Posts Tagged ‘Live At The Fillmore’

Derek & The Dominos - Live At The Fillmore

The Derek And the Dominos “In Concert” album and its subsequent incarnations is a bit like doing a jigsaw puzzle. The different versions, culled from different shows, make it extremely complicated. Add to this the fact that no one in the audience had yet heard their debut album “Layla and Other Assorted Love Songs“, because it had not been released at the time of the Fillmore shows, and the story becomes even more tangled. This Derek & The Dominos “Live” album was to support the “Layla” album but it was a little surprising that the only songs were from side three of the Layla album. The other songs were from Eric’s solo album and Blind Faith.
Eric Clapton often said that the best rhythm section he ever played with was Jim Gordon on drums and Carl Radle on bass. They were astonishing but the addition of Bobby Whitlock on keyboards was instrumental in adding a new dimension to this amazing trio.
Clapton’s playing at the time was magnificent, Gordon’s drumming was outstanding and his solo, which was the norm in the 1970s, was masterful on the song “Let It Rain.” Radle and Whitlock could do no wrong and both sounded fantastic.

The Derek And The Dominos live recordings are from the Fillmore East in New York City on October 23rd and 24th, 1970, and capture the band in all their, at times, rampant glory and at others that laid back Southern soulfulness that Carl Radle, Bobby Whitlock, and Jim Gordon brought to the band.

Derek And The Dominos “In Concert” was originally released in 1973, nearly two and a half years after the band’s studio album originally had nine songs and running for an hour and a half. The original nine-song double-LP “In Concert” was the first “new” Eric Clapton release in well over a year, It was also, other than Eric Clapton’s “Rainbow Concert” which actually took place in the same month that this set was issued, and was issued eight months later — the only new Clapton material that anyone would see for over a year, as the guitarist struggled through personal turmoil that included heroin addiction. No one who wasn’t personally close to him knew that at the time — this and the “Rainbow Concert “album were issued to keep his name before the public.

At the time, a lot of fans and critics were disappointed by this set.

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Comprised of live performances, “In Concert” never seemed as compelling: for starters, Allman hadn’t been present for either of the shows that was recorded (and, in fact, only appeared at a tiny handful of Dominos performances), which made this a somewhat different band. And what we did get was a much more relaxed and often more soulful, involving body of music, starting with the opening track, “Why Does Love Got to Be So Sad” and continuing with “Got to Get Better in a Little While”; there was also some disappointment in the sound quality, however, and with the song selection. Despite the fact that they were touring to support the album that carried its name, the group seldom ever performed their most recognizable song, “Layla”; and their repertory was filled out with material from past Clapton projects rather than more material off the Layla album; in effect, the Dominos had become the first Eric Clapton Band, which made this a little less than a live account of this band’s work. It was the hardcore fans who fully embraced this record, mostly for its transcendent moments and the beautiful interplay of the musicians, especially on their own repertory.

The concert album was reissued as “Live At The Fillmore” released not until February 22nd, 1994 with a significantly different running order, and with the addition of four more tracks. In reality, six of the nine tracks released as “In Concert“, and three of its five previously unreleased performances, are different recordings of songs that featured on “In Concert“.  As a trio backing Eric Claptonthe Dominos leave the guitarist considerable room to solo on extended numbers, five of which run over ten minutes each. Clapton doesn’t show consistent invention, but his playing is always directed, and he plays more blues than you can hear on any other Clapton live recording.

In 2011, on the 40th anniversary super deluxe edition of “Layla and Other Assorted Love Songs”, the running order was back to the original “In Concert” edition plus the extra four tracks, while utilizing different versions of “Why Does Love Got to Be So Sad?,” “Let it Rain,” and “Tell The Truth” from “Live At The Fillmore”.

For whatever reason, the running order of these concerts were substantially changed. There were two performances on each date and for the late show on October 23rd the concert ran as follows: “Got to Get Better in a Little While,” “Key to the Highway,” “Tell the Truth,” “Why Does Love Got to Be So Sad?,” “Blues Power,” “Have You Ever Loved a Woman,” “Bottle of Red Wine,” “Presence of the Lord,” “Little Wing,” and “Let It Rain,”’ with “Crossroads” as an encore.

For the following night’s second show the set was: “Got to Get Better in a Little While,” “Tell the Truth,” “Nobody Knows You When You’re Down and Out,” “Why Does Love Got to Be So Sad?,” “Presence of the Lord,” “Blues Power,” “Have You Ever Loved a Woman,” “Key to the Highway,” “Bottle of Red Wine,” “Roll It Over,” and “Let It Rain.” For the encore, there was no “Crossroads” but instead the band played “Little Wing.”

Of the 13 tracks on that 40th-anniversary reissue of “Layla“, there were three tracks recorded on the first night: “Got to Get Better in a Little While,” “Little Wing,” and “Crossroads.” There is no “Layla” on the album because Duane Allman was not there to add his signature slide guitar parts.

The songs not on the band’s studio album but played in concert included “Got To Get Better In A Little While,” from their unreleased second album, which shows perfectly what a tight outfit they were on stage. “Let it Rain,” “Bottle of Red Wine,” and “Blues Power” all come from Eric’s self-titled solo album. Eric Clapton, Delaney and Bonnie Bramlett wrote the first two songs, while the other is by Clapton and Leon Russell. “Presence of the Lord” was from the Blind Faith album. And then there’s “Crossroads,” a very different, more laid back approach than the more frenetic version by Cream, but one that is full of latent energy. 

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This Incredible performance, “Live from the Fillmore West”. Includes the entire KFOG-FM broadcast plus five bonus tracks from John Peel’s ‘Sunday Concert’. Full colour booklet with background liners and rare images. Digitally remastered for greatly enhanced sound quality.

Rod Stewart and the Faces, live at the Fillmore West on October 28th 1970 Following the February 1970 release of their classic debut album, The Faces gigged far and wide, their rowdy and raucous style earning a devoted following. This classic performance from the Fillmore West, San Francisco, CA on October 28th 1970, was originally broadcast on KFOG-FM and finds them at their infectious best, on a selection of classics culled both from their catalogue and from Rod Stewart’s solo work.

It’s presented together with background notes, images and five bonus tracks from John Peel’s ‘Sunday Concert’.

DISC ONE 1. Devotion 2. You’re My Girl (I Don’t Want To Discuss It) 3. The Wicked Messenger 4. Country Comfort 5. Flying 6. Too Much Woman 7. Cut Across Shortly 8. Maybe I’m Amazed 9. Around the Plynth 10. Gasoline Alley DISC TWO 1. Love In Vain 2. Three Button Hand Me Down 3. It’s All Over Now 4. I Feel So Good 5. (Love Ballad) Bonus tracks John Peel’s ‘Sunday Concert’, Paris Cinema, 25th June 1970 BBC radio 6. You’re My Girl 7. The Wicked Messenger 8. Devotion 9. It’s All Over Now 10. I Feel So Good

Rod Stewart – vocals Ron Wood – guitar Ian McLagan – keyboards Ronnie Lane – bass Kenny Jones – drums

Rod Stewart and The Faces - Live At Fillmore 1970

Listen to One of the Greatest Who Shows Ever, Recorded 50 Years Ago

On April 6th, 1968, The Who played the second night of their first ever run at the Fillmore East and left behind an incredible document of the band in their early prime, still full of the punk attitude that they would initially define while venturing off into more artistic and experimental territory. Both nights were recorded by Who manager Kit Lambert with the intention of releasing as the Who’s fourth album after Sell Out and before TommySongs from the second night have been restored and mixed by Who sound engineer Bob Pridden (who was there in 1968). Remastered for optimum sound quality, this will enhance The Who’s reputation as the best live act of the time, regarded by fans as something of a ‘holy grail’ in live shows. Features stunning extended versions of My GenerationA Quick One…Shakin’ All Over and many other Who classics.  Features two ripping versions of Eddie Cochran numbers – Summertime Blues and C’mon Everybody (the latter unavailable elsewhere), Fortune Teller played at these shows for the first time and unique live versions of Tattoo and Relax from ‘Who Sell Out’.

Every minute of this performance is fascinating and much of this material cannot be found, in better quality or at all, on any other Who recordings. This set captures the entire band fully engaged in their music. Although many songs were still short and concise during this stage of their career, the intensity level is undeniable. Opening the show with Eddie Cochran’s “Summertime Blues,” they immediately set a bar that most other bands could never even approach.

The previous year, Rolling Stones Mick Jagger and Keith Richards were arrested on drug charges under questionable circumstances, and were victimized by the U.K. courts. They were harshly sentenced in an attempt to make an example out of them, which immediately caused an uproar that shook London to the core. Following the ridiculous sentencing, The Who quickly recorded two of their more popular songs in support and vowed to record nothing but Stones songs until the two were released. Their second song of this set is the Stones’ cover of the Allen Toussaint penned “Fortune Teller,” which they had just performed for the first time ever the previous night.

They continue with “I Can’t Explain,” one of the few songs American audiences were familiar with at the time, but with a new level of aggression that wasn’t apparent on that early single.

Next up is their current single at the time, “Happy Jack,” a tune that found them exploring new directions and beginning to experiment with dynamic changes.

Extremely rare live performances of “Relax” and “My Way” follow and continue to explore and expand on the boundaries within the band’s music. “Relax,” surprisingly, turns out to be one of the heavier numbers in this set and the band takes flight into some inspired jamming following the verses. (Unfortunately, the jam fades out and is incomplete.)

John Entwistle then steps up for his defining song, “Boris The Spider,” lending his dark sense of humor to the proceedings.

The band embarks on their most experimental composition yet, “A Quick One While He’s Away,” which is incomplete and begins in the middle of the song. This adventurous suite of songs, loosely tied together, is a hint at Townshend’s future aspirations that would eventually be realized in his first full-blown rock opera, Tommy. This is a fascinating performance for its entire eight minutes.

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The Who close their set this night with another propulsive jam on “Shakin’ All Over,” again letting the music propel them through several pulverizing jams, including spontaneous flailing of riffs familiar from other songs. Again, the raw energy is astounding. This and the previous night’s performance must have gone a long way toward cementing their reputation in New York City. This should be required listening for anyone interested in that era of rock music and especially for anyone interested in The Who.

April 2018 – the 50th anniversary of these legendary unreleased recordings from the Fillmore East, New York City, Friday April 5th & Saturday April 6th, 1968.

Image result for creedence clearwater revival

1969 was an amazing year for Creedence Clearwater Revival, witnessing the release of albums Bayou Country, Green River and Willy and the Poorboys. When John Fogerty ran the show, the results were often stunning, and his leadership strengths are quite evident in this live recording from the Fillmore West. It showcases CCR’s two essential strengths: wonderful, hook-laden rock songs and focused yet extensive jamming. CCR was one of the under-appreciated great bands of their era, and this set is packed with some solid material, both on the concise and exploratory sides.

Working the pop angle, CCR delivers the Fogerty-penned originals “Proud Mary” and “Bootleg” with tight arrangements that mirror the recorded versions. The band also brings rock ‘n’ roll energy to the Wilson Pickett cover “Ninety-Nine and a Half (Won’t Do).”

They dirty things up with their version of “Suzie-Q,” which clocks in at over 12 minutes. CCR was a Bay Area band but their instrumental passages were quite different from the colorful psychedelic sounds emerging from San Francisco in the late ’60s. Whereas a Grateful Dead jam could take off in any number of directions, CCR instrumentals often barreled along in one intense direction like a freight train, constantly building to impressive peaks. The “Suzie Q” solo section finds the band stomping into a swampy, hypnotic groove as Fogerty gradually works up to an electrifying climax.

There is little filler in this set, save for a nearly nine-minute instrumental blues jam that sounds cliched 35 years after the fact. Regardless, it’s a small price to pay for an invaluable show.

John Fogerty – vocals, guitar; Tom Fogerty – guitar; Stu Cook – bass; Doug Clifford – drums