YONDER MOUNTAIN STRING BAND - Bloom Heavy River Romp, Grassy, MO - 06/30/2012

Yonder Mountain String Band
2012-06-30
Bloom Heavy River Romp, Grassy, MO


Disc I:
Intro (2:08)  
Casualty (6:58)  
Rag Doll (5:16)  
Mental Breakdown (3:44)  
Honestly (7:49)  
Country Boy Rock And Roll (3:18)  
Big Spike Hammer (4:02)  
Dominated Love Slave (2:23)  
No Expectations (12:28)  
Finally Saw The Light (5:37)  
Pockets (5:10)  

Disc II:
Sidewalk Stars (6:29)  
Years With Rose (9:25)  
2 Hits and The Joint Turned Brown (8:17)  
40 Miles From Denver (5:11)  
Pass This Way (8:06)  
Jail Song (6:27)  

Disc III:
Traffic Jam (8:15)  
Snow On The Pines (9:15)  
Follow Me Down To The Riverside (7:45)  
Snow On The Pines (4:12)  
Traffic Jam (5:05)  
Encore:
My Gal (6:50)


http://fp.io/f2277m1b/

MAHAVISHNU ORCHESTRA - Hofstra University Hempstead, NY - 11/28/1973

Mahavishnu Orchestra
November 28, 1973
Hofstra University
Hempstead, NY


01. Meeting of the Spirits 12:52
02. Trilogy 17:35
03. The Dance Of Maya 16:57
04. One Word 18:48
05. Hope / Celestial Terrestrial Commuters 6:21


Concert Summary

Musicians who recorded and performed with Miles Davis during his early explorations into electric instrumentation inevitably went on to form bands of their own. Few were as adept or as influential as Mahavishnu Orchestra, a globally diverse group formed by English jazz guitarist, John McLaughlin. Combining the improvisational elements of jazz with the volume and energy of rock music, this group also brought…entire summary

Billy Cobham - drums
Jerry Goodman - violin
Jan Hammer - keyboards
Rick Laird - bass
John McLaughlin - guitar

Musicians who recorded and performed with Miles Davis during his early explorations into electric instrumentation inevitably went on to form bands of their own. Few were as adept or as influential as Mahavishnu Orchestra, a globally diverse group formed by English jazz guitarist, John McLaughlin. Combining the improvisational elements of jazz with the volume and energy of rock music, this group also brought elements of Far Eastern, R&B, Blues and Classical music to the table. The Mahavishnu Orchestra created music that was often intricate and complex, performed by musicians whose virtuosity thrilled audiences and critics alike. The group had a firm grip on dynamics and were equally adept at dense, aggressive flights of feverish intensity as they were at creating moments of passionate spiritual contemplation. This diversity and technical ability dazzled audiences the world over and helped to expose jazz and world music to a younger audience. The initial "classic" lineup of the group lasted barely 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 the process.

By 1973, the final year of the classic lineup, they had firmly established their reputation and were now a world class headlining act. Their debut album, "The Inner Mounting Flame," and it's follow-up, "Birds Of Fire," had mesmerized musicians and listeners alike and they had become one of the most exciting bands on the planet. Material from the group's sophomore studio effort, "Birds Of Fire" was now firmly ensconced into the live repertoire. Tracks destined for their ill-fated third studio album (released 26 years later as "The Lost Trident Sessions") was also being integrated into their live performances. The newer material was now formulated around riffs and repetitive patterns established by the various band members and was intentionally designed as a looser framework. With considerably more stage time, they were consciously taking the improvisational approach to it's extreme.

They begin the performance with "Meeting Of The Spirits" followed by "Trilogy." These are both powerful performances that are filled with moments of brilliance and McLaughlin's guitar tone is fat and full of strength. However, they serve as a mere warmup exercise compared to the performances to come. The group truly begins hitting their stride on "The Dance Of Maya, " with its infectious rhythmic pattern complimenting the melodic line. Once the initial sequence has been established, the band suddenly shifts focus, with Cobham's powerful and propulsive drumming leading the way. The second half of this remarkable performance is primarily a duel between McLaughlin and Cobham that eventually blazes into a breathtaking conclusion.

Without a pause, the signature snare roll signals the beginning of "One Word," one of the most compelling compositions from the "Birds Of Fire album. Beginning with a haunting and frighteningly intense sequence, this gives way to a showcase bass improvisation by Cobham, punctuated by gurgling keyboard embellishments from Hammer and expressive rhythmic emphasis from McLaughlin. Approximately eight minutes in, they propel into a fiery jam, with McLaughlin soaring and trading solos with Goodman and Hammer. Cobham takes a powerfully expressive solo in the middle preparing one for the explosive second half of the piece. The group launches back in, continually increasing in speed, with McLaughlin and Goodman blazing away. Hammer's keyboards have a playful organ-like quality that is delightful. Within it's complicated time signature, Laird and Cobham anchor things, while all contribute to an incendiary performance.

They conclude the set with the pairing of two additional "Birds Of Fire" tracks. "Hope" begins contemplatively, with McLaughlin and the group slowly building up the intensity level. This stays relatively true to the original two-minute studio arrangement, but when one expects the piece to end, they explode into "Celestial Terrestrial Commuters." This features expressive soloing from Hammer and blazing call and response sequences between Goodman and McLaughlin. Although relatively short compared to the highly improvisational material featured earlier in the set, this is another thrilling hyperdrive performance.

This latter era of the original Mahavishnu Orchestra is strong evidence that they were still, with the possible exception of Weather Report, the brightest and most astounding of all the fusion bands. Their performances display the intensity, speed and breathtaking technical abilities that initially established the group's reputation, but with a less elegant, increasingly edgier sound. McLaughlin would rarely play electric guitar with such ferocity again.

http://fp.io/am8ccded/

MAHAVISHNU ORCHESTRA - Palace Theatre New York City, NY - 11/07/1973

Mahavishnu Orchestra
November 7, 1973
Palace Theatre
New York City, NY



01. Dream 20:15
02. Sister Andrea 9:56
03. Hope / Celestial Terrestrial Commuters 6:11


Concert Summary

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. Combining the improvisational elements of jazz with the volume and energy of rock music, the group created music that was often intricate and complex, performed by musicians whose virtuosity thrilled audiences, musicians, and critics alike.

By 1973, the Mahavishnu Orchestra had firmly established their reputation and had become one of the…entire summary

Billy Cobham - drums
Jerry Goodman - violin
Jan Hammer - keyboards
Rick Laird - bass
John McLaughlin - guitar

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. Combining the improvisational elements of jazz with the volume and energy of rock music, the group created music that was often intricate and complex, performed by musicians whose virtuosity thrilled audiences, musicians, and critics alike.

By 1973, the Mahavishnu Orchestra had firmly established their reputation and had become one of the most exciting bands on the planet. Midway through the year, the band took a brief hiatus from the road, convening at London's Trident Studios to record a third studio album. Although the new material was strong and McLaughlin consciously loosened his control to allow Jan Hammer, Jerry Goodman, and Rick Laird to contribute their own compositions to the sessions, the album (later released as The Lost Trident Sessions) would not see the light of day for another 26 years. Instead, the band decided to record a live album, featuring much of the same material, which became the final release during the band's existence, Between Nothingness And Eternity.

When Mahavishnu Orchestra took to the stage of Manhattan's Palace Theatre to perform this set for a Don Kirshner's Rock Concert television show taping, they were at the peak of their improvisational abilities, with the newest material now integrated into the performing repertoire. Despite the personal problems and the grueling schedule of the past two years, the group is still blazing with energy here. Although the group had performed live on the television show, In Concert, earlier in the year, for many American fans, this performance was their first visual exposure to this groundbreaking group. The audio from this program has been ubiquitously bootlegged ever since the original broadcast. However, presented here for the first time ever is not only the complete unedited performance, but also the entire recording in stereo, unlike the mono recordings sourced from the televised portion. This recording is far superior to any audio that has ever circulated from this performance and is an intriguing listen to the group during their final months together. Although the band had limited time in which to perform, this is yet another stellar example of the band's improvisational creativity and fluid virtuosity.

Of greatest interest to longtime fans will be the opening composition, "Dream," which was not included in the television broadcast. This remarkable composition allows the group to thoroughly flex their improvisational muscles. "Dream" had become one of the group's finest explorations during their final months together. McLaughlin began playing the initial sequences of this piece acoustically during the final months of the group and this performance is notable for being one of the last performances of it where he performs on electric guitar throughout. 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, before a ferocious jam ensues, with the tempo increasing faster and faster. This becomes a head spinning display of creativity and technical virtuosity. If one listens closely (at approx 10:30 into this piece), McLaughlin quotes the guitar riff from Cream's "Sunshine Of Your Love" amidst his barrage of blazing guitar pyrotechnics. Toward the end, McLaughlin takes another searing solo that develops into ferocious instrumental combat between he and Billy Cobham, before all reinstate the theme and bring this dramatic opener to a close.

What remains are the three songs featured in the television broadcast. They continue with Jan Hammer's signature composition for the group, "Sister Andrea." The band had been developing this piece for some time, but here it has reached fruition. Uncharacteristically funky, this highly elastic groovefest features sizzling 12-string solos from McLaughlin, wild bursts from Hammer and highlights the grittier rock side to Goodman's violin virtuosity, who pumps his amplified violin through a wah-wah pedal. They conclude the performance with "Hope," unfolding in an elegant, magisterial way, before the group suddenly blasts off into an explosive "Celestial Terrestrial Commuters." This features expressive soloing from Hammer and blazing call and response sequences between Goodman and McLaughlin. This is another thrilling hyperdrive performance.

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. Although this initial groundbreaking lineup would call it a day by the end of the year, here they are still clearly challenging themselves to push the envelope, with constantly surprising and utterly compelling results.

http://fp.io/e78b874a/

MAHAVISHNU ORCHESTRA - Yale University New Haven, CT - 10/28/1973

Mahavishnu Orchestra
October 28, 1973
Yale University
New Haven, CT


01. Meeting of the Spirits 21:19
02. Trilogy 22:41
03. Sister Andrea 14:55
04. I Wonder / Awakening 29:15


Musicians who recorded with Miles Davis during his early explorations into electric instrumentation inevitably went on to form bands of their own, but few were as adept or as influential as the Mahavishnu Orchestra, a globally diverse group formed by legendary English guitarist, John McLaughlin. Combining the improvisational elements of jazz with the volume and energy of rock music, the group also brought…entire summary

Billy Cobham - drums
Jerry Goodman - violin
Jan Hammer - keyboards
Rick Laird - bass
John McLaughlin - guitar

Musicians who recorded with Miles Davis during his early explorations into electric instrumentation inevitably went on to form bands of their own, but few were as adept or as influential as the Mahavishnu Orchestra, a globally diverse group formed by legendary English guitarist, John McLaughlin. Combining the improvisational elements of jazz with the volume and energy of rock music, the group also brought elements of Far Eastern, R&B and Classical music to the table. The Mahavishnu Orchestra created music that was often 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 diversity and technical ability dazzled audiences the world over and helped to expose jazz and world music to a younger audience. The initial "classic" lineup of the group lasted barely 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 the process. By early 1973, the Mahavishnu Orchestra had firmly established their reputation. Their debut album, The Inner Mounting Flame, had mesmerized musicians and listeners alike and with more than a year of live performing behind them, they had arguably become the most exciting live band on the planet. The material from the group's blazing sophomore studio effort, Birds Of Fire was now fully integrated into the live repertoire, additional new material was in development and they were consciously taking a more improvisational approach in their performances. This 1973 recording captures the group performing at New Haven's Woolsey Hall on the campus of Yale University.

One of the most immediately surprising things about this performance is the complete absence of Birds Of Fire material. On this performance the band opens and closes with highly improvisational takes of "Inner Mounting Flame" material, but otherwise focus entirely on unreleased material, destined for their ill-fated third studio album - all new to the audience. At first glance at song timings it appears that the first two songs are far too long to be just those two songs, but they are! They begin the set with the track that kicked off their debut album, "Meeting Of The Spirits." The band is obviously in a highly improvisational mood as here the composition is expanded to three times the length of its studio counterpart, possibly the most expansive version ever attempted and a prime example of the band's high energy and fluid virtuosity.

The next hour of this extraordinary set is primarily devoted to new material, beginning with "Trilogy." Beginning with Cobham's gong, McLaughlin's phase-shifted guitar washes gradually increase in volume until the band kicks in to state the melody. Cobham and Laird anchor a 7/8 time signature while McLaughlin and Hammer explore "The Sunlit Path," its initial sequence. The introspective middle section, "La Mere de la Mer," is a stellar display of the group's command of dynamics. McLaughlin plays delicate 12-string arpeggios, Hammer interjects bird calls from his mini-moog as Goodman and Laird begin a tranquilizing duet. This gently weaving second section serves as a tranquil prelude to the pummeling third section, "Tomorrow's Not The Same." Just when one least expects it, Cobham signals the sudden transition with a monstrous snare roll that propels the band into a blazing jam, featuring mind-bending improvisations. Goodman, Mclaughlin, and Hammer all take opportunities to solo, while Cobham and Laird firmly anchor the jam. Possibly the longest version of "Trilogy" ever attempted, this is another example of the group at its most exploratory.

Jan Hammer's "Sister Andrea" is up next. The band had been developing this piece for some time, but here it is reaching fruition. Uncharacteristically funky, this highly elastic groovefest features sizzling 12-string solos from McLaughlin, wild bursts from Hammer and highlights the grittier rock side to Goodman's violin virtuosity. Goodman also gets to introduce an original composition of his own with "I Wonder," which the band recorded during the '73 Trident Sessions and was featured on Goodman and Hammer's Like Children album following the breakup. This begins with a remarkably emotional solo from McLaughlin that relies more on bluesy string bends and a fat biting tone as opposed to speed. Goodman and Hammer also take leading roles exploring the composition's possibilities. Shortly after the eight-minute mark, Cobham solos briefly signaling the band to launch into "Awakening." One of the most compelling aspects here is that if one listens closely, bits of "Lila's Dance" are surfacing, a composition that would appear after this lineup's demise on the Visions Of The Emerald Beyond album. Hammer takes one of his most impressive solos of the night here, simultaneously playing bluesy Fender Rhodes with gurgling mini-moog embellishments. This fluid display is additionally enhanced by sound engineer, Dinky Dawson, whose panning effects and utilization of the stereo PA system adds a distinct spacial dimension to the recording. (Headphone listening is highly recommended!) It eventually becomes a duel between McLaughlin and Cobham and this is unison playing at its most astounding. McLaughlin doesn't let up for a second, interjecting an endless barrage of ideas, some with a distinctly Spanish flavor, and Cobham does more with a hi-hat and snare drum than most drummers are capable of with an entire kit.

The improvisational abilities of the group were at the most astonishing level during the 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. This is a vivid example of the band taking improvisation to the extreme. All of the musicians are clearly challenging themselves to push the envelope here, with constantly surprising and utterly compelling results.

http://fp.io/6f341d43/

MAHAVISHNU ORCHESTRA - Bowdoin College Brunswick, ME - 10/25/1973

Mahavishnu Orchestra
October 25, 1973
Bowdoin College
Brunswick, ME



01. Steppings Tones 2:43
02. One Word 23:46
03. Awakening (Incomplete) 17:46


Billy Cobham - drums
Jerry Goodman - violin
Jan Hammer - keyboards
Rick Laird - bass
John McLaughlin - guitar

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. Combining the improvisational elements of jazz with the volume and energy of rock music, the group created music that was often intricate and complex, performed by musicians whose virtuosity thrilled audiences, musicians and critics alike.

By 1973, the Mahavishnu Orchestra had firmly established their reputation and had become one of the most exciting bands on the planet. Midway through the year, the band took a brief hiatus from the road, convening at London's Trident Studios to record a third studio album. Although the new material was strong and McLaughlin consciously loosened his control to allow Jan Hammer, Jerry Goodman, and Rick Laird to contribute their own compositions to the sessions, the album (later released as The Lost Trident Sessions) would not see the light of day for another 26 years. Instead, the band decided to record a live album, featuring much of the same material, which became the final release during the band's existence, Between Nothingness And Eternity.

This October 1973 performance at Bowdoin College in Brunswick, Maine captures the group as they were at the peak of their improvisational abilities, with the newest material now integrated into the performing repertoire. Despite the personal problems and the grueling schedule of the past two years, the group is still blazing with energy here. Although the first half of this performance was not captured, the second half is another intriguing listen to the group during their final months together and yet another stellar example of the band's improvisational creativity and fluid virtuosity.

This recording is also unique in that it serves notice that bassist Rick Laird, who always solidly anchored the band's incredible flights, is eager to extend his role within the group dynamic. Laird unquestionably becomes a prominent leading force on this performance. Things begin with the closing sequence of the evening, starting with "Steppings Tones," Laird's writing contribution to the group's ill-fated third studio album. Based on a repeating cycle of pummeling bass notes, this remains close to the studio recording in execution and is relatively short in terms of the later era repertoire, serving as a calming prelude to the staggering intensity of "One Word." However, it also serves notice that Rick Laird is prepared to step up and on this particular night, he is a prominent leading force in the "One Word" to follow.

This version of "One Word" is unique for that very fact. Beginning in the normal way, with Cobham's extended snare roll that triggers the haunting and frightening opening sequence, this gives way to a short but staggering speed metal sequence from McLaughlin. However, the band drops back out setting the stage for Laird to assume control. Over the next several minutes, Laird develops a fascinating bass solo, with only the faintest of accompaniment from Hammer's synthesizer. Rarely one to step out within the context of this group, this allows listeners to hear just how creative and unique Laird's approach to his instrument can be. This solo is thoroughly captivating, becoming more complex as it develops. Around the 7:45 mark, Hammer and Cobham join back in, percolating underneath the bass, which is getting funkier by the minute. Just shy of the nine-minute mark, Mclaughlin joins back in, firing off searing guitar leads. At times this jam is reminiscent of Miles Davis' Tribute To Jack Johnson album, with similar deep funky grooves. By ten minutes in, Goodman has also returned to the fray and he, Mclaughlin and Hammer begin taking turns trading a barrage of powerful solos. Billy Cobham also gets a showcase in the middle, beginning smoothly and continuously escalating in both speed and dynamics, preparing one for the explosive second half of the piece. When the group launches back in, playing in 13/8 time, continually increasing in speed, McLaughlin, Goodman and Hammer all blaze away in a manner that is nothing short of telepathic. Beneath all this, Laird and Cobham anchor things, while contributing to the overall searing effect. This spectacular performance brings the show to a close, but they return for an encore.

Presumably, the encore began with "Hope," which was not captured, but when the recording resumes they have blasted back off into "Awakening," the concluding track from their debut album two years earlier. This has moments of frightening intensity and the telepathy between these musicians is functioning at an astounding level. There's aggressiveness to this performance that may be reflective of problems within the band, but the chemistry between these musicians is undeniable. After nearly 18 minutes of high tension playing, this performance comes to a frenetic close, proving once again that the improvisational abilities of the group were at the most astonishing level during the latter part of 1973. This music burns with an intensity few groups have ever matched in live performance and is a vivid example of the band taking improvisation to the extreme. All of the musicians are clearly challenging themselves to push the envelope here, with constantly surprising and utterly compelling results.

http://fp.io/e3c87f53/

WIDESPREAD PANIC - Sheraton Ballroom, Steamboat Springs, CO - 02/11/1996

Widespread Panic - 02/11/96 Sheraton Ballroom, Steamboat Springs, CO

Disc 1:
Chilly Water,
Sleepy Monkey >
You Got Yours,
Rock* >
Big Woolly Mammoth*,
Raise The Roof*,
Send Your Mind*,
Papa's Home >
Hatfield >
Drums >
Papa's Home
 
Disc 2:
Conrad >
Rebirtha >
Weight Of The World,
Aunt Avis >
Dream Song >
Papa Legba >

Disc 3:
Nobody's Loss* >
The Take Out* >
Proving Ground* >
Orange Blossom Special* >
Proving Ground* >
Porch Song*,
E: Goin' Out West*,
Blackout Blues*
 
* with David Blackmon on fiddle [Sit & Ski Tour]

http://fp.io/673ca5fb/

EOTO - Electric Forest Festival, Rothbury, MI - 06/28/2012

EOTO
2012-06-28
Electric Forest Festival, Rothbry, MI  

One Set...
EFF (5:27)  
Worsint (2:56)  
Eerla (3:42)  
Lesser (6:28)  
Wocku (2:05)  
Swan (6:02)  
hais (9:17)  
Nall (4:07)  
Streak (8:12)  
Atasi (5:42)  
Wyld (5:31)  
Lagu (4:24)  
Electric Forest Avenue (6:06)  
Shurwood (5:00)  
Travis (:  

http://fp.io/6427ae74/

STS9 - High Sierra Music Festival, Quincy, CA - 07/05/2012

Sound Tribe Sector 9
2012-07-05
High Sierra Music Festival, Quincy, CA

Set I:
T.W.E.L.V.E
Ramone & Emiglio
Frequencies DnB >
Frequencies 2 > 3
…And Some Are Angels
Be Nice >
Arigato
Kaya
Kamuy >
Moon Socket

Set II:
Grow
Abcees
Move My Peeps
Wika Chikana
The Rabble >
Looking Back on Earth
Mobsters >
Surreality >
EB >
Inspire Strikes Back

Encore:
King Pharaoh’s Tomb

http://fp.io/dma231e8/

STS9 - Electric Forest Festival, Rothbury, MI - 06/30/2012

Sound Tribe Sector 9
2012-06-30
Electric Forest Festival, Rothbury, MI


Evasive >
Inspire Strikes Back
Be Nice
Really What?
Moonsocket >
T.W.E.L.V.E
Grow
When The Dust Settles >
Arigato
Empires
Kaya
Kamuy >
EB
The Unquestionable Supremecy of Nature
Earth Zoom >
Encore:
Closer >
Tooth
F. Word
Circus


http://fp.io/6c64f3a1/

FURTHUR - M.C.U. Park, Brooklyn, NY - 07/13/2012

Furthur
2012-07-13
M.C.U. Park, Brooklyn, NY

Set One...
01. Hey Pocky Way
02. Greatest Story Ever Told
03. Crazy Fingers >
04. Ballad of a Thin Man
05. Built to Last
06. Let it Ride >
07. Jack Straw

Set Two...
01. Scarlet Begonias >
02. Fire on the Mountain
03. Weather Report Suite >
04. Dark Star >
05. Unbroken Chain
06. Death Don't Have Non Mercy
07. Not Fade Away
08. Donor Rap
Encore:
09. Ripple


http://fp.io/6dc7m4f1/

THE WHO - Blockbuster-Sony Center Camden, New Jersey - 07/07/2000

The Who
2000-07-07
Blockbuster-Sony Center
Camden, New Jersey
Sounndboard Recording
192 kbps
Artwork Included

CD 1:
01. I Can't Explain
02. Substitute
03. Anyway, Anyhow, Anywhere
04. I Don't Even Know Myself
05. My Wife
06. Baba O' Riley
07. The Relay
08. Bargain

CD 2:
01. I'm One0
02. Pinball Wizard
03. The Real Me
04. Who Are You
05. Magic Bus
06. Behind Blue Eyes
07. You Better, You Bet

CD 3:
01. 5:15
02. Won't Get Fooled Again
03. The Kids Are Alright
04. Let's See Action
05. My Generation


Remastered from cdr, this recording when I first heard it struck me
kind of funny on how it almost sounds like the soundboard tapes that
I've heard once before such as the Led Zeppelin 1980 tour over Europe.
As the audience is compressed and limited to the point where you can
barely hear them, and the band sounds like as if they are playing in a
small concert hall by themselves. These kind of recordings you can hear
everything that the band is doing on stage. WW22 is The Who at the
Blockbuster-Sony Center, Camden, New Jersey 7-7-00.
During this show the band mainly features songs from the "Lifehouse
Project" otherwise commonly known as "Who's Next". Pete's Guitar sounds
nice and crunchy during this show, the only thing's I did to this
recording when I received it was take out some "digital artifacts",
re-enhance the bass & mid-range to add more dimension to the recording
giving it a little more bottom end and using some noise reduction in
certain spots. And a special thanks to "Slipkid" for doing the artwork
for us. I happen to believe this is the best sounding Whoweed release
to date.
http://fp.io/f632mm47/

MAHAVISHNU ORCHESTRA - Palace Albany Albany, NY - 05/17/1973

Mahavishnu Orchestra
May 17, 1973
Palace Albany
Albany, NY


01. Meeting of the Spirits 13:40
02. Open Country Joy 8:49
03. Hope / Awakening 19:38
04. Sanctuary / One Word 24:59
05. You Know, You Know 2:56
06. The Dance Of Maya 18:39



Billy Cobham - drums
Jerry Goodman - violin
Jan Hammer - keyboards
Rick Laird - bass
John McLaughlin - guitar

Musicians who recorded and performed with Miles Davis during his early explorations into electric instrumentation inevitably went on to form bands of their own, but few were as adept or as influential as The Mahavishnu Orchestra, a globally diverse group formed by legendary English guitarist, John McLaughlin. Combining the improvisational elements of jazz with the volume and energy of rock music, the group also brought elements of Far Eastern, R&B and Classical music to the table. The Mahavishnu Orchestra created music that was often intricate and complex, performed by musicians whose virtuosity thrilled audiences and critics alike. The group had a firm grip on dynamics and were equally adept at dense, aggressive flights of feverish intensity as they were at creating moments of passionate spiritual contemplation. This diversity and technical ability dazzled audiences the world over and helped to expose jazz and world music to a younger audience. The initial "classic" lineup of the group lasted barely 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 the process.

By 1973, the final year of the classic Mahavishnu Orchestra lineup, they had firmly established their reputation and were now a headline act. Their debut album, "The Inner Mounting Flame," and it's follow-up, "Birds Of Fire," had mesmerized musicians and listeners alike and they had become one of the most exciting performing bands on the planet. Material from the group's sophomore studio effort, "Birds Of Fire" was now firmly ensconced into the live repertoire. Much of this newer material was now formulated around riffs and repetitive patterns established by the various band members and was intentionally designed as a looser framework. As the Mahavishnu Orchestra began headlining more concerts, thus allowing them considerably more stage time, they were consciously taking a much more improvisational approach.

This May 1973 performance captures this looser approach and the group's improvisational abilities are fully on display. Recorded at The Palace Theater in Albany, New York, this is a stellar example of the band's high energy and fluid virtuosity. They begin with the opening track of their debut album, "Meeting Of The Spirits." Expanded to over twice the length of it's studio counterpart, this now replaces "Birds Of Fire" as the standard opener for the duration of the group's existence. On previous tours, they would then head in a funkier direction immediately afterwards, initially with "Dawn," then replaced with "Miles Beyond," but this set format has now changed. Instead, they follow with a thoroughly joyous take on the Birds Of Fire" track "Open Country Joy." This strutting, gradually intensifying urban blues is perhaps the least complex, most easily accessible music the classic lineup ever played. Vacillating between a laidback county feel and frenzied rocking power, its disarming rustic theme now provides the initial musical contrast within the set.

The version of "Hope" into "Awakening" that follows begins taking the improvisational approach to the extreme. Plenty of exploratory and propulsive playing here, with the various themes stated by McLaughlin and Goodman, sounding regal and unfolding in an elegant, magisterial way. Next, the group returns to the debut album material, beginning with the infectious groove of "You Know, You Know." Unfortunately incomplete due to a tape change that missed the transition into "The Dance Of Maya, this is dominated by an R&B influenced bass line, tasteful arpeggios and unusual accent placements. The rhythm section of Laird and Cobham are particularly effective here, playing with great subtlety and flair. When the recording resumes, they have transitioned into one of the most popular first album tracks, "The Dance Of Maya", and it too gets a highly expanded treatment. Featuring an infectious rhythmic pattern that compliments the melodic line, this is one of the most intriguing and accessible pieces for newcomers to the band. Once the initial sequence has been established, the band suddenly shifts focus, with Cobham playing a bluesy 10/8 drum pattern, with many subtle changes occurring during the lengthy improvisation to follow. Although the beginning was lost during the tape change, nearly 19 astonishing minutes of "The Dance Of Maya" remain.

They close the set with yet another powerful exploration. The "Sanctuary" that begins this final sequence, is a tranquil contemplative piece that sticks relatively close to the studio arrangement. Jan Hammer's introspective synthesizer solo weeps while Goodman's wailing violin compliments McLaughlin's guitar. At approximately 7 minutes in, Cobham signals the change into an explosive "One Word," which gets the full improvisational treatment here. At nearly 18 minutes, they explore way beyond the familiar and this features many furious call and response sequences between McLaughlin, Goodman and Hammer. Cobham provides pounding polyrhythms (and a remarkable solo midway) and Hammer's synthesizer solo is literally blazing a new trail for the instrument, particularly in his guitar-like use of pitch-bend.

The improvisational abilities of the group were at the most astonishing level during 1973 and they were clearly hitting their creative stride by the time of this recording. 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 height here, and all of the players are challenging themselves to push the envelope.

http://fp.io/687d37b8/

MAHAVISHNU ORCHESTRA - Southeastern Massachusetts University, Darthmouth, MA - 02/25/1973

1973-02-25 - Southeastern Massachusetts University, Darthmouth, MA


01. Meeting of the Spirits (14:59)
02. Open Country Joy (10:27)
03. Dream (22:42)
04. Dawn (20:08)
05. Hope  (1:57)
06. Awakening (14:56)


Billy Cobham - drums
Jerry Goodman - violin
Jan Hammer - keyboards
Rick Laird - bass
John McLaughlin - guitar


Although recorded clearly, it should be noted that the house mix was not ideal for recording at SMU, as Rick Laird's bass and Billy Cobham's double bass drums were clearly heard without the need for amplification. As a result, both instruments are often inaudible or barely audible in the tape mix. That said, Jan Hammer and Jerry Goodman fans are in for a particular treat as both musicians are emphasized in the house mix and both are in particularly strong form.

The performance begins with an incendiary reading of the opening track of their debut album, Meeting Of The Spirits; this performance is explosive, extended and pummeling in its ferocity. While initially faithful to the original album arrangement, here the composition is doubled in length, seething with an intensity that far surpasses the studio recording. This intense, high energy opener segues directly into a composition from the new album, "Open Country Joy." This strutting, gradually intensifying urban blues is the least complex, most accessible music the classic lineup ever played. Vacillating between a laid back pastoral feel and frenzied rocking power, this composition's disarming rustic theme provides the initial musical contrast within this set.

The expansive "Dream" which follows allows the group to stretch out much further. 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 a ferocious instrumental combat between he and Billy Cobham. A full 22 minutes after it began, the musicians reinstate the theme and bring this remarkable composition to a dramatic close.

The group continues with another composition equally expansive in the form of "Dawn," a relatively contemplative track from the first album. This is another example of the improvisational extremes the band was now embracing as they explore possibilities one could barely imagine from the relatively short studio recording. This vacillates between the relaxed airy grooves of the melodic theme, which they periodically reinstate, and adventurous flights into new territory. Jan Hammer fans will find this exploration most thrilling, as Hammer is often at the helm on this piece, particularly during the second half, where he is clearly leading the way.

The recording concludes with the uplifting "Hope," a short composition free of solos transitioning directly into an explosive "Awakening." In 7/8 time, "Hope" unfolds in an elegant, magisterial way, anchored by a repeating melodic phrase that gradually builds in intensity. Cobham's drumming, which fuels the escalating intensity of this composition, suddenly blasts off at its conclusion, launching the group into "Awakening" from the band's debut album. Following Cobham's opening, Jerry Goodman takes flight followed by Jan Hammer. Their improvisations serve to set up listeners for the astonishing barrage that McLaughlin unleashes several minutes later. 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. Despite being incomplete, this has moments of frightening intensity and the telepathy between these musicians is quite astonishing.

http://fp.io/7695ff65/

STS9 - ELECTRIC FOREST FESTIVAL :: ROTHBURY, MI - 06/29/2012

                                                                             2012.06.29 ::
Electric Forest Festival - Rothbury, MI - SET: Activation, March > Scheme > 20-12 > Hidden Hand Hidden Fist > Shakedown Street, Vapors > Simulator, MOD > Looking Back on Earth > EHM, Twilight Intro > Abcees, Move My Peeps, Lo Swaga, Instantly > Rent, What Is Love?, Aimlessly, Galactic Earth Zoom E: Metameme > Atlas > Scheme Reprise
TRACKS
1.
Activation (3:04)
2.
March (7:10)
3.
Scheme (7:12) 
4.
20-12 (7:23)
5.
Hidden Hand, Hidden Fist (7:12) 
6.
Shakedown Street (3:43)
$0.99
7.
Vapors (6:14)
$0.99
8.
Simulator (6:54)
9.
MOD (5:07) 
10.
Looking Back on Earth (5:43)
11.
EHM (8:15) 
12.
Twilight Intro (0:49)
13.
Abcees (9:44)
14.
Move My Peeps (10:36)
15.
Lo Swaga (7:49) 
16.
Instantly (6:04)
17.
Rent (9:54)
18.
What Is Love? (9:31)
19.
Aimlessly (10:20)
20.
Galactic Earth Zoom (2:02) 
21.
Metameme (5:39)
22.
Atlas (7:16)
23.
Scheme Reprise (9:56)                                                                                                                           http://fp.io/ae26d821/

MAHAVISHNU ORCHESTRA - Felt Forum New York, NY - 03/16/1973

Mahavishnu Orchestra
March 16, 1973
Felt Forum
New York, NY


01. Meeting of the Spirits / Open Country Joy 25:16
02. Dream 26:18
03. Miles Beyond 13:38
04. One Word 17:34
05. The Dance Of Maya 16:38


Billy Cobham - drums
Jerry Goodman - violin
Jan Hammer - keyboards
Rick Laird - bass
John McLaughlin - guitar

Musicians who recorded and performed with Miles Davis during his early explorations into electric instrumentation inevitably went on to form bands of their own, but few were as adept or as influential as the Mahavishnu Orchestra, a globally diverse group formed by legendary English guitarist, John McLaughlin. Combining the improvisational elements of jazz with the volume and energy of rock music, the group also brought elements of Far Eastern, R&B and Classical music to the table. The Mahavishnu Orchestra created music that was often intricate and complex, performed by musicians whose virtuosity thrilled audiences and critics alike. The group had a firm grip on dynamics and were equally adept at dense, aggressive flights of feverish intensity as they were at creating moments of passionate spiritual contemplation. This diversity and technical ability dazzled audiences the world over and helped to expose jazz and world music to a younger audience. The initial "classic" lineup of the group lasted barely 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 the process.

By early 1973, the Mahavishnu Orchestra had firmly established their reputation, and with little over a year of live performances behind them, they had become one of the most exciting bands on the planet. This March 1973 performance captures the group following the release of Birds Of Fire and several months before they recorded the live album, Between Nothingness And Eternity. Recorded at the Felt Forum at Madison Square Garden in New York City on a stage festooned by flowers, this performance is another stellar example of the band's blazing energy and fluid virtuosity. A tangible increase in energy is par for the course in New York City, so it is not surprising that this particular performance is beyond the band's usual astonishing standards. Many musicians who the group respected and admired were in attendance, as well as friends and record company associates. The group's concentration level and sheer intensity reflects a conscious effort to play at maximum capacity throughout this show, with the improvisational level taken to glorious extremes. This night was also violinist Jerry Goodman's birthday and he is in particularly inspired and joyous form.

This incendiary performance begins with the opening track of their debut album, "Meeting Of The Spirits." One can immediately tell this performance is going to be special. Rather than easing into this piece, the initial intro sequence is explosive, extended and pummeling in its ferocity. While initially more faithful to the original album arrangement than many performances during this era, it is seething with an intensity that far surpasses the studio recording and eventually reaches nearly three times the length. This intense, high energy opener segues directly into "Open Country Joy." After the initial onslaught, this strutting, gradually intensifying urban blues is the least complex, most easily accessible music the classic Mahavishnu Orchestra lineup ever played. Vacillating between a laidback country feel and frenzied rocking power, its disarming rustic theme provides contrast to what preceded it. McLaughlin and Hammer's instrumental flights are tightly woven here, joyously dancing around each other and displaying their breathtaking improvisational abilities. This opening sequence clocks in at a solid 25 minutes.

Just shy of half an hour and at the time still unrecorded and unfamiliar to audiences, the "Dream" that follows is even more staggering. This is one of the group's finest explorations, featuring extensive unison playing and one of the most fascinating guitar and drum duels ever. 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. Shortly after the seven-minute mark, Cobham signals the rest of the musicians to join in. Rick Laird establishes a strong groove on bass, which is reinforced by Hammer. A blazing speed jam ensues. A little over four minutes into this, Hammer takes an astonishing electric piano solo before the band teases the audience with demented bluesy stop/starts that seem to be challenging each other's ability to concentrate. Another ferocious jam ensues, with the tempo increasing faster and faster. This becomes a head-spinning display of creativity and technical virtuosity. McLaughlin takes a searing solo that develops into ferocious instrumental combat between he and Billy Cobham. Rick Laird keeps it anchored, but Hammer and Goodman drop out for awhile, allowing McLaughlin and Cobham to explore their telepathic and seemingly superhuman abilities. Hammer's minimoog stylings eventually ooze back into the fray, introducing a playful element amidst all the technical virtuosity. One may realize during this latter sequence that one of Hammer's greatest strengths is his sensibilities. Although certainly capable of technical virtuosity himself, here he introduces an uncomplicated playful element, full of personality, which helps balance the technical onslaught. Eventually, they reinstate the theme and bring "Dream" to a dramatic close 26 minutes after it began. This is a true tour-de-force performance that encapsulates all the elements of this monstrously talented band.

Next up is McLaughlin's tribute to Miles Davis, "Miles Beyond," with the group again displaying breathtaking abilities, but with a more relaxed and funk buoyancy. Dominated by Hammer, who remains in a particularly playful and creative mood here, he offers a barrage of demented sounds from his keyboards. Jerry Goodman also propels the basic groove, with McLaughlin, Laird and Cobham providing rhythmic punctuations and accents. Following a barrage of drums from Cobham, McLaughlin takes over for a scorching guitar solo that must have left listeners astounded. This all leads up to the tour-de-force performance of the evening, "One Word." Beginning with a haunting and frightening sequence that gives way to a relatively straightforward jam, McLaughlin adds delicious wah-wah guitar, while the bandmembers trade a seemingly endless barrage of solos. Billy Cobham gets a showcase in the middle, beginning smoothly and continuously escalating in both speed and dynamics, preparing one for the explosive second half of the piece. When the group launches back in, playing in 13/8 time, continually increasing in speed, McLaughlin, Goodman and Hammer all blaze away in a manner that is nothing short of telepathic. Beneath all this, Laird and Cobham anchor things, while contributing to the overall searing effect. This spectacular performance brings the set to a close.

Although not captured on the tape, eyewitness accounts have none other than singer-songwriter James Taylor entering the stage prior to the group's encore, presenting Jerry Goodman with a birthday cake. The encore presentation of "Dance Of Maya" that follows also receives a highly improvised treatment. Once the initial sequence has been established, the band suddenly shifts focus, with Cobham playing a bluesy 10/8 drum pattern, his polyrhythmic patterns complimenting the melodic line. Many subtle changes occur during the improvisations to follow and this track is certainly one of the most intriguing and accessible pieces for newcomers to the band. Sixteen minutes later, this astonishing Mahavishnu Orchestra performance comes to an end. This concert is certainly one of the finest existing examples of the middle phase of the original lineup at the pinnacle of their powers. Although every concert from this era of the group is astonishing to some degree, this particular performance is simply seething with energy and absolutely glorious.

http://fp.io/7dadde7c/

MAHAVISHNU ORCHESTRA - SUNY New Paltz, NY - 03/17/1973

Mahavishnu Orchestra
March 17, 1973
SUNY
New Paltz, NY


01. Meeting of the Spirits 13:27
02. Miles Beyond 10:29
03. Vital Transformation 6:53
04. Sanctuary 7:09
05. The Dance Of Maya 14:33
06. One Word 11:58


Concert Summary

Musicians that recorded and performed with Miles Davis during his early explorations into electric instrumentation inevitably went on to form bands of their own, but few were as adept or as influential as the Mahavishnu Orchestra, a globally diverse group formed by legendary English guitarist, John McLaughlin. Combining the improvisational elements of jazz with the volume and energy of rock music, the group…entire summary

Billy Cobham - drums
Jerry Goodman - violin
Jan Hammer - keyboards
Rick Laird - bass
John McLaughlin - guitar

Musicians that recorded and performed with Miles Davis during his early explorations into electric instrumentation inevitably went on to form bands of their own, but few were as adept or as influential as the Mahavishnu Orchestra, a globally diverse group formed by legendary English guitarist, John McLaughlin. Combining the improvisational elements of jazz with the volume and energy of rock music, the group also brought elements of Far Eastern, R&B and Classical music to the table. The Mahavishnu Orchestra created music that was often intricate and complex, performed by musicians whose virtuosity thrilled audiences and critics alike. The group had a firm grip on dynamics and were equally adept at dense, aggressive flights of feverish intensity as they were at creating moments of passionate spiritual contemplation. This diversity and technical ability dazzled audiences the world over and helped to expose jazz and world music to a younger audience. The initial "classic" lineup of the group lasted barely three years and only released two studio albums and one live recording, but these recordings had a profound effect, redefining the jazz/rock fusion movement in the process.

By early 1973, the Mahavishnu Orchestra had firmly established their reputation. Their debut album, The Inner Mounting Flame, had mesmerized musicians and listeners alike and with more than a year of live performing behind them, they had become one of the most exciting performing bands on the planet. The material from the group's blazing sophomore studio effort, Birds Of Fire was now being introduced into the live repertoire and they were consciously taking a more improvisational approach to much of The Inner Mounting Flame material.

This March 1973 performance captures the group after the Birds Of Fire sessions, but several months before they recorded the live album Between Nothingness And Eternity. Recorded at the State University of New York in New Paltz, this performance is a stellar example of the band's high energy and fluid virtuosity. They are now beginning performances with the opening track of their debut album, Meeting Of The Spirits. Expanded to over twice the length of its studio counterpart, this would replace Birds Of Fire as the standard opener for the duration of the group's existence. This directly segues into McLaughlin's tribute to the master himself, "Miles Beyond," a funky and more relaxed display of their improvisational abilities.

The next two tracks, a blazing "Vital Transformation," followed by the more introspective "Sanctuary," stick relatively close to the studio arrangements. In 9/8 time, "Vital Transformation" contains some of the most furious playing that the band would ever achieve. Charismatic, powerful and blazing with energy, this is a tour-de-force blend of all the elements that comprised the band's music; jazz, rock, funk and R&B condensed into seven minutes of pure power. The virtuosity of the musicians and the tasteful applications create a sound that is truly progressive. Following the sheer intensity of "Vital Transformation," the group settles into a much more relaxed groove with a track from their newest album. "Sanctuary" is a slower contemplative piece, demonstrating that the rhythm section of Laird and Cobham are equally effective at subtlety as they are at intensity. After all the fury that occurred during the previous piece, "Sanctuary" provides some tranquility to the proceedings. Jan Hammer's introspective synthesizer solo weeps while Goodman's wailing violin complements McLaughlin's guitar.

One of the band's most popular first album tracks, "The Dance Of Maya," follows and it too gets an expanded treatment. This piece features an infectious rhythmic pattern that compliments the melodic line. Once the initial sequence has been established, the band suddenly shifts focus, with Cobham playing a bluesy 10/8 drum pattern. Many subtle changes occur during the improvisations to follow and this track is certainly one of the most intriguing and accessible pieces for newcomers to the band.

The set closing "One Word," another newer piece from the Birds Of Fire album, begins with a haunting and frightening sequence that gives way to a relatively straightforward jam, with McLaughlin adding delicious wah-wah guitar over a solid groove, while the band members trade solos. Billy Cobham gets a solo spot in the middle, which begins smoothly and escalates in both speed and dynamics, preparing one for the explosive second half of the piece. The group launches back in, playing in 13/8 time, continually increasing in speed, with McLaughlin, Goodman and Hammer blazing away, often in unison. Within this complicated time signature, one will discover McLaughlin applying a technique where he reduces his guitar strokes by one with each proceeding line, playing six notes on the first line, five on the second and so on. Beneath all this, Laird and Cobham anchor things, while contributing to the overall searing effect.

As the Mahavishnu Orchestra's popularity increased, they began headlining more shows, which provided them more time to experiment on stage. In the months to come, this would be taken to the extreme, with compositions often stretching out to over twenty minutes. However, this performance is a prime example of the middle phase of the original lineup, when they were simultaneously introducing new material to the live repertoire and taking the more familiar first album material further than ever before.                                   http://fp.io/a428192d/

PEARL JAM - UNPLUGGED

http://fp.io/131b4344/

THE STRING CHEESE INCIDENT - Deer Valley Snow Park Amphitheater, Park City, UT - 07/10/2012

 THE STRING CHEESE INCIDENT -  7/10/12 Deer Valley Snow Park Amphitheater, Park City, UT


DISC ONE
SET ONE
Come As You Are
(9:42)
Missin Me
(12:18)
Mouna Bowa
(8:18)
Song In My Head
(6:57)
Give Me The Love
(9:21)
I Wish
(7:18)
Looking Glass
(15:11)
Can't Stop Now
(4:58)
DISC TWO
SET TWO
'Round The Wheel
(11:22)
Bam!
(8:54)
How Mountain Girls Can Love
(4:33)
Sirens
(6:20)
Can't Wait Another Day
(6:59)
Rivertrance
(16:48)
DISC THREE
Big Shoes
(18:22)
Just One Story
(12:26)
ENCORE
Barstool
(5:53)
This Must Be The Place (Naive Melody)
(7:10)
'Round The Wheel
(3:34)

http://fp.io/c7b5d7fb/

FURTHUR - Merriweather Post Pavilion Columbia, MD - 07/08/2012

merriweather post pavilion
columbia, md
   1. Hell in a Bucket 9:05
2. Candyman 8:40
3. Althea 12:58
4. Cumberland Blues 10:05
5. Looks Like Rain 10:42
6. Cold Rain and Snow 7:13
7. Cosmic Charile 9:07                                                                                                                               1. Lost Sailor > 9:18
2. Saint of Circumstance 8:34
3. Bird Song > 17:20
4. Help on the Way > 4:19
5. Slipknot! > 6:43
6. Passenger > 6:39
7. Slipknot! > 1:44
8. Franklin's Tower > 8:13                                                                                                                              1. So Many Roads 9:07
2. Throwing Stones 13:40
3. Donor Rap 2:07
4. Samson and Delilah 7:49                                                                                                  http://fp.io/538a931e/

NRBQ – Grooves In Orbit (1983)

NRBQ – Grooves In Orbit (1983)

NRBQ (the New Rhythm and Blues Quartet) have amassed a fanatical cult following over more than two decades of recording & touring with their incredibly versatile eclecticism; their music might veer from country to rockabilly to pop to bar-band R&B to blues to free jazz, all in the same album. Grooves In Orbit was orIginally released in 1983 on the Bearsville label. This CD release contains two tracks, which were not on the original album.

http://fp.io/41b7e638/