Pins play the song “House of Love” live at the Eagle Inn, Salford on 27th February 2015 previewing their 2nd album due in June. The new Pins album. with the bands fearless drumbeat and bass sound, with Faith’s alluring vocal and finally the stunning clash of guitars and drums. Manchester-based PINS are a truly glorious mix of shoegaze, punk and post-punk, with singer and guitarist Faith Holgate at times veering towards Patti Smith and then back to Karen O. last year’s album Girls Like Us, certainly straddles between shoegaze and punk, they are is wonderfully raw and visceral. Savages would struggle to out-do this band.
PINS look the part and you sense they’re certainly beginning to know this. Already on Bella Union, they’re tantalisingly close to breaking through, with the soon-to-begin tour alongside The Jon Spencer Blues Explosion a massive indication of this. No, it shouldn’t be long now. They’re a real privilege to see.
Crosby, Stills, Nash (& Young),
Four Way Harmonies Unreleased Outtakes and tracks from the early years, plus a few live recordings.
Major thanks to David Crosby, Stephen Stills, Graham Nash, Neil Young… and to the years 1968 and 1969
00:00 Our Mouse 00:18
(Crosby-Nash dialogue) 00:18 Wooden Ships 1:47
(embryonic first demo – no lyrics yet) 02:05 Laughing 4:06
(1968 Crosby demo) 06:11 Wooden Ships 4:54
(first studio take by Crosby and Stills, 1968) 11:05 Suite: Judy Blue Eyes 4:48
(instrumental with bass and drums) 15:53 Marrakesh Express 2:43
(early rough mix; overdubs missing) 18:36 Guinnevere 5:01
(alternate mix) 23:37 Guinnevere 5:09
(early acoustic version) 28:46 Lady of the Island 2:50
(rough mix with discarded Crosby duet vocal) 31:36 Pre-Road Downs 3:03
(rough mix with missing chorus vocal) 34:39 Helplessly Hoping 2:37
(with full band – guitars drums and bass) 37:16 Cinnamon Girl 2:41
(1969 instrumental studio take of Neil Young’s song) 39:57 I’ve Loved Her So Long 2:06
(CSNY live, Aug. 26, 1969, Los Angeles, Neil’s song) 42:03 And So Begins the Task 4:37
(CSNY live, Dec. 13, 1969, Chicago, Stephen Stills’ song) 46:40 Little Miss Bright Eyes 2:06
(unreleased Stills song, late 1969 studio outtake) 48:46 Long Time Gone 4:06
(Tom Jones w CSNY, Sept. 6, 1969, “This Is Tom Jones” TV show) 52:52 Come One in My Kitchen 1:07
(Stills coaxing Crosby into singing the blues song)
This is a brilliant video from Music Vault, an almost two and a half hour with The Patti Smith Group right after the release of the album “Easter”. What a band and what a great time for the band and Patti Smith. They tear through the songs, the band is as tight as they get and the power is immense. I can understand Bob Dylan’s admiration of this force of nature.
Patti Smith could not have been met with a more enthusiastic home-crowd, and it’s a really great performance. This is from the year I discovered this wonderful artist (from Rockpalast 1979) But it is here in New Jersey that Patti Smith is at home and the performance really feels like she is with a familiar bunch of people.
Patti Smith – vocals, Lenny Kaye – guitar, vocals, Richard Sohl – keyboards, Ivan Kral – bass, Jay Dee Daugherty – drums
Set list:
1 – Privilege (Set Me Free)
2 – So You Want To Be A Rock ‘N’ Roll Star
3 – Dancing Barefoot
4 – I’m So Lonesome I Could Cry (a bit)
5 – Redondo Beach
6 – Revenge (aborted)
7 – 5-4-3-2-1
8 – Citizen Ship
9 – Ask The Angels
10 – Poppies
11 – Lenny Kaye Intro
12 – Secret Agent Man
13 – Wave (incomplete)
14 – Revenge (take 2)
15 – Pumping (My Heart)
16 – Mr. Tambourine Man
17 – Broken Flag
18 – Till Victory
19 – Ain’t It Strange
20 – Cold Turkey
21 – Because The Night
22 – Frederick
23 – Seven Ways Of Going
24 – Gloria
25 – Pledge of Allegiance / Star Spangled Banner / My Generation
Van Morrison – Full Concert
Recorded Live: 6/10/1979 at the Capitol Theatre (Passaic, NJThe Capitol Theatre was an entertainment venue located at the intersection of Monroe Street and Central Avenue in Passaic, New Jersey. Built in 1926 as a vaudeville house, the Capitol later served as a movie theater (in its later years a XXX movie theatre) and (after John Scher bought the property) a venue for rock concerts.This concert from 1979, came from the period of albums like Wavelength, and Into The Music. We also get some of his hits from earlier albums.
His band, sounding great, is on fire this evening. Many of the band members have played with Van Morrison for several years, and it shows.
Highlights: Into The Mystic, Full Force Gale, Moondance and a great version of I’ve Been Working. Oh and I also have to mention when Wavelength seques into Tupelo Honey,
Setlist
0:00:00 – Kingdom Hall
0:03:30 – Bright Side Of The Road
0:07:21 – Here Comes The Night
0:11:33 – Into The Mystic
0:14:45 – You Make Me Feel So Free
0:19:12 – Warm Love
0:22:09 – Call Me Up In Dreamland
0:26:27 – It’s All In The Game
0:33:08 – Ain’t Nothing You Can Do
0:37:18 – Angeliou
0:46:21 – Full Force Gale
0:49:15 – Moondance
0:53:39 – Moonshine Whiskey (Incomplete)
0:57:44 – Wavelength / Tupelo Honey
1:11:20 – I’ve Been Working
1:15:04 – Troubadours
1:20:16 – Brown Eyed Girl
1:24:35 – Gloria
Throughout the 1970s and into the mid-1980s, the 3,200 seat theatre was a popular stop on nearly every major rock artist’s tour. The venue was known for its in house video system which resulted in a number of good quality, black and white video bootlegs. After it closed, the building fell into disrepair and it was demolished in April 1991.
Van Morrison – lead vocals, guitar
Katie Kissoon – vocals
Herbie Armstrong – guitar, vocals
John Platania – guitar
David Hayes – bass
Pete Wingfield – keyboards
Mark Isham – trumpet
Tony Marcus – violin, keyboards
Pee Wee Ellis – saxophone
Peter Van Hooke – drums
A great clip of the superb blues guitarists Stevie Ray Vaughan and Albert Collins joined by Jimmie Vaughan taken from the the DVD “A Celebration Of Blues And Soul The 1989” performing the song Frosty Live At The Washington Convention Center
Sonic Youth so long ago reached that rare point in an artist’s career when they can do exactly whatever they want, whenever they want. a day after they released two incredible tracks on the glowingly-reviewedvinyl-only retrospective box setby the North Carolina imprint Three Lobed Recordings, the band dropped into the radically revamped WilliamsburgWaterfront and played a set of older and rarely-played cuts. Albums that have gone almost-untouched on recent tours saw the light of day: “Brave Men Run,” “Ghost Bitch” and (the more-commonly played) “Death Valley ’69” from “Bad Moon Rising” were on the menu. “Dirty” – regarded, rightly or wrongly as the band’s most “commercial” record – wore its age well on an extended “Sugar Kane” and the infectious “Drunken Butterfly,” with Kim spinning round the stage like a madwoman twenty to thirty years her junior. “Starfield Road,” from the relatively unappreciated “Experimental Jet Set, Trash and No Star”, made the cut, alongside classics like “Kill Yr Idols” and “Cotton Crown” (from Sister). Late-period material similarly seemed at home; “What We Know” sounded just as vital among these gems as it has at recent shows where the band played almost exclusively new material. And, for good measure, the band’s second encore (of three) was the title track to Thurston’s mid-90s solo effort, “Psychic Hearts”. Other than their deep-as-shit discography, Sonic Youth don’t feel like a “classic” band, with energy, enthusiasm and intensity that could put most crews of 22-year-olds to shame. They can carry a show and rule the night anywhere in this city.
The show wrapped with the feral noise squall of “Inhuman,” as Moore howled at the soulless towers of steel and glass and the band’s immense blasts of feedback threatened to shake the junk to its foundations. A lot in this world feels built on a shaky foundations these days. Some artists have the power to remind you that some things still are real, and good, and right. Fifty years from now, those architectural monstrosities will probably be rubble. Sonic Youth will be a monument to their era. Thanks to the New York Taper.
Tracks
01 Brave Men Run, 02 Death Valley ’69, 03 Cotton Crown, 04 Kill Yr Idols, 05 Eric’s Trip, 06 Sacred Trickster, 07 [banter] 08 Calming the Snake, 09 [banter], 10 Starfield Road, 11 I Love Her All the Time, 12 Ghost Bitch, 13 Tom Violence, 14 [banter] 15 What We Know, 16 [banter], 17 Drunken Butterfly, 18 [encore break 1], 19 Flower, 20 Sugar Kane, 21 [encore break 2] 22 Psychic Hearts, 23 [encore break 3], 24 Inhuman.
The Allman Brothers Band’s classic 1971 live album “At Fillmore East” will be expanded into a six-disc box set, The 1971 Fillmore East Recordings, to include 15 previously unreleased performances. The group originally compiled the album from four sets recorded over a weekend in March 1971, and the new box set also includes a complete performance recorded at the venue that June. For that performance, promoter Bill Graham handpicked them to headline the Fillmore East’s final night. The new box set features liner notes by “Allmanologist” John Lynskey .
“That weekend in March of ’71, when we recorded At Fillmore East, most of the time it clicked,” drummer Butch Trucks said in a statement. “We were finally starting to catch up with what we were listening to. We had lived together. . . we got in trouble together; we all just moved as a unit. And then, when we got onstage to play, that’s what it was all about – and it just happened to all come together that weekend.”
The four March sets were recorded by Tom Dowd, who produced the Allman Brothers’ second album, “IdlewildSouth”, and the Derek and the Dominos album Layla (the latter of which paired Duane Allman with Eric Clapton). With so much going on around the band at the time, Dowd and Atlantic Records decided to put out the live album to show what the Allman Brothers were capable of outside of the studio.
One of the best live albums of all time The Allman Brothers Band’s cornerstone LP, At Fillmore East, compiled from the four sets recorded on the weekend of March 12-13, 1971, has been expanded, stretching over six CDs with fifteen unreleased tracks. Additionally, The 1971 Fillmore East Recordings contains the complete June 27 performance during the iconic venue-s final weekend, after the band was handpicked by impresario Bill Graham to headline closing night. The 1971 Fillmore East Recordings captures the most inspired improvisational rock unit ever at the peak of their prodigious powers, blazing their way through extended instrumental elaborations, so taut and virtuosic, that the crowds that packed the Fillmore East on those memorable nights were utterly transfixed. When it came to live performance, no other band could touch the Allmans.
‘The 1971 Fillmore East Recordings’ includes 37 tracks, 15 previously unreleased and a 36 page booklet with extended liner notes and never-before-seen images of the Fillmore concerts.
In December of 2013, Phosphorescentplayed a four-night run of sold-out shows at the Music Hall of Williamsburg, finishing out a leg of tour dates in support of his excellent latest full-length Muchacho.Matthew Houck, the man behind the project that can range from a solo setup to a six-piece band, played for over ten hours, all of which was recorded and ultimately whittled down to 19 tracks for “Live at the Music Hall”, a three-album set to be released via Dead Oceans on Feb. 17. Houck talked to Paste about playing with his band, the concept of a live album and the way ceremony played into these live performances
Recorded over three nights at The Music Hall of Williamsburg, this triple LP is a veritable best-of from a band at the height of their performative powers. Featuring scorching renditions of the best-loved songs of the Phosphorescent catalog, from “Los Angeles” to “Song for Zula”, Phosphorescent delivers a live album for all-time.
This week’s World Cafe: Ones To Watch is artist, California based Jessica Pratt, who recently released her second album, “On Your Own Love Again”. Her self-titled 2011 debut wasn’t written or recorded with the idea that an audience would hear it — but people did. The new record has been made in much the same homemade manner as its predecessor, which preserves the quirky intimacy of Jessica Pratt’s songs.
The tale behind the first Rolling Stones’ live album, released by London Records in the US and ABKCO records in the UK on 10th December 1966 is neither simple nor straightforward and it’s one that has its origins in an EP of the same name released in the UK nearly 18 months earlier.
The band was inspired to name this somewhat strange titled release after a song from one of their favourite bluesmen, Slim Harpo, who recorded ‘I’ve Got Love If You Want It’ back in 1957. The four complete tracks, an excerpt from ‘Everybody Needs Somebody To Love’ and the crowd chanting “We Want The Stones”, making a sixth one, were recorded in London, Liverpool and Manchester over three nights in March 1965 by engineer Glyn Johns.
According to the press release that accompanied the record, “The EP, captures on wax the unadulterated in-person excitement of a Rolling Stones stage show.” And no better than on ‘Route 66’ which rocks and rolls as it’s driven along by Bill & Charlie. By the time it was released in the US as an LP, rather than an EP, ‘Route 66’ had been dropped and other tracks had been substituted making it a 12 track album in total.
On the original album liner notes it said that it was recorded at the Royal Albert Hall on the Stones’ Autumn tour of England with Ike and Tina Turner and the Yardbirds. In truth the recording was mainly done in Newcastle and Bristol, not the Royal Albert Hall in London, with a couple of tracks either having been recorded in Liverpool and Manchester. Just to add to the confusion, some tracks were not even live at all. – ‘I’ve Been Loving You To Long’ was recorded in Los Angeles in 1965 and then overdubbed at IBC Studios in London, which was also where ‘Fortune Teller’ was also cut.
Before the first number, ‘Under My Thumb’ the voice of singer Long John Baldry can be heard introducing the band. On the CD version it is a different intro and recording of ‘Under My Thumb’ than appears on the original vinyl pressing. Despite everything, it stayed on the best seller list for close to a year.
As Keith said at the time, “We all knew that the sound that we were getting live and in the studio was not what we were getting on record – the difference was light years apart.” There is some indication of the difference on this record, but the limitations of the recording techniques are also there to be heard. Nevertheless it is a fascinating glimpse of mid 60s Rolling Stones playing live. – even so, the band remained unhappy that it was released as an album and always referred to 1969’s “Get Yer Ya-Yas Out” as their first live album.
The Fat Angel Sings 