The Allman Brothers Band now featuring Gregg Allman alongside other founding members Dickey Betts, Butch Trucks and Jaimoe, plus Warren Haynes and Allen Woody were asked to perform at “Woodstock 94” (subtitled Two More Days Of Peace & Music ) on Sunday 14th August, when the group played a storming set running 80 minutes, alongside original Woodstock performers Crosby, Stills & Nash, Santana and Joe Cocker. Performing largely classic Allman Brothers Band tunes, including of course, Jessica , Midnight Rider , WhippingPost and Blue Sky , the group bravely played two cuts from then new album Back Where It All Begins too. This set features the Allman Brothers Band complete set from Woodstock 94, which, released here for the first time, will delight and excite every last Allmans fan still flying the flag for these pioneering southern rock stalwarts.
In what’s believed to be the earliest pro-shot footage of R.E.M in concert: a 50-minute live set filmed on October. 10th, 1982, for broadcast on TV by a South Carolina station about six months before the release of the band’s debut, Murmur.
As you can see below, the setlist, to no surprise, is heavy on songs from the Chronic Town EP andMurmur, and includes “Ages of You,” which wouldn’t surface until the Dead Letter Office compilation was released in 1987. Watch for the band’s producer, Mitch Easter, and future fifth member Peter Holsapple to pop on stage, and certainly stick around for the reggae-like jam labeled as “Skank” that closes the set.
Watch the full performance from The Pier in Raleigh, N.C.
This was filmed less than two months after “Chronic Town” was released on I.R.S.Records and it’s an outstanding document. It is also the earliest known professionally show footage of an R.E.M. show. The setlist:
1. Wolves, Lower 0:52
2. Laughing 5:41
3. 1,000,000 9:46
(NOTE: Mitch Easter, who produced “Chronic Town” as well as “Murmur” and “Reckoning” (with Don Dixon), joins the band on guitar)
4. Moral Kiosk 13:07
5. Catapult 16:25
6. West of the Fields 20:14
7. Radio Free Europe 23:15
8. Ages of You 27:59
(NOTE: Originally intended for “Chronic Town”, replaced by “Wolves, Lower” at the request of Miles Copeland, later turned up on “Dead Letter Office”)
9. We Walk 31:45
10. Carnival of Sorts (Box Cars) 35:38
(NOTE: As identified by peechpanda in the comments section, Peter Holsapple appears to join the band on guitar for this song)
11. Skank (Jam) 40:25
Cherry Glazerr played an amazing set at Nottingham Dot to Dot Festival this year, that this concert was so insane and so much fun . If you were not there please check Cherry Glazerr out if you have’nt heard of them before! . a truly wonderful set . Celebrating the release of their third album earlier this year, despite the fact that lead-singer Clementine Creevy is only 19 she came crawling onto the stage on all fours you knew then this was going to be something a little bit special, Cherry Glazerr are from Los Angeles, they arrive on the cusp of something big. Musically, it’s all slightly grungy early-mid 90s riffs, female empowerment lyrics and youthful energy.
Their album “Apocalipstick” is one of the best albums of the year.
There’s still plenty of the rustic, new-age hippy charm in First Aid Kit’s appearance, but the one thing that’s noticeable as they launch into ‘Wolf’ from their 2012 album The Lion’s Roar is that there is a new swagger in place.The sisters from Stockholm, Johanna and Clara, feature a notable shift in presentation in the form of Johanna’s move to bass guitar from keyboard/synth. Furthermore, their music seem to now slither with a hitherto unexplored groove; bobbing up and down,Whilst they dig deep into their own catalogue – which includes a heart stopping rendition of ‘Ghost Town’ – they also take time to dig out an old 70s classic. ‘The Gambler’ is tackled with vim, vigour and it’s fair to say that it is one big winner with the festival crowd. Promisingly, new song‘It’s AShame’ is quickly greeted like an old favourite. Unlike ‘You Are The Problem Here’, this is in keeping with the tone and format in which devotees of First Aid Kit are familiar.
They close out with the double whammy of old favourites and trademark songs, ‘Emmylou’ and ‘My Silver Lining’. Their rise is unstoppable and they are doing it on their own terms. Wonderful.
First Aid Kit live at Glastonbury Festival 23rd June 2017.
Musicians: Scott Simpson, Melvin Duffy, Steve Moore. Setlist:
1. Wolf
2. Master Pretender
3. Waitress Song
4. The Lion’s Roar
5. You Are the Problem Here
6. Ghost Town
7. King of the World
8. The Gambler (Kenny Rogers cover)
9. Stay Gold
10. Emmylou
11. My Silver Lining
Radiohead headlined the Pyramid Stage of Glastonbury 2017 on Friday night with an astonishingly mesmerising – if not a little unruly – set in what resulted in an utterly compelling two hours and 25 minutes.
The performance came on the 20th anniversary of Radiohead’s first headline set at Glastonbury, a reminder of the reissue of the iconic album ‘OK Computer’ and a statement of intent of the band’s utter dominance.
Absorbing, challenging and achingly beautiful – Radiohead delivered a typically Radiohead sort of set for Glastonbury’s opening night. The Oxford quintet emerged, bathed in white light, to the haunting piano refrain of Daydreaming, from last year’s A Moon Shaped Pool album.
Two hours and 25 songs later, they closed with Karma Police, singing: “For a minute there, I lost myself.”
Such is their confidence, Radiohead’s set list was nothing short of experimental, eclectic and downright enthralling. Tracks such as ‘No Surprises’ tempted Thom Yorke into a brief political outburst when he ominously pleasured the crowd with “see you later, Theresa” as the song, with lyrics such as “bring down the government, they don’t speak for us,” came to a close.
Opening with ‘Daydreaming’ from 2016 record A Moon Shaped Pool, the band indulged fans with favourites such as ‘Airbag’ and the aptly titled ‘Pyramid Song’ before Yorke couldn’t resist busting out his new dance moves during a revised version of ‘Idioteque’.
Encore one saw the likes of ‘No Surprises’, ‘Nude’, Paranoid Android and Fake Plastic Trees before the second and final encore welcomed the three big hitters: Lotus Flower, ‘Creep’ and ‘Karma Police’ the last of which left the crowd and Yorke singing: “For a minute there, I lost myself.”
Setlist:
Rattlesnake
Doom City
Nuclear Fusion
Sleep Drifter
Alter Me I
Altered Beast II
Alter Me II
Altered Beast III
Robot Stop
(with snippet of ‘Master of the Universe’ by Hawkwind)
Gamma Knife
People-Vultures
The Lord of Lightning
Cellophane
The River
Audience recording from the Richfield Coliseum in Cleveland Ohio, on April 28th 1977. limited edition of a tape close to being excellent, virtually free of hiss, trebly and overloaded at times. The tape shows wear occasionally and presents cuts and edits almost in its entirety. The band is upfront and the clarity of the instruments is very detailed, the bass is a little indistinct at the end. The cuts and edits eliminate most of Plant’s comments, miss the first few seconds of many songs, cause tape disturbances when the recording resumes and interrupt two tracks in progress. Before Nobody’s Fault the taper curses as he informs he is having problems, a squeal precedes the first cut, when the recording resumes the first few guitar notes are missing.
In My Time is cut briefly in the final vocal a cappella and joined to the last phrase of You Shook Me. No Quaaludes, as introduced by Plant, is cut during the second vocal theme and joined to a couple of seconds of the wha-ed guitar episode, and finally cuts out. Audience noise is minimal, a wise guy is introducing the songs to his mate! s before Plant, an irreverent yell of “this sucks!” in Over the Top ,and the taper cursing again in Stairway; there’s some mumbling in the quiet moments, but nothing really annoying. This is a superb gig, the pacing and playing, together with the very enjoyable recording, make for a listening treat. Page is precise, concise and powerful; Jonesy is all over the place; Plant’s vocal gymnastics are strong from the beginning to the end and seems genuinely touched by the audience’s response; Bonzo is frightening, he seems to destroy the drum kit in every track, the recording captures particularly well his crushing presence. Collectively is the same story, the enthusiasm does not let up a minute, every piece receives special attention and there are no lazy moments. In My Time features great introductory licks to the guitar leads; No Quarter features amazing interplay and Jonesy’s most inspired piano playing. Ten Years is overloaded by the loud twelve-string and cymbals, Achilles by the drums, even distorting the tape, but both are very clear. Tape wear is evident in Over the Top, Kashmir and Stairway; there’s a little distortion in the encores: Rock and Roll, Trampled. Despite these deficiencies, the performance is not affected at all and allows its enjoyment. This show should restore the faith to detractors of this era.
The tape for Zeppelin’s second night in Cleveland is one of the strangest. The tapers were located a ways from the stage, they were experiencing problems with their equipment, and he and his friends were not shy about expressing their opinions throughout the entire show. It is also obvious one of his friends attended the previous evening’s concert and liked to tell the others which song is coming next. Despite these obstacles this is considered one of, if not the best, audience document outside of the tapes for Los Angeles. Its reputation is due to it being very clear and powerful. Zeppelin was the perfect band to use the Richfield Coliseum’s questionable acoustics to their advantage and the result sounds like battery artillery storming the beachhead to the delight of a packed house.
This tape has been known asThe Destroyersince it was released shortly after the event [I believe it might have been as much as a year later or more]. It was first released as a vinyl box set on the Smilin’ Ears Records label complete with the famous painting of the warriors huddled on top of one another.” [collectorsmusicreviews.com]
Recorded 28th-Apr-77 Cleveland, The Second Night
Audience recording from the second night at Richfield Coliseum in Cleveland, OH – 28th April 1977 apparently one of the best performances on the whole tour. Released in 1978; originally sold for $22 via the Pied Piper bootleg catalog.
THE DESTROYER SMILIN’ EARS 77-300 Side 1: The Song Remains The Same – Sick Again (14:11)/ Nobody’s Fault But Mine (5:36) Side 2: Since I’ve Been Loving You (17:24) Side 3: Guitar Solo medley incl. The Star Spangled Banner – Achilles Last Stand (18:21) Side 4: White Summer medley incl. Black Mountain Side – Kashmir (15:31) Side 5: Ten Years Gone (8:56)/The Battle Of Evermore (5:25)/ Going To California (4:19) Side 6: Black Country Woman medley incl. Bron-Yr-Aur Stomp (7:00)/ Trampled Underfoot (6:19)/ Rock & Roll (3:54) Side 7: Kashmir (17:13) Side 8: Over The Top medley incl. Out On The Tiles/ Moby Dick (16:25)
Recording: Very good mono audience. Taped on platform usually used for television camera for sports broadcasts. “All the cuts exist for two reasons: the taper was trying to save tape, and the recording was done on 60 minute (30mins per side) cassettes. ” Comments: Deluxe box set. Two different covers. Two audience sources exist for this date.
Master tape in detail: 01. The Song Remains The Same (beginning cut) 03:44 02. Sick Again 07:05 03. Nobody’s Fault But Mine 07:17 04. In My Time Of Dying 11:37 05. Since I’ve Been Loving You 09:43 06. No Quarter (cut at 05:07) 20:45 07. Ten Years Gone 10:05 08. The Battle Of Evermore 06:27 09. Going To California 05:14 10. Black Country Woman 01:42 11. Bron-Y-Aur Stomp 05:42 12. White Summer (cut at 00:29) 03:45 13. Black Mountain Side 01:34 14. Kashmir 09:34 15. Over The Top 17:26 16. Noise Solo (cut at 10:06) 10:10 17. Achilles Last Stand 10:28 18. Stairway To Heaven 11:44 19. Rock And Roll(beginning cut) 04:12 20. Trampled Underfoot 06:59
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 BrianRobertson 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
New Order played the Coachella Festival last Sunday night (April 16th) and, to mark the end of the first weekend of the festival, covered two Joy Division songs during their encore.
Playing around the same time as Lorde set , New Order played a mix of tracks from across their deep discography. As they’re known to do, the band closed their first set with ‘Blue Monday’ followed by ‘Temptation’.
New Order’s Coachella appearance is an especially notable family affair. New Order keyboardist and guitarist Gillian Gilbert and her husband, drummer Stephen Morris, were accompanied to the festival by their daughters, Matilda and Grace. Gilbert said, “It’s a big step to do your first festival. If you survive it, you can do anything!”.
New Order and this superb set closing version of the band performing a nine minute version of “Temptation”. The band returned for an encore of two Joy Division tracks “Decades” and “Love Will Tear Us Apart”
Elton John will reissue his personal pick for his favorite concert recording, 17-11-70, on Record Store Day 2017, with the gig’s entire performance available on vinyl for the first time. The reissue, dubbed 17.11.70+, comes as Elton John was anointed as the first Worldwide Record Store Day Legend to mark the annual celebration’s 10th anniversary.
“Happy 10th birthday to Record Store Day,” Elton John said of the honor. “I love record stores, I can go to the record store in [Las] Vegas and spend three hours in there. Just the smell of it, the looking at it, the wonder of it, the memories.” In a video recorded for Record Store Day, the singer talked about his love of vinyl and his most recent purchase, a bootleg copy of Kanye West’s The Life of Pablo that “cost a fortune.” John also admitted that he cried when Tower Records closed, but he’s heartened by the surge of vinyl sales and the support of independent record stores.
“I love vinyl so much,” John said. “The tactile nature, the ritual of it, looking at the sleeve … especially with the old albums and the liner notes – who played on them, the process of putting it on, the needle going on and the sound coming out. And it does sound better, I know it does. I’ve been around long enough to know, I’ve been in so many studios … It does sound better. So it’s just the wonder of having vinyl.”
John added that he sold his massive record collection in 1990 at auction for $250,000, which he donated to the Elton John AIDS Foundation. Two years ago, the singer decided to start a new collection and “slowly” began amassing records; fast-forward to today and his new vinyl collection contains over 7,000 pieces.
17-11-70, was originally released in 1971 after the live radio broadcast of the performance was widely bootlegged, initially only included six tracks, including an 18-minute medley featuring Elton John’s take on the Beatles’ “Get Back.”
A subsequent CD reissue tacked an additional song – “Amoreena” back onto the track list, but the 2-LP Record Store Day version marks the first time the entire 13-song recording has been officially released.
“The album 17-11-70 was not meant to be a live one at all; we did one of the first-ever stereo radio broadcasts live at A&R Recording Studios in New York City in 1970 on the 17th of November,” John said of the live LP. “It was Phil Ramone’s studio, one of the greatest producers of all time, and we just went in the booth and played it as a three-piece: Nigel Olsson on drums and vocals, Dee Murray on bass and vocals, and myself.”
John continued, “There was a studio audience of about 100 sitting outside the booth, hearing it coming through the loud speakers, and we just played. I’m astonished by how good we were, listening to this record a lot of it was improvised, and you can do that when you’re a three-piece band because I’m really the lead instrument, and Dee and Nigel were so brilliant at following what I did. There’s a 16-minute track on it that was completely improvised, more or less, and I’m very proud of it: I think it’s one of the greatest live albums ever made. It wasn’t initially coming out as a live album, but there were so many bootlegs in those days that the record company put it out. I’m glad they did because it really is something I’m very, very proud of.”
17.11.70+ will be released as a 2-LP set on 180-gram vinyl, with all the recordings remastered by mastering engineer extraordinaire Bob Ludwig. Additionally, the version of “Amoreena” features a different mix than the controversial take that appeared on the 17-11-70 reissue.
17.11.70+ Track List
A1 “Take Me To The Pilot”
A2 “Honky Tonk Women”
A3 “Sixty Years On”
A4 “Can’t Put You On”
B1 “Bad Side Of The Moon”
B2 “Burn Down The Mission” (Incl. “My Baby Left Me” / “Get Back”)
The Fat Angel Sings 