Live 1969 [Import] [Limited Edition] [Original recording remastered]

This is the album that made me really appreciate the Velvets. I love live music and this album really captures the band as they were meant to be heard -- Jamming, Moody, Rock and Roll. The first 3 songs especially (Ocean, Pale Blue Eyes, and Heroin) have reverberated in my musical memory for a very long time.

A GREAT FIRST VU ALBUM! If you know the Velvets or even just think you might like them, you can't go wrong with these live concerts.

If you have the 1st one you must get this...or vice versa.......2003-04-28

Volume 2 picks up where the first one leaves off, opening with a ten minute version of OCEAN, complete with Crashing waves of cymbals. This also has rare gems you cant find anywhere else like the short but sweet OVER YOU, and the 50's rockabilly, speed freak sounding combo of SWEET BONNIE BROWN/IT'S JUST TOO MUCH.
Then there is the extended noise drone of WHITE LIGHT/WHITE HEAT.

Tracks:

Blue Suede Shoes
Money
Dizzy Miss Lizzy
Yer Blues
Cold Turkey
Give Peace A Chance
Don't Worry Kyoko (Mummy's Only Looking For...)
John, John (Let's Hope For Peace)

Customer Reviews:

New Reissuse of Live Peace.......2006-04-29

After reading the reviews here, I was inspired to get Plastic Ono Band. I was reluctant, since it had not been remastered, but I did anyway. After buying at a local retailer, opened it to find the calendar dated to 2006! Looking on the back, I realized it was a new remaster. I will leave the rest to the great reviewers here, but this is noteworty

NB it is a mobile fidelity remaster, 24 karat gold. Never heard any others, but this one sounded great.

Yoko? Oh! No!.......2005-07-31

I'm pretty much in the "can't stand Yoko" crowd, especially when it comes to this performance. I try to be empathetic and happy that Lennon truly found the love of his life in her. I would even say she had a positive effect on him overall (I think some of his very best music was written while he was in harmony with her). I even have a lot of appreciation for avant-garde music (like Faust). And Rock n' Roll isn't always meant to be pretty . . . I just don't care to be subjected to Ono's main performance from LIVE PEACE again, thank-you.

The other reviewers covered the good stuff from this show quite well on this forum already, as well as the basic background info. It's some of the rawest, rockin-est stuff any of these guys has ever done. I just want to add that Clapton in the video footage looks VERY annoyed at Ono and flashes her some scathing looks. Now, I can't claim to know what the man was thinking of course. Another reviewer who claimed to be AT this show said the crowd was booing, so maybe Clapton was teed off at that. Whatever the case, he looks like he's in sheer agony, playing through clenched teeth. Fortunately for us, he channels his feelings into some kick-ass guitar playing.

Wonderful Live Appearance..........2005-06-12

The Toronto show which this album comes from was John's first real concert away from The Beatles. He had already appeared on The Rolling Stones' Rock and Roll Circus but that was more of a TV special than it was a concert, so this pretty much constitutes his first non-Beatles gig.

It's a truly wonderful performance with Eric Clapton, brilliant as usual, on lead guitar, breaking into some great solos, Klaus Voorman (an old German friend of The Beatles) on bass, Alan White on drums, and John on lead guitar. They start off with som great rock and roll covers. The band, newly named the Plastic Ono Band, breathe great life into these covers, and they all sound very rough and loud. After they go through these covers, they perform the fantastic Beatles song Yer Blues, which sounds even better here than it does in its studio version. They also premiere John's song about his heroin habit, Cold Turkey. It's not nearly as good as the studio version, or the version the Plastic Ono Supergroup did at the Peace For Christmas concert during Christmas of 1969, but it's still enjoyable, although it basically falls apart during the end. They then do a great version of Give Peace A Chance. Although I love the original version, it's fun hearing it in this electric version, even if John forgets the lyrics occasionally, which he actually does during some of the early numbers as well.

Of course, then it goes into Yoko's section of the concert. Before you start reading, I'm going to tell you that I'm a huge Yoko fan and I think she did "punk" before it was "punk". The two songs she does here, Don't Worry Kyoko (Mummy's Only Looking For Her Hand In The Snow) and John, John (Let's Hope For Peace), are wonderful numbers, especially the first one, which has some great guitar courtesy of Eric Clapton. Eventually, the band starts leaving the stage until it's only the scream of feedback left.

Live Peace In Toronto is a great album, but it's also very rough and if you prefer the polished studio versions of these songs, then you might want to listen to them again instead of listening to this album.

Live Peace In Stunning 1997 Yoko Ono Remix!.......2005-01-16

Stunning is the word to define this CD, because it contains the entire live performance that John Lennon and his brand new group, the Plastic Ono Band, gave in September 1969 in a Rock and Roll Revival in Toronto, Canada. It was the first time that John appeared live without the Beatles. Lennon himself, Yoko Ono, Eric Clapton, Klaus Voorman, and Alan White which formed The Plastic Ono Band, a conceptual band which included a varity of talented and explorative musicans over the years. The songs included in this set are classics, and derived from the Lennon's Liverpool and Hamburg days, like Money, Dizzy Miss Lizzy, and Blue Suede Shoes. The other songs were from the late Beatles era, Yer Blues, Cold Turkey and the great Give Peace a Chance. There are two Yoko songs, Don't Worry Kyoko (Mummy's Only Looking For Her Hand In The Snow) and John, John (Let Hope For Peace), included on side two which are traditional Ono experimental with heavy electric guitar feedbacks and Yoko's unique, and utterly fascinating avant garde vocals. The sound of this CD is simply amazing, due to the remix that Ms. Ono gave to the original tapes in 1997. Definitely, a must, for all John Lennon and Yoko Ono fans. Buy it NOW!

Yoko Unleashed.......2004-12-17

This album is just so cool. Almost totally unrehearsed, the Plastic Ono Band pull off one of their greatest live shows ever. For John's side the rock 'n' roll classics are classic, 'Yer Blues' you just wish the Beatles could have played it as good on the 'White Album', the mellow version of 'Cold Turkey' you just chill out to, the re-working of 'Give Peace a chance' rocks and provides a few laughs as John make up the words as he's forgotten them.

But the most important part hasn't been played yet. John says to the audience, "Now Yoko's gonna do her thing all over you." And Yoko screeches, moans, and wails for 20 minutes as the audience watched in horror. They booed then, but these twenty minutes gave birth to Bjork, Hole, Nirvana, and pretty much all of alternative and experimental rock. For that very reason, this album is possibly one of the most significant in rock history. A must-have.

KEY TRACKS: "Give Peace a Chance" and "John John"

Average customer rating:

underrated
Neat to hear but heard better
Gram Who??
These Byrds Can Play
Under appreciated line-up

Live at the Fillmore West February 1969
The Byrds
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004OCE7
Release Date: 2000-02-22

Tracks:

Nashville West
You're Still On My Mind
Pretty Boy Floyd
Drug Store Truck Drivin' Man
Medley: Turn! Turn! Turn! (To Everything There Is A Seaon)/Mr. Tambourine Man/Eight Miles High
Close Up The Honky Tonks
Buckaroo
The Christian Life
Time Between
King Apathy III
Bad Night At The Whiskey
The Wheel's On Fire
Sing Me Back Home
So You Want To Be Rock 'N' Roll Star
He Was A Good Friend Of Mine
Chimes Of Freedom

Amazon.com

Recorded at Bill Graham's legendary San Francisco concert hall during two shows in February 1969, this disc sounds like a practice session recorded in the morning after a particularly long, rough night. The vocals fall flat too often and rhythmic cohesion is always one measure away--too many noodly, irrelevant notes are slathered atop every song. Some of this can be explained by the absence of one former Byrd. In turning the band towards their country-rock bent and then splitting after less than a year, Gram Parsons left a hole that could never really be filled, not even by the nimble-fingered Clarence White. Their take on the Louvin Brothers' classic "Christian Life," for instance, is ragged, but not right. But the CD certainly has merit for more than just archivists and obsessives: the straight-ahead folk-rock material does shine with the "Nashville West" flavorings. There's a fiery "King Apathy III"; a revelatory, subtle version of "Bad Night at the Whiskey"; and a truly emotional take of "He Was a Friend of Mine," especially poignant a year after the assassinations of Martin Luther King Jr. and Bobby Kennedy. --Mike McGonigal

Customer Reviews:

underrated.......2006-06-03

The Byrds 'Live at the Fillmore West ~ February 1969' is a wonderful companion disc to the other live Byrds venture, 'Untitled/Unissued'. Together, these three discs offer a rich compendium of The Byrds live persona in the late 1960's and early 1970's. Still missing in action, and presumably not available, are live recordings of the first incarnation of the band, featuring Chris Hillman and David Crosby. With John York on bass, this recording features one of the shorter-lived Byrd's line-ups.

Compared with 'Untitled/Unissued', the Fillmore West disc is much more heavily steeped in traditional country and the burgeoning country-rock sound pioneered by The Byrds. But if you're a fan of the band's pop, rock, and psychedelic offerings, there is plenty of that fare to be had as well. In fact, although ten of the sixteen tracks would have to be categorized as basically country, five of those tracks are under 2:10 in length. The lengthier rock tracks (especially the 9:47 medley of classic Byrd tracks offered on track five) consume about an equal amount of time on the disc as the country offerings. The country offerings are also collected at the beginning of the disc, so whatever your interest may be, you can easily select that portion of the recordings to hear.

The first four tracks on the disc are hard-core country music, beginning with a rendition of 'Nashville West' which blows away the version offered on 'Untitled'. 'You're Still On My Mind' features a nice slide guitar sound from Clarence White, as do many of the country tracks, and 'Pretty Boy Floyd' is a 'Ballad of Bonnie and Clyde' clone from Woody Guthrie. 'Drug Store Truck Driving Man' is a send-up of a down-home redneck, ironically using redneck music to roast him. Tracks six through ten return to the country sounds. 'Buckaroo' is a country-rock instrumental, while 'The Christian Life' is a slowed-down country-gospel track. I would also classify track 13, 'Sing Me Back Home', a melodious prison ballad from Merle Haggard as country, as well as the worthy version of 'He Was a Friend of Mine' (perhaps more folk oriented), the slowed-down melodic dirge for JFK, RFK, and MLK.

The main attraction on the disc, however, is one of the finest medley's I've ever come across. Excellance in musicianship combines with classic compositions and seamless segue's on track five, a suite featuring nearly full performances of 'Turn, Turn, Turn', 'Mr. Tambourine Man' and 'Eight Miles High'. White's guitar runs contain more notes per second than many elite axemen can hope to generate, and his skill is highlighted in a remarkable working relationship with Roger McGuinn's familiar 12-string Rickenbacker. A mind-blowing fuzz-tone guitar bridge from White puts the icing on 9:47 of sheer musical bliss.

More rock highlights include the crunching psychedelic rock of 'King Apathy III', the slowed-down rock of 'Bad Night At the Whiskey', and the mid-tempo Bob Dylan/Rick Danko composition 'This Wheel's On Fire', which manages somehow to combine both Dylan and The Band's traditional sounds. The remaining two tracks rival the intensity of the earlier Byrds medley. The rendition of 'So You Want To Be a Rock 'N' Roll Star' burns with intensity, rocking all over the 'Untitled' version, which is no slouch in itself. And the closing track, 'Chimes of Freedom' comes off as a modern day 'Star Spangled Banner'. It could be perhaps a more fitting substitute for the national anthem than 'God Bless America'.

I believe this disc is seriously underrated. I've read many reviews that criticize this recording as uninspired, weak performances, poorly recorded. I found none of those criticisms to be valid. The liner notes from David Fricke aren't terribly extensive, but do give sufficient background on this particular performance, and how the band had been evolving in the late 1960's and early 1970's. The graphics and photographs of the band are also not extensive, but what is offered is illuminating. 'Live At the Fillmore West' is certainly essential for any serious Byrd's fan, and may well supplement the collection of more casual fans of the Byrd's diverse musical forms. Four stars only because I'm not a big country music fan.

Neat to hear but heard better.......2005-10-15

If your a diehard Sweet heart of the Rodeo fan type of Byrds material you will love this Live 1969 concert CD, but for me I liked the 1967 Montery Pop Festival volume 2 CD that came out in 1992 better. It has more classic Byrds material that were on the first three albums etc..before the 1968 Rodeo album made in nashville etc.. there are live cuts on the Byrds Untitled two record album (CD) by a later Byrds lineup. I also saw at a Convention Center CD sale (Dealers tables) a Bootleg of a Byrds whole Live show in 1971 at the fillmore east (2 CD's long) the guy that had it only took cash I didn't have $40.00 he said it was best he ever heard etc..etc.. Why can't these record companies sell this kind of stuff instead of what they do now. Here is the best byrds line-up with the best byrds concert ever in 1971 recorded on a illegal bootled two CD set (Hello dummies) guess what the fans want this kind of stuff you know that is legal. What gems are these record companies holding on to an why are they waiting for the rest of the Byrds to die so they can screw them out of royality's to be made from this stuff , God
help them see the light. There should be a 7 CD box set with photo book of live Byrds concerts ( all 7 years of line ups )
and if they don't have the master tapes etc.. just go out and buy up all the bootlegs and put them out in the Box set you dummies

Gram Who??.......2005-04-16

And you thought the Flying Burrito Brothers embodied country-rock! One listen to this disc and you'll think otherwise. McGuinn/White/Parsons/York crank out some of the grittiest, roughest, rockin' sounding country music ever. And some of these cuts are the definitive versions of the songs..."Drug Store Truck Driving Man" is exponentially better than its studio counterpart. Same goes for "Pretty Boy Floyd" "Bad Night At The Whiskey" and, to a lesser extent "He Was a Friend of Mine." But McGuinn's vocals, man they really get inside of you, making you wonder "Gram who?"
But the real star of the show is Clarence White. I've never heard a guitar growl the way his Telecaster does. "Buckaroo" is all him, and his solo on "Close Up The Honky Tonks" is mindbending, literally.
If anyone knows where I could find some more official live recordings of the late Byrds, please E-Mail me!

These Byrds Can Play.......2005-04-04

I don't know why the gods smiled on us and somehow these recordings were made, but they were. One listen to Clarence White work out on "Buckaroo" and you know (knew, if you were there) you are (were) in the presence of something really unusual and very, very cool - total mastery of the instrument and an intense, creative and soulful musical and rhythmic spirit. (Compare with the Buck Owens original and you'll know what I'm saying). White, who had been playing electric guitar only a couple years at that point, has simply never been equalled in the genre. And actually only equalled at all by very few other guitar players. OK - the other guys are good too, esp. Parsons, the drummer, who understood what Clarence was trying to do. This band was just beginning to feel its power, and you can hear it. McGuinn actually seems to be having a good time, and he sings and plays the country stuff OK and the folk and rock material very well indeed. Ahead of their time and underrated - classic Byrds.

Under appreciated line-up.......2005-03-05

Right from the beginning a lot of people thought this version of the Byrds was bogus, having only Rodger McGuinn from the original lineup. While their studio recordings, still very good but a notch below their classic albums weren't big sellers, an amazing thing happened. They became an awsome live band, which no other version ever was. Just listen to the ragged performance on the Montery Pop Festival box set or any of the dozens of bootlegs around and you can see what I mean. What the Live At The Fillmore West CD lacks in sound quality it certainly makes up for in the intensity of the performance. There are a few off vocals here & there that can be attributed to the dismal state of on stage monitors at the time, but if you like the Byrds give this one a try. I don't think you'll be diasppointed.

Off The Record, Vol. 1: Live Recordings, 1956-1969

Average customer rating:

Amazing
An intimate glimpse at Monroe's onstage charm
That was I call MUSIC.
Definitive -- Essential
The very finest example of bluegrass ever!

Off The Record, Vol. 1: Live Recordings, 1956-1969
Bill Monroe and the Bluegrass Boys
Manufacturer: Smithsonian Folkways
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001DJ3
Release Date: 1993-09-14

Tracks:

Watermelon Hanging On The Vine
Roanoke
Brakeman's Blues
Close By
Kentucky Waltz
Blue Grass Stomp
Blue Moon Of Kentucky
I'm Working On A Building
Angels Rock Me To Sleep
Wheel Hoss
Watermelon Hanging On The Vine
Katy Hill
True Life Blues
I Live In The Past
Wayfaring Stranger
Fire On The Mountain
Blue Grass Breakdown
Raw Hide
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Get Up John
White House Blues
Roll In My Sweet Baby's Arms
Kansas City Railroad Blues
The Walls Of Time
When He Reached Down His Hand For Me
Monroe Family Segment

Amazon.com essential recording

"Howdy, howdy folks. We're glad to be back for another show here. As we do the numbers now, we're gonna call each fellow's name out so we can get right along with the show." And what a show. Bluegrass has always been a live-performance genre, on stage or in the studio, and Bill Monroe never sounded better on stage than during these heady years of the folk revival. He had something to share and to prove to his new audience, and he wouldn't meet them halfway, choosing instead his grittiest traditional material and singing, especially in the late '50s, with full, high yodel and wail. His voice mellowed into the '60s, but his band, including many of the best bluegrass pickers ever (Bill Keith, Peter Rowan, Richard Greene, and Bobby Hicks for starters), never gave quarter. To understand Bill Monroe and his various ensembles, one needs to hear his stage brilliance, and there's no better place to start than with these warm, clear live recordings. --Roy Kasten

Album Description

Previously unreleased recordings from the 1950s and '60s present Monroe concert performances, jam sessions, and festival workshops of Bill with the Bluegrass Boys and his brothers Charlie and Birch. This 75-minute collection captures Monroe with Peter Rowan, Bill Keith, Tex Logan, Bobby Hicks, Del McCoury, Hazel Dickens, Roland White, and many, many others. Includes rare photos and extensive notes by Ralph Rinzler. "...culled from both concerts and picking parties, [this recording] reveals what a holy terror [Monroe] was in front of an audience--even of friends, at 4:45 a.m." -- Newsweek

Customer Reviews:

Amazing.......2007-03-10

No one artist will ever be missed more by me than Bill Monroe. As a teenager back in the early 80's, before the corporate mentality took over bluegrass, Bill was out there burning things up. Nothing in this world will ever mean as much to me as watching Bill perform "My Last Days On Earth" live at Bean Blossom in 1983. His name is synonymous with people like Louis Armstrong, Robert Johnson, Elvis and Roy Acuff due to his guiding influence.

What is found on this disc are two phases of Bill's career. The first is the mid to late 50's when rock n roll was gaining popularity and country artists were plugging in to keep pace. Bill, ever the purist to what he'd created and being his typical hard headed self, refused to put any band on the road that carried an electirc instrument. It was during this era that gigs were hard to come by for "hillbilly" music. That doesn't in any way take awy from these perfomances however. Bill and crew were at the top of thier respective game and the delivery is completely flawless. Ed Mayfield is the guitarist and lead singer on several of these cuts. The toure de force he turns in on Blue Yodel # 5 alone is jaw dropping. Also included is a guest spot with Don Reno playing banjo on Bluegrass Stomp, with Bill providing some of the spookiest, blusiest playing ever to be heard.
The second phase is equally impressive featuring the likes of Richard Greene, Pete Rowan, Bill Kieth (introduced as Brad because Monroe was to be the only Bill on stage) and Tex Logan. It was at this time that Ralph Rinzler had begun managing Monroe's career and a resulting rennisance was underway, which in no small way helped Bill attract younger, more progressive pickers. The most amazing cut from this period would have to be "Wayfaring Stranger" with a completely impromtu instrumental call-and-answer on Bill's break.

This disc, along with the Doc Watson duet (also on Smithsonian Folkway) and the Bear Family box sets of Monroe's Decca recordings are about all a bluegrass fan will ever need for a complete catalog of The Father of Bluegrass' genius.

An intimate glimpse at Monroe's onstage charm.......2002-12-19

A treasure trove of rare Monroe performances, from various folk fests and concerts. For the most part these live renditions don't capture the full intensity of Monroe's music, but there's certainly not a bad cut on this album. The best bit, though, is a track called "Monroe Family Segment," which consists of Q&A dialogs with fans and festival moderators asking Monroe to explain his techniques and how he learned them from various family members... Interesting in and of itself, but also a great glimpse at Bill's rapport with his fans.

That was I call MUSIC........2002-08-03

I have gotten myself into bluegrass lately even though I'm not new to it either. I grew up hearing bluegrass music on television like the Beverly Hillbillies, Hee Haw and the Dukes of Hazzard. However, I always wanted to learn more about Bill Monroe and his music. The music on this CD is of course authentic, traditional bluegrass. I highly recommend this to any bluegrass and even non-bluegrass listener. I would like to see America get back to its music roots. We are losing it with the non substance music we hear today.

Definitive -- Essential.......2001-05-23

This one is a must -- live recordings that show Monroe and the various Blue Grass Boys at their best. You will not be disappointed.

The very finest example of bluegrass ever!.......2001-05-04

I knew I liked the bluegrass sound, but I didn't own any... so on a whim I found this CD in a store. I bought it because I thought I recognized the name, and it did have more songs than most. That was four years ago and I still think of it as one of the best purchases I've ever made. If you like the mandolin and high old time sound... then you must have this CD!! It's over an hour of the best bluegrass ever recorded, and the information in the cover/recorded interview with Bill (#27. Monroe Family Segment) really let you get a chance to know the man.

Average customer rating:

Not quite as I remember him, but close
avante-garde personified
A Wild Show.....
Live Album finally demonstrates the Genius of Buckley
I'm only thirteen and I love it all the same!

Live at the Troubadour 1969
Tim Buckley
Manufacturer: Manifesto Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000062XE
Release Date: 1998-05-12

Tracks:

Strange Feelin'
Venice Mating Call
I Don't Need It To Rain
I Had A Talk With My Woman
Gypsy Woman
Blue Melody
Chase The Blues Away
Driftin'
Nobody Walkin'

Amazon.com

Live at the Troubadour 1969 is the second of a trio of well-produced live albums (alongside 1968's Dream Letter and 1973's Honeyman) to be unearthed and packaged to feed the legend surrounding one of rock's late, great singers. By the time of the Troubadour set, Tim Buckley had honed his vocal technique into a sensual, feverish, and utterly unique tool. The songs, most from the Lorca and Blue Afternoon albums, are the kind of avant-garde blues Buckley came up with on good days, but it's the twists and turns of that multioctave voice that's startling. Whether ripping up the hood of the tender "Strange Feelin'," stretching the lyric of "I Don't Need It to Rain," or prowling around the notes of "Nobody Walkin'," Buckley's vocal gymnastics spur the imagination. --Reuben Dessay

Album Description

First unearthed in 1994, this live recording is from Buckley's 'Happy/Sad' period that has been recognized as his most creative. This live album, recorded at the famous L.A. venue on September 3, 1969, captures Buckley in exceptional form. Liner notes by British writer Martin Aston of Mojo. 9 tracks.

Customer Reviews:

Not quite as I remember him, but close.......2006-09-05

This is gives a pretty faithful idea of what a show of Tim Buckleys was like at the Troubadour. Yes, I saw him at least a half a dozen times - I really can't remember the number. This CD showcases many of his staple songs, leading to long vocal virtuoso singing almost with jazz scatting leanings. You can really hear the playfulness he displayed live.

The only thing I miss in this is his earlier simpler presentation. I remember the best shows as just being himself on guitar, Mr. Carter on the Congas and other percussion, and this fabulous vibraphonist. Nope, I dont remember his name. I have yet to hear this vibraphonist on any recording, but I really thought that he was an important element in making the ethereal and almost other-worldly sounds that Tim Buckley spun. The guitar and keyboards are just an approximation, and too frequently overdriven, muddy, and too intrusive.

avante-garde personified.......2005-01-25

'Tim Buckley - Live At the Troubadour 1969' was recorded on September 3rd and 4th at this intimate folk club (capacity is only 450 seats) in Los Angeles. Buckley brings along with him a stellar group of musicians, in particular guitarist Lee Underwood and percussionist Carter C.C. Collins, to a venue revered for bringing artists nearly face-to-face with their audience since 1957. The Troubadour, in fact, remains open as of the writing of this review, and stands as the oldest music venue in Los Angeles.

You couldn't ask for a better quality recording (especially given that the year was 1969) considering that these tapes had collected dust in the vault for over two decades. You also couldn't ask for more music. A quick visual tabulation pegs the total time on this disc at around 79 minutes, which is about all any CD can handle.

The set list and performances, while perhaps good given Buckley's available catalog at the time, may disappoint some fans (such as myself) who prefer Buckley's later, perhaps more accessible work. At this point in his career Buckley was still seeking Top 40 success, an elusive goal despite his release of 10 singles. None of the songs from 'Live At the Troubadour 1969' were among those singles. All nine cuts are drawn from his 1969 'Happy Sad' album (tracks #1 and 5), and his two 1970 releases, 'Blue Afternoon' (tracks #6 and 7), and 'Lorca' (tracks #4, 8, and 9). There are two tracks that never appeared on a Buckley studio album, 'Venice Mating Call', and 'I Don't Need It To Rain', although another live version of the latter does appear on Buckleys 'Once I Was' CD. The version of 'I Don't Need It To Rain' rendered at the Troubadour is a much better recording than the 'Once I Was' version, which to me is unlistenable.

With Tim Buckley nearly every musical excursion would have to be considered to be avante-garde. With each track on 'Live At the Troubadour', one wonders where Buckley will be heading next. The songs are an eclectic mix of jazz, folk, blues and rock. He takes his voice in experimental directions few artists would dare (or even think) to venture, and at times traverses outside the boundary of what some might consider melodically tasteful. But there is no denying the range, intensity, and imagination Buckley is able to infuse into his compositions vocally.

Lee Underwood offers some smokin' solo's on guitar, and on 'I Don't Need It To Rain' and 'Nobody's Walkin' offers vibes on electric piano. His solo's on 'Strange Feelin', 'Gypsy Woman', and 'Chase the Blues Away' are especially tasty. His guitar has a smooth, rich, velvety feel to it... a fine accompaniment to Buckley's wildly exploring vocals. Carter C.C. Collins' percussion sounds are another sweet attaction, especially on 'Venice Mating Call', and 'Nobody's Walkin', which features a Collins solo on conga.

The tempo of the disc is generally slow, and the mood is dark. Only two songs step up the pace beyond mid-tempo, but 'Gypsy Woman' at fourteen and one-half minutes, and 'Nobody's Walkin', at just over sixteen minutes, are easily the longest songs in the set. The second track, the instrumental 'Venice Mating Call', is rather upbeat also. 'I Had a Talk With My Woman' and 'Blue Melody' are perhaps the prettiest songs on the album, while the dirge-like slow blues of 'Driftin' is perhaps the most depressing cut.

A rather shocking moment occurs in Buckley's introduction to 'Venice Mating Call' when the artist jokingly tells the audience, "All we are saying is give smack a chance". The off-hand comment draws laughter from the audience, but few would be laughing if they could have known that Buckley would forfeit his life to an accidental overdose of heroin about six years later. It's an unfortunate reminder of the fate that awaited this talented, but tormented artist.

Martin Aston supplies informative and insightful liner notes to complement this generous package.

A Wild Show............2003-01-17

Only about a year passed from "DREAM LETTER-LIVE IN LONDON" to the recording of this live show. There is a huge change in line-up and Buckley's voice in another world compared to "DREAM LETTER". "LIVE AT THE TROUBADOR" marks Buckley's slide from his records "LORCA" AND "STARSAILOR"(what I would do to have this record in print again). The band is largly a jazz/blues/avant garde band. Lee Underwood is still here playing gutair, but also playing electric piano(one of the few downsides of this record). Basically few fans of Buckley, this is heaven sent.

Live Album finally demonstrates the Genius of Buckley.......1999-12-01

Finally, Buckley's incredible vocal range is shown in all its exceptional prowess. The stand out track is the astounding "Gypsy Woman" (where Timmy wants the spell cast on him, always the ironic iconoclast) that has Buckley going from a counter tenor to a falsetto to a banshee wail. Simply astounding. If you know nothing about Tim Buckley, this is the album to purchase to get yourself duly informed. A fantastic record of a man before his time.

I'm only thirteen and I love it all the same!.......1999-10-10

I'm 13, I grew up in a 60's music loving family, and I'll always love this C.D.! This Tim Buckley C.D. has such an assortment of rythems, lyrics and feelings in every song. Any persons would be crazy not to love this C.D at first glance, it's a master piece and I love it! (and you should too!) enjoy!

Average customer rating:

DAMNIT!
35-minute SF jamming? Why not!
We want more!
AWESOME JAMMING! A GREAT CD FOR FANS OF 60'S ROCK!
great farewell performance

Live! Fillmore West 1969
Country Joe & the Fish & Friends
Manufacturer: Vanguard Records
ProductGroup: Music
Binding: Audio CD

General | Folk | Styles | Music

Traditional Folk | Folk | Styles | Music

Folk Rock | Rock | Styles | Music

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Similar Items:

Electric Music for the Mind and Body
I-Feel-Like-I'm-Fixin'-to-Die
Here We Are Again
Together
C J Fish

ASIN: B000000ED5
Release Date: 1996-04-16

Tracks:

Introduction/Rock And Soul Music/Love
Here I Go Again
It's So Nice To Have Your Love
Flying High
Doctor Of Electricity
Donovan's Reef Jam

Customer Reviews:

DAMNIT!.......2004-01-28

The dead arent that good....I like them I own their first 10 cds or so (the arista stuff sucked) and I trade live shows so I know the jams and what not....but the dead just dont have the energy that CJ and the fish had. But it sickens me to think people buy this just for Jerry.....Country Joe rules and his folkie-voice does too. haha...Um the best fish is non-studio live stuff, sorry amazon,(Country Joe allows trading similar to the dead) but If you know any live show traders get their woodstock set or anything, but woodstock was absolutely on fire, then you doubters will understand the mighty Fish. Seriously Folks, they were massively underrated and nearly forgotten by the mainstream except fixin to die rag which has almost become a gimick......hmmm. Theres more out there especially in the san fran 60s scene than just the dead...do some research lazy potheads. haha

35-minute SF jamming? Why not!.......2003-02-15

Due to the presence of all the guest players on this vintage "farewell to the original lineup" CJ & Fish show, the music--especially on the closing "Donovan's Reef" jam--comes incredibly close to sounding like The Dead or The Airplane during one of their long improvisational flights. The Country Joe sound is still evident, although it had changed from the early days of "Electric Music" from the purer acid-rock of that time to add elements of soul/funk/boogie to the mix. There are some great moments here, but like almost all SF jam albums of the period there are are dull moments when the super-group of jammers are slightly off or feeling their way. Highlights include "It's So Nice To Have Your Love", the end of "Flying High", the climax of "Donovan's Reef" and Jack Casady's bass playing throughout. I've always liked Country Joe's voice, it has a humble quality and an appealing timbre. However, as good as this release is it would perhaps be even better to release their complete Monterey Pop performance, which captured them playing the best songs off of their first two albums.

We want more!.......2002-03-01

This was a great band, individually and collectively. It's a shame that the relationships have not been maintained over the years. Ce la vie! The really great thing about this album is the jamming aspect. Always known for the lyrical and political aspects of their music, the Fish could jam it up like the best of them. Indeed Barry Melton in his new life still does. But what performances have we on this jewel of a disc. I suspect that many of the people who bought this album did so because of the appearance of Dead members Garcia and Hart or even Casady and Kaukkonen and good luck to them because they will have been exposed to some killer playing on the disc. Barry Melton is on top form throughout and plays his heart out. My only regret is that there is not more of these shows or other live Fish performances around. If anyone out there is listening...WE WANT MORE! A highly recommended alum which should grace the shelves of any afficionado of West Coast Music.

AWESOME JAMMING! A GREAT CD FOR FANS OF 60'S ROCK!.......2000-11-09

Thank you to the reviewer who mentioned that Jerry Garcia plays in the 38 minute song "Donaovan's Reef Jam" because I promptly ordered the cd on that fact alone knowing that the incredible sounding jam would be worth the price, which it was. Luckily, there are other excellent bits of music on this high-spirited, rocking album. What fun conecerts the two shows that these songs were recorded from must have been. The only negative comments I have about Country Joe is that the

guy can't sing worth two nickles (sorry, but its true). The great music can make up for it but not all the time. Otherwise, get this and have fun listening to some fun music, PARTICULARLY the final song!

great farewell performance.......1999-10-01

As an old Fish fan, I was always on the lookout for any old 'live' material from the vault. To my great surprise, my sister-in-law gave me this CD for Christmas '97. HOT HOT HOT !! If you're a fan of West Coast '60's psychedelia, this is a must-have album. The tunes are powerful, a direct result of having Jack Casady on bass through the entire CD. Jack drives the band hard, especially Barry Melton, and the Fish never sounded better live.