Posts Tagged ‘Live’

About 100 miles south of Atlanta, next to a field just outside the town of Byron stands a plaque erected by the Georgia Historical Society marking the location of the Second Atlanta International Pop Festival, where Jimi Hendrix played to the largest American audience of his career, on 4th July 1970, a mere 10 weeks before his untimely passing.

Despite the overwhelming attendance (estimated to be 300,000-400,000) the festival has been eclipsed by Woodstock in the history books, and has not received its due in terms of historic importance and impact until now.

‘Jimi Hendrix: Electric Church’ is a new documentary film about Hendrix’s Atlanta Pop Festival set. The film presents the story of how rock music’s burgeoning festival culture descended en masse to the tiny rural village of Byron, Georgia and shows how Hendrix was the critical component that promoter, Alex Cooley, needed to elevate the three day festival to a major cultural event.

The film contains interviews with Hendrix’s Experience band mates Billy Cox and the late Mitch Mitchell as well as Paul McCartney, Steve Winwood, Rich Robinson, Kirk Hammett, Derek Trucks, Susan Tedeschi, festival organizer Alex Cooley and many others, including local residents of the time. The Atlanta festival footage in Electric Church was shot by Steve Rash, later known for directing such Hollywood films as The Buddy Holly Story and Can’t Buy Me Love.

The audio release ‘Freedom: Atlanta Pop Festival,’ which includes six performances not seen in the documentary is also available as a 2CD set, and a 180-gram 2LP vinyl set.

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Excerpts from Third Man Records package No26,

As the focal point of Vault package #26, a complete recording from that evening, newly mixed from original multi-track sources, will be pressed on blood red vinyl and made available to subscribers worldwide. The White Stripes Live at the Gold Dollar Vol. III is the third release (Vault 13 comprised both volumes I and II) in an on-going series that will eventually see the release of all extant audio from the band at the Gold Dollar. There are still many unheard treasures to be revealed.

This is the first White Stripes show released from the pivotal year 1999…the year which saw the band unleash their first album, do their first extended run of touring with three shows opening for Pavement in the Southeast and found Jack White buying his soon-to-be trademark Airline guitar…all building blocks to what would eventually turn the band into the international juggernaut they became.

The White Stripes Live at the Gold Dollar Vol. III

Track list:

Broken Bricks
Jimmy the Exploder
The Big Three Killed My Baby
Stop Breaking Down (first live performance) (Robert Johnson)
Suzy Lee (first live performance)
Let’s Build a Home
Sugar Never Tasted So Good
Do
Little People
One More Cup of Coffee (Bob Dylan)
Astro (first live performance)
Dead Leaves and the Dirty Ground
Wasting My Time
Red Bowling Ball Ruth
Cannon/John the Revelator/Grinnin’ in Your Face (Son House)
Let’s Shake Hands

In conjunction with the live album, a reproduction of one of the Jack White-designed flyers for that evening… three black-and-white peppermints, each varying in circumference and oriented on top of each other…will be included in the package as an 10.75” x 14″ iron-on transfer. All Vault members will be welcome to submit photos of their use of the transfer and the member who’s submission is considered the “best” by the TMR team will win a rare, limited test pressing of the aforementioned LP.

Additionally, the other flyer from that evening (also a peppermint, this time on a field of red sparkly naugahyde) AND the setlist as written in Jack’s hand will be included as high-quality color reproductions. Fully utilizing everything in the TMR archives to round out the package finds us also printing the news clipping of the show preview and the hand-written price list from the merch table for that night. Third Man is nothing if not thorough.

Completing the Gold Dollar presentation will be two full-color, 8 x 10, glossy prints of photographs taken by the estimable Doug Coombe, featuring Jack and Meg live on stage at the tiny Cass Corridor club in 1999. These are visually arresting to say the least.

The 7” for Vault 26 is a continuation of the Dead Weather single series, pairing the moving torch song “Impossible Winner” and “Mile Markers.” When complete, every song from the Dead Weather’s critically-lauded album Dodge and Burn will appear exclusively in 7” form as a single on captivatingly colored vinyl. Are these two songs a hint as to the next possibly music video to come from this merry band of grifters…it seems only time will tell. In the meantime, enjoy Alison belt this one out complete with string section accompaniment and revel in the inherent beauty in this transcendent album-closer.

Harkening back to where this all started, the bonus item for this vault package will be an impressive 1.25” enamel pin of the new Third Man Records Cass Corridor logo. Soon to be seen on the lapels and collars of bon vivants the world over, this dazzling pin will no doubt impress even the most die-hard skeptics.

Maple Leaf Gardens, Toronto, October 21, 1976 – The final song The Who played with drummer Keith Moon in North America. Includes a guitar smash by Pete at the end! Overall, a fitting finish for Keith’s last stand in America.

Keith Moon played his final tour date with The Who on October. 21st, 1976, at the Maple Leaf Gardens in Toronto. It was the final date on the band’s 1976 tour. Within two years, Moon would be found dead from an overdose of Heminevrin, a sedative used to combat his alcoholism. Though Moon would perform with the Who in a couple of special gigs filmed for use in the documentary, The Kids Are Alright, this would be his last official Who date.

After tours spotlighting mammoth works of the rock opera Tommy and Quadrophenia, the 1976 trek was more of a back-to-basics jaunt and by most accounts, a truly rocking round of shows. The tour, however, was not without its share of incidents. The band crossed the U.K. and Europe before heading to the U.S. By the time the tour made it to the States, Moon had become ill, forcing the rescheduling of the opening date. Despite the drama, the band was still capable of the firepower that made it so great.

Keith Moon embodied the spectacle and glory that made the Who such an amazing live act. In the early days, he and Pete Townshend would often try and one up each other’s stage antics. Townshend stated in The Kids Are Alright, “As soon as I started smashing something up, Keith, who’s a great sort of joiner-inner used to smash up his drum kit!”

“A lot of people really, really, really, have never understood how important Keith’s drumming style was to the Who,” said Roger Daltrey in the Classic Albums – Who’s Next DVD. “I kind of describe it as, if you imagine Pete and [bassist] John [Entwistle] as two knitting needles, and Keith was the ball of wool. He would kind of keep it all together.” Townshend added, “Keith Moon’s drumming was an expression of his personality and his ego and his grandiosity and his ridiculousness and his theatricality and his sense of humor.”

The band’s onetime manager Chris Stamp put it best: “He was, in a sense, the soul of the band.” when Keith Moon died on  September. 7th, 1978, at age 32, and rock ‘n’ roll hasn’t been the same without him.

Setlist:

1. I Can’t Explain
2. Substitute
3. My Wife
4. Baba O’Riley
5. Squeeze Box
6. Behind Blue Eyes
7. Dreaming From The Waist
8. Magic Bus
9. Amazing Journey
10. Sparks
11. The Acid Queen
12. Fiddle About
13. Pinball Wizard
14. I’m Free
15. Tommy’s Holiday Camp
16. We’re Not Gonna Take It
17. See Me Feel Me/Listening To You
18. Summertime Blues
19. My Generation
20. Join Together
21. My Generation Blues
22. Spoonful (tease)
23. Who Are You
24. Won’t Get Fooled Again

 

30th Anniversary Concert from Gainesville, FL, as Tom Petty turns 60 today

Tom Petty started in 1976 with Mike Campbell on lead, Benmont Trench on keyboards and Stan Lynch on drums as the core group. They lasted through most of the 1980s and 1990s with Howie Epstein stepping into the bassist slot in 1982.

Tom Petty has had a long association with Bob Dylan, backing him  with his band, and as a member of the super group The Travelling Wilburys.

His hits are legends of rock like Mary Jane’s Last Dance, I Won’t Back Down, and Free Fallin.

For his 30th Anniversary Concert, Tom Petty and the Heartbreakers returned to his home in Gainesville Florida for a concert filmed by director Peter Bogdanovich. Stevie Nicks is a guest vocalist during part of the concert.

You can watch the whole concert Tom Petty and the HeartbreakersRunning Down The Dream” on YouTube free on your computer. It’s low res 240p so it looks awful on television. The YouTube sound is decent because it came from the DVD.

30th Anniversary Concert from Gainesville, FL

00:31 – 03:47 01. Listen To Her Heart
04:27 – 10:09 02. Last dance for Mary Jane
11:27 – 14:22 03. I Won’t Back Down
15:06 – 19:54 04. Free Fallin’
21:17 – 24:47 05. Saving Grace
26:12 – 28:41 06. I’m A Man
28:47 – 32:32 07. Oh Well
33:19 – 36:28 08. Handle With Care (meh)
39:47 – 44:12 09. Stop Draggin’ My Heart Around (with Stevie Nicks)-
44:54 – 48:13 10. I Need To Know (with Stevie Nicks)
48:08 -1:00:09 11. It’s Good To Be King
1:00:35-1:03:50 12. Down South
1:05:10-1:09:59 13. Southern Accents
1:10:52-1:15:32 14. Insider (with Stevie Nicks)
1:15:53-1:20:32 15. Learning To Fly
1:20:50-1:27:22 16. Don’t Come Around Here No More
1:27:31-1:32:28 17. Runnin’ Down A Dream (!)
1:34:35-1:40:04 18. You Wreck Me
1:40:39-1:48:23 19. Mystic Eyes
1:49:33-1:54:01 20. American Girl (Stevie Nicks tambo)

 

All the details on the 6CD “Fire and Skill” Jam box, which features six previously unreleased concert recordings

Named after the legendary sign painted on Paul Weller’s amp, Fire And Skill is a superb six disc boxed set – featuring six previously unreleased concerts, one from each year of The Jam’s major-label career.

Starting with an incendiary early gig at London’s famous 100 Club from 1977, A Music Machine show from 1978, featuring most of the 2nd album – ‘This Is The Modern World’, Reading University show in 1979 – playing material from their breakthrough album ‘All Mod Cons’, Newcastle City Hall in 1980 – previewing songs from forthcoming album ‘Sound Affects’, London’s legendary Hammersmith Palais show in 1981 – part of The Jam’s four consecutive nights, previewing material from the forthcoming final album ‘The Gift’ and one of the band’s final ever gigs at Wembley Arena in 1982.

Packaged in mini, lift-off lid box this set includes a separate hard-back book and individual gatefold wallets for the discs, as well as new essay, period photos and rare memorabilia. All audio has been remastered at Abbey Road.

‘Fire & Skill: The Jam Live’, a 6 CD deluxe box set, will be released on Universal/Polydor on 30th October 2015.

It’s 40 years since classic The Jam line-up first started touring. The band had a phenomenal impact on pop music and wider youth culture. In their short career, they influenced a generation with their music, style, politics and inspiration.With Somerset House’s current exhibition and Universal Music’s recent CD ‘About The Young Idea’ which both trace the band’s story in hits and images – Universal/Polydor now announce a live box set that follows the journey through incendiary concert recordings.

1.) Starting with an early gig at London’s famous 100 Club from 1977, the show featured took place 10 months after they first played the venue in November 1976, and was recorded for broadcast on American radio ahead of the trio’s inaugural visit to US in October 1977 for a six-date tour.

2.) A Music Machine show from 1978, featuring most of the 2nd album – ‘This Is The Modern World’. This was The Jam’s sixth live show of the year and one of four low-key shows in the capital to fanfare their new ‘News Of The World’ single under the banner ‘The London Blitz’.

3.) Reading University – Feb 1979. Playing material from their breakthrough album ‘All Mod Cons’, this was The Jam’s first live appearance of 1979, and found the band in a radically different place to their showcase at the Music Machine 12 months before. In that time, their third album, ‘All Mod Cons’, had been released to critical acclaim, and their status as one of the New Wave’s most musically substantial and exciting bands had been secured. And Paul Weller was still only 20 years old…

4.) Newcastle City Hall – October 1980, previewing songs from forthcoming album ‘Sound Affects’. In the time between the show at Reading University (on Disc 3) and this appearance at Newcastle City Hall 20 months later, there had been more extraordinary developments in the group’s world. ‘Setting Sons’, their fourth album, had given them a Top 3 hit with ‘The Eton Rifles’, which was followed in February 1980 with the stirring Number 1 single, ‘Going Underground’. After three years on Polydor, The Jam had finally become the biggest group in the UK.

5.) London’s legendary Hammersmith Palais – December 1981. Part of The Jam’s four consecutive nights, previewing material from the forthcoming final album ‘The Gift’. The shows took in the form of a ‘60s soul revue, showcasing new acts including Bananarama, Department S and TV21.

6.) One of the band’s final ever gigs at Wembley Arena – December 1982. Late in 1982 The Jam announced they were splitting up – there would, though, be a final chance for fans to experience The Jam’s astonishing live shows, with a 14-date ‘farewell’ tour announced. The centrepiece was a five-night stand at Wembley Arena, the 10,000-capacity shed next to the London football stadium (the recording here is from the second date), the biggest live venue in the capital.

* Packaged in mini, lift-off lid box with 72-page, colour hard-back book.* Individual gatefold wallets for the discs, designed as facsimiles of the original tape boxes.

* Includes new essay, period photos, rare memorabilia and set of five postcard prints.* Remastered at Abbey Road.* Featuring stunning live versions of all the band’s classic hits and favourites of which only 11 tracks previously released.

 

Neil Young and Promise of the Real’s Rebel Content tour rolled on with a stretch through the west coast that has seen some of Young’s deep cuts performed for the first time in decades. On Wednesday night in Los Angeles, Neil Young took some time in the middle of his set to also deliver “L.A.” for the first time since 1973.

Among them, then first “Vampire Blues” since 1974 which was played as the encore to Young’s Eugene, OR show and then again a few nights later at The Forum in Los Angeles. In Santa Barbara, the band also played “Time Fades Away” for the first time in seven years.

 

Rising from the New York punk movement of the 70’s, Patti Smith is an influential singer and musician known for combining spoken word poetry with primal garage rock. By 1976, she had released her debut Horses and the more raw-sounding Radio Ethiopia.

Her October 3rd, 1976 concert at The Konserthuset in Stockholm, Sweden was filmed and recorded for broadcast, documenting this early stage in her career. Prior to the internet, the audio portion had been circulated among fans with the bootleg title, ‘I Never Talked To Bob Dylan,’ a slight reference to the short interview that accompanied the performance.

Patti Smith’s influence by The Velvet Underground and Lou Reed is well represented with the covers ‘Real Good Time Together’ and ‘Pale Blue Eyes’. Actually, there are quite a few cover songs here including the classics ‘Louie Louie,’ ‘Gloria,‘ and the Smith original ‘Land‘ which includes yet another rock classic, ‘Land Of 1,000 Dances.’ Patti’s version of The Rolling Stone’s ‘Time Is On My Side’ is prefaced by her own spoken-word piece.

‘Ask The Angels’ and ‘Land’ stand out as highlights of this show as well as a representation of the performances that inspired Gilda Radner’s Candy Slice character on SNL in the 70’s.

Setlist:
Real Good Time Together
Redondo Beach
Free Money
Pale Blue Eyes
Ask The Angels
Ain’t It Strange
Time Is On My Side
Radio Ethiopia
Rock And Roll Ni**er
Gloria
Land

Special thanks to All Dylan Blog site

1977 TOM PETTY broadcast from MY FATHER S PLACE, NEW YORK, After gaining local popularity in Gainesville, Florida with his band Mudcrutch, Tom Petty hooked up with The Heartbreakers (Mike Campbell, guitar; Benmont Tench, keyboards; Stan Lynch, drums; Ron Blair, bass), went to L.A., signed to Leon Russell s Shelter Records, and cut Tom Petty & The Heartbreakers, the debut album released in 1976. Although Petty, as the primary singer and songwriter (and a solid rhythm guitarist), deserved top billing, The Heartbreakers (at the time causing some confusion as ex New York Dolls Johnny Thunders and Jerry Nolan in tandem with Television s Richard Hell were calling their new group the same name) were a great band in their own right, Campbell and Tench (also fine songwriters) in particular being much sought after session players. Anyway, Tom Petty and co. were unique in 1976 in that they didn t really have an image beyond being a really good 60s influenced (The Beatles and The Byrds most obviously) rock n roll band; while trends such as punk and new wave came and went, Tom Petty & The Heartbreakers have always done their own thing. Tom Petty & The Heartbreakers was a solid debut album that, like much of their consistently strong output, is primarily remembered for its singles: Breakdown , American Girl and Anything That s Rock N Roll . The group supported Nils Lofgren in Europe during the summer of 1977 but returned to the US for the fall and played a number of shows as headliners including the gig presented on this CD, on Long Island, New York at the famous My Father s Place venue on 29th November. Largely pulling tracks form their debut and sophomore albums (You re Going To Get It would come out in May 1978) they also covered two 1960s classics in the form of Shout and Route 66 , alongside an early version of a song that wouldn t receive its studio album debut until the release of Southern Accents in 1985, the wonderfully titled Petty/Campbell composition Dogs on the Run . What this fine show, broadcast as it was on WMIR FM New York, illustrates nicely and to full effect is that while Tom and the Boys were largely influenced by the music of the previous decade they were not immune to the energy and dynamism of the punk and new wave genres then making waves in the UK, Europe and in New York, and this show reveals a unit as tight and punchy as any then knocking em dead at CBGB s or at London s Vortex club.

I Need To Know
American Girl
Fooled Again (I Don’t Like It)

Breakdown
Listen To Her Heart
Band Intros

Anything That’s Rock ‘n’ Roll
Dog On The Run

Shout
Shout Reprise
Encore Applause

THREE DISC BROADCAST COLLECTION DISC 1 – The Coliseum, Jacksonville, FL, 24th July 1987

DISC TWO Deans Dome, Chapel Hill, NC, 13th September 1989 DISC 3 – RARE TV BROADCASTS 1978 – 1994

This three disc set adds to Tom Petty’s body of work by making available in one collection these broadcast recordings from the live canon of one of Pop & Rock music’s most respected and successful performers

His first album hit the streets in 1976 and initially its arrival caused few heads to turn. Music fans were confused; were these a bunch of punks or 1960s revivalists with a liking for Gene Clark era Byrds? Fortunately, as is so often the case, the UK seemed to ‘get it’ pretty soon after the record s release there and it reached #24 on the British chart. News traveled West, and a full year after the home turf release Tom Petty and the Heartbreakers entered the Billboard chart. Shortly thereafter second album You’re Gonna Get It! was released, and became a hit right away. The rest, as they say, is history. But it s relatively recent history about which any number of books, films and of course superlative albums are readily available for students of this remarkable performer to delve into. What a fantastic release! Three CDs of Tom Petty & The Heartbreakers live and at their very best. Good sound quality and some of their best material

rolling-stones-get-yer-ya-yas-out

Recorded during their American tour in late 1969, and centered around live versions of material from the Beggars Banquet-Let It Bleed era. Often acclaimed as one of the top live rock albums of all time, its appeal has dimmed a little today… it’s certainly the Stones’ best official live recording.
Released 4th September 1970. Recorded 26th November 1969, at Baltimore,Maryland, United States and 27th–28th November 1969, New York City, New York, United States. Having not toured since April 1967, The Rolling Stones were eager to hit the road by 1969. With their two most recent albums, Beggars Banquet and Through the Past, Darkly (Big Hits Vol. 2) being highly praised, audiences were anticipating their live return. Their 1969 American Tour’s trek during November into December, with Terry Reid, B.B. King (replaced on some dates by Chuck Berry) and Ike and Tina Turner as supporting acts, played to packed houses. The tour was the first for Mick Taylor with the Stones, having replaced Brian Jones shortly before Jones’ death in July; the performances prominently showcased the guitar interplay of Taylor with Keith Richards. The title of the album was adapted from the song “Get Yer Yas Yas Out” by Blind Boy Fuller. The phrase used in Fuller’s song was “get your yas yas out the door”.

“Charlie’s good tonight, in’int he?” observes Mick Jagger just before the Stones kick into “Honky Tonk Woman” like a mighty locomotive hauling the country-blues tradition into the future that was rapidly unfolding in November of 1969, when they recorded (most all of) this live album at Madison Square Garden. Hell yeah he’s good. As were Mick, Keith, Bill and the newly installed other Mick (Taylor) plus original Stone turned minder/musical conscience Ian Stewart on keys here, there and about.

Sailing on the peak of their powers as a recording act in the potent wake of “Beggars Banquet” and with “Let It Bleed” in the chute to arrive the next month, onstage the Stones played it down ‘n’ dirty, a tad raw and a wee bit loose-limbed and slushy, but to effect that sounds in some ways today even more compelling than when this smoker of a disc first came out. It was the signal that they were indeed The World’s Greatest Rock ‘n’ Roll Band on any given night they played in this era and well into the next decade, nailing down with casually assured aplomb what the notion means. And on “Get Yer Ya-Ya’s Out”, in the pre-professional era of rock concerts, sans any stage set (much less giant inflatable penises), they were there not to simply perform but really play.

Like a genuine band they’re locked in with one another – the Richards/Taylor six-string dynamo trading rhythm and lead like ambidextrous Siamese twins – and roaming together like a pack within the grooves, tunes and spirits of the songs. The moments with the most snap for me (most of the time) may be the two Chuck Berry numbers (“Carol” and “Little Queenie”) and “Live With Me” that deeply plough the eternally irresistible uptempo rock ‘n’ roll groove (in addition to all their other thrills and charms, such as Stewart’s Johnnie Johnson-style boogie-woogie piano counterpoints on “Queenie,” to cite one of many).

January–February 1970 Many, The Rolling Stones, consider this their first official full-length live release, despite the appearance of the US-only “Got Live If You Want It!” in 1966 as a contractual obligation product. The performances captured for this release were recorded on 27th –28th November 1969 at New York City’s Madison Square Garden, while “Love in Vain” was recorded in Baltimore, Maryland on 26th November 1969. Overdubbing was undertaken during January and February 1970 in London’s Olympic Studios. No instruments were overdubbed, although on bootlegs, examples are known of Richards trying out different guitar parts (e.g. a guitar solo on “Jumpin’ Jack Flash”). The finished product featured new lead vocals on half the tracks, and added backing vocals by Richards on several others.

Since its September 4th, 1970 release followed “Let It Bleed” (from which four Ya-Ya’s songs came) and the “Through The Past Darkly” hits collection (with hit singles “Jumpin’ Jack Flash” and “Honky Tonk Women”), some at the time would A/B compare the live and studio versions, which kind of misses the point. And even doing so now, I remain more fond of “Midnight Rambler” and “Love In Vain” here (respectively, the former’s tempo and groove and the latter’s crackle feeling closer to the spirit of its writer Robert Johnson). The studio majesty of “Jumpin’ Jack Flash”  and its stripped-down live verve on this set is to me simply the flip-side of the same precious coin. But again, this was before many concerts tried to deliver replications of studio recordings; the Stones were instead about ass-kicking those songs live as a kick-ass band.

One reason for releasing a live album was to counter the release of the Live’r Than You’ll Ever Be bootleg recording of an Oakland (9th November 1969) performance on the same tour, a recording which was even reviewed in Rolling Stone magazine.

Ya-Ya’s never fails to not just satisfy but renew my love for real rock ‘n’ roll. And I still continue to hear it almost anew and finally key into yet another of the disc’s abundance of way cool moments and touches of a live rock band at their very best and realest. Decades later, it remains my all-time most-beloved concert album, and none of the live Stones albums to follow even comes close.
“Live’r Than You’ll Ever Be”.
The bootleg Stones album, made up of performances from the second show at the Oakland Coliseum.

00:00 Intro
00:51 Jumping Jack Flash
04:48 Carol
08:30 Sympathy For The Devil
14:53 Stray Cat Blues
19:10 Prodigal Son
23:03 You Gotta Move
26:13 Love In Vain
31:37 I’m Free
37:01 Under My Thumb
40:24 Midnight Rambler
48:05 Live With Me
51:22 Gimme Shelter
55:59 Little Queenie
1:00:12 Satisfaction
1:06:13 Honky Tonk Women
1:10:11 Street Fighting Man

rolling stones live 1969