Live Recording – Page 2

GREAT LIVE ALBUMS (17)

Live recordings have been a part of the music industry since day one of the crude technology of the earliest devices. In fact, since there were really no studios available for recording purposes, all of those early “records” were “live recordings” in the strictest sense. However, the live album, as we now know it, is a completely different animal. That animal came into its own in the rock era and exploded with the release of ALIVE, a 1975 album by KISS, (a career making release with an overabundance of what has come to be known as “studio sweetening”), and FRAMPTON COMES ALIVE in 1976 (also hurtling “the face” and former Humble Pie guitarist to superstardom). With the unprecedented success of Peter Frampton’s fifth solo release, everybody and their brothers were releasing these documents of their latest tours (sometimes used as stop gaps between studio albums; sometimes used as a means to gain an artist’s release from a record label contract, commonly referred to as the “contractual obligation” record).

A lot of people don’t like live albums. I’m not one of those. Some of my favorite records were recorded on the road. Here’s a list of 20 live albums that I think are the best. These records are all official releases, not bootlegs… that’s a whole other list (and one you may see somewhere down the line, as well). I had a hard time keeping this list to 20 (it started out as a “Top10”) and, I’m sure that your list would look very different from this one. But, that’s what makes these things so much fun, right? So, here’s the next in a series of reviews presenting 20 live albums that you should check out:

(17) GARY NUMAN: LIVING ORNAMENTS ’79 AND ’80

(BEGGARS BANQUET RECORDS; English import box set, 1981)

In the United States, Gary Numan (barring a miraculous surge in record sales) will always be known as the one-hit wonder guy, thanks to the number one 1979 psuedo-techno classic, “Cars.” Those of us with an adventurous disposition (at least where music is concerned) know that – as good as “Cars” was – it is nowhere near the best song Numan ever recorded; we also know (as do his legions of fans in Great Britain and Europe) that – even though he retired for a short period of time to race cars and fly planes – he has hardly been quiet since the song went viral (well… whatever the comparative term for viral was back then) upon its initial release. THE PLEASURE PRINCIPLE, the album that featured “Cars,” was Numan’s third in two years (the first two marqueed by his then-current band, Tubeway Army) and the similarly dystopian TELEKON was just a few months away. In September 1979, Numan was moving away from the Tubeway Army sound and name; THE PLEASURE PRINCIPLE was still two months from release. The live show still relied very heavily on the popularity of the group’s name and music, but this newer, tighter band was already exploring new territory and introducing Uk fans to the music from Gary’s first solo record; by September 1980, the band had a tougher, futuristic sound as it toured to support the just-released TELEKON.

In an unprecedented move, early 1981 saw the release of two live albums documenting both the 1979 and 1980 tours. This may have been intended as a stop-gap, offering Numan’s loyal fans something with which to remember the tours, before he released the jarringly different DANCE in September; maybe the releases were intended to appease those loyal fans because the next album would be a departure from the sound they’d come to expect from Numan and his well-oiled machine-like band. Whatever the reason, it was soon decided to offer the two records together, in a box set. That box set, not available except as an import in the US, lands the number 17 spot on my list of great live albums. Here’s why:

Gary Numan, 1979 (Cedric Sharpley, Paul Gardiner, Chris Payne, Billy Currie, Rrussell Bell) (uncredited photo)

The 1979 album was recorded on the group’s second night at London’s Hammersmith Odeon, September 28. LIVING ORNAMENTS ’79 has a very disjointed feel, as Numan rearranged the track order and cut the show down from the 21 songs performed to nine on the released version; due to that editing and shifting, there are fade-outs (and -ins) on many of the tracks, which disrupts the live feel. The quality of the music and performances, however, were never in question. Side one opens with the instrumental “Airlane,” which served as album opener on THE PLEASURE PRINCIPLE. The track features a cool synth groove and an awesome power-chording guitar from Rrussell Bell. The worldwide number one hit, “Cars,” is sped up in this live setting. Though Numan’s voice has a rather chilling, robotic feel on the studio version, his performance here may not exactly be dripping with emotion, but it does exhibit more emotion than most are expecting from this period in his career. The Tubeway Army B-side “We Are So Fragile” shows a punkier – dare I say, fiercer – Gary Numan on display. The bass by Paul Gardiner is a definite plus here (and throughout the record). The song, “Films,” features another accelerated tempo, as Gardiner and his partner in rhythm, drummer Cedric Sharpley, are locked into one of those pockets that only a bass/drum tandem can really fall into. Numan’s voice is the disinterested and robotic instrument that we know so well. “Something’s In the House” comes from Tubeway Army’s debut album and has Numan sounding snotty and punky again. There is some amazing interplay between Bell, Sharpley and Gardiner, proving that – regardless of detractors comments – this is a real band… a very solid performing unit. The only problem seems to be a completely out-of-place keyboard/synth solo. I can’t tell if it’s in the wrong key or the wrong tempo or exactly what the problem is; I just know that it doesn’t fit.

“My Shadow In Vain,” more spooky punk from the TUBEWAY ARMY album, is the first track on side two. It features a deranged Numan searching for answers, for dead friends and for his shadow… all in vain. I was surprised by the similarity (particularly the bass, guitar and synthesizer melody lines) with the Knack’s “My Sharona,” which was recorded and released a full year after Tubeway Army’s debut. “Conversation” is another quirky tune from THE PLEASURE PRINCIPLE (are there any other kind?). Sharpley and Gardiner are in another syncopated groove and Numan’s vocals are “best-of-show” on the track. Billy Currie’s violin coda at the end of the song, as well as the melody line would show up three years later in Thomas Dolby’s “She Blinded Me With Science.” The existential punk of the TUBEWAY ARMY cut “The Dream Police” is highlighted by screeching, scraping violin and viola (by Currie and Chris Payne, respectively) and a repetitive guitar riff from Rrussell Bell. “Metal” sounds very much like a leftover from REPLICAS, as it seems to share that album’s cyborg/human machine thematic concept. It does feature the droning synth and machine-like drumming adopted on the next record.

Gary Numan, 1980 (Cedric Sharpley, Rrussell Bell, Roger Mason, Gary Numan, Paul Gardiner, Chris Payne) (uncredited photo)

LIVING ORNAMENTS ’80, recorded on September 16 (the second date of a four day stand at the Hammersmith), has more of a live feel, with crowd noises connecting the cuts instead of the off-putting fades (even though the ten tracks were – like the ’79 edition – re-ordered and edited down from the 19 actually played that night). The band line-up has shifted slightly, with Numan now adding synthesizer and guitar duties to his singing and Roger Mason’s keyboards replacing Billy Currie’s keyboard and violin. Set opener “This Wreckage” also opens side one. The still-to-be-released single has the more industrial sound of TELEKON, the album this tour was in support of. A throbbing synth gives way to a pumping bass line and a swinging drum groove brings Numan to the stage, with his disconnected lyrics and disinterested vocal that somehow drips with more emotion than most balladeers can muster. The then-current single, “I Die: You Die,” follows. A sparkling keyboard, Gardiner’s fretless bass and electronic drums from Sharpley are deceptively inviting; a punky guitar slashes and snakes just under the surface as Numan delivers brutal, venomous lyrics about love, lust, lonliness and vengeance: “They crawl out of their holes for me/And I die; you die/Hear them laugh, watch them turn on me/And I die; you die/See my scars, they call me such things/Tear me, tear me, tear me.” An almost majestic sounding tune, “ME” features soaring keyboard and synthesizer. Again, the lyrics focus on death and isolation, a constant theme, especially in Numan’s solo work. The man’s vocal sounds frenzied and a little crazed… in a robotic kind of way. The song continually threatens to fly apart, but Ced Sharpley’s spectacular drumming holds it all together. “Everyday I Die” is one of the few holdovers from the debut Tubeway Army album on this tour. Numan’s vocals have a staccato quality, as he continues to express feelings of lonliness, this time, seemingly, the result of a love lost. The sparse instrumental accompaniment adds to the disturbing tone of the lyrics, making them somehow more frightening. “Down In the Park” is a part of REPLICAS, a grand punk opera about a growing sub-species, more machine than man. It’s a Tubeway Army song, but in name only; a beautiful piano intro gives way to stark, hollow instrumentation and wickedly unemotional vocals.

The final side of the box set, actually side two of the ’80 record starts with “Remind Me To Smile.” The TELEKON track is about the price of fame, way before the paparazzi were such a prevalent thing: “Get off the car/Get off the phone/Move from my window, leave me alone.” The band participates vocally, with a call and response chorus. “The Joy Circuit” is mostly instrumental… anthemic with hyperkinetic synth and bass. Even through the droning guitars and looped effects, the song somehow has a… happy feeling. “Tracks” starts with a solitary guitar, eventually moving into a synth-driven soundtrack kinda music. The tune could be about drugs or growing old or missing an older constant (parent?) that’s no longer in your life. Aside from “Cars,” “Are Friends Electric?” may be Numan’s best known song in the States. Numan’s spoken word vocals stab and the guitars slash at and through the sci-fi oriented keyboards and synthesizers, giving the tune a distinct Floydian sound. The final number, “We Are Glass,” is another TELEKON cut. It’s one of the more melodic songs from this early stage of Numan’s career, but the creepy REPLICAS cyborg thing is definitely in the lyrics, with such lines as, “We are cold/We’re not supposed to cry” and “You are replaced.” Over a three or four year period (say, 1979-1982), there were a lot of bands that excelled at the type of music pioneered by Gary Numan… at least in the studio; very few were competent enough to pull it off in a live setting. The band that toured with Numan during this time period proved themselves more than capable of bringing Numan’s dark visions to the stage and that’s why the special edition box set, LIVING ORNAMENTS ’79 AND ’80, is one of the greatest live albums ever.

The latest versions of the albums were released separately in 2005, but still no American editions. The ’79 album has reconstructed the entire show in the proper running order on two CDs; the two CD edition of the ’80 record features the original released version followed by the entire concert, again, in the proper running order. The full show is sourced from the stage monitor mix, which definitely gives you a different listening experience. Bass player Paul Gardiner died of a heroin overdose; drummer Ced Sharpley passed away in 2012 from cancer. During their time with Tubeway Army, Gary Numan’s solo bands and Dramatis (the samae band, minus Numan), they comprised one of the most potent rhythm sections in all of rock and roll. They are missed.

GREAT LIVE ALBUMS (18)

A lot of people don’t like live albums. I’m not one of those. Some of my favorite records were recorded on the road. Here’s a list of 20 live albums that I think are the best. These records are all official releases, not bootlegs… that’s a whole other list (and one you may see somewhere down the line, as well). I had a hard time keeping this list to 20 (it started out as a “Top10”) and, I’m sure that your list would look very different from this one. But, that’s what makes these things so much fun, right? So, here’s number 18, the next in a series of reviews presenting 20 live albums that you should check out:

(18) STATUS QUO: LIVE

(CAPITOL RECORDS/EMI RECORDS; 1977)

So, this was a hard one. Among all of the live albums that I love and listen to the most, this spot came down between three great records: LIVE BULLET from Bob Seger and the Silver Bullet Band, Rory Gallagher’s STAGE STRUCK and this one, my first extended listen to (The) Status Quo (aside from the 1968 psychedelic masterpiece, “Pictures of Matchstick Men”). With PHOTO-FINISH and TOP PRIORITY, the single record STAGE STRUCK album from 1980 comes from my favorite period of Rory Gallagher’s career and, with killer songs like “Shin Kicker,” “Wayward Child” and “Brute Force and Ignorance,” it’s hard to overlook on this list. As far as LIVE BULLET goes, this is truly the one that put Bob Seger over the top nationally and side three of the 1976 double album (“Ramblin’ Gamblin’ Man,” “Heavy Music” and “Katmandu”) may just be the single most perfect live side ever released. But, then, why LIVE, a little heard release from a little heard (take it easy, Europe… I know that these guys are huge there… in America, not so much) boogie band from the UK? Well… it’s a really good, rockin’ set and… this is my list! You don’t agree, make your own list. Besides, where do I draw the line? I mean, what about other great live albums that didn’t make my list? What about UNLEASHED IN THE EAST, IF YOU WANT BLOOD… YOU’VE GOT IT, ROXY AND ELSEWHERE, LIVE RUST or WAITING FOR COLUMBUS? It’s definitely a tough call on my part but, don’t just pass this one over; give it a listen… you just may find yourself as big a fan as I am.

Status Quo (John Coghlan, Rick Parfitt, Alan Lancaster, Francis Rossi) (uncredited photo)

The Status Quo began their career as a psychedelic pop group, garnering a top 10 hit in the UK and a top 20 hit in the States with their first single, “Pictures of Matchstick Men.” Even though they experienced moderate success in England and Europe, by their third album (1970’s MA KELLY’S GREASY SPOON), they had dropped the Paisley sounds (they’d already become merely Status Quo the previous year, dropping “The” from their name), going for a rougher boogie sound; even then, it wasn’t until 1972 and album number five, PILEDRIVER, that they really started to roll, hitting number five on the UK charts. By the time LIVE was recorded, in October 1976 at Glasgow’s Apollo Theatre, the boys had a number two album and three number one’s. LIVE is Status Quo at the top of their game and on fire, ripping off blistering song after blistering song.

The Quo kick off the set with “Junior’s Wailing,” an old Steamhammer tune from 1969 that the boys covered on MA KELLY’S… . It’s a straight on, chuggin’ boogie stroll and a mission statement, declaring to all that this band means business. A coupling of the first two tracks from1974’s QUO album follows, with John Coghlan’s pounding backbeat taking no prisoners, even offering up a cowbell heavy mini-solo coming out of “Backwater” and leading into “Just Take Me.” The guitars (provided by the powerhouse duo of Rick Parfitt and Francis Rossi) get a bit funky on “Just Take Me,” particularly the solo. “Is There a Better Way,” the lead track from the then seven month old BLUE FOR YOU album, is probably the best known Status Quo tune here in the US (outside of “Pictures of Matchstick Men”) and it’s as heavy as anything by that other group of boogie merchants, AC/DC… in fact, it could be the best AC/DC song that Bon and the boys never recorded. It’s highlighted by a booming bass from Alan Lancaster and a swirling organ from the newly-minted fifth member of the band, Andy Bown. It is, to these ears, boogie perfection. Side one closes out with a 1970 English single (which was added to a completely deconstructed and rebuilt American version of MA KELLY’S GREASY SPOON), “In My Chair.” It’s another strident stroll, with a cool Link Wray guitar figure and solo. Upon its release as a single in ’70, it just missed the top 20 on the English charts, a rather surprising thing considering that the previous single, “Down the Dustpipe,” reached number 12. Or, maybe not so surprising, as the British record buying public seem to be far more fickle than here in the States but, they like what they like.

Status Quo (The Frantic Four: John Coghlan, Francis Rossi, Rick Parfitt, Alan Lancaster) (uncredited photo)

On side two, we’re introduced to 1975’s ON THE LEVEL via “Little Lady” with its Chuck Berry stomp and “Most of the Time,” which starts off with a country boogie sing-along before the band kicks in. There’s another great guitar solo (there always is, isn’t there?) as the bottom end is awash in a sea of Coghlan drum rolls. “Most of the Time” may be as close as the bulldozing Quo came to producing a ballad during this, their boogie heyday. “Forty-Five Hundred Times” comes from the group’s widely overlooked (though chart-topping) 1973 offering, HELLO; I’m not really sure if the intro’s a joke or not, but they say that “here’s something… one of those albums that we get really tired of… ” before heading into a massive (nearly 17 minutes) roiling, solo-filled rendition. The song and the lads seem to pick up steam at about the seven-and-a-half minute mark, leading into an epic guitar duel between Rossi and Parfitt, with a lot of interesting interaction going on underneath from Lancaster and Coghlan. With the several time changes, and as I’m not familiar with HELLO, other than this and the other two tracks from it played here, this could be the band’s way of giving the fans a little bit of every song on the album.

Status Quo (Blue For You: Francis Rossi, Rick Parfitt, Alan Lancaster) (photo credit: BOB YOUNG ARCHIVES)

“Roll Over Lay Down” is the first of those other two HELLO numbers. It opens side three and features a kind of undulating, rolling vocal style (I know that description makes it all as clear as mud but, once you hear it, you’ll understand what I’m talking about). The boys take a fairly standard blues riff and ratchet up the power-chording to great effect. As the song’s feedback ending crashes into the heavier “Big Fat Mama,” the vocals sound like a beautiful meshing of the Tygers of Pan Tang’s Jess Cox and little Johnny Osbourne of Sabbath fame. The charging tempo and hot-rod fueled bass could very easily be a prototype for the forthcoming New Wave of British Metal. It’s a fun song from the PILEDRIVER record and a definite highlight in a live setting. Barely affording the crowd a chance to catch their breath, the band rips into the final HELLO tune, “Caroline,” which is highlighted by great work from the rhythm section – including Parfitt’s rhythm guitar – and one of the strangest drum solos I’ve ever heard before jumping into Quo’s homage-paying tribute to Chuck Berry, via Berry’s own “Bye Bye Johnny,” the album closer from ON THE LEVEL. The track turns into an audience participation affair, as they’re led through the chorus of, “Bye, bye/Bye, bye/Bye, bye, Johnny B Goode.” The only disappointing thing about the tune (and, indeed, most of LIVE) is that you just know that Andy Bown is in there somewhere, adding that Johnnie Johnson boogie-woogie piano to the mix; either he’s simply overpowered by the guitars or he’s been buried in the mix for some insidious reason.

Status Quo (On the Front Line: Rick Parfitt, Francis Rossi, Alan Lancaster) (uncredited photo)

“Rain,” only the second song from the new BLUE FOR YOU album, opens side four. This might be my favorite Quo song of all time, featuring one of their best riffs and great sing-along lyrics. A couple of tracks from PILEDRIVER, the first and last songs on the record, brings the final side of LIVE to a rousing close. Fan (and band) favorite “Don’t Waste My Time” chugs along, eventually crashing into a killer 14 minute take of the Doors’ “Roadhouse Blues.” The percolating groove is punctuated by powerful performances by Coghlan and Lancaster, as well as tour manager Bob Young, joining in on harmonica. The chugging middle section is given over to the animated crowd , a traditional Irish jig (I think it’s called “Paddy O’Brien’s.” You know… it’s that leprechaun thing) and a snippet of the Johnny Kidd and the Pirates chestnut, “Shakin’ All Over,” before returning to the Doors tune to finish off the set. If you aren’t familiar with Status Quo or want to relive those glory years of the band, LIVE is the perfect place to start.

Status Quo (Live At the Apollo Theatre in Glasgow, 1976: Rick Parfitt, Francis Rossi, John Coghlan, Alan Lancaster) (uncredited photo)

The original American release of LIVE also featured the group’s then-current single, “Wild Side of Life” backed with “All Through the Night,” as a free insert. The latest version of LIVE that I’ve been able to confirm is from 2005. It features a slightly different running order, keeping it in line with the actual set lists from those three nights in October 1976.

DO THE ARCHITECTURAL WATUSI Music Reviews Streaming Video | Darren Tracy | September 14, 2014 | Alan Lancaster Andy Bown Apollo Theatre Bob Young Classic Rock Francis Rossi Glasgow Scotland Hard Rock John Coghlan List Live Recording Rick Parfitt Rock and Roll Status Quo Streaming Video

STEVE HILLAGE: RAINBOW 1977

(GONZO MULTIMEDIA; 2014)

I gotta be honest: I wasn’t into the whole Canterbury scene (odd, jazzy pop groups like Caravan, Soft Machine and Gong, the band Steve Hillage was in immediately prior to launching his solo career with 1975’s FISH RISING) or anything (other than Frank Zappa) that sounded even remotely like THAT kind of music. For a couple of years there (probably about 1975 through 1978 or so), I was all about one thing musically: Hard rock with screaming guitars, heavy rhythms and – above all – absolutely no keyboards (unless they were provided by people named Hensley, Emerson or Lord) or horns; to be blunt, I was an idjit. Once I finally got all of that “musical snobbery” out of my system, I started to realize that I had missed some amazing music along the way. I was still a few years removed from “discovering” Steve Hillage, via his 1982 double release, FOR TO NEXT/AND NOT OR, so I was totally unfamiliar with the music here, aside from the two covers. Of the eleven tracks, six are from the just-released MOTIVATION RADIO (the album Hillage was touring behind); I certainly remember seeing the record in the bins back in ’77 but, being totally unimpressed with the cover, I didn’t give it a second thought (more idjitry). Thankfully, most of the music I overlooked (for whatever dumb reason) through the years tends to be reissued on a fairly regular basis. Likewise, stuff like RAINBOW 1977 crops up upon occasion.

Steve Hillage during his time in Gong (uncredited photo)

Before we get into the particulars of this release, let’s get into a little bit of history about the band, the show and how RAINBOW 1977 came to be. Steve and long-time partner, Miquette Giraudy, went bare bones for this tour, using only bassist Curtis Robertson and drummer Joe Blocker (both coming from the jazz funk group Karma… Blocker was also in the final version of Love for the REEL TO REAL album) to augment their sound, rather than additional guitar and keyboard players. The decidedly funky American rhythm section gives the music a much heavier bottom-end than Hillage bands had offered before (or after, for that matter). The Rainbow show was the final date of the MOTIVATION RADIO TOUR on November 3. Some of the show had appeared on a bootleg called GGGONG-GO-LONG which, after hearing it, prompted Hillage to find the original tapes and release the full concert – or as much of it as was usable, at least (more about that later).

Steve Hillage, unknown date (uncredited photo)

The set opens with “Octave Doctors,” an instrumental intro with a funky bass groove and powerful drumming underpinning the layers of synthesized textures and an awesome, phased guitar solo from Hillage. The track leads directly into an absolutely stunning version of George Harrison’s “It’s All Too Much,” which is fueled by what can only be called “majestic” keyboard work from Giraudy. A couple more MOTIVATION RADIO tracks are up next (“Octave Doctors” being the first). A weird, psychedelic introduction from Steve leads into “Light In the Sky,” a weird, psychedelic number with sci-fi lyrics and a spacey Hawkwind vibe. The song features another in a long line of great Hillage solos, as well as an odd, little kids voice (it’s either Miquette or Hillage) reciting the line, “Oh, me! Oh, my!/There’s a light in the sky.” “Radio” is a mostly instrumental piece, with a nice Hillage solo guitar (sounds like a hollow body, kinda like Steve Howe, but with more balls) over a funky bottom by Blocker and Robertson. The minimal lyrics are about – incredibly – radio. They’re really rather unnecessary, but rather unobtrusive.

“Electrick Gypsies,” from the Todd Rundgren produced L, is probably the purest example of rock ‘n’ roll here. The synthesizer embellishment adds the prerequisite spacey feel, while everybody else gets funky, including a funked-up guitar from Steve. The tune segues into a movement from “The Salmon Song,” which features a cool sounding solo from Hillage and the return of that little kid voice. The piece moves into another FISH RISING number, listed as “Solar Musick Suite (Part 2).” If I’m reading things correctly, that would be the section of the song sub-titled “Canterbury Sunrise.” The tune features Robertson’s three-minute-plus bass solo, with guitar and synth adding some echoey texture before the drums kick things into overdrive.

Steve Hillage, Rockpalast 1977 (video still)

And, so, we’re back to the final three songs from MOTIVATION… , starting with “Motivation,” which features more groove-oriented guitar. The tune has probably the best vocal performance of the entire set; Hillage’s voice was made for this funkier style. Of course, better lyrics help, too. There’s a crazed solo at the end of the song, while the drums are particularly impressive. The vibe and music of “Saucer Surfing” reminds me more of Hawkwind than anything else, with lyrics like: “We’re real reality gypsies/Surfing on vibrations with our minds.” Miquette has a heavily processed spoken word section toward the end, sounding vaguely like a computer (which, obviously, was the intent). Things remain trippy and spacey on “Searching For the Spark,” which is highlighted by a long solo from Joe Blocker. With his jazz background, Blocker’s solo is anything but boring. The final number is an impressive cover of Donovan’s “Hurdy Gurdy Man.” This version features ethereal keyboard and vocal work. Now… remember when I mentioned that I had my doubts about this being the entire concert? Here’s where that question comes to mind; just about every live Hillage version I’ve heard of “Hurdy Gurdy Man” has a long guitar solo. This one doesn’t. I can’t tell if the solo has been edited out or if, for some reason, Steve just didn’t play one at the Rainbow that night. It really doesn’t matter… it’s a minor complaint; RAINBOW 1977 is one of those records that grows on you with each listen, never sounding boring or pretentious.

DO THE ARCHITECTURAL WATUSI Music Reviews | Darren Tracy | September 5, 2014 | Curtis Robertson Donovan Joe Blocker Live Recording London Miquette Giraudy MOTIVATION RADIO Music Progressive Rock Psychedelic Space Rock Rock and Roll Steve Hillage The Rainbow

GREAT LIVE ALBUMS (19)

A lot of people don’t like live albums. I’m not one of those. Some of my favorite records were recorded on the road. Here’s a list of 20 live albums that I think are the best. These records are all official releases, not bootlegs… that’s a whole other list (and one you may see somewhere down the line, as well). I had a hard time keeping this list to 20 (it started out as a “Top10”) and, I’m sure that your list would look very different from this one. But, that’s what makes these things so much fun, right? So, here’s number 19, the next in a series of reviews presenting 20 live albums that you should check out:

(19) THE SENSATIONAL ALEX HARVEY BAND: LIVE

(ATLANTIC RECORDS; 1975)

To say that Alex Harvey was a haunted, damaged soul may be an understatement. It has been well documented that he never really recovered from his brother Les’ onstage electrocution while a member of Stone the Crows. Alex blamed himself because he introduced his younger brother to Maggie Bell, which led to the two forming that band. Alex hid his pain with alcohol and by becoming the jokester, leading his new band, the Sensational Alex Harvey Band, as it winded its way to success via their high-powered, glam-tinged Vaudevillian stage show. I came to the show late, as far as SAHB (as they were called, because… well, their full name does not exactly roll trippingly off the tongue) was concerned… three albums into their joint career (Alex had been performing in various bands since the late ’50s; the other guys – of which, more later – were a band called Tear Gas, who released two albums before hooking up with Harvey). The very first time I heard (and saw) the group was on some late night concert thingy some time in 1974. I was, to say the least, blown away! I remember going on the hunt for anything by the band and, living in Podunk USA, the best I could do was special order a copy of the then-new album, THE IMPOSSIBLE DREAM. And that brings us to the fabulous LIVE album, recorded on May 24, the last night of the group’s 1975 English tour. LIVE was, unfortunately, a single record (around 45 minutes in length; about half of the actual show), at a time when double live albums were de rigueur. But, oh, what a record it was!

The Sensational Alex Harvey Band (Chris Glen, Hugh McKenna, Zal Cleminson, Alex Harvey, Ted McKenna) (uncredited photo) — The Sensational Alex Harvey Band (Chris Glen, Ted McKenna, Zal Cleminson, Alex Harvey, Hugh McKenna) (uncredited photo)

The record starts with a brief “Fanfare (Justly, Skillfully, Magnanimously)” followed by a creepy, Glaswegian voice welcoming the audience, “Good evening, boys and girls. It’s a gas to be here… I would like to take this opportunity to introduce you to my band. The Sensational Alex Harvey Band.” Way better, in my mind, than, “You wanted the best, you got the best!” A pumping keyboard (organ, synthesizer or… ?) and shaker from Hugh McKenna introduces the lascivious “Faith Healer,” before Ted McKenna (Hugh’s cousin), Chris Glen and Zal Cleminson join in, on drums, bass and guitar, respectively. This is as good a place as any to mention that Cleminson is an exceptionally gifted and expressive guitar player with a style and tone that – like Queen’s Brian May and REO Speedwagon’s Gary Richrath – is immediately recognizable; the mime face paint and modified jester’s outfit alongside his rubbery facial expressions only add to the effect. When Alex growls the first line of the song, “Let me put my hands on you,” it is evident that his motives are far from noble. While the focal point of the stage show may rest more on the antics of Zal and Chris, it is quite obvious that this is, in fact, Alex’s band. Hugh introduces the next tune, as well, with a pretty, soft electric piano. As Harvey steps to the mic, he introduces “Tomahawk Kid” as a song “inspired by Robert Louis Stevenson.” The TREASURE ISLAND and KIDNAPPED pirate references abound as the percolating rhythm leads to a great harmony duet between synthesizer and guitar; I’m not really sure that I’ve ever heard anything like it, but I do know that I like it! Zal doesn’t do a whole lot of soloing (which, of course, one would expect from a lead guitarist… especially live), but his lead, rhythm and fill work are masterpieces nonetheless. With the band adding “Yo-ho-ho” backing vocals on the chorus, the song catches fire and draws you into the story. The first side ends with the “Vambo” section of “The Hot City Symphony,” complete with Alex reading from “The Book of Vambo,” delivering a litany of heroic deeds that Vambo Marble-Eye, a being who is “like a cross between Santa Claus and Spider-Man,” is responsible for. There is a manic middle section, which features Alex spray-painting “Vambo Rools!!” on a brick wall to the back of the stage (if you’re unfamiliar with SAHB’s live show, you’ll have to trust me on that) and, yes… that is a frenzied guitar solo from Cleminson. It is a masterful performance, a touch above the studio version from THE IMPOSSIBLE DREAM, but Alex and his boys saved the best for side two.

The Sensational Alex Harvey Band (uncredited photo)

The band was promoting a new album, TOMORROW BELONGS TO ME and, while a few tunes from that release were played on the 1975 tours, only one made the LIVE record: “Give My Compliments To the Chef.” It’s an ominous tune with a heavy bass riff and a moody piano leading to the first line, delivered in a sad and resigned fashion: “Mother, dear, did you hear/How they are teaching me to do the goosestep?” The song is a wicked, veiled reference to a certain menu item… SOYLENT GREEN, anybody? The tune starts slow but, by the second half, Alex has worked his band into a lather, driving them hard to the finish. If you listen closely, you can hear him panting during the applause after. The Sensational Alex Harvey Band were always known for their use of the well-chosen cover tune. The point is proven on a wild, waltz-like take of the Tom Jones hit, “Delilah.” The version used on LIVE was so powerful that it was released as a single itself and became the group’s biggest chart success. Again, Hugh’s keyboards seem to lead the band, though the others, especially Zal, do have their moments. The slow middle section features (again, you’ll have to take my word… no… wait… just check the video evidence!) Cleminson and Glen prancing across the stage in an approximation of a waltz, leaving Alex to his own devices amid a pile of mannequins. His vocals are weird and menacing, made more so by the backing vocals by the others. The album finale is another cover, the Leiber-Stoller chestnut, “Framed.” Harvey’s intro, while sticking fairly close to the original, is classic: “I’m walking down the street, minding my own affair/When two policemen grab me and I’m unaware/They said, is your name Alexander/ And I said, well, why sure/They said, well, you’re the cat that we been lookin’ for/But I was… FRA-MUH-DUH!/I never done nothin’!” SAHB’s version has a hard rock/glam feel, with some great boogie piano running through it and… guess what?… another awesome solo from Cleminson. The second “monologue” from Alex is a garbled mess… mostly because he’s wearing a pair of panty hose over his head. As the band kicks it back into high gear, Mister Harvey begins to plead his case to the audience. He asks them if they believe him, if they are on his side. “Do you believe me? No? You don’t believe me? The concert is canceled!” He pits the audience against the band, blaming them for all of his woes and emerges victorious, slamming into one of the more bombastic finishes ever recorded. I would certainly like to hear the complete, uncut concert but, I find it hard to believe that they could ever improve upon the sequencing and pacing of this one record; it’s that good! And, that’s why it sits at number 19 on my list of great live albums.

DO THE ARCHITECTURAL WATUSI Music Reviews Streaming Video | Darren Tracy | June 29, 2014 | Alex Harvey Chris Glen Classic Rock Glam Rock Hugh McKenna List Live Recording Progressive Rock Rock Music Streaming Video Tear Gas Ted McKenna The Sensational Alex Harvey Band Theatrical Rock Zal Cleminson

GREAT LIVE ALBUMS (20)

A lot of people don’t like live albums. I’m not one of those. Some of my favorite records were recorded on the road. Here’s a list of 20 live albums that I think are the best. These records are all official releases, not bootlegs… that’s a whole other list (and one you may see somewhere down the line, as well). I had a hard time keeping this list to 20 (it started out as a “Top10”) and, I’m sure that your list would look very different from this one. But, that’s what makes these things so much fun, right? So, starting with number 20, here’s the first in a series of reviews presenting 20 live albums that you should check out:

(20) WINGS: WINGS OVER AMERICA

(CAPITOL RECORDS; 1976)

To say that the original release of WINGS OVER AMERICA was a behemoth may be overstating things… but, just barely! It was a beautiful thing to look at and – in a time before gargantuan box sets were an industry norm – the three record set (enclosed in a true masterpiece of design by Hipgnosis) was one of the biggest (and, at nearly two hours, one of the longest) releases ever.

WINGS OVER AMERICA inner gatefold painting by JEFF CUMMINS

The band (drummer Joe English, guitarists/bassists Jimmy McCulloch and Denny Laine, keyboardist Linda McCartney and her husband… I think his name might have been Lester, but I’m not sure… wonder whatever happened to him?) comes out of the box rocking hard with a medley of “Venus and Mars,” “Rock Show” and “Jet.” Despite the many comments regarding Linda’s musical and vocal abilities, she was – in my humble estimation – just as integral a part of the group as Laine, McCulloch or English… heck, I even like the songs she sang lead on! Anyway, with the aid of a four man horn section, Wings proved from the get-go that they were there to play. Following a great take on “Jet” is another track from BAND ON THE RUN, the bluesy “Let Me Roll It.” Then it’s back to the VENUS AND MARS material with “Spirit of Ancient Egypt” and McCulloch’s “Medicine Jar,” a pair of tunes that had me reevaluating the merits of said album. Side two opens with a stunningly effective version of McCartney’s solo song, “Maybe I’m Amazed,” featuring some awesome, tasty guitar from McCulloch. Another slow blues – and another tune from VENUS AND MARS – follows. “Call Me Back Again” features more solid guitar work and a nice horn chart. When Paul announced this jaunt (as part of the Wings Over the World tour and his first live dates in the States since 1966), the burning question was, “Will he play any of those old songs?” The rabid fans got their answer very early in the set, as a pair of lesser (by comparison) Beatles tunes – “Lady Madonna” and the dreamy “Long and Winding Road” – were given the Wings treatment. The hyper-kinetic theme to 1973’s James Bond flick, LIVE AND LET DIE closes out the second side of the set, with McCartney pulling every cliché from every musical genre he could access at the time he wrote the song.

Wings: Linda and Paul McCartney (photo credit: BOB ELLIS)

The second album (side three, by the way things were figured way back then) starts off slow, melody wise, with one of the gentler tunes from BAND ON THE RUN, the French dancehall vibe of “Picasso’s Last Words (Drink To Me),” coupled here with a nice, lilting cover of Paul Simon’s “Richard Cory,” itself an adaptation of a late nineteenth century poem about a suicide. Vocalist Denny Laine changes the last line of the first chorus to “I wish I could be… John Denver.” The acoustic set continues with another song from BAND… , “Bluebird” before dipping into Paul’s back catalog once more, with a trio of classics: the country-tinged “I’ve Just Seen a Face,” a rather funky “Blackbird,” and what may just be the perfect ballad, “Yesterday.” A record flip (yes, kiddies, to get from side three to side four, you actually had to physically turn the thing over!) and it’s back to the electric stuff and another dose of VENUS AND MARS music, with the ragtimey “You Gave Me the Answer,” which is followed by McCartney’s paean to a few of Marvel Comics’ oddest villains in “Magneto and Titanium Man.” Denny is back on lead vocals reprising his hit with the Moody Blues, “Go Now.” It’s a nice, bluesy number enhanced by the horn section. It’s rather unfortunate that the best song on the RED ROSE SPEEDWAY album was “My Love.” It’s even more unfortunate that McCartney deemed the slow schmaltz worthy enough to perform live. Side four closes out with the rollicking “Listen To What the Man Said,” highlighted by Thadeus Richard’s clarinet.

Wings: Jimmy McCulloch and Paul McCartney (uncredited photo)

Side five introduces the new album, WINGS AT THE SPEED OF SOUND, starting with the goofy pop of “Let ’em In,” one of two big hits from the record. Laine’s sinuous “Time To Hide” kicks up the rock ‘n’ roll again before the other big hit, “Silly Love Songs,” gets an early airing. I know that a lot of people cite this song, in particular, as proof that McCartney’s post-Beatles work was schmaltzy pop crap, but I’ve always liked it. So sue me, ’cause I think this version is pretty darn fun! Rocker Paul returns on “Beware My Love,” one of his more muscular forays into the realm of hard rock. Throughout WINGS OVER AMERICA, Paul, Jimmy and Denny had been switching back and forth between guitar and bass (and, occasionally, piano) but, the imaginative bass work (and the tone) on this side is all Paul and, for that reason alone, is the highlight of the set. Paul continues on bass on the final side with “Letting Go” another VENUS AND MARS rocker. “Letting Go” is followed by what is probably McCartney’s most well-known post-Beatles tune, “Band On the Run.” The bass (McCartney again) is quite prominent and the guitars, drums and Linda’s synthesizer cut through at times, but the song sounds thin somehow. It’s still a great rocker. The encores, “Hi, Hi, Hi” and “Soily,” sound better. The guitar interaction between McCulloch and Laine is possibly the strongest of the entire album, with McCulloch on slide and Laine playing a double neck. Paul McCartney wanted to prove that this wasn’t just his Wings, but a cohesive unit of five very talented musicians. I’d have to say that they definitely proved his point with the Wings Over the World tour and the WINGS OVER AMERICA album, which is why it’s one of the 20 best live albums ever.

The most recent release of WINGS OVER AMERICA came in 2013, with standard two CD and three LP versions, a Best Buy version with an extra CD of eight songs recorded at San Francisco’s famed Cow Palace and a sprawling box set featuring all three CDs, as well as a DVD of a television special called WINGS OVER THE WORLD and four books.

DO THE ARCHITECTURAL WATUSI Music Reviews Streaming Video | Darren Tracy | May 7, 2014 | Classic Rock Denny Laine Jimmy McCulloch Joe English Linda McCartney List Live Recording Paul McCartney Pop Music Rock and Roll Streaming Video Thadius Richard The Beatles Wings

RICK DERRINGER: RICK DERRINGER’S ROCK SPECTACULAR

(ANGEL AIR RECORDS; 2009) A REVIEW FROM THE VAULTS

Alternately called LIVE AT THE RITZ, NEW YORK – 1982, this album features Rick Derringer and his then-current band performing some of his best tracks and being joined by several guest artists to play a couple of their’s. The sound has been called “raw” and that works as well as anything to describe a nearly 30 year old show remastered from a video source. It has its faults but, that’s part of the charm.

Things kick off in fine fashion, with one of my favorite Derringer (the band) songs, “EZ Action” from IF I WEREN’T SO ROMANTIC, I’D SHOOT YOU. Rick and the boys in the band (Alan Merrill, sharing guitar licks with Derringer; Donnie Kisselbach on bass; Jimmy Wilcox on drums; Benjy King on keyboards) are obviously having fun. This thing ain’t called RICK DERRINGER’S ROCK SPECTACULAR for nothin’, though, as Karla DeVito (you know… the girl who wasn’t on BAT OUT OF HELL but appeared in all of the accompanying video material and toured with the Loaf for several years) joins the band for “Cool World,” from Karla’s album, IS THIS A COOL WORLD OR WHAT. The song is one of those B-52’s/Cyndi Lauper kinda new wave pop things that sounds a little quirky played by a solid-state rock ‘n’ roll band, but they pull it off. Nothing, however, can save “Just Like You,” a ballad from the same album. I guess every album or show has to have one cringe-worthy moment and this fits the bill perfectly!

Karla DeVito, Southside Johnny (video stills)

Next up is Southside Johnny Lyon, who brought his harmonica but left his Asbury Jukes behind. Southside Johnny may be the only musician from Asbury Park, NJ who is worth even a second look. Check out the voice and harmonica on Big Joe Turner’s “Honey Hush” (it’s called “Honey Rush” in the artwork) and the Eddie Boyd blues workout “Five Long Years” if you doubt the veracity of that comment. Probably the most well-known (one might say “infamous”) of all of Rick Derringer’s songs is “Rock and Roll Hoochie Koo,” first recorded on the JOHNNY WINTER AND record in 1970. It has one of the coolest riffs in rock history and I’m not certain if Derringer can ever play live without at least referencing that riff (I’m fairly certain that his family Christian group won’t touch those lyrics with a 10… make that a 50 foot pole!). The version here is… serviceable. I don’t know what the deal is with those backing vocals, but they sound like they borrowed the guys from Spinal Tap to faux heavy them up.

Carmine Appice, Tim Bogert (video stills)

For two glorious studio albums (and one live release), the band Derringer featured Vinny Appice (pronounced Ap-puh-see) on drums. So, of course, what would this show be without a little Appice? Carmine Appice (pronounced A-piece), Vinny’s big brother, brings his former Cactus and Beck, Bogert and Appice bass-playing partner, Tim Bogert, along to do “Have You Heard,” a riff-loaded track from Carmine’s then-new ROCKERS album. With Derringer (and, one would assume, Alan Merrill) supplanting Jeff Beck on the guitar parts, they rip into “Lady” from BBA’s one and only studio album. Probably one of the coolest thing about Carmine is the fact that he can utterly beat the crap out of his kit AND sing lead. Before “Lady” he mentions that instead of Jeff Beck, the song’s going to be played by “Derringer, Bogert and Appice,” a band that actually came to official fruition nearly 20 years later.

As is Carmine’s wont, he tends to take things into his own hands. So, rather than Rick announcing the next guest, Carmine does the honors. As Appice mentions, he had just finished a tour with Ted Nugent (in support of the NUGENT album, which featured Carmine on drums) and the Motor City Madman – alongside Derringer, Appice and Bogert – rips into an impressive, if a little ragged, version of “Cat Scratch Fever.” That group sticks around for a funny-car-fueled take on the Chuck Berry classic, “Oh, Carol,” with Ted on lead vocals.

It’s back to the Rick Derringer band for the yet-to-be-released “Party At the Hotel” from Rick’s upcoming album, GOOD DIRTY FUN. To be perfectly honest, the guest performers were fun and the interaction with Derringer was nice to hear but, the three songs with just Rick, Alan, Benjy, Jimmy and Donnie are just a notch or two above in energy, excitement and delivery. The big “let’s bring everybody back out” number to finish the set is – next to “Rock and Roll Hoochie Koo” – the other number for which Rick Derringer will forever be remembered: “Hang On Sloopy,” a song that a 17-year old Rick Zehringer took to the top of the charts with the McCoys in 1965. Even with the “everybody solo” feel, this is one time that everything (and everyone) was hitting on all cylinders. A good way to end the evening and this disc. Are there rough spots along the way? Certainly. Do they detract from the music and the vibe of the performance? Not really. Is RICK DERRINGER’S ROCK SPECTACULAR worth owning? Absolutely!

DO THE ARCHITECTURAL WATUSI Music Reviews | Darren Tracy | May 25, 2013 | Alan Merrill Benjy King Carmine Appice Classic Rock Donnie Kisselbach Jimmy Wilcox Karla DeVito Live Recording Music Rick Derringer Rock and Roll Southside Johnny Ted Nugent Tim Bogert

CAPTAIN BEYOND: LIVE IN TEXAS – OCTOBER 6, 1973

(PURPLE PYRAMID RECORDS/CLEOPATRA RECORDS; 2013)

Okay, since you asked, here’s my Captain Beyond story: When I was a youngster, I took the word “consumer” to (my father would say) stupid new heights as regards music. There was very little at this stage of my life that I would not buy, if given a chance. Well, I mean… country was obviously uncool! Disco had yet to rear its ugly, simplistic head… we were okay there! So… other than the obvious, what would cause me NOT to purchase an album? In the case of Captain Beyond, there were two reasons: first, I absolutely hated that name (although I thought that Captain Caveman was pretty cool, but that’s another story) and second, I thought that they had – quite possibly, the crappiest cover art I had yet beheld on an album. Be it known that I also consumed many a crappy album because I loved the cover art but, again, that’s another story. Anyway, I could not be swayed! I didn’t care that Rod Evans, the original voice of Deep Purple was in the band (personally, I was an Ian Gillan man). Didn’t make a bit of difference to me that a pair of refugees from Iron Butterfly filled the guitar and bass spots (wasn’t a huge Butterfly fan back then). And, even though I really liked the Edgar Winter Group, are you kiddin’ me? JOHNNY Winter? I think not!

Now, here we are 40 odd years (and you have absolutely no idea how odd!) later and I’m reviewing a (kinda) new release from the band with the unpurchasable moniker and album art. I say “(kinda) new” because this one has been around for a little while as a bootleg. Purple Pyramid (Cleopatra’s “old hippie music” label) has reissued the band’s first two albums, CAPTAIN BEYOND and SUFFICIENTLY BREATHLESS (the album for which this tour was in support) and has added a spruced up version of this live show to the pile. It definitely has a “bootleg” vibe to it, but I honestly think that’s because the master tapes are almost 40 years old. Despite the unwieldy (and totally generic) title, LIVE IN TEXAS is far from unlistenable; in fact, it sounds pretty good to me! There… I said it! Forget the name, forget the artwork; I totally missed the mark on Captain Beyond all those years ago. My only complaint this time is, “was the person responsible for coming up with album titles on vacation or what?” How about calling it DANCING MADLY ACROSS TEXAS or something equally pithy (heck, even a simple LIVE is better the long winded LIVE IN TEXAS – OCTOBER 6, 1973)? Ah… but, I digress (or is that regress?)! You wanna know about the tunage, right? Well…

From the first note of “Distant Sun,” the band (the aforementioned Rod Evans, drummer Bobby Caldwell, bass player Lee Dorman and guitarist Larry “Rhino” Reinhardt) is on, pounding their way through a solid, trippy (what else would you expect from a band called Captain Beyond?) set before ending with a nice version of the Hendrix gem, “Stone Free.” Along the way, there’s almost seven minutes of Rhino solo and another nearly 13 of Bobby Caldwell solo. It has been said that drum solos on a record are not only superfluous, but an egregious crime against humanity. I don’t agree. I happen to like a well done drum solo and Caldwell’s is among the best I’ve heard on record. Rod Evans’ voice is simply magnificent! Not in an Ian Gillan “Pictures of Home” kind of way. Or even a Rod Evans “Kentucky Woman” kind of way. The knock on Evans when he left Purple was that he couldn’t handle the new, harder style that the band was headed toward. This live performance, at least, shows that he was every bit as capable (if not as distinctive) as Gillan or Ian’s successors, David Coverdale and Glenn Hughes.

Rod Evans and Larry "Rhino" Reinhardt (uncredited photo) — Rod Evans and Larry “Rhino” Reinhardt (uncredited photo)

Evans retired from music after this tour and does not appear on the band’s 1977 album, DAWN EXPLOSION. He came out of retirement to hook up with a bogus Deep Purple in 1980. That lasted a few months before Ritchie Blackmore and the rest sued. Rod has gone underground and hasn’t performed or recorded since. A shame really, as he did have a great voice. Just listen to “Dancing Madly Backwards (On a Sea of Air)” or “Myopic Void” if you doubt that statement. Of course, both Lee Dorman and Larry Reinhardt have left this mortal coil behind, Rhino in January and Lee in December of 2012. They were, as witnessed here, musical forces to be reckoned with, as was Bobby Caldwell, who continues to play with his group, the Boulder County Conspiracy and has recently appeared on the new JD Blackfoot album, THE LEGEND OF TEXAS RED.

So now, the obvious question is, “If you knew then what you know now about the music of Captain Beyond, would you have consumed or would you have been hard-headed and (still) missed out on some great music simply because of a so-so name and bad cover art?” You know, I’d really like to think that, had I actually heard the music first, I’d have bought the records no matter what but… I was a knuckle-headed kid back then and I probably still would have passed. I’m a lot older and a little smarter now, which means I’ve got some catching up to do! LIVE IN TEXAS is a good place to start.

DO THE ARCHITECTURAL WATUSI Music Reviews | Darren Tracy | May 24, 2013 | Bobby Caldwell Captain Beyond Classic Rock Deep Purple Hard Rock Larry Reinhardt Lee Dorman Live Recording Music Psychedelic Rock Rock and Roll Rod Evans

Live Recording - 2. page

STEVE HILLAGE: RAINBOW 1977

RICK DERRINGER: RICK DERRINGER’S ROCK SPECTACULAR

CAPTAIN BEYOND: LIVE IN TEXAS – OCTOBER 6, 1973

WHAT’S INSIDE