – 4:00
10. ‘Nu Bello Cardillo – 2:56
11. With God On Our Side – 6:14
12. Three Fishers – 2:44
13. Hush Little Baby – 1:24
14. Battle Hymn Of The Republic – 3:24
15. Rambler Gambler – 2:04
16. Railroad Bill – 2:07
17. Death Of Emmett Till – 3:53
18. Tomorrow Is A Long Time – 3:14
19. When First Unto This Country A Stranger I Came – 2:45

Link in comments.

Joan Baez, Live

Joan Baez – In Concert (1962) (@256)

16 Dec 2009

(Review from allmusic)

Originally released in 1962, In Concert, Pt. 1 captures the undisputed queen of folk music at the onset of her fabled career. Though Baez was reportedly suffering from stage fright at the time of these recordings, which were cobbled from the fall of 1961 to the spring of 1962, her delivery is crystal clear and confident.

The exhaustive selection of material represents her diverse influences, most notably African tradition (“Kumbaya”), gospel (“Gospel Ship”), negro spiritual (“My Lord What a Morning”), West African (“Danger Waters”), Brazilian (“Ate Amanha,” which is sung in Portuguese), and blues (“Babe I’m Gonna Leave You”).

Track List:
01. Babe, I’m Gonna Leave You – 3:12
02. Geordie – 3:37
03. Copper Kettle – 2:44
04. Kumbaya – 3:33
05. What Have They Done To The Rain – 2:55
06. Black Is The Color Of My True Love’s Hair – 2:49
07. Danger Waters – 3:38
08. Gospel Ship – 3:00
09. House Carpenter – 5:22
10. Pretty Boy Floyd – 4:42
11. Lady Mary – 2:51
12. Ate Amanha – 2:30
13. Matty Groves – 7:26
14. Streets Of Laredo – 2:40
15. My Good Old Man – 3:23
16. My Lord What A Morning – 3:59

Link in comments.

Joan Baez, Live

Joan Baez – Very Early Joan (Live 1961-63) (@256)

14 Dec 2009

(Review from allmusic)

This is a heartwarmingly intimate look at Joan Baez during her most influential period (1960-1963).

The album’s 22 tracks are all live, performed before audiences held in silent and rapt attention in packed concert halls. The singer’s trademark politically tinged folk songs are charmingly blended with a few pop interpretations like the Jerry Ragovoy early soul classic “She’s a Trouble Maker” and a fun version of the Diamonds’ “Little Darlin’,” revealing a rarely seen lighthearted side of the activist. Baez’s voice never sounded better than during this era, and her live performances resonate with a confident honesty.

Very Early Joan is a shining example of the bridge from the traditional Weavers/Kingston Trio folk singing of the fifties and the youthful fire of the political folk of the ’60s.

Track List:
01. Last Night I Had The Strangest Dream – 2:40
02. Willie Moore – 3:17
03. She’s A Trouble Maker – 2:25
04. Tears In My Eyes – 3:25
05. Somebody Got Lost In A Storm – 3:49
06. The Water Is Wide – 3:05
07. Man Of Constant Sorrow – 3:31
08. Freight Train – 3:02
09. Lady Gay – 4:25
10. Johnny Cuckoo – 3:39
11. Lonesome Valley (with Pete Seeger) – 3:32
12. The Riddle Song (with Pete Seeger) – 3:48
13. Railroad Bill – 2:10
14. Little Darlin’ – 2:11
15. In The Pines – 3:31
16. Pilgrim Of Sorrow – 4:28
17. Where Have All The Flowers Gone – 4:31
18. Rambler Gambler – 2:05
19. Come All Ye Fair And Tender Maidens – 4:55
20. Hallowed Be Thy Name – 3:19
21. Twelve Gates to the City – 3:46
22. Silver Dagger – 2:44

Link in comments.

Joan Baez, Live

Jimmy Page & Black Crowes – Live At The Greek (1999) (@256)

08 Dec 2009

(Review from allmusic)

Black Crowes were dogged with comparisons to the Rolling Stones and the Faces throughout the first decade of their career, so it came as a mild surprise that they teamed with Led Zeppelin guitarist Jimmy Page in late 1999 for a couple of concerts. The listeners that always dismissed Black Crowes as revivalist hacks, is how supple and muscular the band sounds on Live at the Greek and how powerful vocalist Chris Robinson is.

By pounding out hard-driving blues-rock and classic Zeppelin tunes, the band is able to stretch out and reveal just what a capable, versatile band they are. The true sign of their abilities is that Page sounds looser and happier here than he has in years; he sounds like he’s truly enjoying himself, a quality that is debatable on the Page & Plant records, no matter what their virtues are.

They stick to Led Zeppelin classics and old blues and R&B standards like “Woke up This Morning”, “Sloppy Drunk”, “Mellow Down Easy” and “Shake Your Money Maker”, plus the Yardbirds’ “Shape of Things to Come” and Fleetwood Mac’s “Oh Well”. No Crowes songs are here due to contractual reasons.

This set isn’t innovative, surprising, or adventurous, but that’s precisely where its charms lie.

Line-up:
- Jimmy Page / electric guitar, acoustic guitar
- Chris Robinson / Vocals
- Rich Robinson / guitar, vocals
- Audley Freed / guitar
- Sven Pipien / bass guitar
- Ed Harsch / keyboards
- Steve Gorman / drums

Track List:
CD1
01. Celebration Day – 3:42
02. Custard Pie – 5:18
03. Sick Again – 4:34
04. What Is And What Should Never Be – 5:26
05. Woke Up This Morning – 4:14
06. Shape Of Things To Come – 3:09
07. Sloppy Drunk – 6:05
08. Ten Years Gone – 6:31
09. In My Time Of Dying – 9:33
10. Your Time Is Gonna Come – 6:00
CD2
01. The Lemon Song – 8:59
02. Nobody’s Fault But Mine – 6:41
03. Heartbreaker – 5:50
04. Hey Hey What Can I Do – 3:30
05. Mellow Down Easy – 5:20
06. Oh Well – 4:10
07. Shake Your Money Maker – 4:24
08. You Shook Me – 8:25
09. Out On The Tiles – 3:39
10. Whole Lotta Love – 5:34

Link in comments.

Jimmy Page, Live

Roger Chapman – He Was… She Was… You Was… We Was (Live 1982) (@256)

06 Dec 2009

(Review from allmusic)

One of the lost jewels within the Roger Chapman crown, He Was She Was You Was We Was was the double live album that confirmed the former Family/Streetwalkers frontman as a superstar in Germany in 1982.

Recorded late the previous year in Kiel and built around his Hyenas album, it blazed through his solo career with furnace-fire aplomb, with a pair of medleys — one commencing with the old blues shaker “I’m a King Bee,” the other with Larry Williams’ “Slow Down” — highlights that few live acts of the era could muster.

It is not an oldies show — anybody coming to a Chapman live album today would be certain to search for Family favorites. They are absent — this is the sound of Chapman at the top of his game, whether pounding through his own most recent material or dipping back to mash Jimi Hendrix’s “Stone Free” with Miles Davis’ “Bitch’s Brew”, while the band — led by the indefatigable Tim Hinckley — simply storms.

This edition of the album has one more moment of magnificence appended as a bonus track: a five-minute romp through “I Just Want to Make Love to You”.

Line-up:
- Roger Chapman / Vocals, Harmonica
with
- Geoff Whitehorn / Guitar
- Boz Burrell / Bass
- Tim Hinkley / Keyboards
- Poli Palmer / Synthesizer
- Nick Pentelow / Saxophone
- Steve Simpson / Guitar, Mandolin, Violin, Vocals
- Stretch / Drums

Track List:
CD1
01. Higher Ground – 6:07
02. Ducking Down – 5:35
03. Making The Same Mistake – 5:41
04. Blood And Sand – 5:50
05. King Bee / That Same Thing / Face of Stone – 9:07
06. Hyenas Only Laugh For Fun – 4:12
07. Night Down No. 2 A La Z.Z – 9:46
CD2
01. Prisoner – 6:07
02. Slow Down / Common Touch – 6:32
03. Juke Box Mama No.3 – 6:22
04. He Was, She Was – 6:07
05. Stone Free / Bitches Brew – 6:02
06. Unknown Soldier – 5:48
07. I Just Wanna Make Love To You (Bonus) – 5:45

Link in comments.

Boz Burrell, Geoff Whitehorn, Live, Roger Chapman

Magma – Bobino 1981 (Live) (@256)

04 Dec 2009

Thanks to Bilek for the contribution.

(Review from progarchives.com, rateyourmusic.com)

This is an archival recording of an entire concert from 1981. The line-up in this concert consists of ten members with two drummers, two keyboard players (one also singing), two singers and two wind players, with only the bassist and the guitarist not having an alter ego! The sound has more pyrotechnics and jazz-funk, and less Stravinsky and Coltrane-lyricism than Magma’s earlier works.

The set includes the two longer songs from Retrospektiw III (a 13-minute “Hhai” and the 20-minute “Retrovision”), along with several pieces that would later turn up on the mostly commercial Merci album and the 30-minute “Zess” which contains about 3 minutes of ideas repeated over and over.

There are some stunning moments and some quintessential Vander stretches that Magma afficianados will treasure. As well as a lot of otherwise unavailable pieces.

Line-up:
- Christian Vander / drums, vocal
- Stella Vander / vocal
- Lisa Deluxe / vocal
- Benoit Widemann / keyboards
- Guy Khalifa / keyboards
- Dominique Bertram / bass
- Jean-Luc Chevalier / guitar
- Doudou Weiss / drums
- Alain Guillard / Winds, horns
- Yvon Guillard / horns

Track List:
CD1
01. Zain – 7:39
02. Hhai – 12:52
03. Urgon Gorgo – 6:04
04. Retrovision – 19:48
CD2
01. Who’s My Love – 7:07
02. Otis – 12:48
03. Zess – 30:19
04. You – 10:10

Links in comments.

Benoit Widemann, Christian Vander, Live, Magma

Magma – Bourges 1979 (Live) (@256)

03 Dec 2009

Thanks to Bilek for the contribution.

(Review from classicrockmusicblog.com, seventhrecords.com)

Bourges 1979 is a double-disc live archival set, capturing Magma on tour supporting their album Attahk. It is a soundboard recording, with surprisingly good fidelity. The seven tracks include two songs from Attahk along with the band’s early magnum opus “Mekanik Destruktiw Kommandoh”.

The guitar playing of Jean-Luc Chevalier and bassist Michel Herve are noteworthy. Vocalist Klaus Blasquiz seems limitless in his range, Vander is a remarkably powerful and energetic drummer, and guest saxophonist Rene “Stundehr” Garber blows a mean horn on the Coltrane-inspired “Korusz XXVI”.

The huge effort put in by the musicians as well as their energy, make this a concert that holds a special place in the band’s history, documenting for the first time ever this particular period.

Line-up:
- Klaus Blasquiz / vocals
- Stella Vander / vocals, piano, Fender
- Maria Popkiewicz / vocals
- Lisa Deluxe / vocals
- Jean-Luc Chevalier / guitar, bass
- Andre Herve / piano, Fender, synthesizer
- Michel Herve / bass
- Christian Vander / drums, vocals
with
- Rene “Stundehr” Garber / presentation, saxophone, vocals

Track List:
CD1
01. Entree en scene – 1:06
02. Retrovision – 16:42
03. The Last Seven Minutes – 10:44
04. Urgon Gorgo – 12:04
05. Korusz XXVI – 21:07
CD2
01. Entree en scene – 0:30
02. Hhai – 10:55
03. Nono – 8:14
04. Mekanik Destruktiw Kommandoh – 28:32

Links in comments.

Christian Vander, Live, Magma

Offering – Paris Theatre Dejazet (Live 1987) (@256)

26 Nov 2009

(Review from allmusic)

Culled from a ten-day residency at the Theatre Dejazet in May 1987, the two-CD set presents a whopping 153 minutes of music. Vander’s interests at the time were split between Magma-derived vocal pieces and ecstatic, jazzy jams inspired by John Coltrane’s A Love Supreme. Vander sings lead on many tracks, front stage, sitting down at the drums only for brief moments.

The album begins with a recording of Wagner’s “Lohengrin” overture relayed over the PA — an eight minutes to set the mood. Then the full group explodes into a rendition of Coltrane’s “Ole”, pushing Stella Vander to the front. This is followed by a sequence of soft pieces using smaller configurations. Of those, “A Fiieh” and the Vander duet “Les Cygnes” stand out. Vocalist Guy Khalifa delivers a very conservative rendition of the jazz standard “Lush Life.” Disc one closes on a 22 minute rendition of “Joia”, swinging tone poem featuring Christian scatting in Kobaian.

The second disc begins with the 47-minute “Another Day,” a long, excited rambling derived from “A Love Supreme” with endless vocal solos and a nice piano solo spot for Simon Goubert. If that wasn’t enough, “master percussionist” Pierre Marcault leads the whole group into an extended tribal jam before Christian Vander moves to his drums for a 15-minute solo. By the closing Pharoah Sanders tune, the listener is as exhausted as the musicians.

Line-up:
- Emmanuel Borghi / percussion, piano
- Simon Goubert / keyboards, electric piano, background vocals
- Jean-Marc Jafet / percussion, (electric) bass
- Guy Khalifa / flute, vocals, background vocals
- Pierre Marcault / percussion
- Christian Vander / piano, drums, tambourine, vocals, flute (wood)
- Stella Vander / percussion, keyboards, vocals, background vocals

Track List:
01. Lohengrin – Prelude – 8:25
02. Ole – 5:30
03. Cosmos – 2:15
04. A Fiieh – 8:40
05. Les Anges – 11:30
06. Les Cygnes – 5:18
07. Solitude – 4:05
08. La Nuit Du Chasseur – 1:46
09. Les Vagues – 2:18
10. Lush Life – 5:01
11. Joia – 22:21
12. Another Day – 47:20
13. Anta – 7:44
14. Chorus De Batterie-Introduction A You’ve Got To Have Freedom – 14:26
15. You’ve Got To Have Freedom – 5:56

Link in comments.

Christian Vander, Live, Offering

Magma – Les Voix Concert Douarnenez (1992) (@256)

23 Nov 2009

Thanks to Bilek for the contribution.

(Review from progarchives.com)

Or Magma unplugged. This is an absolute gem of a live album, a crystal clear direct-to- digital recording from a 1992 jazz festival. As the title and line up suggests, the emphasis here is on Christian Vander’s brilliant vocal compositions and arrangements, and the instrumental backing is generally minimal.

The album opens with the 8 piece choir singing Emehntet-Re, a fragment from the Kohntarkohsz sequence unreleased on any mainstream studio album (at the time), over a simple piano backing. It’s a piece of ethereal, celestial beauty that sets the scene for what is to follow in the next 40 minutes. Then we’re into C’est Pour Nous, an Offering era piece which features Christian and Stella Vander in a vocal duet over a piano and bass accompaniment, with Philippe Dardelle doing a sterling job of propelling the piece with a bass line worthy of Jannick Top or Bernard Pagannotti.

The main attraction is the two lengthy pieces which follow. Zess (extrait) is a sizeable chunk of another work as yet unreleased in a studio version, although fragments are on Inedits, Mythes et Legendes and sundry live albums. This is Vander’s Kobaian vision stripped down to its essence; massed vocals and a McCoy Tyner style piano with the trademark Fender Rhodes present and correct . Some of the themes will be familiar to long term Univeria Zekt heads, but rarely have they been performed with such simplicity and clarity. The proceedings close with a lengthy extract from Wurdah Itah, in which the already stripped down original gets a bigger vocal arrangement but another minimal instrumental backing. The essence of the Theusz Haamtaak trilogy distilled and compressed, it’s a glittering jewel which may be a good starting point for those overwhelmed by the original 70s albums like MDK.

As well as being a superb drummer, Vander is a genuinely gifted composer and this album is a brilliant showcase for his ability to write rhythmically complex but melodically accessible vocal music. Although he is credited with drumming on this album, for most of the time any percussion is so low key as to be inaudible. Bass and electric keyboards surface when required, but mostly this album is just what it says; les voix, in all their glory.

Line-up:
- Stella Vander / vocals
- Addie Deat / vocals
- Julie Vander / vocals
- Benedicte Ragu / vocals
- Isabelle Feuillebois / vocals
- Jean Christophe Gamet / vocals
- Alex Ferrand / vocals
- Jean Francois Deat / vocals
- Pierre Michel Sivadier / keyboards
- Simon Goubert / piano, keyboards
- Philippe Dardelle / contrabass
- Christian Vander / vocals, piano, drums

Track List:
01. Emehteht-Re – 3:39
02. C’Est Pour Nous – 7:56
03. Zess (Extrait) – 17:18
04. Wurdah Itah – 15:46

Link in comments.

Christian Vander, Live, Magma

Magma – Opera De Reims 1976 (Live) (@320)

18 Nov 2009

(Review from waysidemusic.com, progarchives.com)

Magma live is always a special treat, because they always re-arrange their songs. This has the post-Hhai/Live band performing for nearly 160 minutes. Recorded in the Opera, Reims (France), in 1976, you’ve got everything but great content here — spanning over 3 discs, comprising of 5 pieces.

Line-up:
- Klaus Blasquiz / vocals, percussion
- Stella Vander / vocals
- Didier Lockwood / violin
- Gabriel Federow / guitar
- Patrick Gauthier / keyboards
- Benoit Widemann / keyboards
- Benard Paganotti / bass
- Christian Vander / drums, vocals

Track List:
01. De Futura – 24:32
02. Sons Et Chorus De Batterie – 26:39
03. Kohntarkosz – 33:32
04. Theusz Hamtaahk – 33:35
05. Mekanik Destruktiw Kommandoh – 42:29

Link in comments.

Benoit Widemann, Bernard Paganotti, Christian Vander, Didier Lockwood, Live, Magma, Patrick Gauthier

Magma – Theater Du Taur Concert 1975 Toulouse (Live) (@192)

17 Nov 2009

(Review from progreviews.com)

Theatre du Taur is an official bootleg of Magma recorded in Toulouse on September 24, 1975. This is a companion piece to their Live/Hhai album and another subsequent official boot, Opera de Reims. As it stands, this is a pretty aptly title, as the ‘Taur’ in question is a raging bull in his prime by the name of Christian Vander.

Vander is all the reason you need to justify in picking this one up. Does he muscle his way into the spotlight? Not to detract from the other musicians, who are all in excellent form here, but Vander pretty much is the spotlight on this one, a simply all-encompassing presence throughout these two discs of music that is impossible to ignore. On the one hand, he conveys this sense of being finely attuned to what the other musicians are playing and ready to respond and assimilate, almost to the microsecond. At the same time, he gives the ultimate impression that whatever the hell they are playing is really just incidental and even moreso he is drumming along to the internal score of the music playing away in his head.

Because its set-list duplicates much that is can be found on the obviously much better-sounding Live album, this archival live album tends to fall in the shadow of Opera de Reims in terms of garnering recognition. It’s somewhat a shame, since the performances on this one are arguably more unhinged (one exception being Reims’ “MDK”).

Line-up:
- Klaus Blasquiz / vocals & percussion
- Stella Vander / vocals
- Didier Lockwood / violin
- Gabriel Federow / guitar
- Benoit Widemann / keyboards
- Patrick Gauthier / keyboards
- Bernard Paganotti / bass
- Christian Vander / drums

Track List:
01. Kohntarkosz – 32:29
02. Hhai – 11:19
03. Kobaia – 11:48
04. Mekanik Destruktiw Kommandoh – 38:16

Link in comments.

Benoit Widemann, Bernard Paganotti, Christian Vander, Didier Lockwood, Live, Magma, Patrick Gauthier

Magma – Live BBC 1974 Londres (@256)

16 Nov 2009

(Review from progreviews.com, progarchives.com)

These live BBC recordings of 1974, provide the earliest live versions of these two songs and in many ways it shows — both songs seem to meander along at times, in no hurry at all.

Like “Wurdah Itah”, “Theusz Hamtaahk” begins with a part called “Malawelekaahm”, which is played here in what might be its definitive rendition. The vamp throughout its most intense moment is projected in slow motion, letting each note take full effect before the next is played. It’s as if the band wanted to focus on the space between notes, taking full advantage of a somewhat pared down line up and the lack of a present and eager audience. Also of note is that aside from Blasquiz and Vander, none of the other members of this line up appear on future recordings of this song. As the line-ups changed and the song developed, it seems to have lost the passion with which it is put forth here on its earliest recording. The second half of the song is much less well developed, however, giving way to meandering and lack of balance. It wasn’t as excited as it eventually became (seven years later), but this version has its merits.

“Kohntarkosz”, on the other hand, is here played by most of the same band that went on to record it in the studio later that year. It doesn’t really hold up to the studio version, however, missing the heavenly quality of Stella’s voice, as well as the intensity of the changes. This performance is much more ethereal and sparse, which works amazingly well for the first twenty minutes or so. Claude Olmos’ guitar is much more present that Brian Godding or Gabriel Federow’s in future recordings, which gives this version points. The creeping chant of “Hallelujah” at the end is interesting and pulled the song back out of the ether, but Stella is still missed.

Without a doubt, this one is for the die-hards, but the restrained tempo and variations on both songs make it essential nonetheless.

Line-up:
- Klaus Blasquiz / vocals, percussion
- Claude Olmos / guitar
- Michel Graillier / Fender piano, keyboards
- Gerard Bikialo / Fender piano
- Jannik Top / bass
- Christian Vander / drums, vocals

Track List:
01. Theusz Hamtaahk – 30:03
02. Kohntarkosz – 27:26

Links in comments.

Christian Vander, Jannick Top, Live, Magma

Magma – Inedits (Live 1972-75) (@256)

13 Nov 2009

(Review from progarchives.com)

This is an interesting cross section of Magma history, featuring most or all of the definitive zeuhl musicians, sadly slightly marred by murky live recording.

“Opus 3″ sets the standard with its cosmic electric keys and jazzy zeuhl rock variations with Jannick Top doing an extended bass solo, so this is obviously a required recording for maniacal born-again Kobaians. Although these songs were performed between 1972-75, they all remind strongly of the main “Kohntarkosz” theme, what with steady yet subtle rhythm work holding around one chord and those unique funeral jazz moments. It’s been said that Kohntarkosz Anteria was written in 1972 and indeed, memorable snatches of the epic do appear on Inedits.

A definite highlight, “Om Zanka” is flowing piece of 7/8 jazz mood management with Vander soloing against the amazing Benoit Widemann, and neither buries the other. Frustratingly, the quality of the production is most punishing here. Once the duel is over (assumedly called as a draw owing to exhaustion) the traditional Kobaian choirs enter to weave in and out of Lockwood’s violin melodies. It’s stunning and frankly over far too quickly.

If you are under Magma’s spell, don’t disregard Inedits merely because it’s not studio work. Magma fanatics should head here because it’ll help them to come to terms with bootleg quality, and to put names to the songs on the ones they’ve already heard!

Line-up:
- Gerard Bikialko / keyboards (1,2,4,6)
- Micky Grailler / keyboards (1,2,4)
- Benoit Widemann / keyboards (3)
- Francois Cahen / keyboards (5)
- Jean Luc Manderlier / keyboards (5,6)
- Francis Moze / bass (5)
- Jean-Pierre Lambert / bass (6)
- Janik Top / bass (1,2,4)
- Bernard Paganotti / bass (3)
- Claude Olmos / guitar (1,4)
- Marc Fosset / guitar (6)
- Gabriel Federow / guitar (3)
- Didier Lockwood / violin (3)
- Klaus Basquiz / vocals & percussion
- Rene Garber / vocals, bass clarinet (5,6)
- Teddy Lasry / saxes (5)
- Jeff Seffer / saxes (5)
- Louis Toesca / trumpet (5)
- Christian Vander / drums

Track List:
01. Sowiloi+KMX-EXII-Opus3 – 13:47
02. KMX-BXII-Opus7 – 6:20
03. Om Zankaa – 5:37
04. Gamma – 4:10
05. Terrien Si Je T’ai Convoque – 4:03
06. Gamma Anteria – 7:58

Link in comments.

Benoit Widemann, Bernard Paganotti, Christian Vander, Didier Lockwood, Jannick Top, Live, Magma

Magma – Bruxelles 1971 au Theatre 140 (Live) (@192)

13 Nov 2009

(Review from progarchives.com)

This album is an ‘official’ bootleg recorded in Brussels at Theater 140 the 12th of November 1971. This was the first public performance of Mekanik Kommandoh which became the basis for their landmark Mekanik Destruktiw Kommandoh. We also have here the live versions of the fusionairy debut album Kobaia songs, from the line-up

The album contains three songs off of Kobaia. Stoah, Kobaia, and Aina. The whole of the 1001 degrees Centigrade album, and two works in the formative phases at that point. The aforementioned Mekanik Kommandoh, and Sowiloi which would turn up later on the outakes album Inedits. The one thing that really stands out between this album and the previous versions of songs, is the Rhodes Piano and it’s central place in the live Magma sound. Many acoustic parts in Kobaia were played instead by the Rhodes.

Being an official bootleg, don’t expect 100% perfect sound quality. That said the quality is never a hinderance to the enjoyment of the album.

Line-up:
- Christian Vander / drums, vocals, organ, percussion
- Francis Moze / bass
- Klaus Basquiz / vocals, percussion
- Teddy Lasry / clarinet, sax, flute, vocals
- Jeff Seffer / sax, bass clarinet
- Louis Toesca / trumpet
- Francois Cahen / acoustic & electric piano

Track List:
01. Stoah – 5:18
02. Kobaia – 7:32
03. Aina – 6:30
04. Riah Sahiltaahk – 19:13
05. ‘Iss’ Lansei Doia – 12:58
06. Ki 0ahl o Liahk – 9:35
07. Sowiloi – 7:22
08. Mekanik Kommandoh – 16:52

Link in comments.

Christian Vander, Live, Magma

Magma – Theusz Hamtaakh – La Trilogie Au Trianon (Live 2001) (@256)

11 Nov 2009

(Review from allmusic)

Magma celebrated their 30th anniversary with two Paris shows, May 13 and 14, 2000. Of course, there was no better way to commemorate the occasion than performances of leader Christian Vander’s most hallowed work, the Theusz Hamtaahk trilogy.

Comprised of the title suite, “Wurdah Itah,” and “Mekanik Destruktiw Kommandoh” (each movement occupies its own disc), this massive piece details a battle of the planets wherein the people of Earth travel to a planet called Kobaia and back again, all in the name of peace and self-purification.

This live album represents yet another chapter for the vital band. Particularly spectacular are guitarist James MacGaw and bassist Philippe Bussonnet, who join the ranks of the best musicians to ever have played with the group.

From the aggressive opening strains of “Theusz Hamtaahk”, with deft choral phrases and heavily accented percussion, to the episodic, head-spinning cut and chase of the middle movement, to the incredible avant-fusion break in “Mekanik Destruktiw Kommandoh”, this performance of the trilogy highlights all of the reasons Magma fans are such a devoted lot. Where a more traditional progressive band might emphasize the purely whimsical or capricious, Magma’s best music (as evidenced here) is literally of another world. There are arguably better performances of the individual movements elsewhere, but as a collection, the Trilogie au Trianon is practically indispensable for Magma fans.

Line-up:
- Christian Vander / drums & vocals
- Klaus Basquiz / vocals & percussion
- Bernard Paganotti / bass
- Benoit Widemann / keyboards
- Patrick Gauthier / keyboards
- Gabriel Federow / guitar
- Didier Lockwood / violin
- Stella Vander / vocals

Track List:
CD1
01. Malawelekaahm – 6:28
02. Sewolahwehn ohn Zain – 6:42
03. Deumb leweless dolehn – 3:52
04. Zeuhl Wortz – 2:28
05. Gorutz Waahrn – 3:15
06. Tu lu li le ui du wii – 1:08
07. Se lah Maahri Donsai – 2:31
08. Slibenli deh Theusz – 5:21
09. Zortsung – 3:09
CD2
01. Malawelekaahm – 4:21
02. Bradia da zimehn iegah – 2:35
03. Maneh fur da Zess – 1:42
04. Fur di Hel Kobaia – 5:38
05. Blum tendiwa – 5:49
06. Wohlsunt mlem seweless – 3:08
07. Wainsaht!!! – 3:11
08. Wlasik steuhn Kobaia – 2:44
09. Sehnnteht dros wurdah sums – 6:00
10. C’est la vie qui les a menes la! – 4:32
11. Ek sun da Zess – 2:37
12. Se Zeuhl undazir – 6:11
CD3
01. Hortz fur dehn Stekehn West – 10:17
02. Imah suri Dondai – 4:13
03. Kobaia iss deh hundin – 2:07
04. Da Zeuhl Wortz Mekanik – 7:20
05. Nebehr Gudahtt – 7:39
06. Mekanik Kommandoh – 8:05
07. Kreuhn Kohrmahn iss deh hundin – 1:30
08. Da Zeuhl Wortz wainsaht (hymne de la Zeuhl Wortz) – 1:53
09. (unnamed final track) – 5:41

Link in comments.

Benoit Widemann, Bernard Paganotti, Christian Vander, Didier Lockwood, Live, Magma, Patrick Gauthier

Magma – Live-Hhai (Kohntark) (1975) (@256)

06 Nov 2009

(Review from progreviews.com)

While a great many bands from the 70s released double-live LPs, very few can claim that their live albums matched the quality of their studio releases, and even fewer can claim that their best album was live. Magma has that right. The eccentric French prog band, led by drummer Christian Vander, thrived in front of an audience, in the moment, when they were free to follow the course of their music without the boundaries set forth by the sides of a record.

The music of this album is actually atypical for what many remember the band: martial, relentless rhythm stomps, operatic howling, bombastic horn races. Here, they expose more fully than on any previous release their jazz-rock backgrounds, and subtle, masterful musicality. The first disc is mainly comprised of one of their great long works, Kohntarkosz. Beginning with the cry, “Hamatai!”, the band launches an epic with many movements, colors, and moods. Perhaps most surprising is their ease with flowing, impressionistic soundscapes. Vander has stated that when artists in the mid-70s (such as Mike Oldfield) began to borrow his ideas, he was forced to come with a new type of music. Kohntarkosz was the fruit if his new labors, and the version on this album is definitive. Great melodic, eclectic prog, with hints of fusion as well.

The second disc is made mainly of shorter tracks, and a section of another Magma epic, Mekanik Destruktiw Kommandoh. The highlight is the brilliant fusion-romp, “Hhaď.” The track begins with Vander’s own warbly-operatic soliloquy. It explodes into a high-energy 6/8 fireball with great guitar/violin interplay, and vocals by Vander, Stella Vander (his wife), and Klaus Blasquiz. Elsewhere, “Kobah” is actually “Kobaia” (mistitled during the original printing) from the band’s first album. Heard here is a vastly different version; more squirrely, funky, fusionesque than on the first album. The band’s improvisational skills shine on the last two tracks, which come from MDK. Didier Lockwood (only 17 or 18 years old at the time) emerges as perhaps the band’s best solist, while Bernard Paganotti’s bass solo at the beginning of the last track became infamous for its increasingly distorted sound.

Line-up:
- Benoit Widemann / keyboards
- Bernard Paganotti / bass
- Christian Vander / drums, vocals
- Didier Lockwood / violin
- Gabrid Federow / guitar
- Jean-Paul Asseline / keyboards
- Klaus Blasquiz / vocals
- Stella Vander / vocals

Track List:
CD1
01. Kohntark (Part One) – 15:45
02. Kohntark (Part Two) – 16:14
03. Emehnteht-Re (Announcement) – 8:10
CD2
01. Hhai – 9:20
02. Kobah – 6:36
03. Lihns – 4:55
04. Da Zeuhl Wortz Mekanik – 6:14
05. Mekanik Zain – 18:57

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Benoit Widemann, Christian Vander, Didier Lockwood, Live, Magma

U.K – Live In Boston (1978) (@256)

09 Oct 2009

(Review from progarchives.com)

Recorded live in Boston in 1978, this recording is finally available as a proper release after long been only found as a bootleg. The sound quality is good. It sounds as though no studio overdubs were punched in later. Each musician has his share of clams (mistakes) that are very apparent.

The tracks, a mix of those from the selftitled U.K. release and the follow up, Danger Money. Hearing Bruford and Holdsworth’s playing “Carrying No Cross”, “The Only Thing She Needs” and “Caesar’s Palace Blues” offers a slight variation from the studio project. There is some improvisation, obviously these takes offer a bit more air and spontaneity than on the future Bozzio propelled album. Wetton’s voice is good, cracking and a bit off here and there, but nothing to ruin the moment. Holdsworth’s jazzy underpinning in the softer lyrical opening to “Carrying No Cross” is enjoyable. He plays fills and lightning runs throughout. Wetton’s live bass action harkens back to King Crimsons glory days, even taking a solo 6 minutes in. Jobson sounds compelled to give Holdsworth a run at center stage as the piece moves forward, swelling and evolving with full band interplay. Holdsworth pulls off a stunning solo before breaking back into the vocal theme.

The “Thirty Years” intro is a beautiful clean picked guitar over synthesized sweet violin washes. Wetton attempts to be soft but struggles a bit with a few notes. The audio is very clear, narry any crowd noise, with Bruford’s cymbals filling space before the band leaps into a tight instrumental sections. Wetton fuzzes up his bass lines and Holdsy chords along before Jobson’s keys take control. Another smoking guitar solo before coming back down to another verse. Holdsworth solo out to Jobson’s “Presto Vivace” synth intro to “In the Dead of Night”. Holdsworth rips it up again, getting outside into a improvisation showcase. No shortage of fireworks here. Even little stumbles get you into the moment, rather than detracting.

The final track, “Caesar’s Palace Blues” is interestingly contrasted from the studio take with some fun trade-offs from Jobson and Holdsworth, sounding like they are totally digging the play. Jobson saws the hell out of his violin. This one appears to be fun and spontaneous.

Line-up:
- Allan Holdsworth / guitars
- Bill Bruford / drums
- Jon Wetton /bass guitar, vocals
- Eddie Jobson / keyboards, electric violin

Track List:
01. Alaska – 1:33
02. Time To Kill – 7:16
03. The Only Thing She Needs – 7:21
04. Carrying No Cross – 9:58
05. Thirty Years – 10:03
06. Presto Vivace / In the Dead of Night – 7:49
07. Caesar’s Palace Blues – 4:30

Link in comments.

Allan Holdsworth, Bill Bruford, Eddie Jobson, John Wetton, Live, U.K.

Judas Priest – A Touch Of Evil (Live 2005-2008) (@256)

06 Oct 2009

(Review from amazon, popmatters.com)

Made of song recordings scattered across the Angel of Vengeance 2005 and Nostradamus 2008 tours this is not such much a complete live show rather a greatest live moments of those tours, a collection of live souvenirs if you will. Indeed the songs have not been connected to run as one show and all of these recordings are stellar as is the band performance in delivering them. It’s an interesting decision, one that might stick in the craw of those fusspots who would rather hear a complete show uninterrupted, but for all its various locales and fade-outs after tracks, this album turns out to be quite the revelation.

With four of the 11 tracks from the last two albums – Angel of Retribution and the vastly underrated Nostradamus – and seven cuts dipping deep into the back catalog — to some more obscure songs, there is an eclectic mix that generates powerful electricity. Avoiding concert staples (which are always present in live albums), this makes for a much-welcomed and refreshing song list.

“Judas Rising” and “Hellrider” are faithful, energetic renditions that mine the classic Priest sound of 1982-1984, while the two cuts from last year’s Nostradamus are much more revelatory — “Prophecy” deliciously theatrical and “Death” transformed into a powerful doom metal dirge.

The real treat, though, is the older material, on which the entire band sounds rejuvenated. 1977’s “Dissident Aggressor” is a pummeling rendition, the rhythm section of drummer Scott Travis and bassist Ian Hill anchoring the track with a formidable bottom end. Originally appearing on 1978’s influential Stained Class, the new version of the epic “Beyond the Realm of Death” is reinvented, Halford smartly avoiding trying to replicate the multi-octave screeches of the original, playing to his current strengths, his more mid-range delivery lending the song a more somber, less bombastic air. The more straightforward “Riding on the Wind”, from 1982′s Screaming For Vengeance, is great fun, Halford’s high-pitched snarl belying his age, Glenn Tipton and K.K. Downing trading leads as slickly as they’ve ever done. The lascivious “Eat Me Alive”, from 1984′s Defenders of the Faith, is dusted off and given a good spit and polish here, as is Painkiller’s “Between the Hammer and the Anvil”.

Interestingly, “A Touch of Evil Live” is limited to just an hour-long running time, and while it makes for a good, concise listen that’s never for a moment dull, fans will be wondering why such recently performed rarities as “Devil’s Child”, “Hell Patrol”, and “Rock Hard, Ride Free” were not included, but when we hear the band roar through the classic “Painkiller”, Halford turning in one of his most ferocious, maniacal vocal performances on record, it’s hard to complain.

Rarely do live albums drift away from the comfort zone of cranking out fan favorites while easily (lazily?) helping to fulfill the number of titles required in the contractual deal with the record company. Judas Priest breaks that mold.

Line-up:
* Rob Halford – vocals
* K. K. Downing – guitar
* Glenn Tipton – guitar
* Ian Hill – bass
* Scott Travis – drums

Track List:
01. Judas Rising – 4:23
02. Hellrider – 5:37
03. Between The Hammer & The Anvil – 4:34
04. Riding On The Wind – 3:28
05. Death – 7:52
06. Beyond The Realms Of Death – 6:51
07. Dissident Aggressor – 3:03
08. A Touch Of Evil – 6:10
09. Eat Me Alive – 4:35
10. Prophecy – 6:07
11. Painkiller – 7:12

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Jethro Tull – Pot Pourri – Live Across The World & Through The Years (1969-1992) (@256)

30 Sep 2009

(Review from amazon, allmusic)

This is a hodge-podge of live recordings from 1969 to 1992, at various locations around the world.

Opening with the loud, bluesy “To Be Sad Is a Mad Way to Be” (which is a definite throwback to the This Was album), the music advances across the decades, crossing the 1970s with a three-minute excerpt from A Passion Play into a medley of Aqualung material and on to their various 1980s incarnations and repertory, by which time Martin Barre is pretty much sharing the spotlight with (if not outright stealing it from) Anderson.

The “Passion Jig” from a 1975 Paris concert is an instrumental piece salvaged and adapted from part of A Passion Play, which is a clever way of reviving music from a concept album. It contains a slightly harder edge too. Another excellent track is a medley, “Wind-Up/Locomotive Breath/Land of Hope and Glory”. There are a number of lesser-known works that are well done and enjoyable. One such work is the nearly 11 minute long song “Budapest” which is somewhat devoid of catchy hooks, and yet is interesting to hear and analyze.

Line-up:
- Ian Anderson / flute, mouth organ, claghorn, piano, vocals, harmonica, mandolin
- Martin Barre / electric guitar, marimba
- Clive Bunker / drums, hooter and charm bracelet (1, 2)
- Glenn Cornick / bass (1, 2)
- Barriemore Barlow / drums, percussion (3, 4)
- John Evans / piano (3, 4)
- Jeffrey Hammond-Hammond / bass (3)
- John Glascock / bass, vocals (4)
- David Palmer / keyboards, orchestra conductor (4)
- Dave Pegg / bass, mandolins, vocals (6-15)
- Gerry Conway / drums, percussion (5)
- Peter-John Vettese / piano, synthesizer (6, 7)
- Doane Perry / drums (6-11)
- Martin Allcock / mandolin, keyboards (8-11)
- Dave Mattacks / drums (12-15)
- Andy Giddings / keyboards (12-15)

Track List:
01. To Be Sad Is A Mad Way To Be (Stockholm Concert Hall, 01-19-1969)
02. Back To The Family (Stockholm Concert Hall, 01-19-1969)
03. Passion Play Extract (Paris, 1976)
04. Wind-Up + Locomotive Breath + Land Of Hope And Glory + Medley (London, 1977)
05. Seal Driver (Hamburg, 1982)
06. Nobody’s Car (London, 1984)
07. Pussy Willow (London, 1984)
08. Budapest (Leysin, Switzerland, 1991)
09. Nothing Is Easy (Leysin, Switzerland, 1991)
10. Kissing Willie (Tallin, Estonia, 1991)
11. Still Loving You Tonight (London, 1991)
12. Beggar’s Farm (Pullman, WA, 1992)
13. Passion Jig (Chicago, IL, 1992)
14. A Song For Jeffrey (Chicago, IL, 1992)
15. Living In The Past (Montreal, Canada, 1992)

Link in comments.

Dave Pegg, Gerry Conway, Glenn Cornick, Ian Anderson, Jethro Tull, John Glascock, Live, Martin Barre

Jethro Tull – In Concert (1991) (@256)

28 Sep 2009

(Review from progarchives.com)

Rather than “little light music”, in this album we are treated with a more rocking live experience, from the “Catfish Rising” tour.

The opener seems to be “Minstel in the Gallery” at first, but only for 25 seconds (much like a radio spot) then transitions into a harder rocking “Crossed-Eyed Mary”. “Heavy Horses” is a highlight, its acoustic passages are very well rendered, the vocal part being on par. As the song develops the band plays harder and harder without denaturalizing the song. “Still Loving You Tonight” from their then-latest album is a great song with a very strong guitar play from Martin. Slow-paced, just to cool down, very emotional solo.

A concert staple, “Thick as a Brick”, a bit too short for its fans is not forgotten. The band returns to its bluesy roots with “A New Day Yesterday” followed with a “Blues Jam”. A rocking “Jump Start” from the “Crest of a Knave” concludes this live affair.

Line-up:
- Ian Anderson / flute, acoustic guitar, vocals mandolin, harmonica
- Martin Barre / electric guitar
- Doane Perry / drums
- Martin Allcock / keyboards
- Dave Pegg / bass

Track List:
01. Minstrel In The Gallery / Crossed-Eye Mary – 4:08
02. This Is Not Love – 5:04
03. Rocks On The Road – 6:41
04. Heavy Horses – 9:19
05. Tall Thin Girl – 3:40
06. Still Loving You Tonight – 4:42
07. Thick As A Brick – 7:48
08. A New Day Yesterday – 5:49
09. Blues Jam – 3:15
10. Jump Start – 6:56

Link in comments.

Dave Pegg, Ian Anderson, Jethro Tull, Live, Martin Barre

Jethro Tull – Live in Carnegie Hall (1970) (@256)

27 Sep 2009

(Review from allmusic)

This album contains an additional hour of the group’s November 4, 1970 concert at Carnegie Hall in New York (two pieces were previously issued on Living in the Past album). Preserved on a 16-track master tape, this “Benefit” tour show for the drug rehabilitation program Phoenix House was the group’s most prominent American gig up to that time.

The band’s sound at the time of the recording is a pounding mix of hard rock, acoustic folk music, jazz elements, and Ian Anderson’s vocals, alternately sage-like and fierce; some of the flute acrobatics don’t translate too well to tape, even in Carnegie Hall, but the transition from “Sossity, You’re a Woman” into “Reasons for Waiting” — featuring exquisite organ playing by John Evan — is beautiful enough as to make up for the flaws elsewhere, as well as reminding listeners of one of the more hauntingly beautiful songs in the group’s early repertory; they also unveil a song that was still, by Anderson’s own account, a work-in-progress, entitled “My God”.

It’s a good representation of what the band sounded like in its second incarnation, when they were still establishing themselves outside of England.

Line-up:
- Ian Anderson / flute, mouth organ, claghorn, piano, vocals, harmonica, mandolin
- Clive Bunker / drums, hooter and charm bracelet
- Glenn Cornick / bass
- Martin Barre / electric guitar, marimba
- John Evans / piano

Track List:
01. Nothing Is Easy – 6:06
02. My God – 11:10
03. With You There To Help Me – 6:46
04. A Song For Jeffrey – 5:45
05. To Cry You A Song – 7:59
06. Sossity, You’re A Woman – 2:15
07. Reasons For Waiting – 3:55
08. We Used To Know – 3:18
09. Guitar Solo – 8:23
10. For A Thousand Mothers – 4:47

Link in comments.

Glenn Cornick, Ian Anderson, Jethro Tull, Live, Martin Barre

Hatfield and the North – Live (1990) (@192)

02 Sep 2009

Thanks to Crimsonking for the contribution.

(Review from progarchives.com)

The performance is taken from a TV series called “Bedrock” which Central Television (UK) put together to showcase British Rock. Hatfield and the North reformed for just this one gig. The line up here includes Richard Sinclair, Pip Pyle, and Phil Miller. Dave Stewart is however notable by his absence, his keyboards stool being filled by Pyle’s then girlfriend and jazz virtuoso Sophia Domancich.

This leads to a somewhat diverse set list, which includes “Share it”, “Halfway between heaven and Earth”, “It didn’t matter anyway” and “Underdub”. The rest of the tracks are not Hatfield’s songs. The excellent 13 minute “Shipwrecked” is a new composition by Pip Pyle, which includes lengthy keyboard and guitar improvisations.

“Cauliflower ears” is from Pyle’s then current band Equip’Out (which also included Domancich in its line up), while “Blott” is a Domanacich composition, and essentially her solo spot. “Going for a song” is a Sinclair song with lyrics by Pyle, and hence the most Caravan like of the pieces.

The set is a highly enjoyable experience, which ranges from the light, almost pop like vocals of Sinclair to the improvised jazz of Soft Machine. The sound is very much rooted in the Canterbury sounds of the (male) protagonists, Domanacich making a reasonable stab at recreating the keyboard atmospheres and styles associated with that genre.

The band’s performance has an under-rehearsed flavour but remember that this was just for one show and they had not played for some fifteen years.

Line-up:
- Phil Miller / guitar
- Sophia Domancich / keyboards
- Pip Pyle / drums
- Richard Sinclair / bass, vocals

Track List:
01. Share It – 3:26
02. Shipwrecked – 13:31
03. Underdub – 5:04
04. Blott – 8:56
05. Going for a Song – 4:23
06. Cauliflower Ears – 7:03
07. Halfway Between Heaven and Earth – 8:20
08. 5/4 Intro – 1:47
09. It Didn’t Matter Anyway – 5:36

Link in comments.

Hatfield and the North, Live, Phil Miller, Pip Pyle, Richard Sinclair

Hatfield and the North – Hattitude (1973-75) (@224)

01 Sep 2009

Thanks to Crimsonking for the contribution.

(Review from allaboutjazz.com, progarchives.com)

Another unmissable Hatfield and the North archival release. Just like its predecessor Hatwise Choice, Hattitude is a highly entertaining mixture of live recordings of Hatfield’s classics (in excellent sound) and expert improvisations, in which all four members of the band are given plenty of chances to shine.

There’s little in the way of new material here, and there’s considerable overlap with Hatwise Choice. Still, Hattitude stands on its own, thanks to the group’s energy and spontaneity, and drummer Pip Pyle’s outstanding editing work. The album takes material from fourteen different live and BBC radio dates, creating a largely continuous hour-long set that’s the next best thing to having been there. Once again Hatfield plays “Name That Tune” by retitling familiar songs with new titles that reference the originals only obliquely, if at all.

Hatfield in concert was every bit an improvising band, often significantly reshaping its studio material. Guitarist Phil Miller’s “Aigrette” (here titled “The Crest”) is expanded to include a longer vocal by bassist Richard Sinclair and a definitive solo by Stewart that begins on electric piano and ends powerfully on his signature tone generator. Sinclair’s metrically mind-boggling “Rifferama” (here “Pink & Green Machine”) is reduced to less than two minutes, but is as potent *and hilarious*as ever.

The majority of the music is culled from Hatfield’s eponymous 1973 Virgin debut, though there are small tastes of material from 1975′s The Rotter’s Club, including the finale to Stewart’s epic “Mumps” (“One of Wilde’s”), and the segue from Pyle’s “Fitter Stoke Has a Bath” (“Drowning Reprise”) into Sinclair’s bittersweet “Didn’t Matter Anyway” (“Goodbye for Now”). Miller sounds as idiosyncratic as ever, while Pyle delivers a richer blend of elegance and power than on his later, more jazz-centric efforts. Sinclair remains an underappreciated but highly imaginative bassist, while Stewart’s inventive harmonic approach renders criminal his longstanding moratorium on performing this kind of music.

Any progressive fan who likes the Hatfield’s magisterial studio albums will regret the fact that there are no more than two. So if you can’t get enough of those classic Canterbury sounds and you’d like to hear your favourite tunes (and lyrics) undergoing surprising transformations – look no further!

Line-up:
- Phil Miller / guitars
- Pip Pyle / drums, percussion, sheep noise
- Richard Sinclair / bass, vocals
- Dave Stewart / keyboards, tone generators

Track List:
01. Grosso Lavoro – 2:41
02. Drowning in the Bathroom – 6:00
03. K Licks (long) – 2:39
04. The Crest – 3:37
05. Pink & Green Machine – 1:44
06. Further Dances – 2:30
07. La Barbe Extract – 1:24
08. Confiture de la Barbe – 3:04
09. Born Again Crustacean – 4:11
10. Elevenses – 1:54
11. Farce Majeure – 1:47
12. Spaces Not Notes – 0:45
13. Song for All Our Mums – 2:34
14. Extract – 3:31
15. The Men’s One-Metre Dash – 6:29
16. K Licks (Short) – 0:51
17. One of Wilde’s – 1:48
18. Blane Over The Low Countries – 4:35
19. Drowning Reprise – 1:42
20. Goodbye For Now – 2:44
21. Al Clark Presents – 2:17

Link in comments.

Dave Stewart, Hatfield and the North, Live, Phil Miller, Pip Pyle, Richard Sinclair

Hatfield and the North – Hatwise Choice (1973-75) (@256)

31 Aug 2009

(Review from progarchives.com)

This album could be seen as a BBC sessions album and as a major release.

All material from BBC tapes (roughly 2/3 of the stuff) is of excellent sound quality, and among the rest, most of it is also. Only a few imperfections appear here and there. A lot of this stuff appears officialy for the first time, so much so that this album could almost be considered as a lost album.

The quality of the songwriting and musicianship is up to par with those historical two albums. Some sessions are previous to their debut album, but most of the tracks appear to have been written between the eponymous debut and The Rotters Club.

So all Canterbury freaks can dive in with no second thoughts, this is pure 100% Canterbury juice made from fresh fruits.

Line-up:
- Richard Sinclair / bass, vocals
- Phil Miller / guitars
- Pip Pyle / drums, percussion
- Dave Stewart / keyboards, tone generator

Track List:
01. Absolutely Wholesome (John Peel Show 1974) – 3:16
02. La Barbe est La Barbe (Top Gear 1974) – 6:51
03. Sober Song (Top Gear 1974) – 2:59
04. Hatitude Hatitude (John Peel Show 1974) – 3:13
05. Strand of the Green (John Peel Show 1974) – 1:02
06. Hotel Luna (John Peel Show 1974) – 3:34
07. The Lonely Bubbling Song (John Peel Show 1974) – 1:20
08. Stay Jung and Beautiful (John Peel Show 1974) – 0:56
09. Dave Intro (Live – London 1975) – 1:55
10. Take Your Pick (Live – London 1975) – 8:09
11. Son Of Plate Smashing Dog (Live – Emmen 1974) – 1:16
12. Thanks Mont! (Live – Emmen 1974) – 2:27
13. Amsterdamage 11/19 (Live – Amsterdam 1974) – 6:20
14. May The Farce Be With You (Live – Paris 1973) – 0:39
15. Finesse is for Fairies (Sounds Of The 70s 1973) – 1:28
16. Ethanol Nurse (Sounds Of The 70s 1973) – 2:56
17. Writhing and Grimacing (Sounds Of The 70s 1973) – 3:42
18. For Robert (Top Gear 1973) – 2:09
19. Blane over Paris (Live – Paris 1973) – 6:20
20. Laundry Soup (Top Gear 1974) – 0:57
21. Effing Mad Aincha (Live – Rotterdam 1973) – 2:58
22. Top Gear Commercial (Top Gear 1974) – 1:22
23. K Licks (Demo – Summer 1973) – 2:58

Link in comments.

Dave Stewart, Hatfield and the North, Live, Phil Miller, Pip Pyle, Richard Sinclair

Marillion – Live From Loreley (1987) (@256)

29 Aug 2009

(Review from progarchives.com)

By the time this show was recorded on the Clutching At Straws tour, this era of Marillion was nearing it’s ultimate conclusion. Separation between Fish and the rest of the band was causing turmoil, and Marillion was pretty much divided. Nonetheless, Marillion’s Live At Loreley is still a valuable addition in anyone’s collection.

Fish manages to captivate the crowd like he always seems to do. The older material is a collective fan favorite, with “Script For A Jester’s Tear” being the obvious highlight. A very telling and poignant moment is during the Misplaced Childhood suite when Fish approaches Rothery, puts his arms around him and sings, “It’s getting late, for scribbling and scratching on the paper. Something’s gonna give under this pressure. And the cracks are already beginning to show.” It’s almost as if he’s sending Rothery a message during this part of the song. Still, the tenderness of “Kayleigh” on through the triumphant “Heart Of Lothian” is a great moment during this performance.

Another highlight is the painful “Sugar Mice”, and one of Rothery’s more powerful solos. This song is wrought with pain that it makes the listener ache. That solo just never gets old.

The disease that was ripping this band apart towards the end of 80′s is obvious. There’s hardly any interaction between Fish and the others, and they pretty much ceased to be a band. That being said, it’s still crucial to have amongst your Marillion collection to witness the closing of one era, and the beginning of another.

Line-up:
- Fish / lead vocals
- Steve Rothery / guitars
- Mark Kelly / keyboards
- Pete Trewavas / bass, backing vocals
- Ian Mosley / drums

Track List:
01. Slainte Mhath – 5:24
02. Assassing – 6:38
03. Script For A Jester’s Tear – 9:39
04. Sugar Mice – 5:55
05. Hotel Hobbies – 3:54
06. Warm Wet Circles – 5:57
07. That Time Of The Night – 4:31
08. Kayleigh – 4:30
09. Lavender – 8:14
10. Heart Of Lothian – 6:28
11. The Last Straw – 6:31
12. Incommunicado – 6:59

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Fish, Ian Mosley, Live, Marillion

King Crimson – Live in Park West, Chicago, August 7th (2008) (@256)

30 Jul 2009

10 comments

Request of anonymous.

(Review from dgmlive.com)

Regarded as a show in which the energy of the Crimbeast made itself felt, particularly by Fripp and Levin, it nevertheless takes the group a couple of numbers to get up to speed. But when they do the power really builds up.

Highlights? Where to start! “Level 5″ is totally monstrous sounding like it was always waiting for this line-up to come along and play it; a stately-sounding “Larks Tongues” crushes all in its path and the version of “Sleepless” appears to be channelling the 12 inch remix.; “One Time” sails sublimely with the inclusion of a poignant guitar solo by Fripp and the coda to “Vrooom” has the shiver factor set to max (including some sly samples courtesy of Mastelotto) and just when you thought you’d never need to hear another rendition of “Indiscipline”, well you’re wrong. You really need to hear this version.

For connoisseurs of Crimson clams there are a few here for you to savour, and of course this being a soundboard means that third cymbal from the left on Harrison’s kit may not be quite where you either remember it or even where you would want it, but hey this is Crimson on uber-savage form, white hot at Park West with a crowd that was willing them to go all the way — which they did.

Line-up:
- Robert Fripp / guitar
- Adrian Belew / guitar & vocals
- Tony Levin / bass, stick & vocals
- Gavin Harrison / drums & percussion
- Pat Mastelotto / drums & percussion

Track List:
CD1
01. Introductory Soundscape – 3.10
02. Drum Duet – 2.27
03. The ConstruKction Of Light – 8.47
04. Red – 6.45
05. Frame By Frame – 5.28
06. Neurotica – 4.41
07. Three Of A Perfect Pair – 4.12
08. The Talking Drum – 3.10
09. Larks Tongues In Aspic Pt II – 7.44
10. One Time – 7.06
11. BBoom – 2.44
12. Dinosaur – 5.44
13. Level Five – 6.48
CD2
01. Sleepless – 7.06
02. VROOOM – 4.41
03. Coda Marine 475 – 6.02
04. Drum Duet – 4.26
05. Thela Hun Ginjeet – 8.57
06. Elephant Talk – 5.03
07. Indiscipline – 8.35

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Adrian Belew, Gavin Harrison, King Crimson, Live, Pat Mastelotto, Robert Fripp, Tony Levin

Lard Free – Unnamed (Live 1971-72) (@256)

19 Jul 2009

(Review from progarchives.com)

Lard Free was a French band led by drummer/multi-instrumentalist Gilbert Artman. Their music is highly experimental but yet accessible, with influences of Can, Eno and Robert Fripp. It can be likened to Krautrock and has a good understanding of minimalist music such as Terry Riley. The band had constant personnel changes over its career.

This live album, though pre-dates all of their albums, was released posthumously after the group disbanded. Like every Lard Free album, it is very different from the others but still very much in the spirits of Lard Free, this is full of surprises!

We are for a good deal in some pre-RIO (this style of music had yet to appear) but not in free-jazz or contemporary classical music! This is clearly written/composed music. The opening track literally slaps you sonically so hard that you find yourself swaying your head from side to side as it suffers those slaps. All of the tracks are accessible with the possible exception of the last (which the title hints at modern french composer Pierre Boulez). The highlight of this album is “Tripou Du Matin” that announces the first album to be! Please note that the Cochonailles and the Choconailles are effectively linked humorously but also sonically but at opposite ends.

Much recommended for RIO (Rock-in-Opposition) fans whom may be in for a surprise, as this pre-dates the earliest of Henry Cow by two years!

Line-up:
- Gilbert Artman / drums
- Robert Wood / vibraphone
- François Mativet / guitar
- Philippe Bolliet / tenor saxophone, clarinette
- Dominique Triloff / organ
- Jean-Jacques Miette / bass, double bass

Track List:
01. La Chevauchee Des Vaches Qui Rient – 4:29
02. Cochonailles – 6:48
03. Tobrouck 120 Kms – 9:26
04. Noisy Son Sec – 8:01
05. Choconailles – 7:13
06. Petit Tripou Du Matin – 8:08
07. A Chacun Son Boulez – 6:45

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Lard Free, Live

Moody Blues – Live at the BBC (1967-1970) (@256)

14 Jul 2009

(Review from amazon)

While this assemblage of the BBC tracks is called “Live At The BBC 67-70″ there is more. The second disc is audio from TV tapings.

If you are a Moody Blues fan, this album gives you another side of the band. The track listings couldn’t be a better representation of the collective genius from the group. Not only are the hits and radio tracks available for your enjoyment but some of the more esoteric and underrated tunes (“Best Way To Travel”, “Visions Of Paradise, and “The Actor”). “Best Way To Travel” has never received the acclaim it deserves. The cover of the Animals hit “Don’t Let Me Be Misunderstood” was greatly constructed.

The back-to-back combination of “Tuesday Afternoon” and “Ride My See-Saw” offers enough exquisite beauty to enthrall the harshest critic but “Lovely To See You (With the acoustic guitar sounding as if it is in your living room) could accelerate the pulse of the most docile individual.

As you sample the choice cuts don’t forget to digest the short version of “Nights In White Satin” clocking in a shade over three minutes.”

Could you ever get enough versions of “Gypsy”? Its inclusion here only solidifies it’s golden splendor.

Forty-one tracks for your pleasure. Are you sitting comfortably?

Line-up:
- Justin Hayward / guitars
- John Lodge / bass
- Mike Pinder / keyboards
- Ray Thomas / flutes & sax
- Graeme Edge / drums

Track List:
CD1
01. Fly Me High – 3:00
02. Don’t Let Me Be Misunderstood – 2:23
03. Love and Beauty – 2:12
04. Leave This Man Alone – 2:52
05. Peak Hour – 3:21
06. Nights in White Satin – 4:22
07. Fly Me High – 2:45
08. Twilight Time (Evening) – 2:08
09. Dr. Livingston, I Presume – 2:58
10. Voices in the Sky – 2:50
11. Ride My See-Saw – 3:49
12. Best Way to Travel – 3:38
13. Voices in the Sky – 3:53
14. Dr. Livingston, I Presume – 2:58
15. Peak Hour – 3:29
16. Tuesday Afternoon – 3:24
17. Ride My See-Saw – 2:28
18. Lovely to See You – 2:25
19. Never Comes the Day – 4:33
20. To Share Our Love – 2:21
21. Send Me No Wine – 2:40
22. So Deep Within You – 3:06
23. Lovely to See You – 2:15
CD2
01. Nights in White Satin – 4:40
02. Morning: Another Morning – 2:58
03. Ride My See-Saw – 3:46
04. Dr. Livingston, I Presume – 3:01
05. House of Four Doors – 5:56
06. Voices in the Sky – 3:23
07. Best Way to Travel – 3:22
08. Visions of Paradise – 1:14
09. Actor – 1:50
10. Gypsy – 3:07
11. Sun Set – 3:47
12. Never Comes the Day – 4:21
13. Are You Sitting Comfortably – 3:00
14. Poem: The Dream – 0:52
15. Have You Heard – 5:42
16. Nights in White Satin – 3:03
17. Legend of a Mind – 4:34
18. Question – 4:54

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Graeme Edge, John Lodge, Justin Hayward, Live, Mike Pinder, Moody Blues, Ray Thomas

Rory Gallagher – Irish Tour (1974) (@256)

08 Jul 2009

(Review from allmusic)

Irish Tour 1974 was recorded in Belfast, Dublin, and Cork at a time when precious few performers were even dreaming of touring the trouble-torn island. Northern Ireland, in particular, was a rock & roll no-go area, but Gallagher never turned his back on the province and was rewarded with what history recalls as some of his best-ever gigs.

Irish Tour 1974, in turn, captures some of his finest known live recordings and while it’s impossible to tell which songs were recorded where, across nine in-concert recordings (plus one after-hours jam session, “Back on My Stompin’ Ground”), the energy crackling from stage to stalls and back again packs an intensity that few live albums can match.

Highlights of a stunning set include dramatic takes on Muddy Waters’ “I Wonder Who” and Tony Joe White’s “As the Crow Flies”, a raw acoustic rendering that is nevertheless totally electrifying. A frustratingly brief snip of the classic Shadows-style “Maritime” (aka “Just a Little Bit”) plays the album out in anthemic style and then, of course, there’s “Walk on Hot Coals”, a marathon excursion that posterity has decreed Gallagher’s most popular and accomplished statement.

Irish Tour 1974 confirms Gallagher not simply as the greatest bluesman Ireland ever knew, but as one of the island’s greatest-ever performers.

Line-up:
- Rory Gallagher / vocals, guitar, harmonica
- Gerry McAvoy / bass
- Lou Martin / keyboards
- Rod de’Ath / drums, percussion

Track List:
01. Cradle Rock – 7:38
02. I Wonder Who – 7:52
03. Tattoo’d Lady – 5:04
04. Too Much Alcohol – 8:30
05. As The Crow Flies – 6:02
06. A Million Miles Away – 9:29
07. Walk On Hot Coals – 11:13
08. Who’s That Coming? – 10:05
09. Back On My Stompin’ Ground (After Hours) – 5:18
10. Maritime – 0:33

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Live, Rory Gallagher

Blues Brothers – Made in America (1980) (@256)

30 Jun 2009

(Review from amazon)

There is no doubt, the Blues Brothers was a great live performance. With an all-star band backing them, Dan Aykroyd and John Belushi could take off on a romp through classic songs recorded by legendary artists that were dusted off from the back pages of pop culture.

Recorded at the Universal Amphitheatre in Los Angeles, California, and released in December 1980, the 10 cuts – which clock in slightly over 30 minutes – is a high-energy tribute to the music which is the backbone of rock-n-roll.

The highlights of the album are Belushi’s version of Do You Love Me by the Contours that rivals the original (with a little James Brown thrown in for good measure), and Paul Schaeffer’s masterwork of Booker T’s Green Onions, and it feels like Duck Dunn and Steve Cropper never missed a beat in all those years.

It was the band’s last album with lead singer “Joliet” Jake Blues (John Belushi, who died in 1982).

Line-up:
- “Joliet” Jake Blues / Vocals
- Elwood Blues / Harmonica, Vocals
- Steve Cropper / Guitar
- Donald “Duck” Dunn / Bass
- Murphy Dunne / Keyboards, Electric Piano
- Steve Jordan / Drums, Vocals
- Tom “Bones” Malone / Trombone, Horn, Saxophone
- Lou Marini / Saxophone, Vocals
- Jeff Mironov / Guitar
- Matt Murphy / Guitar
- Alan Rubin / Trumpet, Vocals
- Tom Scott / Saxophone, Vocals
- Paul Shaffer / Piano, Keyboards, Organ, Vocals

Track List:
01. Soul Finger – 2:06
02. Who’s Making Love – 3:33
03. Do You Love Me – 2:55
04. Guilty – 3:41
05. Perry Mason Theme – 2:04
06. Riot In Cell Block Number Nine – 3:32
07. Green Onions – 5:45
08. I Ain’t Got You – 2:44
09. From The Bottom – 3:25
10. Going Back To Miami – 4:01

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Blues Brothers, Live

Embryo – Live (1976) (@320)

26 Jun 2009

(Review from gnosis2000.net)

The album Live from 1976 features a similar line up to “Bad Heads And Bad Cats” and the music continues in the same vein as well, although the live performances emphasize the ethnic music element a bit more.

Line-up:
- Maria Archer / vocals, percussion
- Roman Bunka / guitar, vocals, oud, percussion
- Christian Burkhard / vocals, drums, marimba, vibes
- Charlie Mariano / Alto & Soprano saxes, flute, nagasuram
- Dieter Miekautsch / electric piano
- Uve Müllrich / bass, dilruba, percussion
with
- Edgar Hofmann / flute (6)
- Geoffrey & Joseph / percussion (7)

Track List:
01. Bambus Railway – 5:14
02. You Can Tourn Me On – 13:12
03. Tiflis – 5:55
04. Road Song – 3:34
05. After The Rain – 3:26
06. Bambule – 3:55
07. No More Love – 4:39
08. Sho Do Ima – 1:21
09. The Orange Man – 7:14

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Embryo, Live

Embryo – Bremen (Live 1971) (@256)

23 Jun 2009

(Review from allmusic.com)

This is an excellent early live recording from this group, done around the time of its second album, {^Embryo’s Rache}, and with all tracks taken from that record. It’s a fascinating juxtaposition between the psychedelic, jazz-rock of early embryonic Embryo and the embrace of ethnic music from around the world that characterized subsequent Embryo projects.

The album starts off with some tribal drumming, and moves onward into complex rhythms and lots of sax and flute solos and even a violin here and there. Because of Embryo’s ever-changing roster, the line-up includes only three of seven musicians from Embryo’s Rache, recorded in the same year as Bremen 1971, and with no keyboards, the dynamics of the live versions of the pieces are quite different.

The first three cuts, each about ten minutes in length, segue seamlessly together without a pause, while the politically charged “Spain Yes” is now expanded to nearly half an hour. With some odd vocal chanting on “Time” and lots of high-energy jazz-funk grooves throughout, Embryo’s performance is quite inspiring.

Line-up:
- Hansi Fischer / flute
- Christian Burchard / drums, percussion, vocals
- Al Jones / guitar, vocals
- Edgar Hofmann / saxophone
- Ralph Fischer / bass

Track List:
01. Try To Be – 10:32
02. Time : a) You Can’t Wait b) Evas Nuvola – 10:11
03. Tausendfubler – 8:27
04. Spain Yes, Franco Finished – 26:26

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Embryo, Live

Yes – Live At Montreux (2003) (@256)

12 Jun 2009

(Review from allaboutjazz.com)

In 2003 Yes made their first appearance in their five decade career at the Montreux Festival. Since 1996′s Keys to Ascension, this is the first official album to feature the classic lineup of Jon Anderson, Steve Howe, Rick Wakeman, Chris Squire and Alan White.

That this line-up focuses primarily on music from its 1971-1977 glory days has been a source of some criticism, but with a performance like this one can easily forgive the group’s generally backward-looking stance. That said, the group’s 2001 tour (complete with symphony orchestra) in support of “Magnification” demonstrated a group on the creative upswing, and the two tracks performed at Montreux from that record—the title track and “In the Presence Of”—find this new material fitting right in with more well-heeled material from the past.

Performance aside, Live at Montreux also boasts its own distinction: nearly the entire Fragile album is recreated, including the seldom-performed “South Side of the Sky” and the even rarer “We Have Heaven.” Close to the Edge gets fair representation, with both the majestically symphonic “And You and I” and harder-edged “Siberian Khatru” (a longtime set opener) played as if the group’s life depended on it. If there’s one progressive rock band that can be accused of excess and pretension, Yes is it. But on the epic “Awaken”, the group proves its ability to approach subtleties of texture and ambience as adroitly as it does blinding technique and the occasionally over-inflated self-indulgence.

Live at Montreux 2003 confirms that, long in the tooth though it may be, Yes still has the power to deliver.

Line-up:
- Jon Anderson / vocals, guitar
- Steve Howe / guitars, back vocals
- Chris Squire / bass, back vocals
- Rick Wakeman / keyboards
- Alan White / drums, percussion, back vocals

Track List:
CD1
01. Siberian Khatru – 10:11
02. Magnification – 6:52
03. Don’t Kill The Whale – 4:28
04. In The Presence Of – 11:05
05. We Have Heaven – 1:34
06. South Side Of The Sky – 9:35
07. And You And I – 11:23
08. To Be Over – 4:20
09. Clap – 3:48
CD2
01. Show Me – 3:44
02. Rick Wakeman Solo Medley – 4:42
03. Heart Of The Sunrise – 11:17
04. Long Distance Runaround – 3:46
05. The Fish – 8:53
06. Awaken – 19:20
07. I’ve Seen All Good People- (I) Your Move – 7:09
08. Roundabout – 6:44

Links in comments.

Alan White, Jon Anderson, Live, Rick Wakeman, Steve Howe, Yes

Finch – Stage '76 (Live) (@256)

09 Jun 2009

(Review from progarchives.com)

This only live album of Finch contains over 70 minutes of fascinating live-performances from December 1976 (with Beer Klaasse still behind the drums).

Finch is at their best playing four numbers from the albums “Glory Of The Inner Force” and “Beyond Expression” recreating the unique live-atmosphere and performed with a passion that is guaranteed to give you goose bums.

Throughout the tracks there are various improvisations. On the track “A Passion Condensed” in particular guitarist Joop’s loops wind and twist around each other reaching a crescendo of pure white noise. Furthermore it’s interesting to notice how new keyboard player Ad Wammes manages to give the old Finch repertoire his own unique twist. With the help of his newly purchased Mini-moog synthesizer he artfully whips off many spectacular sounding solo.

As a cream on top of the cherry, the previously unreleased track ”Necronomicon” is performed on stage. It has a playing time of over 15 minutes — a typical 70s composition with extended soli on guitar, synthesizer and bass.

Line-up:
- Joop Van Nimwegen / electric guitar, acoustic guitar, guitar synthesizer
- Peter Vink / bass, Moog Tarurus pedal bass
- Ad Wammes / keyboards
- Beer Klaasse / drums

Track List:
01. Scars On The Ego – 9:33
02. Paradoxical Moods – 11:39
03. Necronomicon – 17:47
04. A Passion Condensed – 20:05
05. Pisces – 12:00

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Finch, Live

Wishbone Ash – Live Dates 3 (1999) (@256)

01 Jun 2009

Thanks to Penny Cilin for the contribution.

(Review from progarchives.com)

“Live Dates 3″ consists entirely of tracks recorded in October 1999 while Wishbone Ash were touring France. My first thoughts were probably the same as yours, do we really need another Wishbone Ash album? Well, after listening to these recordings, the answer is undoubtedly yes. Firstly, this album comes almost 20 years after the “Live Dates 2″ set; secondly, the set list is superb; and thirdly, the sound is excellent.

The line up here will be unfamiliar to most early fans of the band, with only Andy Powell from the original line up remaining. He is joined by second guitarist Mark Birch, the band being completed by bassist Bob Skeat and drummer Ray Weston. The songs are taken from a broad spectrum of albums including a couple each from the Laurie Wisefield era recordings “There’s the rub” and “Just testing”. “Wings of desire” is the newest song, dating from the 1991 album “Strange affair”. The song fits in with its peers well though, demonstrating how the band has maintained both quality and their unique style throughout their career.

It is the old songs which are of course the favourites. Here we have “Error of my ways” and the sublime” Phoenix” from the first album plus “Leaf and stream” and “Throw down the sword” from “Argus”. The “Argus” songs sound as fresh and inspired as ever, “Leaf and stream”, which does not feature on the previous “Live dates” albums, being something of a lost gem. “Throw down the sword” preceded by “Warrior” has a superb rendition. The 14 minute performance of “Phoenix” inevitably has some wonderful guitar work, Mark Birch playing his part with an assured confidence.

The recordings here show no significant deviations from their studio counterparts, although they do benefit form years of development in the live arena. The line up may appear to be largely a tribute act to the band’s glory days, but Andy Powell keeps them honest, and gives these performances sufficient authenticity to make this a fine acquisition for fans of the band.

Line-up:
- Andy Powell / Guitars & vocals
- Mark Birch / Guitars & vocals
- Bob Skeat / Bass & vocals
- Ray Weston / Drums

Track List:
01. Come In From The Rain – 4:58
02. Living Proof – 7:04
03. Persephone – 7:47
04. Lifeline – 6:33
05. Wings Of Desire – 3:34
06. Errors Of My Way – 5:59
07. Leaf And Stream – 4:18
08. Throw Down The Sword – 6:20
09. F.U.B.B. – 9:24
10. Phoenix – 14:16

Link in comments.

Live, Wishbone Ash

Wishbone Ash – Timeline Live (1991) (@256)

31 May 2009

Thanks to Penny Cilin for the contribution.

(Info from wishboneash.co.uk)

Recorded at Nagoya Bottom Line, on 23th of May, 1991; this recording features Andy Powell, Martin Turner, Ted Turner and Ray Weston – not the strongest live performance from this period by any means, but the only available live recording from this era. An early BBC session completes the package.

Line-up:
* Andy Powell – guitar
* Martin Turner – bass
* Ted Turner – guitar
* Ray Weston – drums

Track List:
01. Lost Cause in Paradise – 4:58
02. Standing in the Rain – 6:11
03. This Strange Affair – 5:00
04. The King Will Come – 6:50
05. Throw Down the Sword – 5:57
06. In The Sun – 6:19
07. Why Don’t We – 8:15
08. Wings of Desire – 4:18
09. Time Was – 2:30
10. The Living Proof – 5:59
11. Blowin’ Free – 9:17
12. Vas Dis – 4:17
13. Where Were You Tomorrow – 5:45

Link in comments.

Live, Wishbone Ash

Wishbone Ash – BBC Radio 1 Live in Concert (1972) (@256)

30 May 2009

Thanks to Penny Cilin for the contribution.

(Info from wishboneash.co.uk)

Recorded at London, Paris Theatre on May 25th 1972 — this is the legendary 1972 BBC In Concert programme, featuring 70+ minutes of live Wishbone Ash at their peak, just after the release of Argus.

Line-up:
* Andy Powell – guitar
* Martin Turner – bass
* Ted Turner – guitar
* Steve Upton – drums

Track List:
01. Blowin’ Free – 5:51
02. Time Was – 9:51
03. Jailbait – 5:00
04. The Pilgrim – 10:31
05. Warrior – 5:40
06. Throw Down the Sword – 6:31
07. The King will Come – 7:41
08. Phoenix – 19:37

Link in comments.

Live, Wishbone Ash

Judas Priest – Live in Concert 25th June 1980 (@256)

26 May 2009

(Review from amazon)

There was a time when British Steel was the hottest, hardest, and most awesome substance on the planet. This concert by the mighty Judas Priest was performed and recorded at the The Rainbow Music Hall, Denver, Colorado, 25th of June 1980. Judas Priest had just released the ‘British Steel’ album in April of 1980 and were once again touring the great expanse of North America. This concert is the bands first ever performance in Colorado and they make sure it is a special night for the sold-out audience.

This album captures Judas Priest on a night when they were “on” as they say in the ‘biz. The show opens with the famous “thunder” intro to “Metal Gods”. The band then rips not into “Metal Gods” but “Hell Bent For Leather”. The band then proceeds into “The Ripper” and “Running Wild”. Halford then introduces their new single at the time “Living After Midnight” and Tipton exhorts the rabid audience to “come on!”

The renditions of “Sinner” and “Beyond The Realms Of Death” are great but the real winners here are the new songs off of ‘British Steel’; “You Don’t Have To Be Old To Be Wise”; “Grinder” and especially “Steeler” really rock. Getting to hear the band perform “Steeler” live is a real treat because they rarely play this song live!

Amazingly, Judas Pries manages to up the energy even more with a fantastic back-to-back performance of “Genocide” and “Tyrant”! The ‘explosions’ heard at the end of “Tyrant” occured when Halford came on stage with a faux machine gun and pretended to spray the audience with bullets! The night closes out with the Peter Green penned “Green Manalishi”.

The audio quality of this album is generally good; yes, there are some minor audio fluctuations in the very beginning but this occurs during the echo portions of Halford’s vocals when he is singing “The Ripper” and “Running Wild”. The audio dips slightly during “Living After Midnight” but is brought to equilibrium halfway through.

Line-up:
* Rob Halford – vocals
* K.K. Downing – guitars
* Glenn Tipton – guitars
* Ian Hill – bass guitar
* Dave Holland – drums

Track List:
01. Hell Bent for Leather – 2:54
02. The Ripper – 2:51
03. Running Wild – 3:30
04. Living After Midnight – 3:44
05. Sinner – 7:50
06. Beyond the Realms of Death – 6:50
07. You Don’t Have to Be Old to Be Wise – 5:42
08. Grinder – 4:00
09. Victim of Changes – 7:50
10. Steeler – 5:34
11. Genocide – 10:43
12. Tyrant – 6:06
13. Green Manalishi (With the Two-Pronged Crown) – 3:20

Link in comments.

Marillion – Early Stages Official Bootleg Box Set (1982-87) (@256)

18 May 2009

(Review from progarchives.com)

This set of live CDs from the BBC’s “In Concert” vaults and EMI’s own recordings, captures Marillion in the years from 1982 to 1987, a period which under the leadership of charismatic frontman/vocalist Fish saw them make the leap from the pubs & clubs, to major festivals & finally to arena headlining status in their own right. It is in the tracks repeated on various discs from this set where you see them growing and progressing (to coin a phrase): “Garden Party” (formerly known as The Garden Party Of The Giant Cucumber Massacre) appears in all but the 1987 recording, “He Knows You Know” in the first three concerts, together with anti war protest Forgotten Sons (just as relevant now as then), and early stage favourite, the 20 minute Grendel, appears in the 1982 Marquee set, and again in stupendous form on the Reading Festival recording from 1983 (ironically, the last time they played the piece on stage) – as an aside, “She Chameleon” is played in the 1982 Glasgow set, a full 2 years before it appeared on their second album Fugazi: slightly different lyrically & musically, but the same song nevertheless.

The first of these recordings, from Glasgow’s Mayfair in September 1982 the week after the band had signed to EMI Records is a mixed affair; Marillion as a young band, having only just attained their first recording contract already had a strong and loyal fan base, and in addition had the bare bones of what would become future stage favourites. The versions recorded here, however suffer from a poor sound balance (Stephen Rothery’s guitar being virtually inaudible throughout), and what appears a fairly nervous performance – far from being faster than the eventual studio recordings, as is usually the way, the versions here are slow and considered. Despite this, however, Fish’s commanding stage presence & the early versions of the (at the time) unreleased first single Market Square Heroes & what would become the debut album closer ‘Forgotten Sons’ save the day.

In 1982, Marillion had a spiritual home – the Marquee in London’s Wardour Street; it is on residencies here they honed their live reputation, and it is one of their final Marquee gigs which is represented in full here by the second and third discs of this set. One of three post Christmas gigs in December 1982 from which crowds had to be turned away due to Marillion’s now huge popularity (at one point, Fish virtually apologises for having to play Hammersmith Odeon in future) and one of their final stepping stones to the larger halls their as yet unreleased first album would guarantee them, these recordings, made only three months after the Glasgow gig, see Marillion as a far more confident & coherent force; the playing is tighter and more assured, the sound balance considerably better, the crowd, packed in like sardines as they were, hugely enthusiastic, and rightly so. The set list is very similar to the Glasgow CD, but here includes the epic Grendel (the confines of the Marquee being ideal for Fish as Grendel to pull a punter out of the front row & ritually dismember him) and the first recorded instance of their playing Script For A Jester’s Tear; at the time a new track they had debuted on these three shows, this is recognisably a very early version, with mellotron replacing piano in the opening & some of the lyrics still at a formative stage. As usual, the set is closed with the usual threesome of Forgotten Sons, Market Square Heroes and the playful if maybe a little over-long crowd favourite, Margaret.

By August 1983, the new progressive rock bands had been taken to the hearts of the rock press, and the Reading Festival, which at the time was the number one music festival for aspiring bands to play, was packed with the new breed, but pride of place again belonged to Marillion, who’d played there mid-Sunday afternoon the previous year, but here made a return on Saturday evening. The year had been a good one for the band, with sold out shows across Britain & Europe, the debut album riding high in the charts, the only down point being the departure of Mick Pointer from the drum stool, temporarily replaced here by session men John Martyr & Andy Wall on drums & percussion respectively. Playing to approximately 40/50,000 people in the open air, subtlety is a casualty, with Marillion having a whale of a time & playing full blown progressive rock. Opening with probably the strongest version now available of Grendel – ironic, as this is the last time it was played live – Marillion’s popularity is immediately in evidence, with the crowd singing along to every word (something noticeable throughout this CD) and the band play off this enthusiasm throughout their 75 minute set. Grendel closes with a mellotron and guitar swathed coda which bears more than a slight resemblance to Yes’ Starship Trooper & then it’s into yet another version of Garden Party with the Reading Festival choir lustily singing back during the call & response section (unsurprisingly strongest on their response to “I’m rucking”). Script For A Jester’s Tear is followed by the first of the new songs here, an almost complete “Assassing”, soon to be the opening track of the second album, and “Charting The Single”, Marillion’s arch swipe at the vagaries of the record industry, and also their next single. With these behind them, Marillion are back in familiar, but understandably populist territory, closing the main set with a storming rendition of Forgotten Sons featuring Fish on superb form, before returning for encores of He Knows You Know, and the predictable, but inescapable Market Square Heroes, which the crowd’s singing and the band’s evident enjoyment of the moment closes the set on a massive high.

At London’s Hammersmith Odeon just over a year later, disc 5 of the set was recorded by the BBC for their ‘In Concert’ series. In the intervening period, the second album Fugazi had been released to a mixed reception and showing the band’s starting to move away from the symphonic progressive rock of their original influences, to forging a sound more recognisably their own. The Hammersmith Odeon disc sees Marillion in confident rock band mode, with a much more focused, cleaner and tighter sound (courtesy of Ian Mosley now being installed on drums/percussion), yet losing none of the warmth toward the fans they were known for. Overall, the new material sits happily alongside established favorites Garden Party and Chelsea Monday, which had been given a wash & brush up, but these older songs were already beginning to sound dated against the newer, more hard edged songs such as Assassing and the single Punch And Judy. The real gem of this disc though, and a prime example of Marillion’s confidence at the time is their decision to showcase an entire side of their at the time unreleased album Misplaced Childhood. This is given an expansive introduction by Fish describing it as their new direction; the selection chosen is virtually unchanged from the version eventually released on album, with only a few lyrical differences and is received enthusiastically – although it could be said at that stage in Marillion’s career any new material would be given a good reception, Part one of Misplaced Childhood showed this band at the peak of their creativity & this is reflected in the reaction of the Hammersmith audience. The set closes with the incisive Incubus – a high point from the Fugazi album – and a rousing version of Fugazi itself, with the audience in fine voice during the “where are the prophets..?” closing section.

The sixth and final disc of the series from November 1987, is recorded at London’s cavernous Wembley Arena, the band playing a gig in aid of muscular dystrophy on the back of the commercial success of the Clutching At Straws album; this is also Marillion by royal appointment, the show being attended by Prince Edward (which Fish jokingly alludes to in the intr
o to Fugazi, stating if he explained what the title meant, he’d end up in the Tower Of London). By this time, the band were seasoned professionals, and the 10,000 seat venue must have seemed a long way from playing the confines of Glasgow’s Mayfair, a mere 5 years previously. The selections here highlight Marillion’s sound becoming more guitar based, with Rothery playing well throughout, ably supported by Kelly’s always fluid lines. The gig comes across as a little too workmanlike, with the previous connection to the crowd seeming to fray at the edges (Fish urging the singalong to Fugazi sounds a little forced); this could be down to the venue itself, Wembley Arena being notorious as a soul-less barn – similarly it could be the fact this gig was recorded just a few months prior to Fish’s departure from the band, but whilst this is not Marillion merely going through the motions, the warmth of previous performances on this set is noticeably down by several degrees.

So there you have it, a six CD retrospective of Marillion live during the Fish years; from struggling band playing the clubs to multi million album selling international success story; if you’re an established fan of the band, this is without a doubt a full five star release, a true essential box – seen overall, though, even given the sound problems & nervous performances on disc 1, and the usual warts & all qualities of any live album without overdubs, this set still stands up as a solid release – a good reminder of exactly how good they were in the early years.

Line-up:
- Fish / vocals
- Steve Rothery / guitars
- Mark Kelly / keyboards
- Peter Trewavas / bass
- Ian Mosley / drums & percussion

Track List:
CD1 (Live at the Mayfair, Glasgow, 13 September 1982)
01. Garden Party – 8:19
02. The Web – 10:29
03. He Knows You Know – 5:22
04. She Chameleon – 5:39
05. Three Boats Down From The Candy – 5:19
06. Market Square Heroes – 6:20
07. Forgotten Sons – 10:24

CD2 (Live at the Marquee, Part 1, 30 December 1982)
01. Garden Party – 8:29
02. Three Boats Down From The Candy – 6:49
03. Grendel – 19:54
04. Chelsea Monday – 9:21

CD3 (Live at the Marquee, Part 2, 30 December 1982)
01. He Knows You Know – 8:24
02. The Web – 11:49
03. Script For A Jester’s Tear – 10:20
04. Forgotten Sons – 12:03
05. Market Square Hero – 7:39
06. Margaret – 11:15

CD4 (Live at Reading Festival, 27 August 1983)
01. Grendel – 18:07
02. Garden Party – 6:46
03. Script For A Jester’s Tear – 9:00
04. Assassing – 7:45
05. Charting The Single – 5:22
06. Forgotten Sons – 11:41
07. He Knows You Know – 5:42
08. Market Square Hero – 10:22

CD5 (Live at Hammersmith Odeon, 14 December 1984)
01. Assassing – 6:50
02. Garden Party – 6:53
03. Cinderella Search – 6:16
04. Punch And Judy – 3:30
05. Jigsaw – 7:02
06. Chelsea Monday – 8:13
07. The Pseudo-Silk Kimono – 2:53
08. Kayleigh – 3:53
09. Bitter Suite – 6:01
10. Heart Of Lothian – 4:24
11. Incubus – 9:08
12. Fugazi – 10:32

CD6 (Live at Wembley Arena, 5 November 1987)
01. Slainte Mhath – 5:03
02. White Russian – 6:01
03. Incubus – 8:56
04. Sugar Mice – 7:03
05. Fugazi – 8:15
06. Hotel Hobbies – 4:07
07. Warm Wet Circles – 4:30
08. That Time Of The Night – 5:53
09. The Last Straw – 6:13
10. Kayleigh – 4:29
11. Lavender – 2:24
12. Bitter Suite – 8:07
13. Heart Of Lothian – 3:56

Links in comments.

Fish, Ian Mosley, Live, Marillion

Simon & Garfunkel – Live 1969 (@256)

07 Apr 2009

(Review from pitchfork.com)

Recorded at the duo’s peak, this document of their short 1969 tour proves they still took risks, still tried to innovate. Live 1969 collects performances from their six-city run, which culminated in a two-night engagement on their New York home turf. Along the way, they premiered new songs from their forthcoming album, which would be titled “Bridge Over Troubled Water” and would prove to be their swan song. Part of the pleasure of listening to “Live 1969″ is hearing early versions of “Why Don’t You Write Me” and “Song for the Asking” and imagining what it would have been like to hear them with fresh ears, well before they became lodged in the American music culture. As Art Garfunkel remarks, “This is also one of our new songs. It’s called ‘Bridge Over Troubled Water’”. Five and a half minutes later, the hall erupts in rapturous applause.

Another part of this album’s appeal is hearing Simon & Garfunkel’s backing band rip through numbers like “Mrs. Robinson” and even “The Boxer”. Having already played on their two previous albums, the ensemble– Joe Osborn on bass, drummer Hal Blaine, pianist Larry Knechtel, and Nashville picker Fred Carter Jr.– give these songs a spark of energy, loosening them up where the studio versions were tight and tasteful. When someone in the audience yells for more piano, Garfunkel replies, “The keyboard should be louder, huh? What label do you produce for?” That’s pretty dickish stage banter, but sure enough, a few songs later Knechtel’s more prominent piano puts extra bounce in “Why Don’t You Write Me?”, which here sounds like it should be a break-out hit.

In addition to offering proof that someone once yelled for “Richard Cory”, Live 1969 represents a turning point for Simon & Garfunkel. By this point they were all but broken up, with Garfunkel ready to try an acting career and Paul Simon destined for a more productive solo venture. They played some of their last live dates together on this tour, and wouldn’t play together again until their official reunion thirteen years later (unless you count their brief reunions on “Saturday Night Live” in the 1970s). The tension with which their partnership famously ended is nowhere apparent on Live 1969, although Simon seems to hang back while Garfunkel dominates, introducing the songs and running through Simon’s composition “Bridge Over Troubled Water” solo.

Ultimately, Live 1969 succeeds on the merits of its tracklist, which mixes hits like “Homeward Bound” and “The Sound of Silence” with lesser-known tracks like “For Emily, Wherever I May Find Her”, “Leaves That Are Green”, and the lone unreleased cover, “That Silver-Haired Daddy of Mine”, which had previously been covered by their heroes the Everly Brothers. Late on the album, the back-to-back sequencing of the quiet, self-consciously poetical “Sound of Silence” with the defiantly self-delusional “I Am a Rock” feels particularly inspired– two takes on loneliness whose contrast makes it possible to hear both songs somewhat afresh. In fact, that seems to be the primary and most compelling goal of this belated release: to let us hear these songs as if for the first time, as a means to reconsider the two men behind them.

Line-up:
* Paul Simon / acoustic guitar, vocals
* Arthur Garfunkel / vocals (harmony)
with
* Joe Osborn / bass
* Hal Blaine / drums, percussion
* Fred Carter Jr. / guitar
* Larry Knechtel / piano, keyboards

Track List:
01. Homeward Bound – 3:04
02. At the Zoo – 2:07
03. The 59th Street Bridge Song (Feelin’ Groovy) – 1:55
04. Song for the Asking – 2:28
05. For Emily, Whenever I May Find Her – 2:37
06. Scarborough Fair – 3:56
07. Mrs. Robinson – 4:44
08. The Boxer – 4:46
09. Why Don’t You Write Me – 2:56
10. So Long, Frank Lloyd Wright – 3:55
11. That Silver-Haired Daddy of Mine – 3:11
12. Bridge Over Troubled Water – 5:24
13. The Sound of Silence – 3:52
14. I Am a Rock – 3:36
15. Old Friends – 3:22
16. Leaves That Are Green – 3:23
17. Kathy’s Song – 3:53

Links in comments.

Live, Paul Simon, Simon & Garfunkel

Wishbone Ash – Live In Chicago (1992) (@256)

18 Jan 2009

(Review from progarchives.com)

This 1992 set has been re-released a number of times under slightly different titles (Live in Chicago, Living Proof, Live in the Windy City), but in every case the tracks are identical. The line up has the classic twin guitars of Ted Turner and Andy Powell supported by Andy Pyle (bass) and Ray Weston (drums). This would be Ted Turner’s last appearance on an album by Wishbone Ash.

For those hoping to hear a succession of songs from the band’s early years, the set list will be something of a disappointment. On the plus side, there are three tracks from the legendary “Argus” (perhaps predictably “King Will Come”, “Throw Down the Sword”, “Blowin’ Free”) but apart from those the oldest track is “Living Proof” from 1980′s “Just Testing”. Other than those four songs, the set list focuses on Wishbone Ash’s then latest releases “Nouveau Calls”, “Hear to Hear” and “”Strange Affair”.

The sound quality is best described as adequate, the bass being too up front in the mix, dominating the proceedings throughout. The vocals on the other hand sound a bit feint and suffer from unintended echo. It is a pity really, as the band’s performance is excellent throughout, with fine vocal harmonies and of course truly top rate guitar work.

After the crowd pleasing opener, a slightly extended version of “King Will Come”, the band introduce a couple of tracks from their then latest album “Strange Affair”. Both of these (“Strange Affair” and an extended “Standing in the Rain”) are rollicking affairs, the latter including some particularly excellent lead guitar. There seems to be some unaccredited keyboards on these tracks, the following “Lost Cause in Paradise” also opening with what appeared to be sampled sounds.

“Throw Down the Sword” is naturally a highpoint in mid-set, the following “In the Skin” from the instrumental album “Nouveau Calls” being substantially extended from its studio counterpart through improvisation. Likewise, “Why Don’t We” (from “Here to Hear”) is given a spirited 8 minute run through, the twin guitars offering wonderful echoes of the past.

As we approach the conclusion of the album, a third track from “Argus”, “Blowing Free” is dusted off and given an 8˝ minute workout. The song has lost none of the energy it had when it first appeared, indeed this version may well be the definitive live rendition. The album closes with “Living Proof” from “Just testing”, a track which is a concert staple.

This is a superb live album featuring the classic twin lead guitars of Wishbone Ash. The track list may be largely unfamiliar to those who lost the band after the mid 1970s, but the songs here are all worthy of the Wishbone Ash name, and indeed many benefit from exposure to the live environment.

Line-up:
- Andy Powell / Guitar and vocals
- Ted Turner / Guitar and vocals
- Andy Pyle / Bass
- Ray Weston / Drums

Track List:
01. The King Will Come – 7:39
02. This Strange Affair – 5:42
03. Standing In The Rain – 6:23
04. Lost Cause In Paradise – 5:08
05. Keeper Of The Light – 3:52
06. Throw Down The Sword – 6:14
07. In The Skin – 8:36
08. Why Don’t We – 8:03
09. Hard Times – 5:03
10. Blowing Free – 8:38
11. The Living Proof – 5:57

Links in comments.

Live, Wishbone Ash

Zen – Bakirkoy Akil Hastanesinde (Live 1999) (@160-128)

11 Jan 2009

Thanks to Man in Silence for the review contribution.

(Review from psychevanhetfolk.homestead.com, resetmagazine.net)

Being recorded live in the most famous rehabilitation hospital of Istanbul; Bakirkoy Akil Hastanesi’nde is the last album of Zen. Doctors, nurses, patients and a couple of friends of the band attended the concert in the “Mazhar Osman” Hall of the center.

The songs were based on the writings of the famous Turkish psychiatrist, Ord. Prof. Mazhar Osman Uzun, who also gave his name to the concert hall. The music resemble pure and fiery insanity, more than melodies. Though the album is not as weird or heavy as ‘Tanbul’. It’s more a bluesy psych live improvisation.

The band once described themselves as “collective improvization” music players and without no doubt, this record place hits the nail on the head in accord to their music.

Track List:
01. Bu Dunya Benim Dunyam
02. Mazhar Neyzen Ve Kopegi
03. Burda Bizden Baskasi Yok Ki
04. Arkadas Ates
05. Dut Ali
06. Bakirkoy Havasi
07. Birozdan

Link in comments.

Live, Turkish, Zen

Mother's Finest – Live (1979) (@256)

05 Jan 2009

(Review from allmusic, amazon)

Georgia funk rock band Mother’s Finest might appear to be only a blip on the radar screen of rock history, but not to any of the headlining bands they’ve stolen shows from — or any of the audiences who saw it happen. Mother’s Finest blended white guitarist Moses Mo and drummer B.B. “Queen” Borden with black vocalists Joyce Kennedy and Glenn Murdock, bassist Wyzard, and keyboardist Mike.

The 1979 album “Mother’s Finest Live” is the closest any album came to actually conveying the kind of nonstop excitement, spontaneity, and unpredictability of their live shows. It features not only original staples like “Watch My Stylin’” and “Give You All the Love”, but also Kennedy singing a stunning cover of Jefferson Airplane’s “Somebody to Love” and the musicians shining on a rearranged version of Steppenwolf’s “Magic Carpet Ride”.

Great rock guitar leads, thundering double base drumming, grooving heavy bass and keyboards, soaring soulful vocals, … That’s Mother’s Finest!

Line-up:
- Mike Keck / Percussion, Keyboards
- Joyce Kennedy / Vocals, Percussion
- Mo Moses / Guitar, Percussion, Vocals
- Glenn Murdock / Vocals, Percussion
- B.B. Queen / Drums, Percussion
- Jerry “Wizzard” Seay / Bass, Drums, Vocals

Track List:
01. Somebody to Love – 5:55
02. Fire – 4:10
03. Mickey’s Monkey – 6:03
04. Give You All the Love – 6:30
05. Baby Love – 4:13
06. Magic Carpet Ride – 5:11
07. Love Changes – 5:21
08. Watch My Stylin’ – 4:46
09. Don’t Wanna Come Back – 3:28
10. Can’t Fight the Feeling – 4:34

Link in comments.

Live

Wishbone Ash – Live Dates II (1980) (@320)

05 Jan 2009

(Review from progarchives.com, wishboneash.co.uk)

Seven years after their brilliant 1973 “Live Dates” double album comes this 1980 collection, six tracks made at Hull, Bristol, Wolverhampton and London. The same sparkling sound quality, the same amazing cover art, but a different set of songs and a different line-up, Laurie Wisefield replacing Ted Turner on guitar and vocals, but not at all to the band’s detriment, “Live Dates 2″ traces the Wishbone saga from Wishbone Four to Just Testing.

Side one of the first LP represents the biggest Ash cross-section. ‘Doctor’ from Wishbone Four album kicks the album off nicely. ‘Living Proof’ delivered on a windy night at Bristol Colston Hall has beefy chords and dirty words sweetened by a long solo at the end. ‘Runaway’ and ‘Helpless’ culled from Wolverhampton Civic Hall are perennial Ash…two roustabout tracks where the warmth of the audience begins to kindle.

Second side contains two longer, 9-minute prog-rock inclined jamming suites, “FUBB” (from “There’s the Rub”) and “Way of the World” (from “No Smoke Without Fire”). Both are very good compositions with extended twin guitar solos, convincing bass and strong drums with frequent change of themes and rhythmic structure.

The second LP features much lilting Ash with ‘Lorelei’, ‘Persephone’ and ‘You Rescue Me’, all very smooth and magnificently paced especially the delicacy of ‘Persephone’. ‘Time Was’ which opens the second side has mellowed greatly over the years and the handling this time around is particularly soft.

Wisefield gets his vocal solo glory on “Goodbye Baby”. His usual rendition is helped by a strong chorus line. And so we close with ‘No Easy Road’ again considerably reworked with some particularly swaggering vocals from Turner. It’s so good you won’t even miss the blasting brass section of the original. Ash live and rampant.

Line-up:
- Andy Powell / guitars & vocals
- Laurie Wisefield / guitars & vocals
- Martin Turner / bass & vocals
- Steve Upton / drums

Track List:
CD1
01. Doctor – 5:40
02. Living Proof – 5:45
03. Runaway – 3:10
04. Helpless – 3:35
05. F*U*B*B – 9:40
06. The Way Of The World – 10:15
CD2 (Bonus)
01. Lorelei – 6:20
02. Persephone – 8:20
03. You Rescue Me – 6:50
04. Time Was – 6:45
05. Goodbye Baby Hello Friend – 5:20
06. No Easy Road – 7:20

Links in comments.

Wishbone Ash – Just Testing (1980) (@256)

03 Jan 2009

(Review from wishboneash.co.uk, progarchives.com)

Released in January 1980, “Just Testing” was Wishbone Ash’s tenth studio album and coincided with the band’s tenth anniversary celebrations. The title came from a phrase that Laurie Wisefield had made up in earlier recording sessions, when he would say “just testing” if he made a mistake which brought the session to a standstill.

Highlights of the album include the opener and initial single release “Living Proof”, an incredibly catchy song with its pulsing beat and dual harmonies. It would become a concert staple for many years to come.

“Master Of Disguise” marked Andy Powell’s debut solo songwriting for Wishbone Ash. The song has a strong melody which, when combined with more orthodox Ash guitar work and some background organ playing, make for a pleasant diversion.

The epic closer “Lifeline” evolved out of studio jamming. It has pleasing guitar work.

A massive 62-date tour of Britain and Europe was undertaken throughout much of 1980 to promote the album. However, internal conflicts over the future of the band led to Martin Turner quitting in October 1980, thus ending the longest period with the same line-up in the history of Wishbone Ash.

Line-up:
- Andy Powell / Guitars
- Laurie Wisefield / Guitars
- Martin Turner / Bass, Vocals
- Steve Upton / Drums

Track List:
01. Living Proof – 5:44
02. Haunting Me – 4:34
03. Insomnia – 5:09
04. Helpless – 4:03
05. Pay the Price – 3:34
06. New Rising Star – 3:58
07. Master of Disguise – 4:25
08. Lifeline – 6:29

Link in comments.

Wishbone Ash – On Air (BBC 1971-77) (@256)

01 Jan 2009

(Info from phrock)

The majority of tracks here were recorded for a variety of BBC radio shows, ranging from “Top Gear” to programmes hosted by Stuart Henry, Bob Harris and Pete Drummond. They date from the early 70s when the band was its commercial peak and had a line-up compromising Andy Power and Ted Turner on lead guitars. Martin Turner on bass and vocals, and drummer Steve Upton.

Completing the set are three recordings for the Old Grey Whistle Test, one for 1971, and two from 1977. By the time of these last two cuts Ted Turner had left the group, but the band’s celebrated and influencial twin guitar sound had been retained with the recruitment of Laurie Wisefield. These historic sessions capture Wishbone Ash direct, powerful and without frills.

Line-up:
- Andy Powell / Guitar, Vocals
- Martin Turner / Bass, Vocals
- Ted Turner / Guitar (1-7)
- Laurie Wisefield / Guitar (8-9)
- Steve Upton / Percussion, Drums

Track List:
01. Blind Eye – 3:45
02. Lullaby – 3:13
03. Pilgrim – 8:44
04. Jailbait – 4:50
05. Blowin’ Free – 5:36
06. Throw Down The Sword – 6:12
07. Vas Dis – 4:42
08. Goodbye Baby Hello Friend – 3:31
09. Baby Come In From The Rain – 4:40

Link in comments.

Wishbone Ash – Runaway (Live 1976) (@320)

01 Jan 2009

(Info from wikipedia)

“Runaway” is an archival live album, recorded at the Liverpool Empire, on Nov 17th 1976, one month after the release of “New England”. The only exception is “Helpless”, which was recorded at the Hammersmith, on Feb 2nd 1980.

Here we see the second line-up of the band, performing a good amount of earlier stuff. Half of this set list wouldn’t appear in the future glorious “Live Dates II” album.

Line-up:
- Andy Powell / guitar
- Laurie Wisefield / guitar
- Steve Upton / drums
- Martin Turner / bass guitar, vocals

Track List:
01. Helpless
02. Runaway
03. Warrior
04. Lorelei
05. Persephone (fades out at 3:45)
06. (In All Of My Dreams) You Rescue Me
07. Outward Bound
08. Mother Of Pearl
09. Rest In Peace
10. Time Was
11. Bad Weather Blues
12. The King Will Come

Links in comments.

Wishbone Ash – Live Dates (1973) (@320)

27 Dec 2008

(Review from amazon, progarchives.com)

“Live Dates” is one of those classic live albums of the 70′s that any rock fan must have. Unlike many of their peers, Wishbone Ash are really better live than in the studio, as this album shows all the time. The performances are spotless, beautiful and extremely well recorded.

This is, clearly, the place to marvel at the band’s innovative melange of blues, folk, Yes- style riffs, and endearingly cosmic lyrics, not to mention its centrepiece–the tag team dueling guitars of Andy Powell and Ted Turner. The album is full of great guitar solos, licks and duels, fine vocal hamonies and a very strong rhythm section.

The album’s main attraction is the epic “Phoenix”, expanded by seven minutes from its studio version and included in two different performances. It’s precisely the sort of psychedelic jam that used to really wow them at the Fillmore during the Summer Of Love. Other highlights include a heartfelt version of “Rock ‘n’ Roll Widow”, and an impressively arranged take on the Jimmy Reed blues classic “Baby What You Want Me to Do” (misidentified, for some reason, as the Everly Brothers’ “You Got Me Runnin’”).

Line-up:
- Martin Turner / Vocals, Bass
- Andy Powell / Guitars, Vocals
- Ted Turner / Guitars, Vocals
- Steve Upton / Drums

Track List:
CD1
01. The King Will Come 7:15
02. Warrior 5:41
03. Throw Down The Sword 5:57
04. Rock ‘n’ Roll Widow 5:44
05. Ballad Of The Beacon 5:16
06. Baby What You Want Me To Do 7:36
07. Phoenix (Bonus Live In Memphis) 17:05
CD2
01. The Pilgrim 9:17
02. Blowin’ Free 5:24
03. Jailbait 4:38
04. Lady Whiskey 5:40
05. Phoenix 17:20

Links in comments.

Live, Sakalli's Pick, Wishbone Ash

Haggard – Awaking the Gods Live in Mexico (2001) (@256)

26 Dec 2008

(Review from metal-archives.com)

This is the first (and to-date only) live album of Haggard, featuring their complete line-up in the land of Aztecs.

“Awakening The Gods” combines the highlights of their two studio albums and adds the live intensity of the band to the songs. One would think that Haggard’s merry band of classical instruments would be drowned out in a live performance, but that is not the case! Everything is heard perfectly, and it really and truly sounds fantastic.

The only downside of this great album is that there is not that much audience participation.

Track List:
01. Intro-Rachmaninov Choir – 2:14
02. Mediaval Part – 1:50
03. Lost – 4:39
04. Prophecy Fullfilled-And The Dark Night Entered – 7:03
05. Menuett – 1:21
06. Origin Of A Crystal Soul – 7:15
07. Awaking The Centuries – 10:11
08. Courante – 1:29
09. In A Full Moon Procession – 6:09
10. Final Victory – 7:04
11. In A Pale Moon’s Shadow – 11:03

Links in comments.

Haggard, Live

Halford – Live Insurrection (2001) (@320)

22 Dec 2008

(Review from amazon, metal-reviews.com)

Capitolizing on the energy and success of his recently-completed world tour with Iron Maiden, Halford unleash a double album chock full of ripping, classic metal.

This impressive live album covers all phases of Rob Halford’s career. There are tracks from the band’s ‘Resurrection’ album, there’s Fight material, even 2wo and there’s also a generous spackling of Priest cuts — including several that haven’t seen the “live” light of day in over a decade.

The band attack Halford’s songs with taut force and accuracy. From newer gems such as “Made in Hell” to Priest staples “Electric Eye” and “Breaking the Law” to a duet with Iron Maiden’s Bruce Dickinson, this comprehensive collection was largely recorded at various venues throughout a seven-month tour.

After the live performance is over with there are three studio songs, one being a new Halford songs and the two others being lost Judas Priest songs that Halford has recorded. All three smoke with “Screaming in the Dark” sounding like a heavier “Resurrection”, “Heart of a Lion” being a Judas Priest rocker, and “Prisoner of Your Eyes” being a Judas Priest ballad.

Line-up:
- Rob Halford / Lead Vocals
- Pat Lachman / Guitar
- Mike Chlasciak / Guitar
- Ray Riendeau / Bass
- Bobby Jarzombek / Drums
with
- Bruce Dickinson / Vocals (10)

Track List:
CD1
01. Resurrection – 4:02
02. Made in Hell – 4:13
03. Into the Pit – 4:15
04. Nailed to the Gun – 3:35
05. Light Comes Out of Black – 5:00
06. Stained Class – 5:32
07. Jawbreaker – 3:25
08. Running Wild – 3:02
09. Slow Down – 4:40
10. The One You Love to Hate – 3:11
11. Life in Black – 4:26
12. Hell’s Last Survivor – 3:24
13. Sad Wings – 3:33
14. Saviour – 2:57
15. Silent Screams – 7:32
CD2
01. Intro – 0:14
02. Cyberworld – 3:04
03. The Hellion – 0:48
04. Electric Eye – 3:29
05. Riding on the Wind – 3:10
06. Genocide [1st Encore] – 7:36
07. Beyond the Realms of Death – 6:51
08. Metal Gods [2nd Encore] – 4:34
09. Breaking the Law – 3:50
10. Tyrant – 4:41
11. Screaming in the Dark (Studio) – 3:41
12. Heart of a Lion (Studio) – 3:51
13. Prisoner of Your Eyes (Studio) – 4:33

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Bruce Dickinson, Halford, Live, Rob Halford

Judas Priest – Live in London (2001) (@320)

11 Dec 2008

(Review from blogcritics.org)

Touring to support their 2001 album Demolition, Judas Priest blow the roof off London’s Brixton Academy during a 90-minute performance. Live In London is a two-disc set recorded that night.

The album leans heavy into Priest’s older stuff playing a lot of songs from “British Steel”. It also manages to blend in solid versions of post-Vengeance/Defender Priest which many fans say was when things started to go downhill for them musically with “Touch of Evil” and “Turbo Lover”. They even mixed in a little more brutal fanfare with Painkiller.

“Point of Entry” fans will get their fix with “Live in London” because there are compelling versions of “Heading Out to the Highway” and “Desert Plains”. Also satisfying are classics like “Victim of Changes”, “Green Manalishi (with the two pronged crown)”, “Running Wild”, “Hell Bent for Leather”, “Hellion/Electric Eye”, “You Got Another Thing Comin’” (of course!), “The Sentinel”, and the “what’s my name?” song: Ripper. in for sur-prise … you’re in for a sho-OCK!

Tim Owens’ obvious deep admiration and passion for the band can be heard and felt in his amazingly similar vocals. Priest excels when they are jamming heavy, two-guitar melodies played an octave apart like Victim of Changes.

“Live in London” is as familiar and somewhat predictable as the signature Priest Harley riding in for a whipping encore performance of Hell Bent for Leather. It isn’t quite the same caliber as Unleashed in The East or even the later Priest Live, but it shouldn’t taint Ripper Owens’ resume nor leave heavy metal Priest fans screaming for vengeance.

Line-up:
* Tim ‘Ripper’ Owens / Vocals
* K.K. Downing / Guitars
* Glenn Tipton / Guitars
* Ian Hill / Bass
* Scott Travis – drums

Track List:
CD1
01. Metal Gods – 4:37
02. Heading Out to the Highway – 4:13
03. Grinder – 4:04
04. A Touch of Evil – 5:58
05. Blood Stained – 5:11
06. Victim of Changes – 10:08
07. The Sentinel – 5:31
08. One on One – 6:05
09. Running Wild – 3:19
10. The Ripper – 3:31
11. Diamonds & Rust – 4:13
12. Feed on Me – 5:25
13. The Green Manalishi (With the Two-Pronged Crown) – 4:51
CD2
01. Beyond the Realms of Death – 7:15
02. Burn in Hell – 5:22
03. Hell Is Home – 5:47
04. Breaking the Law – 2:47
05. Desert Plains – 4:25
06. You’ve Got Another Thing Comin’ – 5:20
07. Turbo Lover – 5:39
08. Painkiller – 7:17
09. The Hellion – 0:36
10. Electric Eye – 3:35
11. United – 2:55
12. Living After Midnight – 5:13
13. Hell Bent for Leather – 5:47

Link in comments.

Glenn Tipton, Judas Priest, Live

Judas Priest – Live Meltdown (1998) (@256)

09 Dec 2008

(Review from metal-archives.com)

Judas Priest takes a catalog of (at that point) twenty-three years worth of music and gives it a good, swift kick. Everything is tuned down, turned up, and injected with a heavy dose of amphetamines – it’s the grand heavy metal traditional.

“Rapid Fire”, long suspected as possibly the first thrash metal song, is turned into a skin-shredder worthy of Exodus (except with better vocals) here. Ripper’s version of “Touch of Evil” is great, as is “The Ripper.” The cut-down “Death Row” is a great enhancement and “Bullet Train” translates one of the best Owens-era tracks to an even more effective live setting.

The second CD also has its moments; “Night Crawler” is an absolute beast, with Ripper throwing in primal screams and growls until that song rips and tears. “Victim of Changes” really highlights his vocal abilities, and “Painkiller,” while not quite vocally matching the original, is even heavier musically. That brings up the oft-forgotten superstar of the disc, drummer Scott Travis. Travis keeps up a solid beat throughout while tossing off high-speed and highly difficult drum parts like “Bullet Train” and “Painkiller” with ease; judging on his work on the songs where Downing and Tipton let him really cut loose.

So no, this album is not the Judas Priest of old – it’s something different. Something heavier, harder, faster, and in some ways better. “Live Meltdown” remains as a milestone in Priest’s history, when they were fresh, rejuvenated, and ready to show the world that nobody was getting old in this camp.

Line-up:
* Tim ‘Ripper’ Owens / Vocals
* K.K. Downing / Guitars
* Glenn Tipton / Guitars
* Ian Hill / Bass
* Scott Travis – drums

Track List:
CD1
01. The Hellion – 1:08
02. Electric Eye – 3:47
03. Metal Gods – 4:09
04. Grinder – 4:26
05. Rapid Fire – 4:24
06. Blood Stained – 5:08
07. The Sentinel – 5:46
08. Touch Of Evil – 5:51
09. Burn In Hell – 5:34
10. The Ripper – 3:51
11. Bullet Train – 5:58
12. Beyond The Realms Of Death – 7:13
13. Death Row – 4:22
CD2
01. Metal Meltdown – 5:02
02. Night Crawler – 6:11
03. Abductors – 5:54
04. Victim of Changes – 8:31
05. Diamonds and Rust – 3:54
06. Breaking The Law – 2:36
07. The Green Manalishi – 4:53
08. Painkiller – 6:28
09. You’ve Got Another Thing Coming – 8:35
10. Hell Bent for Leather – 3:48
11. Living After Midnight – 6:01

Links in comments.

Glenn Tipton, Judas Priest, Live

It's A Beautiful Day – At Carnegie Hall (Live 1972) (@256)

30 Nov 2008

(Review from progarchives.com)

This is the only official recording available of “It’s A Beautiful Day” in a live environment. The band was on the road in support of their third album “Choice Quality Stuff/Anytime”. It is strange then that only one track from that album, “The Grand Camel Suite” (bizarrely named for a three minute song), is included. Other songs from the new album may have been performed of course, but if they were they have been omitted in favour of cover versions and older numbers.

The album opens with “Give your woman what she wants”, a song written by the legendary Taj Mahal. Pattie Santos, who is far more up-front throughout this album than she is on the studio recordings, gives the performance a real Janis Joplin feel.

Three tracks from the magnificent first album appear, the first being a spirited version of “A hot summer day”. After a fairly nondescript interpretation of Rod Taylor’s “Angels and animals”, we launch into an 8˝ minute run through of “Bombay calling”, also from the first album. This quickly becomes a loose improvisation, Fred Webb performing Linda LaFlamme’s original organ contribution commendably.

As the band were between bassists at the time, Tom Fowler being the current one. Fowler’s composition “Going to another party”, another song which does not appear on an “It’s A Beautiful Day” studio album, is included here. The song is a spirited, upbeat number, but rather anonymous and if truth be told not very good. Surprisingly, the band’s second album “Marrying maiden” is all but ignored, “Good lovin’” being the only song present. The band are clearly attempting to rock Carnegie Hall with a succession of frantic numbers played at breakneck speed.

The new song “The grand camel suite” is actually a country fuelled violin burst of little consequence. The album closes with a 9 minute rendition of “White bird”. David laFlamme’s vocal is generally much further back in the mix than that of Santos’. The extra length of the rendition being made up primarily through an extended guitar solo from Bill Gregory which merges into a violin section by LaFlamme. There is no denying the classic nature of the song.

The Carnegie Hall audience are polite but restrained in their appreciation, perhaps reflecting their bewilderment with some of the song selections. While the album contains extended versions of three of the band’s finest songs, for me they are inferior to those contained on the band’s wonderful first album.

Line-up:
- David LaFlamme / violin, vocals
- Pattie Santos / percussion, vocals
- Fred Webb / organ, piano, vocals
- Bill Gregory / guitar
- Tom Fowler / bass
- Val Fuentes / drums, vocals

Track List:
01. Give Your Woman What She Wants – 3:56
02. A Hot Summer Day – 8:46
03. Angels And Animals – 4:13
04. Bombay Calling – 8:10
05. Going To Another Party – 4:26
06. Good Lovin’ – 5:12
07. The Grand Camel Suite – 2:52
08. White Bird – 9:54

Link in comments.

It's A Beautiful Day, Live

Judas Priest – Priest, Live and Rare (1978-86) (@256)

30 Nov 2008

Thanks to Man in Silence for the review contribution.

(Review from allmusic)

Like their Brit-metal peers Iron Maiden, Judas Priest issued quite a few singles in England during their heyday. And like the others, Priest would include non-album B-sides with many of the singles, to entice fans who already had the A-side on their full-length to splurge for the single.

“Priest, Live & Rare” is just what the title says — a ten-track compilation of their B-sides (nine of which are live recordings, one a remix). For fans of Priest’s late-’70s/early-’80s work (the group’s “heaviest” period), “Priest, Live & Rare” is quite a find, since it includes great live takes of forgotten classics. Included are such molten heavies as “Beyond the Realms of Death”, “White Heat, Red Hot” and “Starbreaker”, as well as the better-known compositions “Living After Midnight”, “The Green Manalishi”, “You’ve Got Another Thing Coming” and two versions of “Breaking the Law”.

As usual for an archival compilation, not all of “Priest, Live & Rare” is top notch. Especially the inclusion of Turbo-era material — as evidenced by a preposterous remix of “Turbo Lover”, bordering on dance music!

Still the good definitely outweighs on “Priest, Live & Rare”.

Track List:
01. Beyond The Realms Of Death (Live) – 7:04
02. White Heat, Red Hot (Live) – 4:32
03. Starbreaker (Live) – 7:21
04. Breaking The Law (Live) – 2:35
05. Living After Midnight (Live) – 4:21
06. The Green Manalishi (With The Two Pronged Crown) (Live) – 5:01
07. Breaking The Law (Live) – 2:44
08. You’ve Got Another Thing Comin’ (Live) – 7:37
09. Private Property (Live) – 5:15
10. Turbo Lover (Hi-Octane Mix, Studio) – 7:21

Links in comments.

Judas Priest – King Biscuit Flower Hour (Live 1984) (@256)

28 Nov 2008

(Review from wolfgangsvault.com)

One of several shows recorded on the band’s 1984 U.S. tour for the King Biscuit Flower Hour, this red-hot Priest performance illustrates why they will always be one of metal’s best and most successful bands. Recorded during their commercial heyday, this show, and others like it, formulated the standard that future Priest and other metal shows have long been judged by.

Opening with “Love Bites,” Halford leads Priest through a blistering set of the music that would make them one of the most popular hard rock bands of all time. “Rock Hard Rock Free”, “Victim of Changes” and “Hellion – Electric Eye” are balanced with the band’s biggest radio hits: “Breaking The Law,” “Some Heads Are Gonna Roll,” “Living After Midnight,” “Hell Bent For Leather,” and the show closer “You’ve Got Another Thing Comin’”.

One of the great things about radio broadcasts is the quality of the recording. The album sounds great and Judas Priest rocks hard.

Line-up:
- Rob Halford / Vocals
- K.K. Downing / Guitar
- Glenn Tipton / Guitar
- Ian Hill / Bass
- Dave Holland / Drums

Track List:
01. KBFH Intro – Love Bites – 4:59
02. Breakin’ The Law – 2:22
03. Some Heads Are Gonna Roll – 4:22
04. Rock Hard Ride Free – 5:53
05. Hellion – Electric Eye – 4:14
06. Heavy Duty – Defenders Of The Faith – 5:09
07. Victim Of Changes – 7:46
08. Livin’ After Midnight – 4:26
09. Motorcycle Intro – 1:29
10. Hell Bent For Leather – 4:42
11. You’ve Got Another Thing Coming – 7:40

Link in comments.

Judas Priest – Unleashed in the East (Live 1979) (@256)

24 Nov 2008

Thanks to Man in Silence for the review contribution.

(Review from allmusic.com)

Judas Priest’s first official live recording has always been met with equal amounts of acclaim and controversy: acclaim from those who consider it an excellent summation of the egend’s 1970s output, and controversy from the critics and industry insiders who criticized what they believed to be a heavily overdubbed and studio-enhanced performance, mockingly naming it “Unleashed in the Studio” at times.

The track listing here is quite impressive. Along with powerful versions of such storming anthems as “Exciter” and “Running Wild”, the band delivers the definitive version of the progressive metallic “Sinner” and competent versions of their popular covers tunes, “Diamonds and Rust” and “The Green Manalishi (With the Two-Pronged Crown)”. In most of the tracks from the classic “Sad Wings of Destiny” the band forfeit heaviness at the expense of speed.

This edition of the album includes 4 bonus tracks, they were recorded at the same time as the original nine tracks. All the extra songs are fully produced and are of the same quality.

Line-up:
* Rob Halford / Vocals
* K.K. Downing / Guitars
* Glenn Tipton / Guitars
* Ian Hill / Bass
* Les Binks / Drums

Track List:
01. Exciter – 5:38
02. Running Wild – 2:53
03. Sinner – 7:31
04. The Ripper – 2:44
05. The Green Manalishi (With The Two-Pronged Crown) – 3:16
06. Diamonds And Rust – 3:30
07. Victim Of Changes – 7:12
08. Genocide – 7:19
09. Tyrant – 4:32
10. Rock Forever (Bonus) – 3:27
11. Delivering The Goods (Bonus) – 4:07
12. Hell Bent For Leather (Bonus) – 2:40
13. Starbreaker (Bonus) – 6:00

Links in comments.

XII Alfonso – This Is (Live 1998) (@256)

17 Nov 2008

Request of Muadib.

(Review from allmusic)

“XII Alfonso” are a French band classical progressive band consisting of a handful of regular instrumentalists and a lyricist, playing a gentle music. This s a live album recorded in France and Mexico in 1998. Many tracks are taken from their first album, “The Lost Frontier”.

“This Is” unfolds in an ethereal, dreamlike manner with great emphasis given to textured keyboard effects and acoustic guitar. Predominantly instrumental, vocal support is provided by Caroline Lafue, whose wistful contribution to “Breathing Scarcely” is Clannad-like in its delicateness. Otherwise, the melodic instrumental passages resemble those forwarded 25 years earlier by progressive British acts like Camel, Steve Hackett, and Mike Oldfield as well as the more acoustic efforts of Jethro Tull.

Although this album exceeds 78 minutes, the melodies are pleasant in their originality and the arrangements are continually fresh and not tedious.

Line-up:
- Caroline Lafue / vocals
- Francois Claerhout & Lionel Fortin / keyboards
- Thierry Moreno / drums
- Lionel Gibaudan / bass
- Stephane Barincourt / guitars
- Philippe Claerhout / guitars
- Jean-Luc Payssan / mandole, theorb
- Thierry Payssan / organ

Track List:
01. Breathing Scarcely – 5:10
02. Mist – 6:57
03. Hadrian’s Wall Overture – 3:54
04. Ministrel’s Tale – 5:53
05. Back to Northumberlands – 3:20
06. Heath – 5:13
07. La Dame de Mantoue – 4:07
08. Chanson de Trouvere – 5:16
09. Lazy Day in Haltwhistle – 2:49
10. The Ghost Song – 7:50
11. Giverny – 2:25
12. Journey to the Winter’s Country – 3:06
13. Wheel of Change – 4:38
14. Another Day in Haltwhistle – 2:25
15. Anthem – 8:34
16. Eclipsed – 6:49

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Live

Rush – Snakes & Arrows Live (2008) (@256)

16 Nov 2008