Posts Tagged ‘Live Album.’

Neil Young & Crazy Horse, 'Arc-Weld' (1991)

Neil Young was in the middle of a career renaissance when he hit the road with Crazy Horse in early 1991. Their new album Ragged Glory was hailed as their finest in a decade and the group was playing songs old and new with a stunning level of energy and passion. The live album “Weld” captured the best moments on a two-CD set. The 14-minute rendition of “Like A Hurricane” remains one of the best version of the tune, while concert staples “Cortez The Killer,” “Powderfinger” and “Hey Hey, My My (In The Black)” have never sounded so vital. It’s hard to pinpoint a live peak for Crazy Horse, but this very well might be it. The album originally came packed with Arc, which was a single 35-minute track of various feedback-soaked beginnings and endings of songs. “Now here I am, 45 years old, and this is the essence of what’s happening to my mind,” said Young of the extended noise suite. “I really made Arc for people who ride around in the Jeeps with the big speakers. If you pull up beside somebody on the street and you’re playing that, that makes a fucking statement.

 

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Bob Seger had released eight albums and had been on the road for nearly a solid decade when he played Detroit’s Cobo Hall on September 4th, 1974 — but he was still largely unknown outside of the Midwest.

‘Live’ Bullet is a live album recorded at the Cobo Hall , released in April 1976, during the heyday of that arena’s time as an important rock concert venue. For Detroit fans, however, the entire Live’ Bullet recording captured a Detroit artist at the height of his energy and creativity, in front of a highly appreciative hometown crowd. ‘Live’ Bullet also captured the wild and free spirit of rock concerts in the seventies, and has great historic value in that regard. Rolling Stone Critic Dave Marsh called it “one of the best live albums ever made.

The main problem was that he simply couldn’t capture the magic of his stage show on in a studio, which is likely why Live Bullet made such a huge impact. His cover of Ike & Tina’s “Nutbush City Limits” got a ton of national airplay, and suddenly Live Bullet was selling like crazy. It was also fueled by “Turn The Page,” a 1973 track about the rigors of touring life that has been a mainstay of classic rock radio for the past 40 years. “We were doing, like, 250 to 300 shows a year before Live Bullet,” Seger said in 2013. “We were playing virtually five nights a week, sometimes six, as the Silver Bullet Band and we just had that show down.”

Image result for bob seger poster cobo hall 1974

Television were generally regarded as the precise and arty guys of the original New York punk scene but while the clean lines and gleaming surfaces of the albums “Marquee Moon” and “Adventure” the band’s live show told a different story. While they lacked the bash-it-out ferocity of The Ramones or the Dead Boys , on-stage Television played a lot harder and looser than they did in the studio; the guitar interplay between Tom Verlaine and Richard Lloyd gained so much grit and muscle (and Lloyd was given significantly more space to show what he could do), and drummer Billy Ficca and Bass man Fred Smith weren’t afraid to turn up the heat and add greater color and body to the songs. While the splendid “authorized bootleg”The Blow Up” is likely to remain the definitive document of Television’s awe-inspiring live prowess, “Live At The Old Waldorf” is a professional recording of a 1978 San Francisco date on the band’s last tour before their 1992 reunion . This runs a very close second, and the superior sound quality allows one to better appreciate the subtle textures lurking beneath Verlaine and Lloyd’s Stratocaster firepower. The band seems determined to show just what it can do, and these versions of “The Dream’s Dream,” “Little Johnny Jewel,” and “Marquee Moon” are pure joy for guitar aficionados. Rhino Handmade are to be congratulated for finally giving this oft-bootlegged recording the authorized release it deserves, and providing still more evidence of Television’s enduring brilliance and innovation 30 years after this set was played, “Live at The Old Waldorf” still sounds fresher and more exciting than most anything you’re likely to see at a rock club on a given evening.

Lovely live album, really fine audio quality, and scorching renditions of classic songs (plus a nice Stones cover!). My advice: If you’re a Television fan, you should track down a digital copy to listen to. You can buy the mp3 album, it’s readily available for a very reasonable price at various online retailers. If you want it on vinyl, be warned: you’re now forced to deal with scalpers, essentially. The vinyl was produced in limited quantities and sold on Record Store Day (April 16th, 2011). The show was from a radio show broadcast that was a popular bootleg until its official release by Rhino Handmade in 2003. indiviually numbered limited edition of 5000 copies.
Release of a live 1978 show in San Francisco, California.  Tom Verlaine’s lyrics are printed on the custom gatefold cardboard sleeve.  Liner notes are printed on a twelve page booklet.

The Band Television were,

  • Bass, Vocals – Fred Smith
  • Drums – Billy Ficca 
  • Guitar, Vocals – Richard Lloyd
  • Lead Vocals, Guitar –  Tom Verlaine

Live At The Old Waldorf San Francisco
The Dream’s Dream
Venus
Foxhole
Careful
Ain’t That Nothin’
Little Johnny Jewel
Friction
Marquee Moon
(I Can’t Get No) Satisfaction

Dawes are pleased to announce that they have recorded and released a live album titled “We’re All Gonna Live”. The album includes selections recorded over the first four shows of the An Evening With Dawes tour, and was mixed, mastered and released within 15 days.

Dawes released a new surprise album, as the band has collected a mix of live tracks from their early 2017 shows and released them as We’re All Gonna Live. The new live album, which is available for streaming only at the moment , references Dawes’ latest studio effort, We’re All Gonna Die, and includes live versions of tracks from that album, along with its predecessor, All Your Favorite Bands, and more. Experience the live album in person, as An Evening With Dawes tour is still making its way through the United States and Canada.

“We’re All Gonna Live” is available through streaming services HERE. “With this tour we’ve felt like we’ve begun to turn a corner as a live band so we figured it was time to share some of it with everyone. It’s not the full length experience but we’re hoping that it’s enough of a taste for people to take a little bit of the show experience back into their homes with them and hopefully inspire them enough to come check out the show once we get into town.”
Taylor Goldsmith

Dawes have also released a new video for a track taken from “We’re All Gonna Die”  The Video features Mandy Moore who knows a thing or two about separation. The former pop star/This Is Us actress went through a pretty open drawn out divorce with another high-profile musician, but they both seem to be moving on nicely. He wrote what could be his best album in years after the split, and she shacked up with Dawes frontman Taylor Goldsmith. But in the video for Dawes’ “Roll with the Punches”, it looks like that relationship is crumbling too.

The clip for the track finds Goldsmith and Moore dividing their property after they break up. Only thing is, they take “dividing” extremely literally and hire a construction crew to cut all their stuff in half. The bed, the couch, the toaster, even the hair drier all get the saw as the two former lovers share forlorn looks.

Director Daniel Henry (Kurt Vile’s “Pretty Pimpin’”, Jack White’s “High Ball Stepper”) said the concept was inspired by a true story. “I got the idea for the video after I read a true story about a disgruntled German man whose 12-year marriage ended tragically, “He quite literally split all of their belongs in two, in a vindictive-yet-beautiful move that inspired the video. The whole idea made me laugh at its extreme pettiness, but ended up perfectly representing the process of moving on.”

Capricorn

On this day 12th March in 1971: The Allman Brothers Band played the first of two nights at the Fillmore East in New York, that were recorded & released as the group’s landmark, breakthrough, double live album, ‘At Fillmore East’ (Capricorn Records) – widely regarded as one of the best live recordings ever; Rolling Stone ranked it #49 on their list of ‘The 500 Greatest Albums of All Time’; the session was produced by Tom Dowd, who condensed the running time of various songs, occasionally even merging two performances into one track; it was one of 50 recordings chosen in 2004 by the Library of Congress to be added to the National Recording Registry…

At Fillmore East was the first live album by the American rock-blues band the Allman Brothers Band, and their third release overall. Produced by Tom Dowd, the album was released in July 1971 in the United States by Capricorn Records. As the title indicates, the recording took place at the New York City music venue Fillmore East, which was run by concert promoter Bill Graham. The release features the band performing extended jam versions of songs such as “Whipping Post” and “In Memory of Elizabeth Reed.” When first commercially released, it was issued as a double LP with just seven songs comprising four vinyl sides.

At Fillmore East was the band’s artistic and commercial breakthrough, and has been considered by some critics to be one of the greatest live albums in rock music.

At Fillmore East was recorded over two nights — March 12th and 13th, 1971 — for which the band was paid $1250 each show. The shows were typical performances for the band, and regarded as slightly above average by drummer Jai Johanny Johanson. Ads for the shows read: “Bill Graham Presents in New York  Johnny Winter And, Elvin Bishop Group, Extra Added Attraction: Allman Brothers. While Winter was billed as headliner, by the third night the Allman Brothers were closing the show.

Allman Brothers

Tom Dowd produced At Fillmore East; he had previously worked on their second studio album, Idlewild South. He had recently returned from Africa from working on Soul to Soul, and stayed in New York several days to oversee the live recording. “It was a good truck, with a 16-track machine and a great, tough-as-nails staff who took care of business,” recalled Dowd. He gave the staff suggestions and noted the band had two lead guitarists and two drummers, “which was unusual, and it took some foresight to properly capture the dynamics.” Things went smoothly until the band unexpectedly brought out saxophonist Rudolph “Juicy” Carter, an unknown horn player, and Thom Doucette on harmonica. “I was just hoping we could isolate them, so we could wipe them and use the songs, but they started playing and the horns were leaking all over everything, rendering the songs unusable,” said Dowd. He rushed to Duane during the break to tell him to cut the horn players; while Duane loved the players, he put up no fight with Dowd. The final show was delayed because of a bomb scare, and did not end until 6 am.

Each night following the shows, the musicians and Dowd would “grab some beers and sandwiches” and head to Manhattan‘s Atlantic Studios to go over the performances. Set lists for following shows were crafted by listening to the recordings and going over what they could keep and what they would need to capture once more. “We wanted to give ourselves plenty of times to do it because we didn’t want to go back and overdub anything, because then it wouldn’t have been a real live album,” said Gregg Allman, and in the end, the band only edited out Doucette’s harmonica when it didn’t fit. “That was our pinnacle,” said Dickey Betts later. “The Fillmore days are definitely the most cherished memories that I have. If you asked everybody in the band, they would probably say that.”

The Allman Brothers Band finished playing the two-night stand 45 years ago this month, March 12th-13th, that would become their classic album, Live at the Fillmore East. Produced by the great Tom Dowd, the double-LP set cemented the Duane Allman/Dickey Betts and Great Southern tag-team as one of the greatest guitar duos in rock history thanks to their daredevil performances on “Whipping Post,” “Statesboro Blues,” and “You Don’t Love Me”— all still part of the Southern jam/boogie repertoire.

Allman Brothers

Dire-Straits-Alchemy
The album that captured the growing phenomenon of Dire Straits as a live attraction is marking a birthday. ‘Alchemy: Dire Straits Live,’ recorded over two nights at London’s Hammersmith Odeon and accompanied by a sister longform video, was released this week in 1984.

Alchemy: Dire Straits Live is a double album and the first live album by the British rock band Dire Straits, released on 16 March 1984 by Vertigo Records internationally, and by Warner Bros. Records in the United States. Recorded at the Hammersmith Odeon in London on 22nd–23rd July 1983, the album features the band’s best-known and fan-favourite songs from their first four albums, the Extended  play EP, and the Local Hero soundtrack (composed by Mark Knopfler); many of the songs have reworked arrangements and/or extended improvisational segments. The album cover is taken from a painting by Brett Whiteley.

‘Alchemy’ followed the band’s first domestic No. 1, the ‘Love Over Gold’ album of some 18 months before. As Dire Straits grew, record by record and tour by tour, into one of the biggest bands in the UK and beyond, the live record went on to have a long life. It debuted in the UK top three, spent all but one week of its first seven months in the top 40 and, in the slipstream of the subsequent sales sensation that was ‘Brothers In Arms,’ went on to spend more than three years in the UK top 100.

‘Love Over Gold’ had gone straight to No. 1 in Britain in October 1982 and stayed there four weeks. Then, with some time for a little extracurricular activity, Mark Knopfler pursued the first of the side projects that ultimately steered him towards the solo career he follows to this day. His soundtrack to the film ‘Local Hero’ included the Ivor Novello Award-winning ‘Going Home.’

Then it was back to Dire Straits business. After dates from March, 1983 in Australia, New Zealand and Japan, the band embarked on a massive European tour from May onwards. They played to big audiences all across the continent, arriving home via an Irish date at Punchestown Racecourse, followed by a London engagement at the Dominion Theatre.

Knopfler and Dire Straits Then came the two sellout Hammersmith shows of July 22nd and 23rd, which turned into celebrations of everything the band had achieved so far, from ‘Sultans of Swing’ to ‘Private Investigations.’ When the recordings of the performances were delivered to Knopfler at his home, he was too exhausted from the tour to listen to them. But he recalled that the Saturday show, the second one, had been especially good, so that formed the bulk of the double album.

‘Alchemy’ was released while the coal miners’ strikes dominated the news in Britain, and while scientists first murmured about something called the greenhouse effect. Meanwhile, this first document of Dire Straits’ live work carried on selling for years.

LIVE VERSIONS eight songs will be released for Record Store Day recorded in Chicago in 2013 these
tracks are
Endor Toi
Why Wont You Make Up Your Mind
Sestri Levante
Mind Mischief
Desire Be Desire Go
Half Full Glass Of wine
Be Above it
Feels like we Only Go backwards

1401_Tame_Impala_Live_Album_

Catch TAME IMPALA at Rock City on the 15th July