Posts Tagged ‘Live Albums’

Miles Of Aisles [Explicit]

Miles of Aisles is the seventh album by the Canadian Singer Songwriter Joni Mitchell, released in 1974 on Asylum Records . It was her first live album, a double album documenting her concerts in support of the Court and Spark album with her backing band for the tour, the Tom Scott L.A Express .  Recorded March 2nd – 4th and August 14th-17th 1974 The Universal Amphitheatre, Los Angeles Music Center and Berkeley Community Center. 

Joni Mitchell’s first live album arrived at the peak of her fame. Recorded a couple months after her breakthrough Court and Spark debuted, the Canadian singer-songwriter documented the California stops on the tour supporting the new LP. Performing an expansive collection of tracks from her 1968 debut Song to a Seagull onward, Miles of Aisles carefully avoided the hits. “No one ever said to Van Gogh, ‘Paint a “Starry Night” again, man,'” said Mitchell before playing “Circle Game.” In 1991, she made the comparison: “I never wanted to turn into a human jukebox. I haven’t used up all my ideas yet. But I’m working in a pop field, and whether they’re going to allow an older woman to do that is an open question. It requires a loyal, interested audience who believes in my talent.

Love You Live

Here’s where it all started falling apart for the group. Culled from the Rolling Stones’ soul-draining 1975-76 tour, along with a pair of club shows in Toronto from 1977 (right after Keith Richards‘ famous bust), ‘Love You Live’ is a mess at times. Nobody could agree on the track listing, the performances are sometimes languid at best and not one Stone seems to be having a good time. It’s no surprise that many of the songs were later overdubbed to make it palatable to fans’ ears.

It wasn’t a surprise that the Rolling Stones were in Toronto in the winter of 1977. The Royal Mounted Police had alerted the world to the band’s Canadian presence due to one of the biggest drug busts in rock history.

In late February, Stones guitarist Keith Richard was found with an large amount of heroin and cocaine in his possession. The incident made international news because Richards was initially charged with trafficking (due to the large amounts) and there was a possibility that the rock star could be headed for a long jail sentence.

The other Stones, who had already been in Toronto practicing, were less than thrilled. Not just for the obvious reasons, but because Richards has potentially blown their cover. Months earlier, frontman Jagger and his manager Peter Rudge had set up a pair of secret Stones shows at the city’s El Mocambo Club with the idea of using some of the live recordings for a forthcoming concert album.

Secrecy was paramount because the upper level at the El Mo (as it’s known) only can contain about 300 people. If the Stones’ cover got blown, the shows would quickly become a media circus – especially with what was going on with Richards. The El Mocambo’s booker, Dave Bluestein, came up with a misdirection. He would schedule Montreal’s April Wine to play March 4th and 5th at the club.

“We had natural cover,” Bluestein said, “because if anything got out, we could say, ‘No, look, April Wine is playing. That’s the gig.’

April Wine was billed along with an unknown band, called the Cockroaches. Of course, in reality, the Canadian rockers were set to open for the biggest band in the world.

In order to ensure that the gigs were attended by friendly crowds, Roman devised a radio contest in which Stones fans could enter to see April Wine. He and Stones members handpicked the winners, who were told of the actual plan while on the bus en route to the gig. The guests entered through the back of the club to cut down on any chance hysteria.

That night, after April Wine’s opening set, the Rolling Stones took the El Mocambo stage, the arena-rocking band’s first club show in 14 years. Richards remembers being thankful for having something positive to do, after all of his legal and media woes.

“The minute I got onstage, it felt just like another Sunday gig at the Crawdaddy,” Richards recalled. “It immediately felt the same… It was one of those weird things in Toronto. Everybody’s going around talking doom and disaster, and we’re up onstage at the El Mocambo and we never felt better. I mean, we sounded great.”

Ronnie Wood then a relatively recent edition to the Stones, has claimed he had a major influence on the setlists for the two El Mocambo concerts. The band’s other guitarist was able to convince Mick and the boys to include some of the group’s earlier, bluesy material.

“Yeah, it was a good time of development for me,” Wood said. “I made them play ‘Come On’ [the Stones actually didn’t play this], ‘Little Red Rooster,’ all those blues standars. Right from the first song I felt very pleased at the fact that no one said, ‘Oh, we can’t do that one, it’s too old.’ Everyone just went straight into them.”

Although Woody is mistaken about Chuck Berry’s “Come On,” they did play his “Around and Around,” as well as Muddy Waters’s “Mannish Boy” and Bo Diddley’s “Crackin’ Up.” Although the Stones performed plenty of their self-written tunes, from “Honky Tonk Women” to “Hand of Fate” to “Brown Sugar,” the blues and R&B covers must have stood out. It was those songs that eventually ended up on a Stones live album.

In fact, when Love You Live (the band’s third live album) came out on September. 23rd, 1977, side 3 of the double LP set was composed solely of covers recorded at the El Mocambo. Well, they were mostly recorded there. Story goes that both Wood and Richards overdubbed guitar parts and backing vocals while Jagger redid the harmonica part for “Mannish Boy.” Only “Around and Around” went untouched.

It’s not sure if the same can be said for Canada’s then-first lady Margaret Trudeau, who was separated from Prime Minister Pierre Trudeau. She caused a media furor when she was spotted with Jagger in the days before and after the shows (though she was officially Ronnie’s guest at the gigs). When the news of the potential fling reached her estranged husband, he reportedly said, “I hope that she doesn’t start to see the Beatles .”


Thin Lizzy released ‘Live And Dangerous’ in 1978. Some say it is the best live album of all time. On this day June 2nd  in 1978: Irish hard rock group Thin Lizzy released ‘Live & Dangerous’ on Vertigo Records (UK), one of the classic double-live albums of the ’70s (a decade that was satured with several classic double-live LPs!); the tracks were drawn from concerts recorded in London in 1976 supporting the album ‘Johnny The Fox’ & Toronto in 1977 supporting the album ‘Bad Reputation’, with what is believed to be considerable over-dubbing; ‘Kerrang!’ magazine ranked the album on their list of ‘The 100 Greatest Heavy Metal Albums of All Time’; in 2011, British music weekly ‘New Musical Express’ (NME) ranked it #1 on their list of ‘The 50 Greatest Live Albums of All Time’…

In 1978, the then-red-hot Thin Lizzy decided that they wanted to work with producer Tony Visconti, who had made his name working with fellow glam travelers David Bowie and T. Rex. Time was tight, so a live album was in order: “Live And Dangerous” was the snarling result, a document of a band that took no prisoners even on mellower tracks like “Dancing In The Moonlight.” How exactly the Irish outfit came to be captured so effectively is still in dispute; Visconti has asserted that 75 percent of Dangerous was recorded in the studio in order to smooth out the rough spots, but the band vehemently disagrees. “We are a very loud band,” guitarist Brian Robertson told Guitar Player in 2012, “me being the loudest of all of us. So how are you going to replace my guitar when it’s so loud that it’s going to bleed all over the bloody drum kit

Peter Hook will release four new live albums this spring on CD, digital and vinyl, each capturing a performance of a different full album  Joy Division’s “Unknown Pleasures” and “Closer”, and New Order’s “Movement” and “Power, Corruption & Lies” — recorded over the past few years.

The albums will first be released as limited-edition colored-vinyl pressings on Record Store Day 2017 on April 22nd. A worldwide CD and digital release will follow on May 5th.

Unknown Pleasures Tour 2012: Live in Leeds,

Closer Live Tour 2011: Live in Manchester,

Movement Tour 2013: Live in Dublin,

Power, Corruption & Lies Tour 2013: Live in Dublin 

Full tracklists have not yet been released, but each live album features a full performance of that partcular record by Peter Hook & The Light, plus additional era-appropriate tracks fleshing out the sets.


The final show by the Stooges until their reunion in 2003, Metallic K.O. is the only rock album I know where you can actually hear hurled beer bottles breaking against guitar strings.
Recorded 2/6/1974 at the Michigan Palace on a reel-to-reel tape machine by Michael Tipton, later obtained by Stooges guitarist James Williamson. Considering Williamson’s involvement, and the endorsement of Iggy, it was considered a “semi-official” bootleg, when released on the Skydog label in 1976.

The album is mostly composed of previously unreleased material. Studio demo and rehearsal recordings of some of the songs would later turn up on similarly semi-official posthumous Stooges compilations.
The album proved popular, due to its release in the first era of punk rock and The Stooges‘ growing legend as protopunks. Metallic K.O. outsold The Stooges‘ major label official releases, selling over 100,000 copies in America as an import in its first year alone

“You can throw every goddamn thing in the world,” brags Iggy Pop upon being pelted  with beer bottles at the Stooges’ last-ever show, “and your girlfriend will still love me, you jealous cocksuckers!” Pop stars love to accuse their haters of being jealous. It absolves them of any role in the fact that they’re despised, making audience rejection into an affirmation of their greatness rather than an argument against it. In truth, jealousy is a lot of the reason we like pop stars.

You might wonder why anyone would want to listen to a recording of a gig that was disastrous by any stretch of the word. Metallic K.O. is famed for its hostile audience response; you can hear bottles break on the stage and bounce off the guitar strings, and Iggy responds by baiting the audience more mercilessly. The playing is sloppy, the sound quality more so. Why audiences like Metallic K.O. enough to merit a fourth reissue than why they didn’t like the Stooges’ performance at the time. There’s something inspiring about hearing the singer completely take over the stage, throwing both decorum and political correctness to the wind in order to harangue and harass the people who paid to see him. Being a drunk, stumbling rock star is the ultimate. You’re in the spotlight, but you have no obligation to entertain. You take up space by your mere presence, are paid just for showing up, and can propagate the self-destructive mythology central to most rock-star personality cults by making an ass of yourself. Then, you either die or, like Iggy Pop, become a meme because you somehow haven’t died yet.

Your response to Metallic K.O. depends on how much you buy into this myth. Your response to Metallic K.O. also depends on how much you’re willing to let Iggy get away with. He reserves his vitriol mostly for women. “Rich Bitch” is the Simple English version of “Like a Rolling Stone,” asking what the heroine is gonna do once she’s slept with enough guys that she won’t titillate anyone’s virgin fantasies anymore—least of all his, as he switches to first person halfway through and advises her to “keep your hands off me.” (He introduces the song with a dedication to “the Hebrew girls.”) There’s nothing here as execrable as what you hear in the average two-minute snippet off Lou Reed’s Take No Prisoners, a live album that deserves any content warning you care to name, but if you decide you want nothing to do with Iggy or the Stooges after hearing this album that’s totally reasonable and probably the correct moral stance.

But if your idea of the Stooges is of a nihilistic, self-destructive, primitive, out-of-control rock ‘n’ roll band, Metallic K.O. is definitive proof and thus the definitive Stooges recordings. Though the key line in any Stooges biography is “prefigured punk rock,” their approach to rock was fairly conservative, rooted more in the ‘50s than the psychedelic or progressive era. The “Louie Louie” that ends this set is a microcosm of the band’s approach, making something unmistakably obscene out of a song whose fruitless lyric investigation by the FBI epitomizes tight-laced pre-countercultural attitudes about rock. “She’s just a whore,” Iggy sneers, making explicit what was only hinted at in the original song just as “I’m gonna laugh at you, rich bitch!” sums up “Rolling Stone” more crudely than Bob Dylan might’ve liked. The Stooges often sound a bit compromised on record, which is not something that could be said of Metallic K.O.. We get the sense we’re bumping against an extreme, especially considering only two songs out of six appear on any Stooges album and that the profanity and poor audio quality of Metallic K.O. are not attributes of their records.

The Stooges’ strongest tie to rock ‘n’ roll is in their instrumentation, which often included a piano or a saxophone. Pianist Scott Thurston, who would later spend several decades as one of Tom Petty’s Heartbreakers, engages in the kind of playing here that hasn’t been popular in rock since Jerry Lee Lewis married his cousin. If you want to hear the most perverse piano glissando in all of rock, listen on “Louie Louie” after Iggy sings “her tits are bare” and the chorus repeats for the first time. Piano glissandos bear such a strong association with the relative innocence of the ‘50s that hearing it illustrate such a line is just as jarring as the celesta behind Iggy’s fuck-lust panting on “Penetration.” Thurston’s the only musician onstage playing with any kind of intent other than to piss the audience off. At one point during “Rich Bitch,” Iggy demands all musicians stop playing except the drummer, who’s one beat off. “Gimme just the drums!” Iggy screams. “It’s the only way you’re ever gonna get it right, take it down to the drums!” Not that anyone might’ve noticed or cared otherwise. The lack of any response between the audience and the performer is refreshing. Metallic K.O. is at least honest.

Side B of the first Stooges live album is, purportedly, one of the gnarliest rock shows ever recorded. For weeks before the February 1974 gig, Stooges frontman Iggy Pop had gleefully engaged in public beef with a motorcycle gang called the Scorpions. They showed up in droves, along with all kinds of objects with which to pelt the band — fruits and vegetables, bottles, yard tools. That hardly bothered Iggy, though his band was hungry, close to broke, and at the end of their rope. Sloppy on purpose, discordant and gut-churningly raw, the entire set-list is a big screw-you, down to the song selection. The non-album tracks “Rich Bitch” and “Cock in My Pocket” lead into the most gleefully, barely competent cover of “Louie Louie.” Here’s how little the band fretted about charming at this point. In his book Gimme Danger: The Story of Iggy Pop, Joe Ambrose reports this bit of Pop stage patter from the night: “Hands up, who hates the Stooges? We don’t hate you. We don’t even care

When Skydog Records first released this recording, it was presented as an “official bootleg” of the band’s February 9th, 1974 swansong at the Michigan Palace in Detroit, surreptitiously recorded by a fan and approved by the band. A 1988 reissue revealed that the original album is, in fact, cobbled together from the first half of a tamer show in 1973 and the last half of the 1974 gig. Perhaps the 1973 recordings were substituted for the 1974 ones because “Raw Power” is at least a recognizable Stooges song, while other 1974 cuts like “Heavy Liquid” and “I Got Nothin’” have never been released officially and exist in their definitive versions here. A 1998 double-CD release boasted both shows, and the full 1974 show is miles more entertaining than the truncated version that’s being reissued; here, you might wonder how the audience suddenly switched from admiration to throwing anything they could get their hands on at the stage. If you want the full Metallic K.O. experience, the 1998 CD reissue is easily available to stream, and as nothing in the recording is exactly enhanced by the improved audio quality afforded by a vinyl record, this reissue’s “metallic vinyl” won’t appeal to anyone beyond collectors. But it’s worth reflecting on this reissue and asking yourself why such an embarrassing show has such an enduring appeal and whether that fact has more to do with rock fandom or with rock ‘n’ roll itself.

B.B. King, 'Live in Cook County Jail' (1970)

B.B. King’s openers had a rough time. As an announcer welcomes the likes of Sheriff Joseph Woods to the stage before the blues legend takes the stage for a 1970 show at Chicago’s Cook County Jail, the prisoners greet the officer with aggressive boos and jeers. It was a tough crowd, but King entranced them with ease and humility. He was gracious, flirtatious and even self-deprecating as he effortless ripped through songs like “Worry, Worry” and “Sweet Sixteen.” “It was the best show we ever had,” said the Department of Corrections Superintendent Winston Moore who had invited King to perform for the prisoners. By the time he finished on a sweet note with the ballad “Please Accept My Love,” King had the crowd on their feet, hollering ecstatically.

rollingstonesgetyour ya yas

On September 4th The Rolling Stones released the live album “Get Yer Ya-Ya’s Out” said to be one of the greatest live albums, The album was recorded in Baltimore Maryland on 26th November 1969 and 27th-28th November 1969 at Madison Square Gardens in New York City,support for the gigs was BB King and English rocker Terry Reid, Just before the release of the “Let It Bleed” studio album and the first live album to become a Number 1 selling album in the UK. With the last Stones Tour in 1967, The band felt ready and eager to be on the road again,1969 was the first tour for new guitar player Mick Taylor having replaced Brian Jones after his death. Famous Rolling Stone critic Lester Bangs was quoted as saying “there is little doubt this is the best Rock Concert ever put on record” released 44 years ago today it still stands as an awesome live album it was just pure rock and roll with no theatrics including outstanding versions of “Midnight Rambler” and “Sympathy For The Devil” and the song “Live With Me”


Due to be released on the 8th July a 3CD/DVD set from the bands 1974 reunion tour produced by Bill Graham,there will also be a 16 track single CD, The four members reunited for an American Arena and Stadium Tour with a further one show at Wembley stadium in London, contain 40 songs and in an order that replicates the shows running order, starting with an Electric set an acoustic set sometimes with drums and bass and sometimes not then the Kick Ass electric finale. and a DVD with 8 songs plus a 188 page booklet, there will also be a coffee table box set. there were 30 shows performances some lasting up to a period of Four hours. Graham Nash took the responsibility of sorting out the tracks but every song and every minute of each show was listened too for the best quality or best performance and then had to be authorised by each band member. The DVD has eight tracks recorded at the Capital Centre in Landover and Wembley Stadium, Neil Young was writing songs furiously at the time and would often try out the new material playing some songs only a handful of times, some rarities “Love Art blues”,”Pushed It Over The Edge”,”Don’t Be Denied” and a song called “Goodbye Dick”.



I love live albums, and this fairly newly available although unofficial release through the Goldfish records label, captures a Tom Petty Live show broadcast on radio in 1987 recorded at the Florida Coliseum in Jacksonville in 1987. The band were on tour promoting the album “Let Me Up I’ve Had Enough” an album The Heartbreakers and Petty were dissatisfied with recording-wise, Including five cover versions and only one song “Runaway Train” from the aforementioned album but still some favourites “Breakdown” and “Don’t Come Around Here No More” and a storming “Refugee”. After the tour Petty had a long hiatus of 4 years away from the Heartbreakers but got involved with the Travelling Wilburys project. below is a live video recording from Santa Monica around the same time.