July 14, 2012
July 13, 2012
ELTON JOHN - Starlight Theater Kansas City - 07/07/1982
Elton John
1982-07-07
Starlight Theater
Kansas City
FM Broadcast Recording
01. Funeral For A Friend > Love Lies Bleeding
02. All The Young Girls Love Alice
03. Someone Saved My Life Tonight
04. Better Off Dead
05. Ball and Chain
06. Empty Garden
07. Goodbye Yellow Brick Road
08. The Bitch Is Back
09. Pinball Wizard
10. Ticking
11. Elton's Song
12. Chloe
13. Where To Now Saint Peter
14. Where Have All The Good Times Gone
15. Rocket Man
16. Bennie and The Jets
17. Teacher I Need You
18. Dear John
19. Your Song
20. Saturday Night's Alright For Fighting
21. Daniel
22. Crocodile Rock
23. Whole Lotta Shakin Goin On, I Saw
24. Twist and Shout
MAHAVISHNU ORCHESTRA - Memorial Auditorium Kansas City, MO - 08/13/1973
Mahavishnu Orchestra
Aug 13, 1973
Memorial Auditorium
Kansas City, MO
01. Birds Of Fire (11:37)
02. Sister Andrea (14:57)
03. Dream (27:35)
04. Stepping Tones (3:44)
05. Awakening (25:57)
Billy Cobham - drums
Jerry Goodman - violin
Jan Hammer - keyboards
Rick Laird - bass
John McLaughlin - guitar
When John McLaughlin formed the initial Mahavishnu Orchestra, the personnel included Jerry Goodman, a classically trained American rock musician; Jan Hammer, a Czechoslovakian keyboard player with a strong jazz background; Rick Laird, an Irish bass player with both jazz and rock experience, and Billy Cobham, a powerful and technically brilliant jazz drummer from Brooklyn whose style would completely redefine his instrument. Combining the improvisational elements of jazz with the volume and energy of rock music, this globally and musically diverse group brought elements of music of the Far East, R&B, blues, and classical music to the table. The Mahavishnu Orchestra created music that was intricate and complex, performed by musicians whose virtuosity thrilled audiences and critics alike. The group had a firm grip of dynamics and was equally adept at dense, aggressive flights of feverish intensity as they were at creating moments of passionate spiritual contemplation.
The initial classic lineup of the Mahavishnu Orchestra lasted less than three years and only released two studio albums and one live recording during this era, but these recordings had a profound effect, redefining the jazz/rock fusion movement.
In July of 1973, Mahavishnu Orchestra convened at London's Trident Studios to record their ill-fated third studio album. By this point, the relationships within the band were strained, and the resulting recordings, which for the first time featured compositions by band members other than McLaughlin, would not see the light of day for several decades. McLaughlin and Cobham would also soon embark on a tour with Carlos Santana, further straining the relationships within the band, which would dissolve by the end of the year. Between the Trident sessions and the Santana/McLaughlin tour, Mahavishnu Orchestra continued touring the United States with the most noteworthy performances occurring on August 17 and 18, 1973 before outdoor audiences in New York City's Central Park, which Columbia Records recorded and released as the groups one and only live album, Between Nothingness and Eternity.
This performance, recorded several days prior, at Kansas City, Missouri's Memorial Auditorium, can be perceived as one of the warm-up exercises for the Central Park concerts immortalized on the group's live album. This makes it a particularly interesting listen, and while these live performances of "Sister Andrea" and "Dream" are quite similar to the live album versions, the additional Birds Of Fire title track opener and a truly explosive "Awakening" that concludes this performance, widens one's perspective on the band at the time that live album was recorded.
As the recording begins, McLaughlin's 12-string arpeggios begin washing over the audience as the group opens with the title track to Birds of Fire. A dynamic exchange between guitar and drums versus violin, keyboards, and bass unfolds. In the unusual time signature of 18/8, the interwoven nature of the arrangement makes for a thrilling and intense experience, although one unlike anything most jazz or rock music fans had ever heard before. Upon Birds of Fire's sizzling conclusion, the group segues directly into Jan Hammer's composition "Sister Andrea." Uncharacteristically funky, this elastic groovefest features sizzling solos from McLaughlin, wild bursts of unorthodox sounds from Hammer, and highlights the grittier side to Goodman's violin virtuosity.
The expansive "Dream" featured here allows the group to stretch out even further. As captivating as the released version recorded just a few days later is, this performance is equally astonishing, proving to be one of the group's most exciting explorations during their final months together. A masterpiece of tension and release, "Dream" is equal parts lush and ferocious and features four distinct time signatures. It begins in a tranquil manner, with McLaughlin and Goodman establishing the initial theme. At approximately five minutes in, Cobham signals the rest of the musicians to join in. Rick Laird establishes a strong groove on bass, which is reinforced by Hammer, who then begins soloing. For much of this performance, Hammer is in particularly fine form, often leading the way. Goodman's violin states the theme again several minutes later, before a ferocious jam ensues, with the tempo increasing faster and faster. This becomes a head spinning display of creativity and technical virtuosity. Toward the end, McLaughlin takes a searing solo that develops into ferocious instrumental combat between him and Billy Cobham. When these musicians finally reinstate the theme and bring this composition to a dramatic close, nearly half an hour has passed,
The final half hour of the performance is devoted to another two-song sequence, beginning with one of the new Trident session compositions unfamiliar to the audience. It begins with bass player Rick Laird's composition, "Steppings Tones," which is essentially a cycle of deep pummeling bass notes that repeat a pattern, which here serves as a prelude to Cobham suddenly blasting off into "Awakening." This develops into a great example of the chemistry between McLaughlin and Cobham and features unison playing at its most astounding. Both interject an endless barrage of ideas, while Cobham often does more with a hi-hat and snare drum than most drummers are capable of with an entire kit. This has moments of frightening intensity, and the telepathy between these musicians is quite astonishing. Clocking in at nearly 26 minutes, there's aggressiveness to this performance that may be reflective of the growing animosity within the band, but the chemistry between these musicians is undeniable.
The improvisational abilities of the group were at the most astonishing level during this latter part of 1973. All of this music burns with an intensity few groups have ever matched in live performance. The Mahavishnu Orchestra's tempestuous mix of jazz, rock, and Eastern influences is at its peak here, and this is a vivid example of the group taking improvisation to the extreme. These musicians are clearly challenging each other and pushing the envelope at every opportunity. This recording encapsulates all the elements of this monstrously talented band as they approached the last several months of performing together. http://fp.io/21a5f961/
MAHAVISHNU ORCHESTRA - Lenox Music Inn Lenox, MA - 07/21/1973
Mahavishnu Orchestra
July 21, 1973
Lenox Music Inn
Lenox, MA
01. Introduction 1:47
02. Birds of Fire / Miles Beyond 24:58
03. Steppings Tones / Sister Andrea 12:44
04. Dream 25:17
05. Sanctuary 9:04
06. One Word 8:38
Billy Cobham - drums
Jerry Goodman - violin
Jan Hammer - keyboards
Rick Laird - bass
John McLaughlin - guitar
When John McLaughlin formed the initial Mahavishnu Orchestra, the personnel included Jerry Goodman, a classically trained American rock musician; Jan Hammer, a Czechoslovakian keyboard player with a strong jazz background; Rick Laird, an Irish bass player with both jazz and rock experience and Billy Cobham, a powerful and technically brilliant jazz drummer from Brooklyn whose style would completely redefine his instrument. Combining the improvisational elements of jazz with the volume and energy of rock music, this globally and musically diverse group brought elements of Far Eastern music, R&B, Blues and Classical music to the table. The Mahavishnu Orchestra created music that was intricate and complex, performed by musicians whose virtuosity thrilled audiences and critics alike. The group had a firm grip on dynamics and was equally adept at dense, aggressive flights of feverish intensity as they were at creating moments of passionate spiritual contemplation.
This legendary performance, from the summer of 1973, is significant for a number of reasons. First, it captures the group playing material from "Birds Of Fire," when it was sharply in focus. Second, it was the unveiling of a new custom designed stereo sound system, which provided the Mahavishnu Orchestra with a greater ability to communicate with each other and an entirely new level of sound reinforcement clarity for the audience. Third, John McLaughlin plays his custom made Rex Bogue double-neck guitar for the first time in concert. And most significantly, this was the era when the band was beginning to headline concerts, allowing them considerably more time on stage. This allowed the group to further explore the possibilities for improvisation, creating a more spontaneous and exciting experience for the musicians and audience alike. Put all these factors together and it's not surprising that this was a truly magical night.
The performance, recorded at The Lenox Arts Festival, begins with introductions of the band members, followed by a moment of silence. Billy Cobham's massive gong interrupts the silence, as McLaughlin's 12-string arpeggios begin washing over the audience. "Birds Of Fire" is a dramatic opener that unfolds into a dynamic exchange between guitar and drums versus violin, keyboards and bass. In the unusual time signature of 18/8, the interwoven nature of the arrangement makes for a thrilling and intense experience, although one unlike anything most jazz or rock music fans had ever heard before. This segues directly into McLaughlin's tribute to Miles Davis, "Miles Beyond," with the group displaying breathtaking improvisational abilities. The first few minutes of this piece are dominated by Jan Hammer, who is in a particularly playful and creative mood here. The band seems to recognize this and drop out, giving him plenty of room to explore. As the band merges back in, Hammer begins a demented onslaught of unusual sounds from his keyboards. Violinist Jerry Goodman picks up on the groove and he and Hammer develop a captivating duo, with McLaughlin, Laird and Cobham providing rhythmic punctuations and accents. Following a barrage of drums from Cobham, McLaughlin takes over for the last few minutes with a scorching guitar solo that must have left listeners gasping at its sheer intensity. Nearly 25 minutes later, this compelling opening sequence, which would soon be recorded in condensed form as the two openers for their second album, comes to a close.
Next up is a rare spoken introduction to the next two compositions, possibly because both were new to the band's repertoire and totally unfamiliar to the audience. First up is Rick Laird's composition, "Steppings Tones," which serves as a prelude to a composition announced as "No Name," which turns out to be a very early rendition of Jan Hammer's "Sister Andrea." Both of these compositions are still in embryonic form here, which makes for an intriguing listen. "Steppings Tones" is essentially a short cycle of deep pummeling bass notes that repeat a pattern, before they venture into "Sister Andrea." Uncharacteristically funky, this elastic groovefest features sizzling 12-string solos from McLaughlin, wild bursts of unorthodox sounds from Hammer and highlights the grittier side to Goodman's violin virtuosity. Taken at a faster clip than it would be later on, the initial opening sequence dissolves into a more tranquilizing middle section that inspires incredibly emotional speed playing from McLaughlin, who is overflowing with creativity here. Goodman's violin sashays and swings, as he pumps his signal through a wah-wah pedal. It's a remarkable early glimpse at two compositions that wouldn't be recorded in the studio until nearly a year later (and those recordings wouldn't see the light of day until 26 years later on the "Lost Trident Sessions" album).
When John McLaughlin formed the initial Mahavishnu Orchestra, the personnel included Jerry Goodman, a classically trained American rock musician; Jan Hammer, a Czechoslovakian keyboard player with a strong jazz background; Rick Laird, an Irish bass player with both jazz and rock experience and Billy Cobham, a powerful and technically brilliant jazz drummer from Brooklyn whose style would completely redefine his instrument. Combining the improvisational elements of jazz with the volume and energy of rock music, this globally and musically diverse group brought elements of Far Eastern music, R&B, Blues and Classical music to the table. The Mahavishnu Orchestra created music that was intricate and complex, performed by musicians whose virtuosity thrilled audiences and critics alike. The group had a firm grip on dynamics and was equally adept at dense, aggressive flights of feverish intensity as they were at creating moments of passionate spiritual contemplation.
This legendary performance, from the summer of 1973, is significant for a number of reasons. First, it captures the group playing material from "Birds Of Fire," when it was sharply in focus. Second, it was the unveiling of a new custom designed stereo sound system, which provided the Mahavishnu Orchestra with a greater ability to communicate with each other and an entirely new level of sound reinforcement clarity for the audience. Third, John McLaughlin plays his custom made Rex Bogue double-neck guitar for the first time in concert. And most significantly, this was the era when the band was beginning to headline concerts, allowing them considerably more time on stage. This allowed the group to further explore the possibilities for improvisation, creating a more spontaneous and exciting experience for the musicians and audience alike. Put all these factors together and it's not surprising that this was a truly magical night.
The 25 minute "Dream" featured here allows the group to thoroughly stretch out on another composition few had heard at the time. This is one of the group's finest explorations, featuring extensive unison playing and one of the most fascinating guitar and drum duels ever recorded. A masterpiece of tension and release, "Dream" is equal parts lush and ferocious and features four distinct time signatures! It begins in a tranquil manner, with McLaughlin and Goodman establishing the initial theme. At approximately five minutes in, Cobham signals the rest of the musicians to join in. Rick Laird establishes a strong groove on bass, which is reinforced by Hammer, who then begins soloing. Goodman's violin states the theme again several minutes later, and at the 9:30 mark, a ferocious jam ensues, with the tempo increasing faster and faster. This becomes a head-spinning display of creativity and technical virtuosity. At the 15 minute mark, McLaughlin takes a searing solo that develops into ferocious instrumental combat between he and Billy Cobham. Eventually this climaxes into a wall of dissonant sound, before they reinstate the theme and bring it to a dramatic close 25 minutes after it began. This early rendition of "Dream" is a true tour-de-force performance that seems to encapsulate all the elements of this monstrously talented band.
After all the furious intensity explored so far, "Sanctuary" provides some much needed tranquility to the proceedings. Hauntingly beautiful and taken at an extremely slow tempo in 9/4, Hammer's introspective synthesizer solo weeps while Goodman's wailing violin compliments McLaughlin's guitar. Cobham and Laird establish the perfect relaxed rhythmic groove that further accentuates the contemplative mode, with a gentle serenading foundation. This transitions into the final devastating piece of the night, "One Word." Here the group begins with a haunting and frightening sequence that gives way to a sizzling jam, with McLaughlin adding hyperkinetic guitar over a solid groove, while the other members trade solos. Of particular note here is a wonderful bass solo by Laird, that is incredibly expressive and inventive. Laird is really the unsung hero of Mahavishnu Orchestra, for without him, this music would lose its foundation and literally fly apart at the seams. However, here one can experience Laird truly propelling the entire direction of the band's improvisations. With Laird and Cobham propelling things, McLaughlin, Hammer and Goodman begin a call and response trio that is truly out of this world. McLaughlin's guitar takes on the tone of an angry hornet's nest, while he, Hammer and Goodman trade numerous blazing solo lines. Unfortunately, at this point the third and final reel of tape stock ran out leaving this blistering exchange to fade out into oblivion.
Still, this recording is possibly the definitive example of Mahavishnu Orchestra during their blazing final year, when they were crossing all musical boundaries and devastating audiences with their dexterity, volume and speed. This was a magical era when these musicians possessed seemingly superhuman energy and an unlimited ability for spontaneous creativity. Those who caught this era often speak of it as a life changing experience and this performance helps to explain this phenomenon as it burns with an intensity and passion beyond anything most had ever experienced before. As talented as each individual musician is, The Mahavishnu Orchestra's true greatness was in the sum of its parts, which here is on a level that far surpasses any individual contribution. Many consider The Mahavishnu Orchestra to be the most influential group of the 1970s and it's not difficult to see why. Guitarists, drummers and keyboard players, in particular, were forced to completely rethink their instruments after hearing these musicians play and every musician who listened to this band found himself reevaluating his own motives and abilities. This group would inspire an entirely new approach to music, unwittingly launching the jazz/rock fusion genre in its wake. That genre would continue to grow and diversify in the years to come, with decreasingly satisfying results, as few would come anywhere near the level of originality or musicianship that the Mahavishnu Orchestra displayed.
http://fp.io/42316cb8/
WOODY GUTHRIE – Woody at 100: The Woody Guthrie Centennial Collection
Woody Guthrie – Woody at 100: The Woody Guthrie Centennial Collection (2012)
Woody Guthrie defined an era and culture in transition in his Dust Bowl ballads, his outlaw tales, his work and labor songs, antiwar songs, children’s songs, political songs, and a host of love songs and songs that touched on philosophy, geography, and the hard work of living day to day in an emerging industrial world. He was kind of a maverick troubadour beat journalist, writing and drawing constantly, and new poems, writings, drawings, and even previously unknown songs and recordings have kept turning up even a decade into the 21st century. Smithsonian Folkways, to honor the centennial year of Guthrie’s birth in 2012, has issued this 3-disc set of Guthrie’s songs housed in a beautiful 150-page hard-cover coffee-table book full of essays, letters, text, photos,drawings, and other Guthrie ephemera, including rare, previously unreleased recordings of Guthrie’s earliest material, made in 1937 when he was working for a radio station in Los Angeles. Guthrie was not a simple man, and he was driven by energies and demons that often even he didn’t understand, but he persisted, pushing himself across every possible creative medium of the times, and his life’s work, which begins with his songs (but covers so much more, including an iconic autobiography that was later turned into a movie), made him into one of the most important and vital American artists of the 20th century. That story is presented here in this wonderful set.
Woody at 100: The Woody Guthrie Centennial Collection is a 150-page large-format book containing three CDs with 57 tracks, including Woody's most important recordings such as the complete version of "This Land Is Your Land," "Pretty Boy Floyd," "Pastures of Plenty," "Hard Travelin'," "Jesus Christ," "I Ain't Got No Home in This World Anymore," and "Riding in My Car." The set also contains 21 previously unreleased performances and six never-before-heard original songs, including Woody's first known -- and recently discovered -- recordings from 1937.
mp3 vbr
Disc One:
1. This Land Is Your Land (Alternate Version)
2. Pastures of Plenty
3. Riding in My Car (Car Song)
4. The Grand Coulee Dam
5. Talking Dust Bowl
6. So Long, It's Been Good to Know Yuh (Dusty Old Dust)
7. Ramblin' Round
8. Philadelphia Lawyer
9. Hard Travelin'
10. Pretty Boy Floyd
11. Hobo's Lullaby
12. Talking Columbia
13. The Sinking of the Reuben James
14. Jesus Christ
15. Gypsy Davy
16. New York Town
17. Going Down the Road (Feeling Bad)
18. Hard, Ain't It Hard
19. The Biggest Thing That Man Has Ever Done (The Great Historical Bum)
20. This Land Is Your Land (Standard Version)
21. Jarama Valley
22. Why, Oh Why?
23. I've Got to Know
Disc Two:
1. Better World A-Comin'
2. When That Great Ship Went Down (The Great Ship)
3. A Dollar Down and a Dollar a Week
4. Talking Centralia
5. 1913 Massacre
6. Dirty Overalls
7. My Daddy (Flies a Ship in the Sky)
8. Worried Man Blues
9. Hangknot, Slipknot
10. Buffalo Skinners
11. Howdi Do
12. Jackhammer John
13. The Ranger's Command
14. So Long, It's Been Good to Know You (WWII Version)
15. What Are We Waiting On?
16. Lindbergh
17. Ludlow Massacre
18. Bad Lee Brown (Cocain Blues)
19. Two Good Men
20. Farmer-Labor Train
21. The Jolly Banker
22. We Shall Be Free
Disc Three:
The Los Angeles Recordings
1. I Ain't Got No Home (In This World Anymore)*
2. Them Big City Ways**
3. Do Re Mi*
4. Skid Row Serenade**
5. Radio Program: The Ballad Gazette With Woody Guthrie
This Land Is Your Land*
What Did the Deep Sea Say? *
Blow Ye Winds*
Trouble on the Waters**
Blow the Man Down*
Normandy Was Her Name**
The Sinking of the Reuben James*
6. BBC: Children's Hour July 7, 1944
Intro-Wabash Cannonball*
900 Miles*
Stagger Lee*
Pretty Boy Floyd*
7. People's Songs Hootenanny
Ladies Auxiliary
Weaver's Life*
8. WNYC Radio Program: Folk Songs of America December 12, 1940
John Hardy*
Jesse James*
Tom Joad*
9. Reckless Talk**
10. All Work Together
11. My Little Seed
12. Goodnight Little Cathy**
*Previously Unreleased
**Previously Unreleased Original Song
http://fp.io/f6472186/
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ELVIN BISHOP - RED DOG SPEAKS
ELVIN BISHOP
"RED DOG SPEAKS"
JUN 15, 2010
DELTA GROOVE PRODUCTIONS
39:49
COMPILATION
1 Red Dog Speaks (Bishop) 4:47
2 Neighbor Neighbor (Meaux) 3:07
3 Fat & Sassy (Bishop) 4:34
4 Barbecue Boogie (Bishop) 2:45
5 Many Rivers to Cross (Cliff) 3:50
6 Blues Cruise (Bishop) 3:24
7 Doo-Wop Medley: In the Still of the Night/Maybe (Barrett, Parris) 3:59
8 Get Your Hand Out of My Pocket (Spann) 2:55
9 His Eye Is On the Sparrow (Traditional) 3:29
10 Clean Livin' (Bishop) 2:42
11 Midnight Hour Blues (Carr) 4:17
Kid Anderson / Guitar
Elvin Bishop / Guitar, Vocals, Slide Guitar
Ronnie Baker Brooks / Guitar
Buckwheat Zydeco / Accordion
R.C. Carrier / Rubboard
Tommy Castro / Guitar
Bobby Cochran / Drums
June Core / Drums
Ruth Davies / Bass
Sir Reginald Dural / Rubboard
Ed Earley / Trombone, Tambourine, Vocals
Roy Gaines / Guitar, Vocals
Terry Hanck / Sax (Tenor)
John Nemeth / Harmonica, Vocals
Mike Schermer / Guitar, Guitar (Rhythm)
Snakebite / Sax (Tenor)
Tom Poole / Trumpet
Bob Welsh / Guitar, Piano, Keyboards
http://fp.io/df642849/
July 12, 2012
FURTHUR - The Mann Center For The Performing Arts, Philadelphia, PA - 07/07/2012
Furthur
2012-07-07
The Mann Center For The Performing Arts, Philadelphia, PA
Set I:
Truckin' >
Nobody's Fault But Mine
Fire on the Mountain >
Cassidy
Peggy-O
Tennessee Jed
My Brother Esau
Deal
Set II:
China Cat Sunflower >
I Know You Rider >
Space >
Dark Star >
Jam >
Dark Star >
Caution: Do Not Stop on Tracks >
St. Stephen >
Unbroken Chain
Dear Prudence
The Wheel
Going Down the Road Feeling Bad >
And We Bid You Goodnight
Encore:
Donor Rap
One More Saturday Night
http://fp.io/e2971edc/
BRUCE SPRINGSTEEN - Roskilde Festival, Denmark - 07/07/2012
Bruce Springsteen & The E Street Band
Title: Wrecking Roskilde
Tour: Wrecking Ball
Date: 2012-07-07
Venue: Roskilde Festival, Denmark
01. No Surrender
02. Badlands
03. Two Hearts
04. We Take Care Of Our Own
05. Wrecking Ball
06. Death To My Hometown
07. My City Of Ruins
08. Spirit In The Night
09. E Street Shuffle
10. Jack Of All Trades
11. Trapped
12. Because The Night
13. Working On The Highway
14. Shackled And Drawn
15. Waiting On A Sunny Day
16. The River
17. The Rising
18. Out In The Street part1
19. Out In The Street part2
20. Land Of Hope And Dreams
21. We Are Alive
22. Born In The USA
23. Born To Run
24. Glory Days
25. Dancing In The Dark
26. Tenth Avenue Freeze Out
27. Twist And Shout
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