Live @ the Fillmore [Live]

Disc: 1

1. Ventura

2. Reason to Cry

3. Fruits of My Labor

4. Out of Touch

5. Sweet Side

6. Lonely Girls

7. Overtime

8. Blue

9. Changed the Locks

10. Atonement

Disc: 2

1. I Lost It

2. Piñeola

3. Righteously

4. Joy

5. Essence

6. Real Live Bleeding Fingers and Broken Guitar Strings

7. Are You Down

8. Those Three Days

9. American Dream

10. World Without Tears

See all 12 tracks on this disc

Tracks:

Volunteers
Good Shepherd
Plastic Fantastic Lover
Uncle Sam Blues
3/5 Of a Mile In 10 Seconds
You Wear Your Dresses Too Short
Come Back Baby
Medley: Won't You Try/Saturday Afternoon
The Ballad Of You & Me & Pooneil
White Rabbit
Crown Of Creation
The Other Side Of This Life

Amazon.com

Sweeping Up the Spotlight: Live at the Fillmore East 1969 features the definitive edition of Jefferson Airplane, icons of 1960s psychedelic rock and political agitation. Jack Casady and Spencer Dryden hold down the free-floating rhythms on bass and drums, Jorma Kaukonen launches feedback-laced guitar solos, and Paul Kantner adds rhythm guitar and backing vocals. Topping it all are the voices of Marty Balin and the '60s acid queen, Grace Slick. In concert, the Airplane were always more rough and ready than on their acid-hued vinyl. Outside the studio, they were ramshackle and punky, which is why they were sometimes referenced when talking about punk bands like X, who also had male and female lead singers. Despite having six albums under their belt, mostly consisting of original material, the Airplane's live set has a lot of mediocre blues and folk filler. Some of their more characteristic repertoire is sacrificed to workman-like renditions of "Uncle Sam Blues" and "Come Back Baby," albeit with some ripping Kaukonen guitar solos. Balin's raucous rant on "You Wear Your Dresses too Short" is embarrassing in its soul-singer aspirations. Assuming this was their set sequence, it takes a while for the Airplane to congeal on stage. They ride roughshod over much of their materiel, but pull it together two-thirds of the way through on one of their most complex tunes, "The Ballad of You and Me and Pooneil." With its shifting time signatures and overlapping vocal lines and harmonies, it's a challenge to pull off live, but they do, with soaring vocals from Balin and Slick and a long instrumental jam with a fractured guitar solo from Kaukonen and a feature slot for bassist Casady, the most innovative and powerful bassist from that era. That paves the way for a darker version of "White Rabbit," the mock celebration of "Crown of Creation," and their show closer, a hyped rendition of Fred Neil's ballad "The Other Side of This Life." As they always did, the Jefferson Airplane land high. --John Diliberto

Customer Reviews:

I liked this one.......2007-07-12

There are some new previously unreleased live recordings of the Airplane on the market. This one is good, and from their best period. I loved the Airplane in that period, when I consumed illegal substances; crimes for which the statute of limitations has expired. This has material from early Airplane through Volunteers.

The Airplane's musical and technical genius is best reflected in their studio recordings. This is a very good live recording of an excellent sample of their music. If you think you don't have enough Jefferson Airplane records you can buy this one.

You know, it's possible to get better tunes for free, just look..........2007-07-11

"Casady, the most innovative and powerful bassist from that era"

Ha!

Hahaha!

You DO Know Jack.......2007-07-05

We can discuss whether or not this CD is as good as BIPLH or not. A couple things I'd like to mention from my perspective that make this CD different:
1) If you are a fan of Jack's, then you want this CD. He does a solo on Ballad of You and Me and Pooneil that is OFF THE FREAKING HOOK, my brothers and sisters. This solo--and Jack took way too few of them if you ask me-- feels like tectonic plates shifting. On the rest of the CD his playing absolutely ROARS as well. No one before or since has ever played bass like Jack. When Jorma joins in after the solo Jack even manages to feed on the energy and take it to still a higher level.

(Aside: To say the singing and harmonies are "uneven" is to be kind. Like so much of their live work, the vocal are just silly and indulgent.)

2) I really like how you can hear what Kantner was doing for a change. This must be a result of modern sound technology. It adds a dimension that we had to struggle to enjoy in the past and I am very glad they captured his work here.

Is it better than BIPLH? It's different. It's worth it if only for Jack's playing but there is so much more to enjoy too. Take care.

Yes, they were that good.......2007-06-29

I was born and raised in NYC and whenever the JA was at the Fillmore (Spring, August, and over Thanksgiving) I was there for both shows-- the early and late (the latter necessitating going back out after my parents went to bed)-- so I can say with certainty that I was at the performances that are on this disc.

Because of my experience at these shows, the JA was always THE band. Sometimes Mitch Mitchell of the JH Experience would sit in, often there was a free concert in the park on Sunday where the JA, the GD or Santana would blend together.

The creativity of the band, the depth and variety of its musicality, its emotional range, its intensity, its fearlesses (and sometimes they did crash!) and its passion all moved me greatly. And bass player Jack Casady , , , WOW.

The recorded output of the band, as brilliant as most of it is, never fully captured the Airplane live on a night when it was on-- not even "Bless its Pointed Little Head" fully got it-- not the best performance of Bear Melt or Rock Me Baby by a long shot and the other performances such as Its No Secret, 3/5ths of a Mile, Somebody to Love and Plastic Fantastic Lover are no where near the band's peak levels of creativity and intensity.

It is from this perspective that I say that this disc gets it TRUE.

This was the song of my youth (I'm now 54) and with this disc I touch the place in me that is always young.

That said, I teach martial arts for a living and I find that when I play this disc for a training session that my students often ask me "Who was that? That was really good, I want it get one, etc".

There is something here which resonates across time, , ,

The Adventure continues, , ,

Great live CD.......2007-06-27

This is a lot more entertaining than the hit and miss "Live at Filmore East" CD put out a few years ago. The band seems a lot more energetic and up for giving the audience a great performance. The sound quality is still not on par with "Bless It's Pointed Little Head", but far superior than the dismal sound of "Last Flight". The only song they could've left off was "You wear your dresses too short", which goes on far longer than needed. I could think of a dozen other JA songs they could've put in there that would've brought this up to a 5 star release.

Average customer rating:

Lower the price or finish the show!
Don't question the Master and buy it!
Live at the Fillmore East - Classic Crazy Horse
Neil Young and Crazy Horse Live at Fillmore East
Long Lost Neil Young Live Returns and SHINES!

Live at the Fillmore East
Neil Young and Crazy Horse
Manufacturer: Reprise / Wea
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Live at Massey Hall (CD/DVD)
The Road to Escondido
West
Endless Wire
Neil Young: Under Review 1966-1975

ASIN: B000I5X80G
Release Date: 2006-11-14

Tracks:

Everybody Knows This Is Nowhere
Winterlong
Down By The River
Wonderin'
Come On Baby Let's Go Downtown
Cowgirl In The Sand

Amazon.com

For years, fans of Neil Young and Crazy Horse have been waiting for an official chance to hear Crazy Horse live with original leader Danny Whitten, the insanely talented guitarist who died of a heroin overdose in late 1972, inspiring Tonight's the Night. Tuned-in fans have been awaiting this very set for at least a dozen years, as it was originally to be tacked onto the end of a Decade-style triple CD of outtakes. Thankfully, this well-recorded live set from the infamous Fillmore East was well worth the wait. Here are scorching, extended takes of "Down by the River," "Winterlong," and "Cowgirl in the Sand," each propelled by guitar interplay so delightful you have to keep rewinding to hear it again. In fact, bits of it seem to prefigure the ways that Richard Lloyd and Tom Verlaine would feed off each other in the band Television, only with less of a sweet edge. But the world doesn't need any more arguments that Young was a proto-punk; what the world does need is at least a dozen more releases from Neil's archives! And hopefully, with this awesome live album, the floodgates have truly been opened and there are many more to come, in the vein of Dylan's Bootleg series. This disc is worth it alone for the version of "Wondering," a tune not officially recorded until many years later in Neil's weird '80s rockabilly phase. --Mike McGonigal

Album Description

The first release of Neil Young's archive performance series.

Customer Reviews:

Lower the price or finish the show!.......2007-06-09

I don't care how many times I've blasted "Everyone Knows This is Nowhere" and "Down By The River" from this CD and thoroughly enjoyed them or how it's such a great look into a critical period of so many critical periods of such an amazing aritist...it's either over priced or more profoundly too lacking in sheer length. As a Neil fan I had to get it but it's hard not to feel slightly ripped off. Makes me skeptical about buying further such releases.

Don't question the Master and buy it!.......2007-05-30

I also have the 2-10-70 bootleg and feel that a comparison is in order to appreciate this Fillmore show. Neil's very intimate with the crowd at the Cincinatti show, but frustrated at times, even asking two people to be quiet so he can "get into it" for the rest of the audience. Then, at the beginning of the electric set Neil complains about a shock that he's getting from the equipment, and in the middle of "Down by the River" (18 minutes long!) he clearly says "I quit" during the chorus. So, that show is not going to be one of his favorites even if the music is amazing. It is a shame that this Fillmore release is missing the acoustic set and the ubiquitous "Cinnamon Girl" closer, which I heard was not as well preserved. However, what is here is the best sounding live Neil you have ever heard! It's not just the quality of the recording, either, which is rich, but the band itself. Let's take the "River" as our vehicle of comparison. Neil's voice has more inflection, his solos are more varied and aggressive, and despite being 12 minutes long it is a superior version. Also, instead of "It Might Have Been" from Cincinatti we get "Cowgirl" which blows the studio version away. Obviously, Neil felt better at the Fillmore show, so don't question the Master and treat yourself.

Live at the Fillmore East - Classic Crazy Horse.......2007-05-13

If you want a piece of Neil Young and Crazy Horse History, this is the ticket. Sure it might not be the whole concert and it is short compared to most CDs today, but I'll take quality over quanity anyday! The sound quality is fantastic!

Neil Young and Crazy Horse Live at Fillmore East .......2007-05-06

Neil Young and Crazy Horse are brilliant. It is a live version of " Everybody Knows this is Knowhere" The version of "Winterlong" is superb" There is little crowd noise. I would have enjoyed more tracks on the CD. All in all well worth the purchase price

Long Lost Neil Young Live Returns and SHINES!.......2007-04-12

Amzing this collection is. A must have along with Live at Massey Hall. Neil sounds like you remember especially if you saw him with Crazy Horse at the late Bill Graham's Fillmore East a favorite with the hippies in New Yorks Greenwich Village in the late sixties time of flower and beads! . A young Neil Young voice, rather than the mature version that comes with age and mileage. An incredible collection of well produced and well performed live tracks that can only bring you back to thw Woodstock era. Well worth the listen!

Average customer rating:

I just spent seven bucks too much for this
edicion MUY, MUY recomendable!!
How Alvin Lee should be heard
Ten Years After - 'Live At The Fillmore East' (Capitol) 2-CD
Ten Years After Live

Live at the Fillmore East
Ten Years After
Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Pure Blues
Performance: Rockin' the Fillmore
A Space in Time
Cricklewood Green
Anthology 1967-1971

ASIN: B00005K1ZD
Release Date: 2002-01-08

Tracks:

Love Like A Man
Good Morning Little Schoolgirl
Working On The Road
The Hobbit
50,000 Miles Beneath My Brain
Skoobly-Oobly-Doobob/I Can't Keep From Crying Sometimes/Extension On One Chord

Tracks:

Help Me
I'm Going Home
Sweet Little
Roll Over Beethoven
I Woke Up This Morning
Spoonful

Amazon.com

With its devotion to '50s rock and blues coupled to a manic, if decidedly middlebrow performance tack, Ten Years After could seem positively Jurassic, even by late-'60s standards. This collection culls magnificently recorded performances (kudos to Hendrix/ELP engineer Eddie Kramer) from a February 1970 weekend stand at the Fillmore East, capturing the band at its post-Woodstock performing peak. The running times of most of the tracks (three-quarters of which clock in at seven-plus minutes) will tip listeners to the show's jam-heavy take on covers of Sonny Boy Williamson (an ominous, revamped "Good Morning Little Schoolgirl"), Willie Dixon (a slow, 16-minute burn through "Help Me"), and Chuck Berry (atypically economic romps of "Sweet Little Sixteen" and "Roll Over Beethoven"). But with the band's own primordial originals (the titles "Skooby-Oobly-Doobob" and "Extension on One Chord" speak for themselves) there's an elemental, effusive--and, dare we say it--Ramones-like stoopidity to the tracks. Even Alvin Lee's trademark fret-burner "I'm Going Home" is hard to resist. This set perfectly captures one of the era's hardest working bands in a concise, double-disc time capsule. --Jerry McCulley

Album Description

UK live compilation for the British blues-rock quartet. Featuring 12 tracks recorded during two nights at the legendary venue, September 27th & 28th 1968. Highlights include, 'Spoonful' & 'The Hobbit'. 2001.

Album Details

Double disc digitally remastered set from Alvin Lee & Co.'s heyday. These recordings from the classic Fillmore East venue showcase the band at their best from their formative years. Includes 'The Hobbitt', which appeared in an evolved form on the 'Recorded Live' album many years later as well as 'Spoonful', 'Good Morning Little Schoolgirl', 'Sweet Little Sixteen', 'I'm Going Home and so many more. Essential for fans of boogie rock!

Customer Reviews:

I just spent seven bucks too much for this.......2007-05-02

which really, really bites. The sound quality is great. The band is tight. Just keep in mind that Alvin Lee has one solo that he plays in every frickin' number the band does. You'll know it when you hear it, trust me. The songs themselves are great, and of course Lee is a tremendous guitarist, but Ritchie Blackmore he ain't. Still, if you were to make a choice between this and "Recorded Live," take this. I've always thought "Recorded Live" sounded uninspired, mostly. This has got many of the same pieces, but done better. You don't get "Choo Choo Mama," but you get a much better "Hobbit" and an "I can't keep from crying" that doesn't sound like it was recorded under a bathtub full of water.

edicion MUY, MUY recomendable!!.......2007-03-02

lo mejor que alguien puede hallar en una placa en vivo es esa sensacion de "haber estado alli" y con estos 2 discos te aseguro que la sentis! gran sonido, grandes canciones, una guitarra fuera de control pidiendo pista...crudeza y sentimiento autentico...el fraseo y la garra de alvin lee son impresionantes..booklet digno con el relato de esas actuaciones...concluyendo, una edicion gratificante, que nos regala la actuacion de una banda que seguramente merecio mejor suerte que la que tuvo!!

How Alvin Lee should be heard.......2007-01-09

Alvin Lee had his own sound and if you are old enough to remember it, get this cd and remember the high--if you have never heard Alvin Lee on guitar you are missing the rocker before Mark Knofler. They even due spoonful.

Ten Years After - 'Live At The Fillmore East' (Capitol) 2-CD.......2006-12-04

Fantastic two disc archive live release from a true music legend,the British blues rockers Ten Years After. 'Live At The...' took place over a two-night stand on September 27-28,1968.My only regret is not ONLY wasn't I there myself,but I've never seen these guys play live.Twelve track concert,with a duration of a little under two hours.You can't go wrong by picking up a copy of this title. Sound quality is great.Also priced pretty nice. Most memorable cuts are "Love Like A Man", "50,000 Miles Beneath My Brain" (one of my personal favorites), the bluesy (also fun)"Skoobly-Oobly-Doobob", "I'm Going Home", "I Woke Up This Morning" and their two Chuck Berry covers, "Sweet Little Sixteen" and "Roll Over Beethoven". Would make a great gift for an old school fan. Highly recommended.

Ten Years After Live.......2005-12-23

This is one of the best live albums that I have. Alvin Lee is one of the must unterrated lead players in the world. His solo on HELP ME is simply the best the speed that he plays some on some of the songs is breath taking. Their verson of SPOONFUL is better then CREAM did on their live album. You can't go wrong buying this album. Also I would compare Alvin Lee's lead playing to Jimmi Hendrix and Eric Clapton any time He is one of the best in the world.

Average customer rating:

Live @ The Fillmore... Buy it for the new songs...
Lucinda Redux
LOVE it or HATE it...
SMELLIN' YOU FOR HOURS
Buy something else

Live @ The Fillmore
Lucinda Williams
Manufacturer: Lost Highway
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Lucinda Williams - Live from Austin, TX
West
World Without Tears
Essence
Car Wheels on a Gravel Road

ASIN: B000641A2C
Release Date: 2005-05-10

Tracks:

Ventura
Reason To Cry
Fruits Of My Labor
Out Of Touch
Sweet Side
Lonely Girls
Overtime
Blue
Change The Locks
Atonement

Tracks:

I Lost It
Pineloa
Righteously
Joy
Essence
Real Live Bleeding Fingers And Broken Guitar Strings
Are You Down
Those Three Days
American Dream
World Without Tears
Bus To Baton Rouge
Words Fell

Amazon.com

Few artists take the sort of emotional risks that Lucinda Williams does. Pouring her all into songs of hurt, need, and desire, she turns every live performance into an adventure, as the first concert recording of her career attests. Coproduced by Williams, Live at the Fillmore showcases her raw wound of a voice and the rough edges of her band in all their unvarnished glory, as the music cuts across conventional categories of country, blues, folk, rock (and rap) to strike a distinctly personal chord. Even the pacing is risky. Whereas most artists plan their sets to hit hardest at the beginning and end, Williams inverts the dynamic, sustaining a mood of reflective melancholy for extended stretches that open and close the album, while building to an explosive climax in the middle. With the selection dominated by recent material, the first eight numbers are like a sweet ache, as the wistful country of "Ventura" and "Reason to Cry" and the folkish minimalism of "Lonely Girls" explore the fringes of emotional fragility. Then Williams and band flex their musical muscles, shifting into the bluesier side of her artistry on "Change the Locks" and "Atonement," extending the desperate intensity of "Joy" over almost eight minutes, and offering homage to Neil Young's Crazy Horse on "Righteously" and "Essence." Backed by the barbed-wire guitar of Doug Pettitbone over the bare-bones rhythms of bassist Taras Prodaniuk and drummer Jim Christie, Williams tells the crowd, "We got the mojo workin' tonight." --Don McLeese

Recommended Lucinda Williams Albums

Lucinda Williams
Sweet Old World
Car Wheels on a Gravel Road

Essence
World Without Tears
Ramblin'

Album Description

Grammy Award winner Lucinda Williams is releasing her first live album titled Live @ The Fillmore. It was recorded at the legendary Fillmore Auditorium in San Francisco CA in early 2004. The double album includes such favorites as "Joy", "I Lost It", "Essence" and "Blue", but Williams digs even deeper into her past with gritty versions of "Pineola" and "Changed The Locks". Other songs featured are from the highly-acclaimed, Grammy-Nominated 2003 release World Without Tears.

Live @ The Fillmore features one of the best bands on the road today, with guitarist, pedal steel and background vocalist Doug Pettibone, anchored by Taras Prodaniuk on bass and Jim Christie on drums and percussion. Their performances of Williams' songs are an extraordinary balance of aggression and finesse that perfectly complement Williams' unique vocal style and songwriting.

Customer Reviews:

Live @ The Fillmore... Buy it for the new songs..........2007-05-10

Fans of singer Lucinda Williams will likely be fond of Live @ The Fillmore (2005), which was recorded at the famed theater on the corner of Fillmore Street and Geary Boulevard in San Francisco. The players appearing here are Jim Christie, Doug Pettibone, Tara Prodaniuk, and Lucinda herself; basically the same quartet that recorded World Without Tears.

In the interest of balance, Lucinda has included twenty-two songs on this two disc set; eleven of thirteen tracks (excluding Minneapolis and People Talkin') from World Without..., and seven of eleven tracks (excluding Steal Your Love, I Envy The Wind, Get Right With God, and Broken Butterflies) from Essence, right alongside four new sparkling songs.

Let me tell you, Changed the Locks (Track Nine, Disc One) -- a slightly ironic number sung in the style of Warren Zevon -- is almost worth the purchase price alone. The song has a strong percussive kick at the start, with several blistering guitar solos and Lucinda's whiskey-tinged voice ranting above it all.

Lyrical numbers like I Lost It (Track One, Disc Two) and Pineola (Track Two, Disc Two) blend well with songs from Lucinda's two preceding albums. Joy (Track Four, Disc Two) is a bluesy rocker with nuanced drumming from Jim Christie. All four of the new songs mentioned above received thunderous applause and whistling from the audience.

My outlook on live albums is somewhat lukewarm. For example, Lucinda's live performance of Essence (Track Five, Disc Two) is absolutely tepid in comparison to the polished studio version. Conversely, her enthusiastic live version of Atonement (Track Ten, Disc One) changed my mind about a song that I found lacking on World Without....

One or two songs -- like Ventura (Track One, Disc One) and Bus to Baton Rouge (Track Eleven, Disc Two) -- are indistinguishable from studio recordings, save for a dozen extra seconds. I find buying live albums to be a substitute for attending concerts, but I'd rather be there in person to experience the artist.

Really, the band was surprisingly uneven -- especially on Disc Two. This two-disc combo was recorded over three nights and mixed & engineered at Radio Recorders in Hollywood, but you can audibly pick out numbers where Williams' voice was taxed. I'll give Live @ The Fillmore a recommendation because I liked the new songs.

Essentially, this is a live album that is intermittently brilliant -- but at times frustratingly mediocre. If you already have Essence and World Without... you just might consider skipping this particular CD. When Lucinda attempts a live album again, I think she should use guest artist from the Lost Highway label to back her band up.

Amazon.com: This two-disc set can be purchased for only [...]

Lucinda Redux.......2007-05-04

Lucinda's rough, boozy voice is the perfect instrument for her poetry of unrequited and obsessive love, loss, sorrow and guilt. Her backup matches the mood of every song - inventive, original and pulsing with electricity and virtuosity.

Like John Prine and Dylan her lyrics tell stories with laser insight. Like Janis Joplin, she turns herself inside out, hurling emotion without restraint. Like Delbert McClinton she integrates her powerful lyrics with musical accompaniment that socks it home. But Lucinda with guitarists Doug Pettibone and Tara Prodanick, Jim Christie on drums, are soul mates, soaring above them all in this rare, raw event.

Lucinda repeats some of the best songs from other albums. But this time, they're not done with the same tenderness. Her voice has become more desperate and ragged. Every cut has an edge. Like a wounded woman, stripped to her soul, alone in a dark room with hard booze in a dirty glass, drinking away the pain. Hurt and melancholy, she shares with us the bitter leftovers of rejection and abandonment.

The first disc of this two disc album starts with "Ventura," The morning after, with nothing but emptiness and regret, she longs for redemption. "I want to be swallowed up in an ocean of love." Hawaiian sound - slide guitar. Sweet, sad, spent.

By "Out of Touch" things heat up. The beat gets more insistent and driving. Hints of rebellion. Guitars on the loose. Then back to melancholy.

"Sweet Side" reveals a deeply compassionate understanding of character.

"Changed the Locks" Fury! Revenge! Opens with a threatening drum beat and guitars grinding, squealing, whining while Lucinda lays it down, her teeth gritted, in a heavy vengeful beat.

"Atonement", the last cut on disc one, honors ZZ Top. It starts with a strip club beat as Lucinda calls all sinners to the bible. Drum punches in the march to redemption. The guitars break loose, screaming, twirling, crying, pushing on. The beat is unrelenting. "Come on!" Lucinda bawls out.

On Disc Two things get going. Supersized sixties sound, Hendrix style - a stew of rock, blues, and country guitar - rich with vibe, slide and ride, wail and whine. Powerful counterpoint to Lucinda's raunchy vocals.

"Righteously" - pure sex. [...]. Audience gets turned on. Guitar ramps up, stretching, sliding, vibrating. Drum beat skips, rattles. Hot, hot, hot.

Then "Joy." Primal. Fierce. Raw. "I don't want you anymore. You took my joy." Against Lucinda's furious rant, the music is a bouncy, mellow rock. Mid way it starts to build a fever, then retreats back to the subtle rocking beat, fades down and murmurs a few notes. Lucinda cries out. Guitar rises up, gains speed, shakes it hard, retreats again to a slow drawl, lying in wait for Lucinda's final exhausted lament, then gently carries her off in a soft retreat.

"Real Live Bleeding." Old style. Like a Stones number. Bitter lyrics.

Those Three Days." A killer. Skin crawling heartbreak and loneliness embraced in elegant language.

"American Dream." Her rap number "Everything is wrong!". Military beat with a raoomp drum, sticks, and a smooth guitar glide.

The finale, "Words Fell." Slow. Country blues. Guitar wails like a soft wind. Beautiful lyrics. Words fall, like roses at her feet.

In this well balanced duo of lyrical and raucous, Lucinda is the musical mistress of anguish, anger, regret and love.

LOVE it or HATE it..........2006-11-20

I love it and think just about every song on it is amazing. Thing is... she does sing like a druggy. I bought the act and love it. If you don't buy the singin', then you gonna hate it! I don't have many "gritty" cd's so this fills that void for me.

SMELLIN' YOU FOR HOURS.......2006-11-15

So the story goes that our Miss Lucinda being more than a little dismayed by the lackluster response to her truly remarkable studio release WORLD WITHOUT TEARS, decided to record a live album containing all but three of the songs from that work. Forcing critics & fans alike to take another look at those songs. I don't know if the tactic has really swayed public opinion in that regard, but the resulting live material is a blistering, soulful package nonetheless. The slight crack in her plaintive delivery on "Fruits Of My Labor" just makes my knees buckle. She always has a band behind her that means business and one listen to the thunder they bring on "Joy" you'll see what a nasty business that is. I often laugh when I read descriptions of Lucinda's voice as "sweet". If you mean the whiskey-soaked, smoky, pissed-off strains she displays on "Changed The Locks" & "Pineola" then I'll stop taking my coffee black. Speaking of sweet..."Sweet Side" really comes alive here & "Righteously" comes off even sexier when she's seducing the entire Fillmore crowd. As far as her intent? Luci, you're preaching to the choir with me. That being said though, there are songs I'm missing here like "Passionate Kisses", "Drunken Angel", & "Something About What Happens When We Talk". Those omissions are the only reason this is lacking a fifth star.

Buy something else.......2006-11-06

I purchased this CD by mistake. Lucinda did a marvelous live concert song that I thought was on this disc. Unfortunately, this show was recorded during her "torturing a drunk cat" singing phase. This work is only for diehard Lucinda fans who think she can do no wrong.

Average customer rating:

Aretha has left the building
GET THIS! (BUT KEEP YOUR ORIGINAL CD)
Aretha at her best
Prime live Aretha
Hey Nineteen!!!! You Paying Attention??

Live at Fillmore West
Aretha Franklin
Manufacturer: Atlantic / Wea
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Live at Fillmore West
Overnight Sensational
Amazing Grace: The Complete Recordings
Spirit in the Dark
Live at the Fillmore East

ASIN: B000FBG062
Release Date: 2006-07-11

Tracks:

Respect
Love The One You're With
Bridge Over Troubled Water
Eleanor Rigby
Make It With You
Don't Play That Song
Dr. Feelgood
Spirit In The Dark
Spirit In The Dark (Reprise)
Reach Out And Touch (Somebody's Hand)

Tracks:

Respect
Call Me
Mixed-up Girl
Love The One You're With
Bridge Over Troubled Water
Share Your Love With Me
Eleanor Rigby
Make It With You
You're All I Need To Get By
Don't Play That Song
Dr. Feelgood
Spirit In The Dark
Spirit In The Dark (Reprise)

Album Description

On March 5-7, 1971, the one and only Queen of Soul headlined Bill Graham's world-famous rock venue Fillmore West. Her connection with the enthralled audience proved intense, and the shows were a seminal breakthrough for Aretha's own peerless legacy and for the popularization of soul music overall. Disc 1 features the original single-disc album Aretha Live At Fillmore West, updated to present two previously edited tracks in their entirety including Franklin's momentous duet with Ray Charles--who just happened to be in the audience--on "Spirit In The Dark". Disc 2 is comprised of rare alternate versiouns previously available only on the very limited edition, now out-of-print, Rhino Handmade title Don't Fight The Feeling: The Complete Aretha Franklin & King Curtis Live At Fillmore West.

Customer Reviews:

Aretha has left the building.......2007-07-16

Aretha Franklin has always had a knack for taking an already existing, beautiful song and totally re-inventing it with her brilliant arangements. She brings a personal and warm feel to all the songs she covers (see Eleanor Rigby or Bridge Over Troubled Water), making them her own. Not to mention her own original songs (Dr.Feelgood "Don't we all need a visit from you sometimes", And the breath-taking Spirits In The Dark). Truely one of the greatest live albums of the early seventies 'Fillmore' series. Ray Charles guest-appears (God I wish I had been there) and just tears the roof down. And what about the cover of the album, I have always loved the cover, a mature Aretha looking very motherly and angelic. Aretha had definately arrived.

GET THIS! (BUT KEEP YOUR ORIGINAL CD).......2007-03-14

These 2 cd's contain some of the most blazing live performances I've ever heard. Seriously, for those who think that R&B music begins and ends with Whitney, Mariah, Mary J and other so-called "Divas" of our time, one listen to this fantastic collection should set you straight. Aretha wasn't crowned "Queen Of Soul" for nothing! This album, along with her "Amazing Grace" gospel collection, is Aretha at her most raw and untamed. The vocals are just indescribable--Lady Soul was on FIRE during this engagement. From the first number to the last, she never lets up. Much is written in the liner notes about how her Fillmore engagement was the gig that "crossed her over to the white mainstream", but come on! By the time she appeared there, Aretha had become the biggest female singer of her time, bar none. I hardly think someone who, by that point, had already amassed something like 9 or 10 top ten POP hits and several
classic albums needed to be "crossed over". But whatever. She is at the top of her game here, and that's saying a lot. Her version of "Love The One You're With" could have been a smash, as was her cover of "Bridge Over Troubled Water". "Eleanor Rigby" and "Don't Play That Song" are gems, and what can you say about the live version of "Dr. Feelgood"? Wow.
Ray Charles pops in for a reprise duet of "Spirit In The Dark" that makes
one wonder what a powerhouse duo they could have been together had they
recorded an entire album together. The first CD is the "original album",
the 2nd CD consists of alternate versions from other shows from the same
gig, and several songs not on the 1971 album. All are great. I actually
prefer some of the alternates better; on the original CD all the keyboards
are electric, but on the 2nd CD, "Eleanor Rigby", "Don't Play That Song",
"Dr. Feelgood" and "Spirit In The Dark" are played on acoustic piano, which gives those songs more of the classic "Aretha" gospel feel.
Now, I do have one quibble--several of the songs on the first CD are NOT
the same performances on the original release. "Bridge" has an extra
vocal intro in the beginning not on the '71 release, or the original CD
release. "Eleanor Rigby" seems to have some different background vocals,
and "Make It With You" is also different--on the original LP/CD during the instumental break she says "Come on let me whisper in your ear, um hmm...I like ham hocks too!" That's gone. (I'm wondering if there were
some overdubs on the original album which were not used here.) And "Dr.
Feelgood" starts out the same, but the ending riff is TOTALLY different
here. In the original, she sings something like "cross your arms, cross
your legs, look up to heaven and say YEAH!" On this release, she ends with a whole riff with some San Francisco references (fog, the bridge, etc) These differences will only matter to people who, like me, know the
original album, but that's why I think you should hold onto your original
copy if you still have it. But this release will please ANYONE who loves
Miss Ree. She is, was, and always will be the REAL DEAL. ENJOY!

Aretha at her best.......2007-01-24

Aretha fans will love this album and others will be converted - fantastic performance

Prime live Aretha.......2006-08-08

Thanks to Rhino for putting out this double CD culled from the too complete, OP and very expensive box set sold only through Rhino's Handmade label. Besides prime era Aretha live in front of a loving audience and a surprise duet with Ray Charles, she's got the great King Curtis behind her (the Handmade set included his complete performances as opening act too, available in part separately). In spite of the vastly superior talent of the backup on this, I always preferred the much maligned "Aretha in Paris" before, because she was so extraordinary (in part due to nervous energy) in front of the off-key backup band on that recording. Her live version of Willie Nelson's "Night Life" is still the best single recording on either set. But now complete in great sound, if you're buying only one live Aretha, this would be the one. She and Etta James are the queens of soul, and there is no one else who can approach their shared throne, to date. Here's hoping the complete "Paris", if there is any more (sets then were shorter) is issued too; maybe with digital technology the off notes behind her on that could even be straightened out. And there's still a mountain of Columbia Aretha to mine, particularly the undoctored studio recordings tricked up to be the fake live LP "Yeah!", which is almost as good as this.

Hey Nineteen!!!! You Paying Attention??.......2006-07-29

"Hey Nineteen, that's `Retha Franklin.
She don't remember the "Queen of Soul".
Steely Dan wrote those words over twenty-five years ago, less than a decade after "Live at Fillmore West" first appeared. If these words held true then, then they must be even more so now (chances are good that today's 19-year olds don't remember Steely Dan either...). Re-released with unedited tracks and an extra disk, it now provides a golden opportunity for subsequent generations to get a taste of what soul music sounded like back when they were `keeping it real'.
During a raucous run-through of "Respect," Aretha introduces herself to the audience, stating, "I promise... you will have enjoyed this show as much as any that you've ever had an occasion to see." Three songs later, as I sat listening to her rather bizarre reading of "Eleanor Rigby," I had my doubts about that statement. By disk's end, though, I had to admit that she held true to her promise. "Live at Fillmore West" emphasizes the gospel influences of Aretha's music, with rave-ups and free form rhythmic workouts that hold you in their spell until the last song fades away. Even when the material slackens, the musicianship bolsters the pace of the show; Talk about your dream bands, the musicians supporting Aretha are all top-notch. King Curtis is bandleader, with Cornell Dupree on guitar, Bernard Purdie on drums, Billy Preston on organ, and the Memphis horns fleshing out the arrangements.
The contents of this 2-cd set were recorded March5-7, 1971, at a time when Aretha experienced an artistic resurgence that crossed cultural barriers. Most of her hit material from this era was derived from imaginative and often drastic re-workings of contemporary hits, and this mindset is exactly what provides the lion's share of material for this set. Some of it works well (Bread's "Make It with You," Paul Simon's "Bridge over Troubled Water"), and some of it doesn't (the above-mentioned "Eleanor Rigby," and a somewhat shaky reading of Steve Stills' "Love the One You're With"). The second half of the show is when the real heat kicks in, though. A powerful reading of "Doctor Feelgood" signals a mood change and brings some church spirit to the hippie Mecca that was most famous for hosting acts like the Grateful Dead and Jefferson Airplane. From then on, the show feels more like a revival meeting than a concert. "Spirit in the Dark" is the show's climax, and also serves as the first encore. It is revelatory. Ray Charles makes a surprise guest appearance here, and his presence brings a loose, free-form feel that practically forces the band to intense energy levels. The original album release contained extremely edited versions of these tunes so they could fit on a single LP. Here, they are presented in full, stretching out for almost a full half-hour of deep-soul gospel music. Collaborations between "the Genius" and the "Queen of Soul" were rare, so this pairing is more than enough to recommend this set. Add in a bonus disk with alternate versions and a few extra tracks that never surfaced, and you have a very special re-release. Hey nineteen (or twenty-nine, or thirty-nine), you owe it to yourself to check this out.
A- Tom Ryan

Average customer rating:

My best possession
Dominos without Derek
Not A Kid's review
Uneven, but a "must-own" for the highlights
The Dominos capured live.

Live at the Fillmore
Derek and the Dominos
Manufacturer: Polydor / Umgd
ProductGroup: Music
Binding: Audio CD

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The Layla Sessions : 20th Anniversary Edition
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In Concert
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ASIN: B000001E3V
Release Date: 1994-02-22

Tracks:

Got To Get Better In A Little While
Why Does Love Got To Be So Sad?
Key To The Highway
Blues Power
Have You Ever Loved A Woman
Bottle Of Red Wine

Tracks:

Tell The Truth
Nobody Knows You When You're Down And Out
Roll It Over
Presence Of The Lord
Little Wing
Let It Rain
Crossroads

Customer Reviews:

My best possession .......2007-06-24

This is by far the best Derek and Dominos concert I have ever heard though some of you can differ with my viewpoint. However, from my point of view it is a great blues live album recorded live at Fillmore on 23rd and 24th October 1970. It is said that the band was not aware of that the show had got recorded. It is our good fortune to listen to this album.

The CD contains two disc of which the CD 1 is fantastic with tracks like "Got to get better in a little while", "Why does lover got to be so sad?" and others.

This is a must buy CD!!

Dominos without Derek .......2007-04-09

The heart and fire that made Derek and the Dominos is sorely missing. Without Duane Allman, this is simply another Clapton led sound alike diversion. Duane made "Layla" and the album one of rock's masterpieces. He carried Clapton to a new level that he had not seen before or since. This album's performance is an honest effort to keep the band going, and is enjoyable listening but anyone has who heard the Dominoes with Derek will be well aware of the missing brilliance of SkyDog.

Not A Kid's review.......2007-03-16

I've loved, loved, loved this CD since the minute I got it. I wished that I had been there to see it live. But alas I was only 6 at the time and for some strange reason I don't think my parents would have gone for that.

Last night I was lucky enough to see Clapton at the Staples Center and I was in heaven! 80-85% of the song list was from this CD. When he played Little Wing you couldn't hear a thing except for Clapton. My friend who loves Hendrix said except for Hendrix, he's never seen/heard anyone play it so perfectly. That was a huge complement coming from him since he's such a music snob.

Bottom line, if you like Clapton get this CD and then run as fast as you can and get tickets to to his '06-'07 tour. You won't regret it.

Uneven, but a "must-own" for the highlights.......2006-08-04

Derek & The Dominoes. They made one of the most essential classic rock albums of all time and - lucky us - they also laid down some live stuff. Here's how it holds up to their studio genius.

DISC ONE

"Got To Get Better" (13:52) ...WOW. This is the best live song I have ever heard, bar none. I would say that it now rivals the Stones' "Tumbling Dice" for the title of My Favorite Song Ever. This CD is well worth the asking price, for "Got To Get Better" alone.

"Why Does Love Got to be So Sad?" (14:49) is almost equally amazing. The first 3 minutes Eric gets into some cool riffage and soloing on a wah-wah pedal; if you didn't have the CD cover to tell you, you would never know what song he is starting. Then, he moves fluidly into the song itself and does an 11-minute rendition that dwarfs the (already awesome) studio version. SWEET.

"Key to the Highway" (6:25) is shorter, leaner and louder than the jammy studio version. In fact, THIS sounds like a studio version. Very good.

"Blues Power," as usual, is no good as a live song. "Have You Ever Loved" is pretty good, but "Bottle of Red Wine" verges on annoying. I usually don't listen to these three when I'm listening to disc 1.

DISC TWO

"Tell the Truth" (11:04) is decent. Different enough from the studio version, but not a different song by any means. Good soloing. Too slow, though.

"Nobody Knows You" (5:33) is terrific, and very interesting particularly if you are used to the studio version. The Layla version of this song was quite tough, but this is a totally mellowed-out, laidback blues groove. Very nice.

"Roll It Over" (6:40) is good. I'm not familiar with this song from anywhere else - was it on a Clapton solo album that I am forgetting? - but it is good.
**edit: I finally paid attention to the lyrics on this song. Kinda tasteless ("Roll it over, let's take it from behind ... means so much to me").

"Presence of the Lord" (6:16) is WAY better than the Blind Faith version, and I LOVE the Blind Faith version. It is the highlight of disc 2. Like "Nobody Knows You," this one is much mellower and more stretched out than the studio version. This song has a lot of cool transitions, and it's fun to hear the crowd expecting each one and cheering when it comes.

"Little Wing" (6:13) is very good. At least as good as the studio version, but not the same at all. More like Hendrix's version.

"Let It Rain" (18:19) is the extended jam of disc 2. It's good. There's a long drum solo that, surprisingly, doesn't get boring. I love the studio version of this song so much (my favorite song of Clapton's) that I'm tempted to say this live version is not as good; but that would be apples and oranges. This is not even the same song - instead, it is a very enjoyable jam.

"Crossroads" (8:29): Every other live take of this song that Clapton has done in his career has sucked next to the Cream version, but this one stands up. It's very slinky and funky and cool. It's definitely amusing to hear the typically-shy Clapton finally include the line, "You can squeeze my lemon babe till the juice runs down my leg...you know what I'm talkin' about." Robert Plant, sure. Eric Clapton? Haha.

In sum, this has fast become one of my very favorite CDs. Eric Clapton, as a jam-band leader, puts Jerry Garcia and Trey Anastasio to shame. At the same time, even people with little tolerance for the extended length and increased sloppiness of live music will enjoy most of the songs here. The highlights of this disc are certainly among the highlights of Clapton's career.

The Dominos capured live........2006-07-15

This is a great, great live album. The Dominos, Eric Clapton, all-world guitarist, Jim Gordon, all-world drummer, Carl Radle, tremendously talented and experienced bassist, and Bobby Whitlock, singer and keyboardist with another world of experience, rocked the Fillmore for two days and four shows, and got captured on tape. Thank goodness.

The band lacks Duane Allman from the Layla sessions, a guitarist to equal Clapton, so the stunning and unique guitar interplay featured on that album is, sadly, missing. As far as we know, Duane appeared onstage with the Dominos twice. One appearance was not effective, drugs usually given as the reason. Another appearance was recorded by at least two sources in the audience, and is available as a bootleg entitled "Twin Flames Soul Mates". The recordings are very muddy, still listenable, but it is very plain, again, that the two brought out the best in each other. They go at it with a vengeance, offering amazing virtuosity and musicianship for the evening. That, however, is a different band than the one on this CD.

The Dominos sans Allman is more of a smooth and polished unit, not as fiery or emotional, offering songs that get into grooves, the rhythm section backing Clapton in an amazingly smooth and seamless manner, whilst Eric wails. And I mean wails. Some fantastic soloing pours out of his guitar, blistering the audience for long minutes at a time. Jim Gordon adds a frantic drum solo that never slows to allow us to appreciate the cool rhythms, it just goes faster and faster.

Professional, poised, and having fun. The band plays songs that date to their time as Eric's band on his first solo album, with Delaney and Bonnie, and backing George Harrison on "All Things Must Pass". They had actually been together for awhile, and sound like it. The only non-Dominos songs on this album are "Presence of the Lord", a Blind Faith tune, and "Crossroads", which is an Eric Clapton concert staple dating from Cream's "Wheels of Fire" live side. "Bottle of Red Wine" and several others are from Clapton's first studio album, "Eric Clapton", and Whitlock, Radle and Gordon were playing with him then.

There are several bootleg copies of this concert available, most with superb sound, some offering the complete concerts from all 4 shows on these two dates, but where one would go to find that in Arkansas, well, I don't know. I bought this instead, and have a record of the Dominos in concert, and it is worth it. A great band, great evenings, great setting, and great, great playing.

Average customer rating:

jimi hendrix live at the filmore east cd
Essential if you already have Band of Gypsys 1
No Need to be Wary At All!
Varying performances and quality, but good overall!
ANOTHER GREAT LIVE COMPILATION BY HENDRIX'S "BAND OF GYPSYS!"

Live at the Fillmore East
Jimi Hendrix
Manufacturer: Experience Hendrix
ProductGroup: Music
Binding: Audio CD

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Jimi Hendrix: Live At Berkeley
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First Rays of the New Rising Sun

ASIN: B00000I5JT
Release Date: 1999-02-23

Tracks:

Stone Free
Power Of Soul
Hear My Train A Comin'
Izabella
Machine Gun
Voodoo Child (Slight Return)
We Gotta Live Together

Tracks:

Auld Lang Syne
Who Knows
Changes
Machine Gun
Stepping Stone
Stop
Earth Blues
Burning Desire
Wild Thing

Amazon.com

Though it was made largely to help disentangle Hendrix from a thorny contractual dispute, 1970's live Band of Gypsys LP--six tracks pulled from four concerts recorded over New Year's Eve and Day in 1969-70--stands as one of Hendrix's most remarkable guitar statements, and an integral part of his recorded legacy. This two-CD set accounts for a large portion of the remainder of those concerts, and though uneven and ragged in spots, it offers some minor revelations. Highlights include a stunning jam in a revamped "Stone Free," "Auld Lang Syne" as only Hendrix could have played it, a playful "Who Knows" with an improvised New Year's lyric, alternate versions of the guitar showcases "Machine Gun" and "Voodoo Child (Slight Return)," and a downright weird "Earth Blues." Drummer Buddy Miles (with bassist Billy Cox, the Band of Gypsys in full) takes the spotlight on the funky--if very out-of-tune--"Stop." Clearly, Hendrix did well to select the cream of these gigs for the far more consistent original Gypsys album. Still, as his legend deepens, thirsty Hendrix devotees will find plenty of refreshment here. --James Rotondi

Customer Reviews:

jimi hendrix live at the filmore east cd .......2007-06-30

ook if u are a fan of hendrix u already own this u proly already own the band of gypsys on record to its the same show with more songs better one would think it would be i gess he did three or to shows there this is only the highlights come on theres more stuff in the vaults if other bands can relases the full live cd then why cant hendrix like i said get it if u are a fan if not then pick up band gypsys

Essential if you already have Band of Gypsys 1.......2007-04-02

I don't understand some of the low votes for this great album, even if some just don't like the editing. As others have said, bootlegs exist for those who want the shows in their entirety but this more commercially viable 2 CD set provides a sensible alternative. Because it is so much longer than the original classic, which also has a version of 'Machine Gun' which is undisputably better, it does not seem to have the same impact as that one does, but the music's just as good, if unsurprisingly with a different, but equally good sound mix. I'm surprised at complaints about sound quality. I have hundreds of live music CDs from this era and the sound quality is up there with the best. To anyone considering getting this, first try the original Band of Gypsys, preferably the 3 track extended version if you can track it down without paying too much. As it's a matter of taste, and many people who enjoy plenty of other Hendrix concerts may not like this one, see if you enjoy the single disc first before investing in this one. And if you're not outraged by the sound quality of the 3 bonus tracks (I believe 'Hear My Train' was lifted from videotape) of the original, you'll be more than pleased with the sound quality here.

I'm astonished that some people criticize the fact that some songs on the first album are not on this one. I would have been annoyed to find too much overlapping of songs on the 2 releases, and the choice as to whether to put an unheard version of a song on the album as opposed to a classic version available everywhere for over 30 years should be a no-brainer.

Whatever one may say about Buddy Miles, whose singing personally I find great but vocal scat singing and screaming intrusive, the fact is that there is far greater, more sophisticated playing from Hendrix here than on many earlier Experience concerts like Monterey for example, which were really exciting visual experiences but whose audio tracks may not contain as much great playing as a show when he was focusing more on the audio than the visual side. Even the version of 'Wild Thing' presented here has more in it musically than the early ones.

Some may have problems with Experience Hendrix, but one must admit that their releases have been light years ahead of most of those released since Hendrix died. Remember the awful mixes and edits of the Alan Douglas era, the space cadet liner notes of Michael Fairchild, Douglas's sidekick who wrote a book that pulls quotes out of Hendrix songs to prove that Jimi was on a mission to Earth to warn us of our impending destruction by a giant asteroid, and even some of the weird cover art. Now we have great clean mixes, no horrible echo or obtrusive studio effects, sensible informative liner notes, and great photos and overall artistic sensibility, extending also to their Dagger Records range of releases. So thank you Experience Hendrix, you're doing a great job, and are criticized only by those who have forgotten or have no memory of how the Hendrix legacy was handled in the past.

No Need to be Wary At All!.......2006-12-21

I put off buying this CD because of the negative reviews I had read. What a load of rubbish.

Band of Gypsys is one of the great live recordings released in the 60's and 70's. I always loved the Gypsys rhythm section as opposed to the Experience and always wanted to hear more from this line-up. On these Fillmore concerts, Buddy Miles is right there on the beat, there's no hesitation, no pussyfooting around, he's commital and right there on the beat, rock steady - folks in the Hendrix circle used to call him "the funky cememt mixer". Anyway, I figured if Band of Gypsies was so stunning, how bad could the out-takes from these concerts be?

I'm really amazed that it took until 1999 to get this material out to the public, especially considering all the marginal material that was peddled off to the fans. This is a great, great find for Hendrix fans. If you enjoyed Band of Gypsys then you definitely want to purchase this. I really have no criticisms at all. I am "tickled" that this is so good. Sure, Machine Gun isn't quite up to the same standard as the landmark version that appeared on Band of Gypsys, but both versions are still good. Stone Free is incredible, the "New Rising Sun" material sounds great live and the band is very tight. The Gypsys are a far tighter sounding band than Experience sound on their live releases. This is not just a jam band folks. Michael Jeffries was a complete idiot for working to destroy this lineup.

Let's face it, Jimi's live releases, apart from Band of Gypsys, are very much hit or miss affairs, track back track, CD by CD. Band of Gypsys is the fantastic exception and Live at The Fillmore isn't that far off the mark. It's grrrrrrrrreat! Buy at once!

Varying performances and quality, but good overall!.......2006-12-13

"Live at the Fillmore East" was one of those long-awaited purchases for me. After having heard "Band of Gypsys" almost 20 years ago on cassette and again on CD, I was excited to hear about the release of more footage from one of my favorite concerts ever.

When I finally did get it, I felt disappointed at first. Edits sounded clumsy, the microphones are way off on some tracks (because of technical problems, I learned later), and the performances are variable or take some getting used to, at least.

Highlights: my favorite is the jam on "Auld Lang Syne", even though the sound quality is bad and takes some getting used to, Jimi and company bring the 1970's to New York in style. "Hear My Train A Comin'" is the most intense version I've heard yet of Hendrix's deeply personal song, and "Izabella" has more life than his version from Woodstock. "Who Knows" takes some getting used to if you've heard the excellent version on the "Band of Gypsys" CD, because it departs quickly into a jam session, with Jimi even apologizing to the crowd. But on its own, no apologies are necessary, and you call tell that the band is tight and having fun. "Stepping Stone" also translates well with vibrant intensity on stage.

Indifferent: Two versions of "Machine Gun" are interesting to hear, and good performances, but nowhere near the version on Band of Gypsys. (Then again, how can you come close to that definitive version?) "Earth Blues", "Stop", "Voodoo Child" and "Changes". The last one ("Changes") starts and sounds almost identically to the "Band of Gypsys" CD version until it reaches a part where Buddy Miles improvises vocals. I prefer the other version with fewer vocals.

Not so good: Sound quality and the remaining tracks. Even the weakest songs aren't that bad though.

Overall, I have to say that I prefer the Band of Gypsys ensemble over The Experience. Nothing against Noel Redding or Mitch Mitchell, but Billy Cox and Buddy Miles provided a more cohesive sound and I always got the impression that Hendrix-Miles-Cox love the blues, which is a must if you were to play with Hendrix. In addition, with the Band of Gypsys group, the music is more 'simple' (if you want to call it that), but it is the music, rather than showmanship, that take center stage. I think that Buddy Miles made an excellent foil to Hendrix, with the additional talent of having lead and backup vocals that worked well with the music, allowing Hendrix to focus more on his guitar.

I'd recommend this to fans of later Hendrix, but I'd recommend people to get the "Band of Gypsys" CD first, since it contains the definitive performances and is also less expensive, being one disc versus two. Only then should you venture into "Live at the Fillmore East", and with the strong caveat that the sound travels into uneven territory that is unexpected from a digitally remastered release.

ANOTHER GREAT LIVE COMPILATION BY HENDRIX'S "BAND OF GYPSYS!".......2006-10-03

I will be doing a review on the legendary historic landmark 2-CD live compilation set entitled "Jimi Hendrix - Band Of Gypsys - Live At The Fillmore East" by the late great guitar legend Jimi Hendrix. As always, I will be editing this review from time to time so that you the consumer will get the best and most accurate review possible. In case you haven't read my previous review on the "Band Of Gypsys" DVD documentary, this is actually a continuation review of the "Band Of Gypsys" saga, this time focusing and highlighting on some of Jimi's unreleased song performances that were performed "Live At The Fillmore East" on 31 December 1969 and 1 January 1970. This latest 2-CD set, like the DVD documentary, were both separately released in 1999 and includes additional unreleased song performances that were not included in the original partial six song live compilation released in 1970 entitled "Hendrix - Band Of Gypsys." In case you don't remember, there was another live compilation (a sequel) of additional unreleased performances that was released by Capitol Records on vinyl and cassette in 1986, but not on CD, entitled "Jimi Hendrix - Band Of Gypsys 2."

With this new latest 1999 2-CD live compilation collection, along with the original 1970 and the then latest 1986 collection, these new unreleased performances shed a new light in the "Band Of Gypsys" saga and legacy resulting in bringing these partial Fillmore East concerts to life. With this being fact, these newly released performances add much more to the "Band Of Gypsys" legend and is clearly becoming more evident of being a truer testament in showing the further advancement of the band's fully creative side while performing live, in how mixing and combining Rock n' Roll, Soul, R&B, Blues and Funk can result in a new powerfully explosive sound of music.

Before I go any further, I would like to go way back to the beginning. In my DVD documentary review, I have stressed many contributing factors on the ideas and beginnings resulting in the birth and formation of the "Band Of Gypsys," along with the many contributing factors and incidents that would fatally prove disastrous and eventually break up the "Band Of Gypsys." In this latest 2-CD release, I will go further and stress another important contributing factor that was not discussed in my previous DVD documentary review. This is another one of many contributing factors that would result in the birth of the "Band Of Gypsys."

According to numerous Hendrix biographies and the attached liner booklet that accompanied this 2-CD live compilation set, the genesis, the root of the beginning that started all of this actually evolved from a serious problem Jimi neglected which began back in 1965. In 1965, Jimi was then, a typical hungry musician, who would sign any contract or any piece of paper in hopes that it would further advance his career. Having signed numerous contracts and many pieces of paper to many, unfortunately, for Jimi, there was one piece of paper that Jimi signed that would haunt him after he became famous. Since Jimi did not fulfill his obligations with this particular company, as was the case for the many others Jimi forgot about, the plaintiff's and attorneys representing this opposing company would file a lawsuit against Jimi demanding satisfaction. With this lawsuit pending, Jimi figured that the only way to resolve and settle this lawsuit was to give them something that would satisfy and resolve this issue. With this in mind, Jimi would contact and approach his long time friend and Army buddy named Billy Cox and explained what had happened. It was at this point, when it was decided by Jimi to settle out of court by giving the company plantiff's a new studio album recording for them to release. Cox's reply to this statement was, "lets go for it!" Also during this time, while Hendrix and Cox were discussing these matters further into details, and Jimi's Drummer Mitch Mitchell taking a break in England, Buddy Miles was a frequent visitor as well as a spectator in the studios with Jimi and Billy. When Miles was told about Jimi's misfortunes and his circumstances surrounding his situation, Miles decided the same fate and results as Billy. Miles reply was, "lets help our friend in need." With Jimi sharing and explaining his new ideas for a new sound with Cox and Miles, the two would agree on liking Jimi's new ideas and would help in fulfilling these goals by playing a mixture and a combination of Rock n' Roll, Soul, R&B, Blues and Funk. With these new goals and the stage now being set, this newly born trio would eventually become known as, the "Band Of Gypsys." With Cox's and Miles' full cooperation and their loyalty to Jimi, Jimi now felt a little at ease and believed that a resolution would soon be in the works in his legal matter.

In order to create this ultimate new sound for this new album, Jimi elected in preparing fresh new original material. Jimi really wanted to record these fresh new original songs in the studio for the sole purpose, and hopes, of fulfilling his legal obligations to this company by giving them a new studio album recording for them to release, and resolve and close this legal matter. But with the Fillmore East shows coming up, preparations such as practicing and rehearsing the new song material as well as the familiar songs for the upcoming shows, and with little time remaining, would soon become the main priority resulting in the postponement of the studio recordings of the new songs and therefore, laid aside.

With Jimi and his Management being harassed and subjected to increasing pressure from the company plaintiff's attorneys, in order to satisfy the Capitol / PPX settlement, a new decision was made by Jimi's Manager Mike Jeffery to record all four of the forthcoming Live Fillmore East Concert Performances. This decision was rendered in hopes of releasing a live compilation album rather than a studio album. With all of this in mind, and showtime about to commence, ALL FOUR concert performances spanning two evenings, were recorded onto tape on 31 December 1969 and 1 January 1970. Sadly, these 2-CD live compilation performances contain only sixteen of the many numerous songs that were performed in those four shows. However, it is also evident that these sixteen live song tracks do clearly audibly indicate and show the brilliance and expertise of some of the new genuine original and well-performed song material besides the regularly well known popular Hendrix songs. These sixteen live song tracks sounded EXCELLENT! The sixteen live song tracks contained and listed in this 2-CD live compilation set are reviewed as follows: DISC 1 (1.) "Stone Free," (1 January 1970, second show) (EXCELLENT SONG!) (2.) "Power Of Soul," (1 January 1970, first show) (EXCELLENT SONG!) (3.) "Hear My Train A Comin'," (31 December 1969, first show) (EXCELLENT WELL PERFORMED slow blues song!) (4.) "Izabella," (31 December 1969, first show) (EXCELLENT SONG!) (5.) "Machine Gun," (1 January 1970, second show) (one of the very first live recordings of this legendary song. It is a POWERFUL and EXPLOSIVE song WELL PERFORMED! EXCELLENT! OUTSTANDING! As I've stressed in my other past reviews concerning this legendary song, I've described this song in this manner; "Jimi actually presents and brings the Vietnam war to the Fillmore East audience crowd resulting in firing rounds of machine gun bullets through his powerfully explosive and violent guitar and ending with an EXCELLENT BREATHTAKING GUITAR SOLO from Jimi.") (6.) "Voodoo Child" (Slight Return) (1 January 1970, second show) (an EXCELLENT VERSION of one of my favorites) and (7.) "We Gotta Live Together." (1 January 1970, second show) (EXCELLENT SONG! WELL PERFORMED!) DISC 2 (1.) "Auld Lang Syne," (31 December 1969, second show) (Well performed the Jimi Hendrix and "Band Of Gypsys" way) (2.) "Who Knows," (31 December 1969, first show) (EXCELLENT! OUTSTANDING! GREAT SONG!) (3.) "Changes," (31 December 1969, first show) (EXCELLENT SONG!) (4.) "Machine Gun," (31 December 1969, second show) (another EXCELLENT WELL PERFORMED VERSION. Refer to DISC 1 for my review of the other version of "Machine Gun." My opinions of these two songs are the same. This version is also EXCELLENT! OUTSTANDING!) (5.) "Stepping Stone," (1 January 1970, first show) (EXCELLENT SONG!) (6.) "Stop," (1 January 1970, first show) (another EXCELLENT SONG!) (7.) "Earth Blues," (1 January 1970, second show) (another EXCELLENT SONG!) (8.) "Burning Desire" (1 January 1970, first show) (EXCELLENT SONG!) and (9.) "Wild Thing." (1 January 1970, second show) (the Troggs classic song performed the Hendrix and "Band Of Gypsys" way. an EXCELLENT WELL PERFORMED VERSION!)

As story has it, and according to the attached CD liner notes and numerous Hendrix biographies, Technical problems RUINED the two New Years Eve concerts. A malfunctioning microphone at the outset of the first show rendered energetic versions of "Power Of Soul" and "Lover Man" UNUSABLE. Similar problems hampered the start of the second concert set, compromising the fidelity of the "Auld Lang Syne / Who Knows" medley. Nonetheless, these minor trifles made little impact on Jimi and the "Band Of Gypsys."

In closing, My DVD documentary review stressed on the MANY main incidents and problems that resulted in disasters and the MANY contributing factors which would lead Jimi into a deep depression and therefore, begin his demise and decline of his health. Sadly, the "Band Of Gypsys" era would prove to be , SHORT LIVED, courtesy of the EVIL CROOKED PLOTTED SCHEMES of Jimi's Manager, Mike Jeffery. It may have also been at this point; (despite all of the incidents and disasters that unfolded in the past, the most recent and the MANY NUMEROUS ones STILL TO COME) that bitter tensions and bad differences would develop, intensify and continually worsen the relationship between Hendrix and Jeffery. Despite all of the tensions and disasters, Jimi Hendrix IS STILL UNDOUBTEDLY, THE GREATEST GUITARIST THAT EVER LIVED. Also, despite being held back and limiting his masterful creativity by Jeffery, Jimi STILL PERFORMED AND PLAYED HIS GUITAR AT A PEAK UNMATCHED BY MANY OF THE GREAT GUITAR LEGENDS. Jimi Hendrix is quite simply, EXTREMELY RARE, UNIQUE AND IRREPLACEABLE. Jimi Hendrix's mark in Rock n' Roll history is FOREVER SECURED. There will NEVER be another Jimi Hendrix. Thanks for your time in reading my long lengthy review and I hope you enjoyed reading it as much as I enjoyed writing it for all of you. I also hope that you will read all of my other reviews in the near future when time permits. JIMI LIVES! LONG LIVE ROCK N' ROLL! Rock out always. Take care, J.L.

Average customer rating:

Magic......Pure aural pleasure!
The Tops
The Original 'Kingpin' of Southern Soul

Live at Fillmore West
King Curtis
Manufacturer: Atlantic / Wea
ProductGroup: Music
Binding: Audio CD

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ASIN: B000FBG06C
Release Date: 2006-07-11

Tracks:

Memphis Soul Stew
A Whiter Shade Of Pale
Whole Lotta Love
I Stand Accused
Them Changes
Ode To Billie Joe
Mr. Bojangles
Signed, Sealed, Delivered (I'm Yours)
Soul Serenade
My Sweet Lord
Them Changes
Ode To Billie Joe
Soul Serenade
Memphis Soul Stew

Customer Reviews:

Magic......Pure aural pleasure!.......2007-03-05

From the moment I put on this recording, I was captivated. Six minutes into 'Memphis Soul Stew' listners are treated to an explosion of sound that wraps up in it the genres of soul, rock, jazz, and most likely some unearthly sound millions of light years away. From beginning to end, King Curtis and the incredible musicians brought together on this recording groove and interact in a manner that few bands achieve. If you own three live recordings in your life, this should be .333333.

The Tops.......2006-12-22

As in the very best. King Curtis and everyone here cooks up the finest Memphis Soul Stew. Whiter Shade of Pale is lovely. Everything surges with a funky pull. Billy Preston shines on organ, but the others rise to the occasion too. If you like soul, get this, you'll love it.

The Original 'Kingpin' of Southern Soul.......2006-07-29

Six months after this recording was made, `King' Curtis Ousley would be stabbed to death while standing in front of his New York City apartment building. This tragic violence brought a premature close to a career that had recently projected to new heights, and seemed poised to go just about anywhere. Active since the early fifties, King Curtis moved easily from jazz to soul to rock and roll. To put things in perspective, you should know that when Sam Cooke sings "Play that one called `Soul Twist'" in "Having a Party," he's referring to a King Curtis tune. The man was ubiquitous, but usually stayed behind the scenes, serving as a bandleader, producer or back-up musician for an endless number of performers, including the Coasters, the Isley Brothers, Bobby Darin and John Lennon. In 1971, he was acting as bandleader for Aretha Franklin (see my review for "Aretha Franklin Live at the Fillmore West") and racking up a few hits of his own. "King Curtis Live at the Fillmore West" culls the highlights from his own sets at this venue, and it also marks a high point of his recording career.
The band alone justifies the price of admission. Billy Preston plays keyboards and Cornell Dupree plays guitar, while Jerry Jemmott and Bernard Purdie make up the rhythm section. Fattening out the rich sound of Curtis' own baritone saxophone are the Memphis Horns, making this ensemble a dream team of funky soul-music brethren. Even when the material is lacking, the band manages to transcend mundanity with spirited interpretations. Would you expect "Ode to Billie Joe" to have a fatback groove? I wouldn't have. Could you even imagine a baritone sax handling Robert Plant's vocal line for "Whole Lotta Love"? I didn't think so. This version in particular brings the song full circle, taking it closer to its roots as a Willie Dixon composition. The best tune here, though, is "Memphis Soul Stew," a gorgeous eight-minute rhythmic workout that virtually defines the funky/loose and yet stop-on-a-dime/tight spirit of contemporary soul music. It is a virtual primer in everything anyone would need to know about cooking up a hot rhythm and letting it simmer until it boils over with intense energy. Throw in a bonus track that features Billy Preston molding "My Sweet Lord" into something uniquely his own, and you will have to wonder how on Earth anybody could claim George Harrison's composition as a derivative of "He's So Fine."
King Curtis had a lengthy career, but it still ended much too soon. Catch this set and you're also bound to wonder how soul music would have progressed had we not lost such a talented force at the peak of his powers. A- Tom Ryan

Average customer rating:

A must own Indeed
Amazing live record!
mind blowing
i was there
Take note of how many reviews are FIVE star

Live at the Fillmore
Ozomatli
Manufacturer: Concord Records
ProductGroup: Music
Binding: Audio CD

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Ozomatli
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ASIN: B000A2H61O
Release Date: 2005-08-23

Tracks:

Dos Cosas Ciertas
Believe
(Who Discovered) America?
Eva
Saturday Night
Cuando Canto
Chango
Love And Hope
Como Ves
La Mishma Cancion

Customer Reviews:

A must own Indeed.......2006-02-13

Ozomatli has always been touted as one of the best bands to see live. If you haven't seen ozomatli live, please make sure you mark them on your calender when they hit your town soon. You will not be dissapointed, and in fact, youll still feel good, and inspired days after the show.
The Ozomatli: Live at the Fillmore DVD does a great job of capturing this highly talented band as best as can be done, without actually being there dancing, sweating and laughing in person. From the beautiful spanish style accoustic guitar by Raul Pacheco to the silly erotic dancing of "Sheff" the band's trombone player. These musicians are all so deeply talented and they have so much fun doing what they do. The audio cd has tracks that are not show on the dvd, thats the only reason I didn't give this cd/dvd combo 5 stars.

The dvd also has cool behind the scene features of the band in their tour bus sharing laughs and ripping on each other. I hear they're recording a new record currently so their touring may come to a pause soon. Either way, this is one DVD/CD every concert lover should own. This band Rocks!

Amazing live record!.......2006-01-19

I've had the pleasure of seeing Ozomatli live twice now, and at the second show I picked up their Coming Up EP, which while very nice it didn't hold my attention for long. Just wasn't ready for their sound I suppose. Fast forward a few years later and I run across this CD/DVD collection and remembering how impressed I was by their live performances I picked it up.
All in all this live record has made me come around completely and I can't wait to pick up the rest of their catologue. The intensity and energy these musicians put forth just goes through the roof and it really does come across well on the CD. I'm not sure exactly why but both the DVD and CD have slightly different setlists (perhaps from two different nights at the Fillmore?), but it gives a nice change to the two mediums. My only complaint is that my favorite song from the earlier Coming Up EP "Ya Viene El Sol" is not present. This doesn't detract much from the rest of the material present as it is all outstanding.
If you're up for a fun, eclectic, and energetic live album, I highly recommend this CD/DVD!

mind blowing.......2006-01-01

ozomatli has captured my attention since 98'. i attempted a santana concert in el paso texas and the ticket said featuring special guest. im a huge santana and afro cuban fan but ozomatli played a better set and way better concert than santana and since then i said who are these guys (ozomatli) and have been a huge fan since and it seems to be getting better. i speak from experience when i say these guys live are like watching pure magic. the way these guys are going i cant wait to here their next studio album.

i was there.......2005-11-06

it was a kick ass show too. never really listened to these guys before, but their concert got me goin. Music is cool. yea

Take note of how many reviews are FIVE star.......2005-11-02

This band is amazing. I caught the end of their live set - by accident - arriving to see the Neville Bros at a free festival in Detroit. WOW! I bought their latest studio release and was very impressed. Then, I found out about the Live at Fillmore disk and I'm nuts about it. The CD version has been worn out in my car and the DVD is being passed arround to turn others on to this fantasic band. They somehow make their gumbo of latin, rock and hip-hop sound like it was easy.

Average customer rating:

Bottom line: DVD is a ripoff
A big Improvement
Great CD-DVD ???
Some people just don't get it!!!!!!!!!!!
A Pretty Good Run

Live at the Fillmore East (CD/DVD)
Neil Young and Crazy Horse
Manufacturer: Reprise / Wea
ProductGroup: Music
Binding: Audio CD

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Voyage

ASIN: B000IU3Y3W
Release Date: 2006-11-14

Tracks:

Everybody Knows This Is Nowhere
Winterlong
Down By The River
Wonderin'
Come On Baby Let's Go Downtown
Cowgirl In The Sand

Album Description

The first release of Neil Young's archive performance series. DVD version includes high-resolution audio of album plus a photo montage.

Customer Reviews:

Bottom line: DVD is a ripoff.......2007-06-20

C'mon, get real for a minute. How many of you bought the DVD for the better sound quality? Now, how many of you bought the DVD version simply thinking that it had concert footage (and I don't mean "still" pictures)?

A big Improvement.......2007-05-13

This release is a big improvement to what was already largely available in the bootleg arena. These dates didn't circulate heavy but there was material available from this era. The sounds quality is excellent. Much has been made of the DVD imagery lacking, and it does, its rolling B&W pics. The DVD is all about the sound. The playing is just as good and its really nice to have vintage version of Winterlong and Wonderin'.

Great CD-DVD ???.......2007-05-12

The music's fantastic-the dvd is not much-just the same few photos over & over & over-c'mon!

Some people just don't get it!!!!!!!!!!!.......2007-05-08

All of the people who have dissed the dvd in this set as not being worth it, don't understand what the intent is. it is not a bonus extra with photos on it. it is a higher resolution music version of the cd.
cd's are recorded at 16 bits resolution and at a sampling rate of 44.1khz. the dvd is recorded at 24 bits of resolution and sampling rate of 48 or 96 khz. it does sound better!!!. i understand some people wont care, but for those of us that want the utmost in fidelity will want this version (provided that you have a dvd player instead of a cd player in your "music" system.) neil has been releasing albums in this form since warner brothers dropped the "dvd-audio format"(i wont even go into what that is, suffice it to say another specialized audio format) that neil embraced as well

A Pretty Good Run.......2007-04-30

Neil Young has been having a pretty good run these past few years. First, in the shadow of a medical crisis, Young created PRAIRE WINDS--one of the finest records he ever made and a more fitting companion to HARVEST than the otherwise excellent HARVEST MOON. M.S. then put together a good film of Young and his friends performing and the Ryman in Nashville. (This comes from someone who rarely cares for music videos.) These accomplishments were then followed by the dreadful LIVING WITH WAR.

Whether you share Young's passion or politics, LIVING WITH WAR had all the artistic grace of a political commercial one week before an election. Yes, album was the critics darling and it ended up on several *best album lists* for 2006; but the whole album has none of the power and cogency of Young's 1970 single *Ohio*. The artist is perfectly entitled to act as Young the pamphleteer. Nonetheless there is little of interest that will draw new listeners in the future.

2006, however, also saw a brighter highlight with this release from Young's massive archives. Like much of the folklore surrounding him, these recordings are so behind the scenes, so personal, so promised and hopes unfilled that fans and critics alike have began to suspect they would have to await Young's demise before these recordings would be released to the public at large. Therefore, Young faced the prospect that the *real thing* could not measure up to expectations.

First, we have to get the negative out of the way. The DVD is a complete disappointment. I thought we were going to be treated so some archival video footage. What we get is a series of about a dozen black and white photographs looped to the same audio tracts found on the CD. Who actually thought this would make anyone happy? These photographs can be found from several available sources. Less than zero points here.

Like many, I also have a bootleg copy of same live performance. Sonically LIVE AT THE FILLMORE EAST is vastly superior. Bootlegs tend to be clear as mud--especially those from the early 1970's. Unlike others, I do not complain about the missing songs that can be found on the unauthorized releases. In all likelihood, we will see these missing performances one day. More significantly, the improved clarity and definition really are that important.

By design or accident, this particular selection of songs draws one to focus on the interplay between Young and Crazy Horse. Aside from the odd love/hate musical relationship with Steven Stills, Young has had few partnerships as powerful as that he had with Danny Whitten. It was Young's great misfortune that Whitten would die of an overdose soon after these performances. Young would go on to create HARVEST. He would gather for himself a short lived household name; but he blamed himself for Whitten's death. This resulted in a depression he would endure for much of the rest of the 1970's.

*Everybody Knows This Is Nowhere* is a striking beginning to this electric set. Originally a minor but important song from the album of the same name, it has been translated well into a lively reinvention. To my ears, it has a similar arrangement style that would be found on HARVEST.

*Winterlong * has never been a favorite of mine. The lyrics are something of a dud with no emotional resonance. The power interpretation here does little to make it better.

*Wonderin'* is a better song in a goofy sort of way. Not great; but fun. Strangely, it would be given a rockabilly treatment on 1982's EVERYBODIES ROCKIN'.

*Come On Baby Let's Go Downtown* is a jaunty song that I am ambivalent about. Given its subtext of searching for a heroin fix, there is much to hate about it. This song would resurface on Young's most difficult album TONIGHT'S THE NIGHT as a centerpiece. On TONIGHT'S THE NIGHT it would have more power in context of the rest album than it does here. The best thing about it here is Young's introduction of the members of the band.

The cream of this recording belongs to both *Down By The River* and *Cowgirl In The Sand*. Several hours of close listening and enjoyment are found on these two cuts alone. The intense interplay between Young and Whitten as they fire walk across their respective fletboards creates a musical wind shear in front of the bass and drums. We don't hear extensive guitar soloing much like this in our time. This kind of instrumental display in a traditional rock setting began with Cream about 1968 and tapered off around 1975--perhaps because that particular vein had been all mined out or because a newer rock audience sought something else. It was an oddity of its time that began with the British blues revival and ended with the passing of Southern/Country rock. Depending on your sensibilities, either you mourn its absence or relieved one doesn't have to endure one more guitar solo before you get to the good stuff.

Be that as it may, this recording finds Young at the dawn of the 1970's with the future of rock before him and the rock "kinship" at its most communal. In some ways he was at the peek of his creative powers and stood as a pioneer to what was to come. Young has been regarded these days as proto-punk and the godfather to grunge. These would be nice compliments if it wasn't for the fact that both punk and grunge could be found in their infancy in the garage bands in the 1960's. Never mind...another subject...another day. If your musical christening began with Nirvana or (God forbid!) Justin Timberland, you owe it to yourself take a bite from this feast. There really was a time when the battle cry of "sex, drugs and rock and roll" actually meant something more than sex, drugs, and rock and roll.

Music Album:

Music Album

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