Posts Tagged ‘Taste’

“Our salivating makes it all taste worse,” croons Ty Segall in “Taste”, the lead single from his forthcoming new album, “First Taste”, due August 2nd. He’s talking about us: how we’re the masters of our own destiny, tellers of our own prophecy, makers of our own sickened choices. It’s a warning, but this time, the finger is pointing back at him too. He’s one with us. First Taste is an introspective set for Segall after the extroversions of 2018’s Freedom’s Goblin. Lines of struggle wind through the songs as Segall reflects on family, re-encountering pasts, anticipating futures. He skates through oneness, self-esteem, the parents – all the joys of a rain-filled childhood – while reaching outward in the here and now, feeling for a shared pulse.

Meanwhile, the production is far out! Segall‘s creative juices suggested some radical (in the older sense of the word) new instrumental territories: koto, recorder, bouzouki, harmoniser, mandolin, saxophones and brass, voices, and a sprinkling of keys. Segall occupies the drumset whenever it’s heard on the left speaker, while Charles Moothart plays the kit on the right side Segall‘s vocal prowess sits in fresh relief against his mutant orchestra, spooling tension through some of his most patient songs, his feral scream in complete control. Whatever the mood is, the pedal is pushed cleanly to the metal – and that means to the max of the lightest ballads ever, OR through the most raging rocks yet. Segall‘s song designs are all over the place, but unlike the freewheeling feast style of Freedom’s Goblin, these twelve numbers form a tightly revolving cycle of song and sound that focuses thoughts.

Ty Segall and the Freedom Band will bring their electrifying live shows to LA, NYC, and Europe later this year. During these residencies, Segall will play First Taste in full, alongside select albums from his expansive catalogue. All tour dates, including newly-announced support and specifics on which album Segall will be playing each night, are below.

7/26/19 Teragram Ballroom Los Angeles, CA (plays First Taste + Melted)
8/2/19 Teragram Ballroom Los Angeles, CA  (plays First Taste + Melted)
8/9/19Teragram Ballroom Los Angeles, CA (plays First Taste + Melted)
8/16/19 Teragram Ballroom Los Angeles, CA  (plays First Taste + Goodbye Bread)
8/23/19 Teragram Ballroom Los Angeles, CA  (plays First Taste + Goodbye Bread)
8/30/19 Teragram Ballroom Los Angeles, CA  (plays First Taste + Emotional Mugger)
9/6/19 Teragram Ballroom Los Angeles, CA    (plays First Taste + Emotional Mugger)
9/13/19 Teragram Ballroom Los Angeles, CA  (plays First Taste + Manipulator)
9/20/19 Teragram Ballroom Los Angeles, CA  (plays First Taste + Manipulator)
9/27/19 Teragram Ballroom Los Angeles, CA (plays First Taste + Manipulator)
10/1/19 Warsaw Brooklyn, NY  plays (First Taste + Melted)
10/2/19 Warsaw Brooklyn, NY plays (First Taste + Melted)
10/3/19 Warsaw Brooklyn, NY plays (First Taste + Goodbye Bread)
10/4/19 Warsaw Brooklyn, NY plays (First Taste + Emotional Mugger)

10/5/19 Warsaw Brooklyn, NY plays (First Taste + Manipulator)

EU:

10/9/19     La Cigale  Paris, France (plays First Taste + Melted)
10/10/19     La Cigale Paris, France (plays First Taste + Manipulator)
10/11/19     Oval Space  London, United Kingdom    (plays First Taste + Melted)
10/12/19     Oval Space  London, United Kingdom    (plays First Taste + Goodbye Bread)
10/13/19     Oval Space  London, United Kingdom    (plays First Taste + Manipulator)
10/15/19     Festaal Kreuzberg     Berlin, Germany    (plays First Taste + Melted)
10/17/19     Patronaat Haarlem, Netherlands (plays First Taste + Melted)
10/18/19     Patronaat Haarlem, Netherlands (plays First Taste + Manipulator)
10/19/19     Desertfest Antwerp     Antwerp, Belgium
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Woburnwas one of the first rock festivals including the inexpressibly wonderful Jimi Hendrix.. At the time the British blues bands such as John Mayall and Fleetwood Mac were riding high. Organised by the UK music magazine the Woburn bash advertised in the Melody Maker with Mayall, Fleetwood Mac , Hendrix , over two days.The Woburn Music Festival was one of Britain’s first large scale, open-air rock music events. Staged by brothers Richard “Rik” and John Gunnell, who were well respected individuals in the burgeoning London music scene where they were heavily involved in many aspects including band managed, show promoters and club owners. Rik in particular, who owned three fashionable 1960’s London nightspots—the Ram Jam Club, Flamingo, and Bag O’ Nails presented authentic, first generation American icons like John Lee Hooker and Otis Redding and some of the brightest examples of a swelling wave of emerging British talent such as The Rolling Stones, Jack Bruce and Georgie Fame.

People standing in their gardens two miles away from Woburn Abbey could hear strains of pop music floating on the air… As dusk fell along with the temperature, the Festival attendance reached a peak of over 14,000. Emperor Rosko compered the evening session and swung things along with records and tapes in between sets from Little Women, New Formula, Geno Washington, Tyrannosaurus Rex, the Family, and Jimi Hendrix Experience blasting his way into the midnight hour. Already fires were being built and lit all over the field. With [the] end of Jimi’s set everybody headed for homes, temporary or permanent. On the Sunday morning many of the fans had spread out into the sur*rounding district in search of food and drink. At the Swan Hold. Woburn Sands, landlord Chris Collier dished out pints like there was no tomorrow and the regular customers stood looking amused and bemused by the inrush of long-haired customers….

The line-up for the Saturday afternoon session was as follows. Alexis Korner, Shirley and Dolly Collins, Al Stewart, Roy Harper and Pentangle. It was a very pleasant sunny day, the area was not particularly full. Roy Harper – who in those days was relatively smooth looking , minus most of his hair and facial adornments, He ambled through most of the tunes from his album. Folkjokeopus – Sgt Sunshine, She’s the One ,Exercising Some Control , all great songs. Unfortunately he then decided to finish the set with the very lengthy McGoohans Blues, which although a good song, is 18 minutes long and was just not up-tempo enough for a festival setting. 

Pentangle were the last band of the afternoon session the crowd were knocked out by their on-stage act. They really were not the ideal sort of band for a large festival. For a start, folk bands were often not really amplified loudly enough in those days. All it needed was a reasonable breeze and the wind blew the sound away  and Pentangle’s rather soft sound suffered badly at an outdoor venue. The individual members, each in their own ways masters of their craft Bert Jansch and John Renbourn were just too quiet to capture the attention in this least intimate of settings.I’d love to hear their set again just to pick up on Danny Thompson bass. I wasn’t aware of how good this guy can be until I heard him on John Martyn’s Solid Air a few years later, pure  genius .

New Formula were a bleeding awful sweet soul group and NOBODY liked them. You have to feel sorry for this band , they were given an awful reception . Slow hand clap, whistles, shouts of piss off  I have a vivid memory of some tousle haired Marc Bolan clones down the front throwing toilet rolls at the lead singer, and after a while the band retired hurt. So much for the generation of love. 

The next band on were Family and they were phenomenal they were something out of this world.  Frontman Roger Chapman was so frigging MANIC on-stage, grabbing the mic stand so tightly that he might have been strangling it, cords on the neck strained so tight that it was a wonder he didn’t burst a blood vessel, the sounds issuing forth floored the crowd Chappo was unique.

And the rest of the band! Jim King blowing his brains out on sax, John Whitney on searing lead and steel guitar, Ric Grech on bass and occasional violin and the excellent Rob Townsend on drums , simultaneously elegant and threatening. This was the best line up of Family, and they had a great range of songs, most from their first highly under rated albumMusic from a Dolls House, songs like – Hey Mr Policeman, Me My Friend,  Old Songs New Songs – they were BRILLIANT and many in the audience thought so too.

Tyrannosaurus Rex were fun, if slight. Bolan strummed and churned out his fey little songs with predictable charm and Steve Took provided nice little edges with his bongos. Tyrannosaurus Rex were the staple of many festivals at the time , archetypal hippies, they enjoyed a certain sort of vogue . Bolan and Took went down very well with the audience, so I am probably  in the minority here – but after the concentrated madness of Family it seemed anticlimactic. 

The bill was a pretty eclectic one, veering wildly into the realms of pseudo soul , far out psychedelic rock, psychedelic folksy rock and back to genuine, get down and dance-to-the -music SOUL – in the form of Geno Washington and the Ram Jam Band.

  • Geno Washington – vocals
  • Pete Gage – guitar
  • Lionel Kingham – saxophone
  • Buddy Beadle – saxophone
  • Jeff Wright – organ
  • John Roberts- bass guitar
  • Herb Prestidge – drums

These guys laid it down in the alley and, in contrast to the ill fated Little Women, the crowd loved every note of their act  . This was the real thing , but above all , it was dance music and it meant that the crowd could get loose and enjoy themselves.  The use of a good gutsy horn section to punctuate vocal chorus’s  also really pushed the music out there and the fact that Geno was a damn good front man also helped more than somewhat. The band were all gussied up in over the top stage clothes – this was an ACT in every sense of the word and it set the stage more than nicely for the top of the bill,Mr James Marshall Hendrix. Now almost everything that can be said about Jimi’s performance has been said on the excellent Univibes pages on the Woburn festival, Whether the inclusion of Geno Washington on the bill was a deliberate act by the promoters to give the crowd an idea of the sort of bands that Jimi used to play with , I don’t know, but whether it was or not, it certainly put  the audience into a great mood and they were more than enthusiastic about the Hendrix set , which was the only Hendrix concert in the UK in 1968. 

Although the Univibes site rates the show as average ,they are not able to see what went down on-stage , which was pretty outrageous, with Jimi playing the guitar with his teeth , grinding his axe between his legs and generally doing all the things that got the girls horny for him . Given all of that it was a fantastic visual experience and the music certainly seemed great too ,there was rapturous applause as he left the stage and as the crowd streamed off into the night. 

At Woburn, Jimi skipped songs from Axis: Bold As Love altogether, electing instead to ‘jam’ as he called it—kicking off his set with a spirited “Sgt. Pepper’s Lonely Hearts Club Band.” The trio followed with “Fire,” and despite beset with buzzing, crackles and otherwise unwanted noises throughout their set, The Experience continued to persevere doing their best to surmount the technical problems that hampered an otherwise animated set.

Although opting to bypass music from Axis: Bold As Love, Hendrix did foreshadow his next album at Woburn, stretching out a marvelous 10+ minute version of “Tax Free;” an early contender for Electric Ladyland and a favorite Experience vehicle for improvisation. Hendrix followed up with another extended improvisational rendition of “Red House” before closing the show with a trio of live concert stalwarts “Foxy Lady,” “Voodoo Child (Slight Return)” and “Purple Haze.”

In launching into “Purple Haze,” Jimi kicked off a boisterous feedback opening, buttressed by Mitchell and Redding and complete with tremolo bar swoops, wah-wah pedal shadings and soaring dive bomb styled bursts that transitioned seamlessly into the song’s unmistakable opening notes. At its conclusion, the audience roared with approval. While no microphones were positioned to fully capture the intensity of their reaction, their enthusiasm and calls for more can be easily heard through Jimi and Noel’s stage microphones.

The Experience’s performance at Woburn Music Festival would mark the trio’s last performance in England until the two celebrated concerts in February 1969 at the Royal Albert Hall.

Jimi Hendrix July 6th & 7th 1968, Woburn Music Festival, Woburn Abbey, Bedfordshire.

Apparently Fleetwood Mac did not turn up, due to other commitments, and the whole Sunday show was wet and badly attended,Apparently there is a sound board recording of the HendrixFamily and Geno Washingtonsets from the Saturday which may be released as a CD sometime.It is even rumoured that theHendrix show was filmed using three cameras. Who knows ,perhaps both of these precious artefacts will be released one day. 

The soundboard recordings have been SOLD ! A rare 1⁄4 inch reel-to-reel master soundboard tape recording of the Jimi Hendrix Experience and others performing at the Woburn Music Festival, Woburn Abbey, Bedfordshire, England, 6-7 July, 1968, was offered for sale at Christies. The price realise was £48,050, which probably means that either the music will disappear into a collection or be eventually offered for sale commercially . However since apparently the Hendrix estate were not previously keen to release the Hendrix set (and this may be why the owners have decided to sell the recordings) there would have to be a policy change before this happened.

Recordings and Setlists Woburn Music Festival, 6th July, 1968

Family (29:13 minutes)

  • Me My Friend
  • Old Songs New Songs > How Many More Years (You Gonna Wreck My Life)
  • Good Morning Little Schoolgirl
  • Hey Mr. Policeman
  • Observations (incomplete)

Geno Washington (18:05 minutes)

  • Mony Mony
  • Funk Broadway
  • Rock Me, Baby
  • I Get So Excited
  • Holding On Baby (With Both Hands)
  • Baby Come Back
  • Jumping Jack Flash


The Jimi Hendrix Experience (48:22 minutes)

  • Sgt. Pepper’s Lonely Hearts Club Band (0:42)
  • Fire (3:18)
  • Tax Free (10:10)
  • Red House (10:17)
  • .Foxy Lady (4:12)
  • Voodoo Child (6:05)
  • .Purple Haze (8:00)

 Woburn Music Festival, 7th July, 1968 

Taste (23:21 minutes)

  • Summertime
  • Blister On The Moon
  • I Got My Brand On You
  • Rock Me,>Baby Bye Bye Bird >Baby Please Don’t Go >You Shook Me Baby

This is the earliest professional live recording of this Taste line-up known to exist. After finishing the first song of his set, Rory Gallagher says Thank You 16 times!


Tim Rose (8:57 minutes)

  • I Got A Loneliness
  • Long Time Man (incomplete)

The Jimi Hendrix Experience show at Woburn was professionally recorded on a 7.5 ips, 2-track, mono, reel-to-reel tape. It is not known who actually recorded this tape but the master tape was stored in a small studio in London, where it sat on the shelves among a wall of tapes. In the early 1970s, the studio went bust and an employee rescued some of the tapes before they were destroyed. Additionally, a film crew was present to record the event. Nothing is known of the whereabouts of this footage, but if such footage were to surface it would be an incredible find and a wonderful companion to the recording.

So. the festival come [sic] to an end. unfortunately rather a damp one. How ever a bright note was struck by a message from the Abbey saying that the Duke thought the Festival had been very well organised and he would be happy to see it happen again. A sigh of relief was given all round…. [ attendance of] nearly 8,000 people [on the Sunday for Donovan’s set and more rolled in for the final blues session played in pouring rain.”

Any time fans or critics are asked to pick the most influential and innovative guitarists in rock history, iconic names such as Eric Clapton and Queen’s Brian May invariably crop up. But if you asked those legends which guitar god they themselves respect the most, chances are they’ll cite Rory Gallagher.

Clapton once told the BBC that Gallagher should be credited with “getting me back into the blues”, while in the film What’s Going On: Taste At The Isle Of Wight, Brian May says, “I bought this little AC30 amp and Rangemaster Treble Booster, just like Rory’s set up, and plugged in my own home-made guitar with it. It gave me what I wanted, it made the guitar speak, so it was Rory that gave me my sound.”

May and Clapton are just two of numerous luminaries who have keenly expressed their admiration for the trailblazing Irish guitarist, bandleader and singer-songwriter. He died aged just 47, in 1995, but Rory Gallagher’s music continues to cast a long shadow over rock’n’roll, with fretboard wizards from successive generations.

With his entire solo catalogue about to be reissued on CD and vinyl, fans old and new have an ideal opportunity to re-evaluate Rory Gallagher’s illustrious body of work, yet the much-missed Cork man deserves respect on so many levels, for what he achieved was simply unprecedented.

The young, idealistic, blues-loving Gallagher broke that mould, with his work ethic, self-penned material and incendiary live shows building his band’s reputation from the Shandon Boat Club, in Cork, to London’s famous Marquee, and eventually brokering a deal with Polydor. This dedication led to hit albums such as On The Boards and prestigious shows with Cream at London’s Royal Albert Hall, and at the 1970 Isle Of Wight Festival alongside The WhoJimi HendrixThe Doors and Free.

That Rory Gallagher was the first credible Irish rock musician to make such things possible was acknowledged by Hot Press journalist Dermot Stokes in Marcus Connaughton’s biography, Rory Gallagher: His Life And Times.

“I think that the hugely important thing that Rory did early on in his career was to establish that an Irish band could form, play original material – could do it in Ireland first of all, then could take it to London, then Europe and around the world,” he said. “Taste first of all, then Rory, were the first bands to do that from this country. That’s the fundamental example that they set.”

Other elements of Gallagher’s DNA that set him apart from his contemporaries were his inherent professionalism, discipline and commitment to his craft: essential qualities he exuded throughout his entire career. Rarely happier than when he was on the road, Gallagher toured incessantly during the 70s and 80s, and his best work was often captured on timeless in-concert recordings such as Live In Europe and the live double-album and concert film Irish Tour ’74.

“The great instrumental soloists such as Rory, they were people whose skill I was just in awe of, and that was coupled with considerable musicianship every night,” Irish Tour ’74 director Tony Palmer told Marcus Connaughton. “I think I was the first person ever to film Jimi Hendrix and I’m often asked why. It was because I’d never heard anybody play the guitar like that before! That was why I wanted to make Irish Tour ’74, because Rory’s talent was for a long time underestimated, I felt. He was a wonderful musician and I also liked the fact there was absolutely no bulls__t about him and absolute tunnel vision – very professional, minded very much that we reflected that in the film.”

“He never got above himself,” Rory’s brother and manager Donal Gallagher said in a recent Irish Examiner article marking what would have been the guitarist’s 70th birthday, on 2nd March 2018. “He was very much the man in the street. He lived to be on stage. When he was off-stage, everything was about getting from A to B, getting to the stage or to write. That’s what he was about.”

Of course, with album sales numbering upward of 30 million copies, we should also remember Rory Gallagher’s recordings also yielded considerable commercial success. Yet, chart positions and the trappings of fame were never the driving force for this unassuming figure, whose high-octane live shows contrasted with his shy off-stage demeanour. One of rock’s master craftsmen, Gallagher really cared about his art. He was – and remains – a role model for aspiring young guitarists, and his body of work will inspire generations still to come.

The irreplaceable Irish blues-rock guitar virtuoso Rory Gallagher was a cruelly young 47 when he died after complications from a liver transplant on 14th June 1995.

Order the Rory Gallagher reissues . A limited edition box set of 300 copies, housing all 15 of the albums.

Remembering The Great Rory Gallagher

Legendary Irish guitarist Rory Gallagher died at the age of 47, as a result of a chest infection he picked up following a liver transplant. Gallagher sold over 30 million records and once auditioned for the Rolling Stones when Mick Taylor left the band in 1972.

The irreplaceable Irish blues-rock guitar virtuoso Rory Gallagher was a cruelly young 47 when he died after complications from a liver transplant on 14th June 1995. Rory Gallagher was born in Ballyshannon in County Donegal and raised in Cork. He began to whip up a storm with his guitar sorcery when he co-founded the trio Taste in 1966, when he was a mere 18. When they started to go international, a couple of years later, they won admiring glances from fans of Cream (for whose famed farewell Royal Albert Hall concert they opened) and Blind Faith, the short-lived supergroup on whose North American dates they also guested. Taste were celebrated with the release in August 2015 of the four-CD I’ll Remember box set.

I'll Remember

Taste only lasted until 1970 themselves, but by then they had played at that year’s Isle of Wight Festival and made two studio albums. The second, On The Boards, was a top 20 success in the UK, and when Gallagher swiftly started recording in his own name under a new solo deal with Atlantic Records, he made the top 40 with his self-titled debut and a swift follow-up, Deuce, both in 1971.

They were the first in a long line of releases to win either silver or gold certification, and it’s appropriate that the sole Gallagher album to make the UK top ten was one on which his celebrated, his blistering style as a live performer was commemorated, on 1972’s Live In Europe. That also enjoyed by far his longest chart run, at 15 weeks. The next year, Blueprint gave Rory his initial US album chart appearance.

Never one to court fame for its own sake, Gallagher continued to enhance his awesome reputation with his prolific recording and touring for the rest of his life. His last studio album, his 11th, was 1990’s Fresh Evidence. He had plans to tour the record, release an EP and more besides, at the time of his death.

But it was always all about the music for Rory Gallagher. “Regardless of fashions there are still blues and rockabilly fans,” he told Chris Welch in Metal Hammer in one of his last interviews. “Certainly for a while, the press overlooked rootsy music [which] they thought was old fashioned and irrelevant.

“But what I’m trying to do,” he continued, “is create music that respects the roots, but is based on new material as opposed to just me doing old blues, acid rock standards all the time. That’s the key really, to update the music itself by hitting it on the head, and coming up with new chord changes and tunes.”

In the later years of his life Gallagher developed a phobia of flying. To overcome this he received a prescription for a powerful sedative. This medication, combined with his alcohol use resulted in severe liver damage. Despite this he continued touring. By the time of his final performance on 10th January 1995 in the Netherlands, he was visibly ill and the tour had to be cancelled. Gallagher was admitted to King’s College Hospital in London in March 1995, and it was only then that the extent of his ill-health became apparent: his liver was failing and the doctors determined that in spite of his young age a liver transplant was the only possible course of action. After 13 weeks in intensive care, while waiting to be transferred to a convalescent home, his health suddenly worsened when he contracted a staphylococcal (MRSA) infection, and he died on 14th June 1995, at the age of 47.

Image result for john minihan photos of taste

Taste were formed in the city of Cork. Ireland, by 18-year old Rory Gallagher in 1966. By then Gallagher was a veteran of the Irish show band circuit, He had toured much of Europe and played a residency in Hamburg. With Taste he mixed original material with blues covers, the band’s raw, dynamic sound quickly establishing them In Belfast then London. Just before Taste signed with Polydor Records the band’s management insisted on replacing the Cork rhythm section with drummer John Wilson and bassist Richard McCracken, both veteran Belfast musicians (Wilson had played in Them).

Taste’s exciting live performances set attendance records at London’s Marquee Club and they gained wide European popularity with their eponymous 1969 debut album. 1970 should have been Taste’s year. they released their sophomore album ‘On The Boards’ on January 1st. 1970, to rave reviews across Europe and the US. The band’s work effort and inspired live performances had established Taste truly as a “people’s” band.

Praise for the band – and, especially, Rory Gallagher – came from many noted musicians. John Lennon championed Taste while Jimi Hendrix, when asked how it felt to be the world’s greatest guitarist, replied that he had no idea and the question should be redirected to Rory Gallagher. Yet, internally. Taste were bitterly divided due to differences between Gallagher and the rhythm section over management, money and status. A break-in to the band’s van (only drum pedals were stolen) the night before they headed to IOW brought tensions to a head with Rory emphasising that if management had provided Taste with a superior vehicle (as long requested) the theft wouldn’t have occurred. If tensions were simmering in the van the Southampton ferry crossing on Friday morning provided a sense of exhilaration – they could feel the excitement building as thousands of rock fans gathered for the festival.

Unfortunately, the huge numbers of people arriving on the IOW (population 100,000) meant Taste struggled to get on site in time for their late afternoon set. Things only got worse once there as they became aware the festival was being filmed. their manager threatened to cancel Taste’s performance. But perform they did. taking the stage in perfect conditions. Taste tore into ‘What’s Going On’. The huge audience, until then somewhat subdued in response to the afternoon’s bands, rose to their feet. The ten thousand hours Rory had put in playing live over the past six years ignited a truly explosive performance. Perhaps the inter-band tension also fuelled Taste as the trio played superbly, giving their absolute all. each member listening and responding so creating music alive with excitement and possibility. Electricity was in the air and the audience screamed for an encore. Taste obliged but the audience refused to let them go. One – two – three – encores! Right then everyone bearing witness agreed. Taste were the most exciting live band in the world. Backstage Taste were charged with adrenalin and aware they had achieved something special.

 

Image result for john minihan photos of taste

This is what it’s all about – playing rock and roll like your very life depended on it! But the ill feeling remained and. when photographer John Minihan requested that Taste gather for a portrait, the trio were reluctant. Finally, bassist McCracken said, “come on guys, even if it is the last one” and grabbed Gallagher and Wilson for the photo. Photo taken, Rory and his brother Donal then went off to watch Tony Joe White play. Rory was so impressed he would later include White’s ‘As The Crow Flies’ into his live set. Taste might have had the adulation of an adoring public ringing in their ears but their IOW performance did not heal the band’s divisions and they would confirm that they were to split a few days later.

As Taste were contractually committed to a European tour they continued until a final Belfast concert on New Year’s Eve, 1970. In that tumultuous year their Isle Of Wight performance sealed Taste as more a legend than a band.

words by Garth Cartwright

Taste – August 28th, 1970 Isle Of Wight Festival

00:00 What’s Going On – 5.31 05:31 Sugar Mama (Traditional) – 10.46 16:17 Morning Sun – 4.38 20:55 Gambling Blues (Traditional) – 4.52 25:47 Sinner Boy – 5.41 31:28 I’ll Remember – 8.29 39:57 I Feel So Good (Big Bill Broonzy) – 10.26 50:23 Catfish Blues (Traditional) – 14.14 1:04:37 Same Old Story – 6.54 1:11:31 Blister On The Moon – 7.46 All songs by Rory Gallagher except where stated

Taste Rory Gallagher – Guitars, vocals Richard McCracken – Bass John Wilson – Drums

Generally written off as a Jesus and Mary Chain and Spacemen 3 rip The Telescopes earlier records are a lot more diverse than tag lines may describe. The Telescopes are to shoegaze what The Cro-Mags are to Hardcore. The Cro-Mags started late and therefore benefited from the influence of every major and influential hardcore punk bands of that era. They fused everything that they where influenced by and injected their own new york attitude into it. The Telescopes do a very similar move on their first LP ‘Taste’, and the title itself gives an air of pretension more overt and obvious than the Mary Chain or Spacemen 3 (see also the lyric in There Is No Floor, ‘there is no 13th floor’). The record was released in 1989 and its sound is equally influenced by records like Psychocandy or the Perfect Prescription but these dudes where obviously waaaay stoked on garage punk. Like they are definately down with the Stooges and Iggy Pop but they where probably waaay more excited about The Iguanas or Them. They also have much more of a Rolling Stones influence with a bit of the Buzzcocks

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Our first album Taste. Originally released on What Goes On Records, almost 30 years ago, later re issued on; Cheree Records, RevOla Records/ Cherry Red Records and Bomp Records. Now available to download from our Bandcamp site..

Hippie Hero Rory Gallagher fronts Taste 'Live At The Isle Of Wight ...

Originally formed in Cork, Ireland in 1966 by Rory Gallagher, Taste had a brief but influential career, releasing two studio albums in 1969 and 1970 and disbanding shortly after their legendary appearance at the 1970 Isle Of Wight Festival, which is the centerpiece of this film. The core of What s Going On is the band s performance at the festival on August 28th but it is encapsulated by a documentary on the history and importance of Taste and setting the scene for their Isle Of Wight Festival appearance.

Academy Award winning Director, Murray Lerner explores Irelands seminal rock band ‘Taste’ with unseen footage from the trio’s now legendary performance at the Isle Of Wight Festival 1970. The festival at the Isle of Wight was to Europe what Woodstock was to the USA. Many problems came about as more rock fans than tickets available came to this usually peaceful island just off the coast of Portsmouth, England. The festival was held at East Afton farm in Freshwater, on the 13- by 23-mile island off the coast of Southern England. This was considered the last monster tribal gathering — the five-day 1970 Isle of Wight Festival — where 600,000 mostly stoned flower children turned ugly in obnoxious displays of hippie self-righteousness.” 

Many of the biggest rock stars of the time appeared at this festival including The Who, Free, Donovan, Ten Years After, The Moody Blues, Joni Mitchell, Joan Baez, Leonard Cohen and Jethro Tull, and ELP. Jimi Hendrix and Jim Morrison of the Doors made their last live stage appearance here. 

Taste played through the madness of this giant concert where those who did not have tickets rushed and crashed the gates. ‘Taste Live at the Isle of Wight’ has some wonderful songs by Rory Gallagher and a cover for blues star Broonzy in “I Feel So Good.” Originally formed in Cork, Ireland in 1966 by Rory Gallagher, Taste had a brief but influential career, releasing two studio albums in 1969 and 1970 and disbanding shortly after their legendary appearance at the 1970 Isle Of Wight Festival. This expanded CD is released to coincide with the newly restored 16mm film footage appearing on DVD & Blu-ray. It includes four additional tracks which were not included on the original 1971 album. Rory Gallagher would go on to enjoy an acclaimed and highly successful solo career and this electrifying show by Taste is an early example of Rory s justified reputation as the ultimate live performer.

Live at the Isle of Wight is the fourth album and second live album by Irish rock band Taste, released in 1971.[1] It was recorded live at the Isle of Wight Festival 1970 and released after the band broke up.

Taste could have been on top of the world musically, this performance proves they were a force to take notice of, Rory Gallagher’s playing is inspired, there was a sound made I could not identify until I saw it on the film, Rory actually hitting the strings with the palm of his hand makes this sound. John Wilson on drums leaning in so as not to miss any notes he counters to Rory’s, the same with Richie McCracken on bass, Rory leading and they match him note for note on their instruments, Rory pulls them along with unspoken “you can do this”. They played on Friday afternoon, a lot of the crowd hadn’t arrived by then, after What’s Going On (the opening number) the appreciation starts to grow, by the time they leave the stage (for the first time) after I Feel So Good, the crowd are roaring, its like an avalanche or tidal wave, the crowd know they are witnessing something they will never see again, I reckon they could literally have played all night, the crowd would have demanded they stay on stage.

On the way to the festival, due to appallingly bad management, Rory had decided to break up the band, so they played on stage like they were possessed. It is the most amazing, mind blowing, awesome, tremendous set ever, inventive, as Rory introduces Gamblin’ Blues he says “we would like to do a bit of bottleneck, hope you like it” – the crowd didn’t like it THEY LOVED IT. I know of one of my friends who was actually at this festival and he waited 45 years to hear it again

Track listing[edit]

  1. What’s Going On” – 5:41
  2. Sugar Mama” (Trad. arr. by Rory Gallagher) – 10:18
  3. “Morning Sun” – 4:31
  4. “Sinner Boy” – 5:31
  5. “I Feel So Good” (Big Bill Broonzy) – 10:10
  6. “Catfish” (Trad. arr. by Rory Gallagher) – 14:26
  • All tracks composed by Rory Gallagher except where indicated.

At the end of August, Universal Music will issue I’ll Remember, an archival box set featuring the music of Taste, the Irish rock/blues band formed in the mid sixties that featured Rory Gallagher on guitar and vocals.

The four disc set will feature both studio albums (1969′s Taste and the 1970 follow-up On The Boards expanded with many alternate versions of album tracks. The third CD is full of live audio from 1970 culled from concerts in Stockholm and London while the final disc adds demos, rare single cuts and more live material.
Disc 1

1 Blister On The Moon 03:26
2 Leavin’ Blues 04:15
3 Sugar Mama 07:14
4 Hail 02:35
5 Born On The Wrong Side Of Time 04:00
6 Dual Carriageway Pain 03:13
7 Same Old Story 03:32
8 Catfish 08:04
9 I’m Moving On 02:29
10 Blister On The Moon (Alternate Version) 03:21
11 Leavin’ Blues (Alternate Version) 04:31
12 Hail (Alternate Version) 02:35
13 Dual Carriageway Pain (Alternate Version / No Vocals) 03:13
14 Same Old Story (Alternate Version) 03:26
15 Catfish (Alternate Version) 06:55

Disc 2

1 What’s Going On 02:44
2 Railway And Gun 03:33
3 It’s Happened Before, It’ll Happen Again 06:32
4 If The Day Was Any Longer 02:07
5 Morning Sun 02:38
6 Eat My Words 03:45
7 On The Boards 06:01
8 If I Don’t Sing I’ll Cry 02:38
9 See Here 03:04
10 I’ll Remember 03:01
11 Railway And Gun (Off The Boards Mix) 04:26
12 See Here (Alternate Version) 03:13
13 It’s Happened Before, It’ll Hapen Again (Beat Club TV Audio / Take 2) 10:52
14 If The Day Was Any Longer (Beat Club TV Audio) 02:35
15 Morning Sun (Beat Club TV Audio) 03:31
16 It’s Happened Before, It’ll Happen Again (Beat Club TV Audio) 09:48

Disc 3

1 What’s Going On (Live In Konserthuset Stockholm, Sweden / 1970) 06:14
2 Sugar Mama (Live In Konserthuset Stockholm, Sweden / 1970) 06:48
3 Gamblin’ Blues (Live In Konserthuset Stockholm, Sweden / 1970) 06:41
4 Sinner Boy (Live In Konserthuset Stockholm, Sweden / 1970) 06:23
5 At The Bottom (Live In Konserthuset Stockholm, Sweden / 1970) 03:19
6 She’s Nineteen Years Old (Live In Konserthuset Stockholm, Sweden / 1970) 03:57
7 Morning Sun (Live In Konserthuset Stockholm, Sweden / 1970) 04:18
8 Catfish (Live In Konserthuset Stockholm, Sweden / 1970) 06:33
9 I’ll Remember (BBC Live In Concert / Paris Theatre, London / 1970) 06:14
10 Railway And Gun (BBC Live In Concert / Paris Theatre, London / 1970) 04:58
11 Sugar Mama (BBC Live In Concert / Paris Theatre, London / 1970) 07:19
12 Eat My Words (BBC Live In Concert / Paris Theatre, London / 1970) 09:21
13 Catfish (BBC Live In Concert / Paris Theatre, London / 1970) 05:27

Disc 4

1 Wee Wee Baby (Demo) 02:45
2 How Many More Years (Demo) 03:24
3 Take It Easy Baby (Demo) 07:08
4 Pardon Me Mister (Demo) 02:44
5 You’ve Got To Pay (Demo) 03:55
6 Norman Invasion (Demo) 03:01
7 Worried Man (Demo) 02:30
8 Blister On The Moon (“Major Minor” Single Version) 03:25
9 Born On The Wrong Side Of Time (“Major Minor” Single Version) 03:15
10 Summertime (Live At Woburn Abbey Festival, UK / 1968) 01:31
11 Blister On The Moon (Live At Woburn Abbey Festival, UK / 1968) 03:36
12 I Got My Brand On You (Live At Woburn Abbey Festival, UK / 1968) 07:23
13 Medley: Rock Me Baby / Bye Bye Bird / Baby Please Don’t Go / You Shook Me Baby (Live At Woburn Abbey Festival, UK / 1968) 10:59

I’ll Remember is due for release on 28 August 2015.

Rory Gallagher and Taste perform “Morning Sun” (Beat Club 1970). Included in the upcoming release of the 4-CD Taste compilation are the audio tracks from Taste’s appearance on the German Beat Club programme. Here’s the video of Morning Sun from that appearance. In a BBC Radio 4 tribute program to Rory, Brian May stated that a key inspiration for the riff to Queen’s ‘Tie Your Mother Down’ came from this tune.

Rory Gallagher, one of the finest Blues-Rock guitarists to come out of Ireland, passed away twenty years ago today. Rory was a great front-man for a Blues band, with a wild, rough voice, astonishing skill and sensitivity as a guitarist, and he was a brilliant songwriter too

Taste feat. Rory Gallagher – Beat Club 52
Setlist:
It’s happened before it’ll happen again #1
If the day was any longer
Morning sun
It’s happened before it’ll happen again #2

The Rory Gallagher musical well isn’t dry quite yet, as evidenced by this dozen-track collection of live-in-the-studio work from the early years of his solo career. This disc officially appeared in September 2010 and collects four tunes from three separate sessions recorded May 1971 through June 1972 for the German Beat Club TV series (a companion DVD was released simultaneously). The songs will be familiar to all Rory Gallagher fans, as most are available on his first few albums. All but Junior Wells‘ “Messin’ with the Kid” and Sonny Thompson‘s “Toredown” (probably best known through Freddie King‘s version) are originals, played by his sturdy backing trio featuring Wilgar Campbell on drums and longtime bassist Gerry McAvoy. While there aren’t many musical surprises, these versions are noticeably leaner and tougher than their associated studio performances. This also makes a logical companion piece to Gallagher‘s breakthrough release, Live in Europe, since it’s recorded with the same band but only repeats four of its selections. The blues-rocker was young, hungry, and scorching hot during these years and Germany was one of the first countries where he found success. Numbers such as “Crest of a Wave,” “Sinnerboy,” “Used to Be,” the aforementioned “Toredown” along with the acoustic “Just the Smile” and “I Don’t Know Where I’m Going” don’t show up often in concert versions, if at all, even with the plethora of live Gallagher material available, so clean, live recordings of them are a real find for fans. The guitarist hit his groove on these sessions, as can be heard on a surging “I Could’ve Had Religion,” where his slide work simply burns. The song “Hands Up,” caught here from the 1971 show, wouldn’t appear on a studio title until 1973’s Blueprint, although the arrangement didn’t change markedly over the years. Rory Gallagher rips into a seven-minute take on his slow blues “Should’ve Learned My Lesson” with the type of intensity Jimmy Page routinely displayed, and Campbell‘s drums have ferocity similar to John Bonham‘s. The sound is terrific for live music of the time — full, rich, and well recorded, with every instrument easily identifiable in the mix but displaying all the rawness and crackling sparks that made Rory Gallagher such an iconic figure in the history of blues-rock.