Posts Tagged ‘Live’

Marc Bolan and T Rex live for Record Store Day 2017

A live Marc Bolan and T.Rex album was never released during Marc’s lifetime. He claimed that he felt it unfair to expect fans to buy the same material more than once, and a multitude of contractual problems also kept his hands tied. This has often been due to the quality of the source tapes , a problem that has been largely unavoidable.

For this first release on vinyl the sound has been cleaned up as far as is possible without altering what was recorded. The 1977 ‘Dandy In The Underworld’ tour, which featured The Damned as the support, was Marc Bolan’s most successful since 1972, receiving widespread acclaim from previously hostile critics, and earning Bolan a whole new credibility amongst the burgeoning punk audience. It is from this final tour that these recordings are taken.

Despite extensive research over many years, a tape of the final three songs from The Rainbow has remained elusive. In order to present as complete a document of the final T.Rex tour as is possible, we have used recordings of the three missing Rainbow songs from the last date of the “Dandy In The Underworld” tour, Portsmouth Locarno on 20th March 1977.

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A live Marc Bolan and T.Rex album was never released during Marc’s lifetime. He claimed that he felt it unfair to expect fans to buy the same material more than once, and a multitude of contractual problems also kept his hands tied. This has often been due to the quality of the source tapes – a problem that has been largely unavoidable. For this first release on vinyl the sound has been cleaned up as far as is possible without altering what was recorded.

The 1977 ‘Dandy In The Underworld’ tour, which featured The Damned as the support, was Marc Bolan’s most successful since 1972, receiving widespread acclaim from previously hostile critics, and earning Bolan a whole new credibility amongst the burgeoning punk audience. It is from this final tour that these recordings are taken. On 18th March 1977, Marc Bolan and the latest incarnation of T.Rex brought their successful Spring tour to the Rainbow Theatre in north London. As the band crashed out the opening bars to “Jeepster”, few in the packed auditorium could have known that Bolan’s wheel had come full circle. As a boy in the 1950s he had visited this same building – used then as a cinema, the Finsbury Park Astoria – in the company of his older brother Harry Feld to see the movie “Jailhouse Rock”.

Despite extensive research over many years, a tape of the final three songs from The Rainbow has remained elusive. In order to present as complete a document of the final T.Rex tour as is possible, we have used recordings of the three missing Rainbow songs from the last date of the “Dandy In The Underworld” tour, Portsmouth Locarno on 20th March 1977. Whilst the Locarno tape suffers several faults, the songs included here feature the historic final UK performance of “Get It On”, with T.Rex joined on stage by The Damned.
Limited to just 2000! units.

TRACK LISTING

LP 1: Jeepster / Visions Of Domino / New York City / Soul Of My Suit / Groove A Little / Telegram Sam / Hang Ups
LP 2: Debora / I Love To Boogie / Teen Riot Structure / Dandy In The Underworld / Hot Love / Get It On [with The Damned]

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unnamed 6 Jack White announces new live album from The Dead Weather

The Dead Weather are preparing to release a new live record of their 2009 performance at the Mayan Theater in Los Angeles.

Hot on the heels of the release of their debut album “Horehound, The Dead Weather played an absolutely incendiary set at the legendary Mayan Theater in Los Angeles on August 26th, 2009. This fiery performance captures the band at their most feral and raw, firing on all cylinders, full of broken glass, black leather and strobe lights. For YEARS this show has been whispered about as one of the best shows the band has ever played, so now felt a better time than ever to release this performance into the world. Featuring audio expertly mixed by Grammy Award-winner Vance Powell, the immersive concert film The Dead Weather: Live at the Mayan directed by Vern Moen is revelatory. The band’s signature gems like “Hang You From the Heavens” and “Treat Me Like Your Mother” sit pretty with explosive non-album B-sides like “You Just Can’t Win” (originally by Them) and “A Child of a Few Hours is Burning to Death” (originally by the West Coast Pop Art Experimental Band). The companion audio of Live at the Mayan marks the first-ever live LP from The Dead Weather’s first year and serves as a blistering reminder as to why this band still matters. Your stereo will thank you…your neighbors, maybe not so much.

Coupled with the LP/DVD of the Mayan performance is the final 7” 45rpm installment from the “Dodge and Burn” album. As folks should remember, every song from the band’s acclaimed 2015 album was exclusively released on 7” format via the Vault. “Three Dollar Hat” b/w “Lose the Right” on beautiful black and yellow vinyl is the final piece of the puzzle. As a special treat, subscribers for Vault Package #32 will receive a deluxe box to house ALL six singles from “Dodge and Burn” Vault releases.

The album, mixed by Grammy winning Award-winner Vance Powell, will be used as part of a concert film for Third Man Records’ Vault Package #32 having been directed by Vern Moen.

Third Man Records, owned by Jack White himself, will release the record via the label’s subscription service and titled ‘The Dead Weather: Live at the Mayan , according to the press release.

The setlist withholds fan favourites like ‘Treat Me Like Your Mother’, ‘I Cut Like a Buffalo’ and ‘Hang You From the Heavens’:

The Dead Weather: Live at the Mayan Tracklist:
01. 60 Feet Tall
02. Hang You From the Heavens
03. You Just Can’t Win (Them Cover)
04. So Far From Your Weapon
05. A Child of a Few Hours is Burning to Death (West Coast Pop Art Experimental Band Cover)
06. No Hassle Night
07. Will There Be Enough Water?
08. I Cut Like a Buffalo
09. Treat Me Like Your Mother
10. New Pony (Bob Dylan Cover)

Slothrust is a trio who incorporate grunge, blues and jazz into a volatile rock combination. Their unpredictable tone and experimental song construction yields a serendipitous and often very pleasing listen even when approaching difficult lyrical content. The band has been working together since 2010 and this time spent together is clear in both a unified stage presence and effortless musical harmony.
Band Members
Leah Wellbaum – Electric Guitar and Vocals
Kyle Bann – Bass
Will Gorin – Drums

Slothrust perform on Audiotree Live, March 10th, 2017.

Setlist
00:42 – Mud
05:14 – Rotten Pumpkin
09:25 – Like A Child Hiding Behind Your Tombstone
16:32 – Sleep Eater
22:59 – Horseshoe Crab
27:34 – Pigpen

Half Waif is the 80’s influenced indie electronic project of Nandi Rose Plunkett. She refers to the material as a “search for a sense of place” and that search is reflected in her confessional lyrical content. Rose Plunkett uses echoing synth modifiers and pelagic keyboard tones to amplify the emotion revealed by her arresting delivery of these intrapersonal tunes. “Half Waif brims over with sounds: underwater echoes of Celtic melodies; mossy, blinking electronic soundscapes; the ultra- sad chord changes of 19th-century art music; and eternal, unending bhajans. A finely crafted glass menagerie of song…”

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Band Members
Nandi Rose Plunkett – Vocals, Nord Electro 5D Keyboard and Korg Minilogue Synth
Adan Carlo – Bass and Vocals
Zack Levine – Drums, Roland SPD-SX and Vocals

Two dozen rare and limited release Frank Zappa recordings will be made widely available around the world when UMe assumes distribution of the albums as part of their global partnership with the Zappa Trust. In the U.S., the 24 albums will be available on CD, download and streaming on March 24th. Internationally, they will be available digitally March 24th with physical to follow on April 28th. Nine of the albums, including Zappa’s 100th release, Dance Me This, and the revered live disc, Roxy By Proxy, have never been available for download or streaming. The wide-ranging collection includes fan favorite and Grammy Award-winning titles from Zappa’s independent labels Barking Pumpkin, Vaulternative Records and Zappa Records and encompasses more than 20 years of releases, dating back to 1994’s posthumous release, Civilization Phaze III.”For more than two decades, the only place to get exclusive Frank Zappa albums was through our mail order and website. We are thrilled to be able to make these titles available to fans across the globe with the help of our friends at Universal,” says Ahmet Zappa.

In all, the albums being made available internationally to online retailers, record stores, digital retailers and streaming services include a diverse collection of previously limited releases comprised of live concerts, taped rehearsals, treasures from Zappa’s extensive and extraordinary vault, audio documentaries, archival recordings, the famed “Corsaga” series and other exciting audio ephemera. The releases span Zappa’s entire career, from his first records with the Mothers of Invention to some of the last compositions and projects he ever worked on.

Below is a full list and descriptions of each of the titles included in this initiative. Albums can be pre-ordered here: https://UMe.lnk.to/ZappaAMSAmz

A Token Of His Extreme (Zappa Records, 2013) CD
In August 1974, Frank Zappa and The Mothers of Invention taped two legendary sets at KCET TV Studios in Hollywood, CA. This popular footage was used by Frank Zappa in a number of different edits originally intended as a TV special and eventually featured in the home video release The Dub Room Special (1982). A Token Of His Extreme was officially issued on DVD in 2013 along with the release of the soundtrack on CD.

Buffalo [2 CD]

Buffalo (Vaulternative Records, 2007) 2CD
Originally released in 2007, Buffalo captures an entire concert recorded live at the Memorial Auditorium in Buffalo, NY on October 25th, 1980. The original tapes were salvaged from the Vault by Vaultmeister Joe Travers and mixed by Grammy-Award winning engineer Frank Filipetti.

Carnegie Hall (Vaulternative Records, 2011) 4CD
As history would have it, and thanks to the persistence of promoter Ron Delsener, Frank Zappa & his band The Mothers actually played Carnegie Hall. The two shows on October 11th, 1971 were recorded for posterity to mono 1/4″ tape using a concealed Nagra tape machine and a Electrovoice 664 microphone.

Civilization Phaze III (Barking Pumpkin, 1994) 2CD
Civilization Phaze III, one of the final projects to be finished by Zappa before his passing, completes the trilogy of Masterworks established first with Lumpy Gravy and We’re Only In It For The Money in 1968. Originally envisioned as “Lumpy Gravy, Phase III,” this music morphed over a period of years in various states of completion. Realized mainly on the Synclavier and including performances by the Ensemble Modern and newly recorded dialogue from inside the piano, Frank finally put the finishing touches on the double CD in 1992. It received a Grammy for Best Recording Package in 1995.

Congress Shall Make No Law(Zappa Records, 2010) CD
Gail Zappa always said that Frank Zappa always made a point to “educate” his audience as well as entertain them. She continued on that note with this release, an informative document that focuses on the importance of Frank’s testimonies to fight censorship. Zappa’s address to the Senate Committee Hearings in 1985 and to the Maryland State Legislature in 1986 are featured here in their entirety combined with various Synclavier and interview excerpts found in the Vault.

Dance Me This (Zappa Records, 2015) CD

The 100th release by the Zappa Family Trust and the last project to be finished by Frank Zappa before his passing, Dance Me This, was composed and realized on the Synclavier, Zappa’s go-to digital workstation that was state of the art at the time of the recording. The music is described by as ‘designed for modern dance groups.’ The album was finished but shelved by the Trust until finally receiving its much anticipated release in 2015.

Everything Is Healing Nicely (Barking Pumpkin, 1999) CD

The Ensemble Modern from Frankfurt Germany spent a lot of time with Frank Zappa during the last few years of his life. As the group was working closely with Zappa preparing for a series of concerts scheduled in 1992 (to be known as “The Yellow Shark”), Zappa, in his typical manner, was digitally recording every rehearsal. Everything Is Healing Nicely features highlights from those recordings, hand-picked by Zappa, compiled posthumously by then staff engineer Spence Chrislu, and released exclusively through mail order in 1999.

Feeding The Monkies At Ma Maison (Zappa Records, 2011) CD

Around 1987 or so, Frank Zappa completed a digital master of this title which was intended for a vinyl release. Frank Zappa never released it and re-worked some of the material for another project, mainly Civilization, Phaze III. Feeding The Monkies At Ma Maison, realized on the Synclavier, eventually found a release in original form in 2011. The CD contains unreleased compositions, unedited versions and added bonus tracks from the time period.

Frank Zappa Plays The Music of Frank Zappa (Barking Pumpkin, 1996) CD

When released on Halloween 1996, Frank Zappa Plays The Music Of Frank Zappa, A Memorial Tribute was considered to be an “Audio Tombstone” by the family. It features the three signature guitar pieces: “Black Napkins,” “Zoot Allures” and “Watermelon In Easter Hay” in their original released form (remastered) with added live versions that predate the issued masters. Also included is “Merely A Blues In A: from Paris ’74. A fitting “Memorial Tribute” indeed.

FZ: OZ (Vaulternative Records, 2002) 2CD

FZ:OZ is the very first release from Vaulternative Records, the label created by the Zappa Trust that focuses on material found in the infamous Zappa Vault. Released in 2002, this audio nugget contains an almost complete concert from Frank Zappa’s second and final visit to Sydney, Australia in early 1976.

Greasy Love Songs (Zappa Records, 2010) CD

The third installment of the Project/Object Audio Documentary series focuses on the 40th anniversary of Zappa’s 1968 homage to old Doo Wop and Rhythm & Blues. Cruising With Ruben & The Jets was Frank Zappa & The Mothers’ fourth album release. Greasy Love Songs brings together the long awaited release of the original 1968 mix along with mix outtakes, interview excerpts and oddities from the sessions. Also contains liner notes from Cheech Marin.

Hammersmith Odeon (Zappa Records, 2010) 3CD
In early 1978, Frank Zappa played a string of dates between January and February at the famous Hammersmith Odeon in London, England. Hammersmith Odeon, first issued in conjunction with a special birthday event at The Roundhouse in London in 2010, contains performances from those shows. These recordings are famous for being the basis for the Sheik Yerbouti album. This album contains all alternate performances and highlights from the master show tapes.

Imaginary Diseases (Zappa Records, 2006) CD
Released in 2006, Imaginary Diseases compiles for the first time all live recordings from a very rare and undocumented Zappa band line-up. In 1972, after taking a 20-piece ‘electric orchestra’ on the road for eight dates as The Grand Wazoo, Frank Zappa reduced the personnel to 10 pieces and toured this new band for roughly two months. Billed as The Mothers of Invention but eventually becoming known as the ‘Petit Wazoo,’ audio from this period was never released during Frank’s lifetime.

Joe’s Camouflage (Vaulternative Records, 2014) CD
In late summer 1975, Frank Zappa formed a band that never got past the rehearsal stage, but managed to have their own band promo shots taken with fall touring rapidly approaching. This Joe’s series entry, Joe’s Camouflage, finds mainly 4-track rehearsal tapes that captured Frank Zappa experimenting with this group, updating arrangements of older songs along with some new compositions, some that were never revisited later in his career. Featuring Novi Novog on viola and keys, Robert ‘Frog’ Camarena on vocals and Denny Walley on guitar, all three of whom left the band shortly after these recordings were made.

Joe’s Corsage (Vaulternative Records, 2004) CD
The first in a series of special material released from the Vault. The titles of the “Corsaga” are a play on words of Frank Zappa’s famous Joe’s Garage title, with the contents produced and compiled by the Vaultmeister, Joe Travers. Joe’s Corsage, the first release created in 2004, was produced in conjunction with the 40th anniversary of the creation of The Mothers in 1964. It focuses on the origin of the Mothers of Invention as told by Frank himself, along with early recordings made before their first record contract in early 1966.

Joe’s Domage (Vaulternative Records, 2004) CD
Joe’s Domage, the second entry from the “Corsaga” series, gives you an insight into how Frank worked. The recording from this primitive cassette tape captures the first rehearsal of the Wazoo band, freezing in time early ideas and arrangements of material that went on to be used on The Grand Wazoo & Waka/Jawaka album sessions of 1972. Recorded ambiently in Frank’s rehearsal room in Hollywood, Frank conducted these sessions while confined to a wheelchair after being pushed offstage in London, England roughly three months prior.

Joe’s Menage (Vaulternative Records, 2008) CD
Frank Zappa, notorious for recording everything, carried cassettes with him on the road. On one occasion backstage during the late ’70s, Frank gave longtime fan Ole’ Lysgaard a cassette which contained a dub of a live recording excerpt from a concert in Williamsburg, VA 11-1-75. Thanks to Ole’, this excerpt has been forever immortalized as the content for “Corsaga” number 4. Joe’s Menage is transferred directly from the show master tape.

Joe’s Xmasage (Vaulternative Records, 2005) CD
Joe’s Xmasage was released on Frank’s birthday during the Christmas season of 2005. Joe worked closely with Gail Zappa on this third installment of the “Corsaga,” showcasing vintage recordings from Frank’s life in the early ’60s. Music, historical audio documents and Conceptual Continuity clues fill up this special Christmas dish from the Vault for you and yours.

MOFO (Zappa Records, 2006) 2CD
This 2-disc version of the Making Of Freak Out! Project/Object Audio Documentary contains highlights from the 4-disc version which is available only through mail order. MOFO (2 Disc) was released in conjunction with the 40th anniversary of  The Mothers of Invention’s first album, Freak Out!, it includes the original album’s 1966 vinyl mix along with exclusive tracks not found anywhere else.

One Shot Deal (Zappa Records, 2008) CD
Released in 2008, One Shot Deal features chunks of material found in the vault selected by Frank Zappa and compiled by Gail Zappa & Joe Travers. Ranging from 1972 to 1981, One Shot Deal blends live compositions, improvisations and guitar solos from various world tours, all recorded live.

Philly ’76 (Vaulternative Records, 2009)
Frank Zappa played the Philadelphia Spectrum Theater on October 29th, 1976. The concert was professionally recorded and was a perfect contender for the ongoing concert series from Vaulternative Records. Philly ’76 was released in 2009 and features a complete show from a rare band line-up with another stellar mix from Grammy Award winning engineer Frank Filipetti.

Frank Zappa Roxy By Proxy Album

Roxy By Proxy (Zappa Records, 2014) CD
Roxy By Proxy contains material recorded live at the infamous run of shows at The Roxy Theater in Hollywood, CA, December 1973. It’s the first compilation made from digital mixes created in 1987 by Frank with Bob Stone at FZ’s home studio, The Utility Muffin Research Kitchen. The sequencing plays like a full show while the package features extensive liner notes from the one and only Ruth Underwood, then the percussionist in the band.

The Dub Room Special (Zappa Records, 2007) CD
A previously unreleased soundtrack album created by Zappa himself, contains material found in The Dub Room Special, a 90-minute home video first released by mail order only in 1982. Tracks consist of live cuts from The Palladium, NYC on Halloween 1981 along with performances taped at KCET TV studios in Los Angeles during 1974.

WAZOO (Vaulternative Records, 2007) 2CD
WAZOO contains a complete show recorded live to stereo tape at the Boston Music Hall in Boston, MA on September 24th, 1972. Originally released in 2007, this set is the only document found in the Vault of the short-lived Grand Wazoo, an ambitious 20-piece ‘electric orchestra’ formed by Zappa and toured for only eight dates during the fall of 1972.

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‘Ruminations’ is one of singer songwriter Conor Oberst’s most personal records — and it was a surprise, even for its creator. He didn’t intend to make an album — he was trying to recover from exhaustion after he was rattled by a health scare, a cyst on his brain. But when he left New York, N.Y., and moved back to his hometown of Omaha, Nebraska., the songs started coming. He recorded ‘Ruminations’ on piano, guitar and harmonica in 48 hours during the winter after he moved home. The result is a collection of brave, dark songs that confront Oberst’s thoughts during that time head-on and include his best work to date .

Housing Works Bookstore in New York is a place that’s meant a lot to Oberst over the years. It’s a book shop with a mission to help the homeless and those with AIDS and HIV. He was at the very first performance at Housing Works nearly a dozen years ago, and he’s played there a few times as well — including one Halloween show where he dressed as a skeleton. So on the day he released Ruminations, it was fitting that he return to Housing Works to perform all the songs from that album — some of them for the first time.

For this performance Conor Oberst is largely seated at a piano, a harmonica strapped around his neck. His bassist, MiWi La Lupa, lays a small foundation for songs that they’re still learning to play, but that are unmistakably moving and contain some of Oberst’s best lyrics and imagery.

SET LIST,
“Tachycardia” – 0:48
“Gossamer Thin” – 4:46
“Barbary Coast (Later)” – 9:37
“Counting Sheep” – 15:41
“Mamah Borthwick (A Sketch)” – 20:18
“Next of Kin” – 25:42
“The Rain Follows the Plow” – 29:50
“A Little Uncanny” – 34:24
“You All Loved Him Once” – 39:33
“Till St. Dymphna Kicks Us Out” – 45:32

Released in October 1982, Joni Mitchell s 11th studio album, Wild Things Run Fast was, for some fans, a return to form. What this often meant in reality was that many such Mitchell enthusiasts had been somewhat perplexed by this remarkable composer and performer s output since 1975, when she introduced jazz and classical influences into her work, and even when such tendencies were included on such towering albums as Hissing Of The Summer Lawns and Hejira , a certain quarter longed still for the days of Big Yellow Taxi, The Circle Game and Woodstock. Nothing wrong, of course, with such majestic and beautiful songs, but to dismiss such a challenging and forward thinking artist s moves does appear to be a little stilted. But, when Joni Mitchell hit the road in early 1983 on one of her longest and widest reaching tours – taking in Europe, Asia and Australia in addition to dates in North America – it seems she was out to please all her fans: the sticklers, the modernists and the-somewhere-in-betweens. In fact so diverse and eclectic were the set-lists on this remarkable tour, they not only took in cuts from her classic years and her brace of mid-1970s challengers , she would often give numbers from her most reviled work (amongst the traditionalists), Mingus , a whirl. But she would always appease those disgruntled by a rendition of God Must Be A Boogie Man with a splendid A Case Of You, a well placed Both Sides Now or an encore of Carey. This superb FM radio broadcast, transmitted live from Joni s show at Tokyo s famous Nippon Budokan, is a fine example of such a show, mixing as it does the old, the new, the borrowed and – while the title track from her 1971 meisterwork is inconveniently absent – cuts from Hissing , Hejira and Mingus are all in evidence. Hopefully, therefore, a fine time was had by all those in attendance. For anyone listening today, a fine time is hereby guaranteed.

https://www.youtube.com/watch?v=xI3BvvLA9bE

Let’s get straight to it, the reason you’re reading this review, you want to know what the sound quality is like. You can see the setlist, you know whether you like the songs, you’re already a fan and are familiar with this particular Joni era, but before you fork out for it. what is the recording quality like? Well, I’m pleased to report it is excellent. There are a lot of these old radio broadcasts floating around now and the sound quality varies from awful to excellent, I’ve been quite taken aback by the sound quality of this one, it is only just short of what you’d expect of an officially released live album, it really is that good. So if you’re holding back wondering whether or not this sounds like it was recorded in a tin can, hold back no,longer this is one of the very best of the plethora of old radio broadcasts that are being released now.

Songs On Joni Mitchell A Woman In The East:

1. Free Man in Paris
2. Edith and the Kingpin
3. You Dream Flat Tires
4. Refugee of the Road
5. You’re So Square
6. For Free
7. Big Yellow Taxi
8. A Case of You
9. God Must Be a Boogie Man
10. Wild Things Run Fast
11. Don’t Interrupt the Sorrow
12. Solid Love
13. Chinese Cafe/Unchained Melody
14. Help Me
15. You Turn Me On I’m A Radio
16. Love
17. Both Sides Now
18. Underneath the Streetlight
19. Woodstock
20. Carey

She’d been a New Yorker since moving to the city in 1967, aged 21. She had a child that she gave up for adoption, met and started a relationship with photographer Robert Mapplethorpe – with whom she shared a room at the infamous Chelsea Hotel for some time – and she discovered the work of French symbolist poet Arthur Rimbaud. She appeared in Warhol Superstar Jackie Curtis’s play Femme Fatale with Wayne County, and – for one night only – in Cowboy Mouth which she co-wrote with Sam Shepherd. She was considered for the role of lead vocalist in Blue Oyster Cult, but instead contributed lyrics to many of the band’s songs, and she started a relationship with BOC keyboardist Alan Lanier. She contributed articles to rock journals Rolling Stone and Creem. By 1974 she was performing rock music herself, initially with guitarist, bassist and rock archivist Lenny Kaye, and later with a full band comprising Kaye, Ivan Kral on guitar and bass, Jay Dee Daugherty on drums and Richard Sohl on piano. The group released the self-financed single ‘Hey Joe’/’Piss Factory’ the same year and in 1975 recorded their debut album “Horses” for the label to which they were by then signed, Arista; the album was released in December ’75 to near unanimous high praise. Two months later, on February 15th 1976, the group played at the Boarding House in San Francisco – a performance which was broadcast live on FM radio. This CD captures this concert in its entirety and illustrates perfectly the strange power of this pioneering band and its dynamic, talented and foresighted lead singer and main songwriter. 1976 was also the year that the United States of America celebrated 200 years of independence from the British Empire, a celebration that culminated on July 4th – the date in 1776 on which the Declaration of Independence was adopted. Whether or not this event had any impact or bearing on Patti Smith is not recorded.

 

A few months on from the arrival of her epic Horses album and Patti Smith is on stage in San Francisco. It is February 1976 and a seminal sonic storm is starting to soar. Bicentenary Blues released on Good Ship Funke has Patti display positive elements from her own catalogue but she honours those forces that helped shape this aural assault. That means that this performance CD originally recorded for FM Radio also has Smith cover tunes by the likes of The Who, Velvet Underground and The Rolling Stones.
The sound quality is not always of a superior nature but there is no doubt the intentions are honourable. Smith is spearheading a new breed but these fresh faces are taking their lead from a series of rock n roll rebels in order to carve their own niche for a new generation. There are several highs and of particular impact is the reggae tinged self penned Redondo Beach (later to be covered by Morrissey) and the ferocious Free Money (which also became a Penetration favourite). However, a poetic interlude has the gig take its foot off the pedal before a barnstorming close of Gloria Part 1 & 2 plus My Generation.
To capture the mood of a potent past influencing a powerful present this work is a fine representation of a changing sonic landscape. Punk and its urban cry is a developing genre and on either side of the Atlantic there is major movement in the direction of dissent towards the establishment. This is a warts and all example of a spirit that was to alter the balance of order and send shockwaves amongst the hierarchy.

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“Waiting for Columbus” was recorded during seven performances in early August 1977. The first four shows were held at the Rainbow Theatre in London, UK on August 1st–4th, 1977. The final three shows were recorded in George Washington University’s Lisner Auditorium on August 8th–10th in Washington, D.C. Little Feat was backed at some of these shows by the Tower of Power horn section.
August, 1st back in 1977 (Monday) Little Feat played the first show in London with the Tower Of Power horns, but none of the songs from that evening were chosen for the official release.
Is this the greatest live album, Ever!!! I’ll never forget the first time I heard the version of Spanish Moon. Everytime I hear those horns . Outstanding.

How the group pulled off one of the best live albums of all time, the double-LP “Waiting for Columbus”, is both a heartening story of persistence and a sad, cautionary tale about how band politics can become toxic, and destroy a beautiful thing in the process.

When Lowell George proposed doing a live album in early 1977, the group approved the idea at least partly, because they considered it a good sign that George was involving himself in any decision-making.

They were also anxious to capture their onstage power in the way the Allman Brothers Band, the Rolling Stones, Neil Young and the Band had before them. Little Feat made plans to include the five-piece Tower of Power horn section (Mic Gillette and Greg Adams on trumpets, with Lenny Pickett, Emilio Castillo and Stephen “Doc” Kupka playing saxophones), incorporating new super-funky arrangements inspired by Allen Toussaint’s work with the Band on Rock of Ages.

Every once in a while an album comes along that completely changes the way you think about a band. For me that band is Little Feat and the album is their timeless live offering, “Waiting For Columbus”. Spanning the course of seven shows in 1977, the band makes their way through a set of swampy blues-rock in a uniquely 70’s paradigm that reaches other-worldly altitudes. Little Feat was a band that makes you think many contemporary bands aren’t as revolutionary as you thought.

Little Feat members had always enjoyed recreational drugs and heavy partying, but George was now fully in the grip of a destructive cocaine habit. He often refused to rehearse or jam, disappeared for days at a time and virtually stopped writing songs, leaving production decisions and music construction to keyboardist Bill Payne and guitarist Paul Barrere. In an interview with journalist Bud Scoppa, Barrere described ’77 Little Feat as “without focus or direction, no real managerial control over the business aspect, and because our personal habits were so askew,

It’s one thing to hear the album, but it takes on awe-inspiring qualities when you sit back and listen to it.

First off, lead vocalist and slide-guitarist, Lowell George was an immense talent and should be heralded as a national treasure. His vocal work and lyrical contributions are timeless in-and-of-themselves. Not to mention, as a session guitarist he played on Robert Palmer’s cover of Allen Toussaint’s Sneaking Sally Through The Alley and as a producer, he produced The Grateful Dead’s 1978 album Shakedown Street. Combined with keys player Bill Payne, rhythm/lead guitarist Paul Barrere, Richard Hayward on drums, and bassist Kenny Gradney, Little Feat came together and made something special with “Waiting For Columbus” (especially considering the ensuing disbandment of Little Feat and George’s untimely passing).

On the original two-LP set the concerts’ song order was reconfigured for more dramatic effect, with nine performances from D.C. and eight from London. The Rolling Stones’ Mick Taylor guests on “A Apolitical Blues” from the August 3rd gig, which was otherwise excluded from consideration; it was subsequently known as the “Black Wednesday” show by the band. Barrere and George were seriously hungover after staying up all night with some of the Tower of Power members after the second show. Castillo told writer Ben Fong-Torres for his Willin’ band biography that Hayward and George got into a screaming match just before going on stage, with punches thrown. Road manager Doug Zahn prevented Hayward from physically attacking George, who started the fisticuffs. Other band members reportedly fought in the dressing room after the show as well.

Waiting for Columbus is an impressively thorough expression of the times in which it was created. They’re playing all the sounds available to them and pulling it off in a unique way that celebrates the cultural heritage of the American South, and more-than-adequately covers the eclectic influences of the day. There’s jazz, blues, rock n’ roll, boogie, folk, gospel, soul and the many expressions of these styles within the Americana framework.

The party gets started with a klanky cowbell run that leads into a pot-stirring vibe as “Fat Man in a Bathtub” gets revved up. This tune exemplifies the attitude of Little Feat that never takes itself too seriously; allowing the music to breathe without the air of seriousness that constricts many acts. The improvisational aptitude of the band more than compensates for any nonsensical attitudes displayed in their lyrics. Which are satisfying and flush with wit and humor.

“All That You Dream” opens up as an up-tempo rock city number before breaking into the glorious chorus of “I’ve been down, but not like this before”. Seemingly, to celebrate the perspective of the downtrodden as they harmonize beautifully through this gripping serenade.

“Oh! Atlanta” is the kinda tune that makes you look at ATL from a different angle. One that says “there must be something to this city”. A good ole’ country get-down that moves through luscious musical changes and makes you think, “there’s definitely some tonk in that honky”. Upon taking a closer look at this song, I realized that I didn’t fully appreciate the creativity and musical awareness of Little Feat. Notably, Lowell’s vocals throughout the verse are syncopated and stylized in truly original form.

“Old Folks Boogie” creeps up with a jazzy blues feel and lyrical content that shows how these guys can have fun with their music.

“And you know that you’re over the hill – When your mind makes a promise that your body can’t fill – Doin’ the old folks boogie – And boogie we will – ‘Cause to us the thought’s as good as the thrill” is a hilariously accurate insight to the aging process.

“Spanish Moon” is a song that plays like a soundtrack to wherever you end up at the end of “On Your Way Down” (included on the extended 2002 release). A low-down sinister groove, rife with visceral storytelling and a prominent feeling that it’s goodto be bad, “Spanish Moon” has one of the baddest bass lines on the album. The low-end here is heavier than lead and trudges through the filth of the visceral storyline.

At the moment, I can hardly think of a band that weaves as rich a narrative and moves through it with such compelling musical dexterity. As if to place exclamatory punctuations, the “Tower of Power” horn section lies in wait to unleash their brass-blasting fury.

Moving on to one of Little Feat’s most famous songs, a little left-hand piano boogie quickly opens up to some right-hand woogie as the extended/re-worked version of “Dixie Chicken” takes flight. Complete with an extended piano solo that traverses through a syncopated Fats Waller/Jelly-Roll Morton style and leads into a delightful, Dixieland breakdown with the Tower of Power horns. Cascading piano, sultry clarinet, trumpet and trombone lead the jam before it explodes into “Tripe Face Boogie” which features a tantalizing mix of synthesized sounds and Rhodes piano through the instrumental section.

“Willin’ > Don’t Bogart That Joint” is a slowed-down country crooner section with a beautiful, lonesome feel to it. Riding the edge between all-out-sorrow and a feeling of redemption that says “I’ve been through some shit, but I’m gonna be alright.. And damnit, if I’m not gonna be better off for it.” Speaks to a man at the end of his rope, but ready to heed the omen of progress:

“A Apolitical Blues > Sailin’ Shoes” marks the downright bluesiest section of the album. It starts off chuggin’ down the tracks and settles into a juke-joint vibe that carries through until the last track on the album; Bill Payne’s “Feats Don’t Fail Me Now”. A song that features a frothy bass line that keeps comin’ back for more. Drummer, Richard Hayward drops it into gear while Lowell’s vocals rev up the engine on this beast, for an expansive journey fitting to close out the album.

Little Feat represents a brand of Southern culture that belongs to everyone. Much in the same way that the 1776 ethos isn’t only identifiable to Boston, or Philly. They connect with something in all of us and deal with the full experience; the celebration of life, the evil urges, and a humorous outlook on the hard times that keeps the soul light.

Lowell George became a producer-for-hire, and began work on a solo album that was eventually issued as Thanks, I’ll Eat it Here. He died at the age of 34 while on tour promoting it, ironically playing the Lisner Auditorium a final time on June 28th, 1979, succumbing after a heart attack the next day, most likely brought about by a cocaine overdose. Little Feat eventually regrouped, and with many different line-ups they made fantastic music for decades. Hayward was killed by cancer in August 2010, as was Barrere in October 2019. Of the survivors, Payne has been the most active, working most recently with Leftover Salmon and the Doobie Brothers.

Waiting For Columbus’ cover art by Neon Park (Martin Muller) still confounds easy interpretation, and forms part of the mystique of the album. Is the anthropomorphic tomato-woman a symbol of idyllic America, before Columbus “discovered” her? Three additional outtakes were included on the 1981 Little Feat compilation Hoy-Hoy! and seven more emerged on the Rhino reissue in 2002. Maybe someday the powers-that-be at Warner Bros. Records will release everything recorded and finally satisfy the still-thriving Little Feat cult?

Waiting for Columbus continues to exert a big influence, especially on country, bluegrass, blues and jam bands. On October 31st, 2010, Phish performed the whole album in Atlantic City as part of their annual “Halloween disguise” shows, and on July 21st, 2018, the Peach Festival in Scranton, Pa., saw the remaining members of Little Feat join with moe., Turkuaz and the Midnight Ramble Horns to recreate Waiting For Columbus one more time.

Simply stated, Waiting For Columbus is a timeless classic, worthy of any record collection.

BOWIE – THE COLLABORATOR
THE LEGENDARY BROADCASTS
4 CD SET

For Bowie fans who have all the available official releases already, this four CD set is a worthwhile purchase as an addition to the collection. As these types of recordings go, the sound quality is generally very good – three or four tracks on CD4 sound a little ‘muddy’.

Disc 1
features tracks from the 1980 Floor Show from October 1973, so post the last Ziggy show on July 3rd. It is very much the Ziggy era sound and, of course, the real curio here is the duet of ‘I Got You Babe. It’s also interesting for the live version of tracks from Pin Ups. The only sound fault I noted on this disc was a momentary drop in sound on ‘Time’ at about 2:29. Sadly it also fades 1984 before it gets to the ‘Dodo’ part and instead goes straight into ‘Can’t Explain’. The fade isn’t too messy but it would have been good to have the full 1984/Dodo.

disc 2 was of least interest as the 1978 live sound is already well represented by the Stage album. However, it’s a pleasant enough listen and it’s nice to have a live version of ‘Suffragette City’ from this period.

Disc 3 might also appear of less interest if, like me, you already have the Back in Anger double cd set of this gig with the Nine Inch Nails. The big advantage of the version included here is that, unlike Back in Anger, it doesn’t have the jumps on ‘Andy Warhol’ and ‘Breaking Glass’. It does still have some of the ‘clicking’ in the background on ‘Under Pressure’. Also you don’t get ‘We Prick You’, ‘Joe the Lion’ , ‘A Small Plot of Land’ and ‘Teenage Wildlife’ that are included on the Back in Anger album.

Disc 4 contains a set of tracks taken from various radio and TV broadcasts. It’s level of appeal is likely to depend on the Bowie era you favour – 5 of the 16 recordings from 1975. My main interest in this CD was this Young Americans era material – I have always had a soft spot for the medley with Cher because it is so cheesy. It helps if you are also an Iggy fan as tracks 7, 8 and 16 are him performing songs from The Idiot album. Bowie, of course, co-wrote these – I don’t know if this was sufficient for the compilers of this CD to include them or if Bowie is also playing keyboards as he did on Iggy’s tour at around this time. It’s a shame this final disc didn’t include some of the songs Bowie performed at his 50th birthday celebration with Lou Reed.

Disc 1 – The best of the legendary US broadcast entitled ‘The 1980 Floor Show’, which was actually produced in 1974. Notable collaborators include Marianne Faithfull, Trevor Bolder and Mick Ronson.
1. Sorrow
2. Everything’s Alright
3. Space Oddity
4. 1984
5. Can’t Explain
6. Time
7. The Jean Genie
8. I Got You Babe

Disc 2 – The live broadcast of the last night of The Isolar II World Tour from the NHK Hall in Japan on 12th December 1978. Collaborators include Adrian Belew, who would later join King Crimson, and violinist Simon House, who formerly played in Hawkwind.
1. Warszawa
2. Heroes
3. Fame
4. Beauty And The Beast
5. Five Years
6. Soul Love
7. Star
8. Hang On To Yourself
9. Ziggy Stardust
10. Suffragette City
11. Station To Station
12. TVC15

Disc 3 – The FM radio broadcast of Bowie’s Outside album tour live from St Louis on 11th October 1995, featuring Nine Inch Nails.
1. Subterraneans
2. Scary Monsters (And Super Creeps)
3. Reptile
4. Hallo Spaceboy
5. Hurt
6. Look Back In Anger
7. I’m Deranged
8. The Heart’s Filthy Lesson
9. The Voyeur Of Utter Destruction
I0. Have Not Been To Oxford Town
11. Outside
12. Andy Warhol
13. Breaking Glass
14. The Man Who Sold The World
15. Nite Flights
16. Under Pressure

Disc 4 – Stunning bonus disc featuring rare TV and Radio broadcasts, with notable collaborators from Cher to Iggy Pop.
1. Young Americans (Medley)
2. Fame
3. Can You Hear Me
4. Stay
5. Five Years
6. Heroes
7. Funtime
8. Sister Midnight
9. Life On Mars
10. Ashes To Ashes
11. The Man Who Sold The World
12. Nite Flights
13. Black Tie White Noise
14. Strangers When We Meet
15. The Heart’s Filthy Lesson
16. China Girl