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Relentless 7 Tonight at The Mercury Lounge NYC at Midnight

Posted by jhochstat on December 11, 2008


Ben Harper’s new band, Relentless 7 will be playing The Mercury Lounge in NYC tonite in a very small, very intimate showcase of their new music.  Show starts at midnight, I will be there and I am really looking forward to hearing this band.  Too bad I won’t be able to make it down to Warren Haynes’ annual Xmas Jam in Asheville NC to hear them jam out as well.  They are also playing Kenny’s Castaways tomorrow night.  These three shows are the last ones they have scheduled until April 2009 (in Australia) so try to catch them now while you have the chance.

Relentless 7 is:

Ben Harper – Slide Guitar, Vocals
Jason Mozersky – Lead Guitars
Jesse Ingalls – Bass, Keys
Jordan Richardson – Drums
Relentless 7 “Keep It Together” – 10/29 Youngstown, Ohio


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Wolfgang’s Vault Concert of the Week-Dickey Betts at Winterland 12.14.74

Posted by jhochstat on December 10, 2008

(All info via Wolfgang’s Vault)

By 1974, in large part due to Dickey Betts, Capricorn Records and The Allman Brothers Band were experiencing a success more lucrative than anyone could have dreamed. Betts, as a result, found himself free to pursue almost anything he desired musically, without having to worry about finances in the least. The situation allowed him to record his first solo album, Highway Call, and to perform with countless great musicians for the pure joy of playing, without any expectations of making money in the process. Over the course of the previous year, Betts had found a true, authentic voice, and had begun to distinguish himself within the ABB as a unique stylist, blending his love for country, bluegrass, western swing, jazz and rock into a style utterly his own – and one that would soon prove highly influential on all the Southern Rock bands that followed in the Allman Brothers’ wake.

Betts’ Great American Music Show featured many of the players from his solo album, including the greatest fiddle player of his generation, Vassar Clements. Both the Poindexters and the legendary Spooner Oldham were also on board, and all these musicians combined to create a show that authentically traced the history of American music.

Betts begins this Winterland show by showcasing his more acoustic side, with plenty of tight harmonies, sweet picking and relaxed communication between the musicians. Several of the best new songs from Betts’ solo effort are included, including “Rain,” “Long Time Gone” and the superb “Hand Picked.” The classic instrumental “Hideaway,” as well as Allman Brothers’ favorites “Blue Sky” and “Southbound,” are given this new treatment with great success.

Betts, Clements and the Poindexters then venture into historic American music and straight bluegrass for half a dozen songs, beginning with vintage material like “Old Joe Clark” and “Salty Dog,” and closing with Vassar Clements raising the roof on “Orange Blossom Special.”

The set’s closer, for which the ensemble goes electric, is perhaps its most interesting and exciting moment. This 40 minute version of “Elizabeth Reed” has to be one of the most expansive versions ever played, and is almost beyond description. Everyone in the ensemble gets several chances to shine on this unbelievable jam. All the elements that influence Betts’ music are represented, from jazz to rock to bluegrass and back. This version literally has it all, and stays amazingly cohesive and inspired throughout. The audience demands more, and the band returns for an encore consisting of the obligatory “Ramblin Man” followed by another of Betts’ most requested numbers, “Jessica.” This lovely instrumental showcases the inventive playing of this large ensemble, and ventures into new areas only hinted at in versions with the Allman Brothers.

This is one of the finest examples recorded of musicians playing for the sheer joy of music, with no egos or financial concerns getting in the way. Touring this type of show was destined to be a monstrous undertaking – and ultimately a financial disaster – but thankfully, for a brief time in 1974, none of that seemed to matter.

Click here to listen to this amazing show!!!


01. Introduction / Rain  4:58
02. Blue Sky 11:05
03. Hide Away 9:11
04. Hand Picked 13:54
05. Long Time Gone 5:32
06. Southbound 9:06
07. Old Joe Clark 1:47
08. Salty Dog Blues 3:13
09. Carolina 2:24
10. Rollin’ In My Sweet Baby’s Arms 3:29
11. Hard Time Blues 4:05
12. Orange Blossom Special 3:08
13. In Memory Of Elizabeth Reed 41:19
14. Ramblin’ Man 7:59
15. Jessica 12:16


Dickey Betts – guitar, dobro, vocals
Jeff Hanna – guitar
Spooner Oldham – organ
Vassar Clements – violin
John Hughey – pedal steel guitar
Oscar Underwood Adams – mandolin
Stray Straton – bass, vocals
Bonnie Bramlett – vocals, percussion
Jerry Jumonville – alto sax
David Walshaw – drums, percussion
Jerry Thompson – drums
Leon Poindexter – acoustic guitar
Walter Poindexter – banjo
Frank Poindexter – dobro

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Wolfgang’s Vault Concert of the Week-The Who @ The Spectrum Philadelphia PA 12.4.1973

Posted by jhochstat on December 2, 2008

(All text via Wolfgang’s Vault)

Evolving from Pete Townshend‘s idea for a musical autobiography of The Who, the second of the group’s two full-scale rock operas, Quadrophenia, eventually developed into a social, musical and psychological exploration of the mid-1960s mod scene in England. Written from the perspective of a British teenager, Jimmy, the band member’s role in the storyline became symbolic via Jimmy’s four personalities. Like much of Townshend’s work, Quadrophenia examined the universal themes of rejection, rebellion, and the search for identity. Released in October of 1973, the resulting double album, Townshend’s last magnum opus within the context of The Who was greeted with acclaim and featured some of the most majestic music the band ever recorded.

Upon Quadrophenia’s release, The Who took to the road in support of the album. Touring the U.K. and then North America, this tour turned out to be one of the most legendary and monumentally frustrating of their entire career. The technical requirements of performing Quadrophenia were extremely demanding and performances were often plagued by malfunctioning equipment. Because sound effects and backing tapes were incorporated into the performance, they were constrained to playing along, reducing the spontaneity that had always been a key ingredient to their live sound. Technical issues aside, The Who also faced challenges putting the concept, story and characters across to North American audiences. Unfamiliar with the Mod scene that was so central to the concept, Daltrey and Townshend’s lengthy explanations of the plot between songs diverted the flow and intensity of the band’s performances. Despite these challenges, this tour featured many moments of brilliance and experienced sell-out crowds all along the way.

The North American leg of this tour got off to an inauspicious start when on opening night in San Francisco, Keith Moon collapsed on stage several times and was replaced on drums by a volunteer from the audience. As the tour progressed and Townshend began paring down the Quadrophenia material to its essential elements, the performances improved. Toward the end of this tour, they were more consistently engaging and on a good night, The Who remained the most powerful and captivating band on the planet.

Which brings us to the second-to-last night of this tour, when the band took to the stage of the Spectrum in Philadelphia before a sold-out house. Excerpts of this show, recorded for broadcast by the King Biscuit Flower Hour, have been the primary source of high quality recordings from this tour. The KBFH recordings from this night and the final tour stop in Largo, Maryland, have also been the source of collector confusion and the subject of debate for nearly 35 years. Ubiquitously bootlegged ever since the initial broadcasts in 1974, only those excerpts of this night’s recordings have ever circulated. Here for the first time ever is the vast majority of The Spectrum performance, from the original King Biscuit masters and sounding sonically superior to all other versions of this material in existence. Not only does this include all but one of the songs from this legendary night, but the final reel included the entirety of the encore, previously unknown to have been recorded.

The performance kicks off in fine form with a double dose of primal Who, first with the opener “I Can’t Explain” followed by a ferocious “Summertime Blues” to warm things up. Next up is an expanded version of John Entwhistle’s “My Wife,” before they cap off this initial segment of the performance with their signature song, “My Generation.” Both feature impressive instrumental exchanges between Townshend, Entwhistle and Moon, with the latter taken at a furious tempo and pummeling in its delivery.

Next, Townshend addresses the audience directly and prefaces the performance of Quadrophenia by way of explaining, “The better part of an album what we wrote about ourselves being Mods. When we were little. The story about the Mod kid and we call it Quadrophenia. Being Mod meant a lot more in England, I think, than it ever did in America. I think you think of it being a Carnaby Street thing. It’s not just a looking back, it’s a kind of bringing up to date. Quadrophenia’s about where we all are today, maybe you, too. The story is set on a rock in the middle of a stormy sea. In quadrophonic, as well!” With that said, the backing track of “I Am The Sea” leads into the full blown performance of “Quadrophenia.” Townshend jumps in a bit early, but “The Real Me” and “The Punk And The Godfather” both cook with a fiery intensity. Daltrey’s vocals are full of raw passion and the rhythm section of Entwhistle and Moon is explosive. Townshend delivers another explanation prior to “I’m One” revealing some of his own childhood perceptions. This song, much like his classic “Behind Blue Eyes,” begins as a solo vehicle for Townshend’s voice and guitar alone, before the entire group kicks in to dramatic effect. The remainder of the “Quadrophenia” material here features plenty of great ensemble playing and those familiar with the KBFH broadcasts will welcome the appearance of the never-before-heard “5:15,” the riff-heavy “Sea And Sand” and a 10- minute “Drowned” that includes some inspired jamming.

Despite the technical limitations of the equipment, which are more prominent during the latter parts of “Quadrophenia,” this portion of the recording concludes with a humorous “Bell Boy,” featuring Keith Moon altering his lyrics to recall the hotel room destroyed in Montreal earlier that week, followed by an engaging performance of “Dr. Jimmy.” Unfortunately the sole missing item is the grand finale of “Love, Reign O’er Me,” but otherwise these are the finest 1973 era “Quadrophenia” performances anyone is likely to have ever heard.

Following the “Quadrophenia” presentation, they launch into a powerful “Won’t Get Fooled Again, before wrapping up with two classic tracks from Townshend’s earlier magnum opus, Tommy. First they deliver a frenetic rendition of “Pinball Wizard,” here humorously introduced as “Pineball Blizzard!,” followed by a majestic set closing finale of “See Me, Feel Me,” that leaves the ecstatic audience clamoring for more. For nearly eight solid minutes this audience roars it’s approval . Unison chants of “WE WANT The Who!” are heard over and over again. When the band returns to the stage amidst thunderous applause, they cut loose into a smoldering version of “Naked Eye” with Daltrey leading the way. For a solid 13 minutes, this encore burns with intensity, culminating in the destruction of Townshend’s cherry sunburst Les Paul Deluxe.


01. Introduction  0:58
02. I Can’t Explain 2:27
03. Summertime Blues 3:45
04. My Wife 7:24
05. My Generation 7:09
06. Quadrophenia Introduction 1:14
07. I Am The Sea 1:51
08. The Real Me 5:50
09. The Punk And The Godfather 4:58
10. I’m One 3:55
11. 5:15 6:25
12. Sea And Sand 7:34
13. Drowned 10:07
14. Bell Boy 4:56
15. Doctor Jimmy 9:03
16. Won’t Get Fooled Again 8:53
17. Pinball Wizard 2:56
18. See Me, Feel Me 5:37
19. Encore / Crowd 8:31
20. Naked Eye 13:35

Click here to listen to the entire show

The Who
Pete Townshend – vocals, guitar
Roger Daltrey – vocals, harmonica
John Entwistle – vocals, bass
Keith Moon – vocals, drums

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Wolfgang’s Vault Concert of the Week-The Kinks at The Kennedy Center Washington DC 11.5.1972

Posted by jhochstat on November 6, 2008

(Text Via Wolfgang’s Vault)

The Kinks were going through a serious transition when this recording was made in Washington, DC back in 1972. It marked the end of The Kinks as a ‘60s British Invasion pop band, to the group becoming a vehicle for Ray Davies’ increasingly introspective rock ’n’ roll poetry and his over-the-top performances, which borrowed heavily from the vaudevillian style of stage charisma.

Still, The Kinks could be a great live act, as they prove here. Because of reasons that have never really been explained, The Kinks were unable to tour the USA from 1966 through early 1969. The band remained in its native United Kingdom for the most part; and during this time, lead vocalist/songwriter/guitarist Ray Davies became more and more entrenched in lyrical themes that were distinctly British. It was during this period that he wrote what many feel was his greatest song ever, “Waterloo Sunset.” Being stuck mostly in the UK, plus the on-again-off-again feud he had with his band-mate and brother, Dave, made for some very isolated times in his life. Ray used these times to write a number of concept records, most of which had some specific geographic tie-in to Great Britain.

This show was recorded during the promotion of Everybody’s In Showbiz, an ambitious double LP (and the band’s second outing on RCA Records) that combined new studio tracks with live versions of some of their previous songs. In the end, Everybody’s In Showbiz was the band’s first album to do considerably better in the U.S. than in the U.K. (where the band had its biggest following). The brilliant song about the faded glory of Hollywood Movie Stars of the past, entitled “Celluloid Heroes,” would take the album to gold and further establish Ray Davies as one of the most poignant songwriters of his generation.

The band mixes a fair amount of older hits with newer material they were trying to establish in the U.S. Staples like “You’re Looking Fine,” segued into the Chuck Berry classic, “Little Queenie,” work well to get the show off the ground. Next, the crowd is entertained by hits like “A Well Respected Man,” “Lola” and “Here Comes Yet Another Day.” Songs like “Brainwashed” and “Acute Schizophrenia Paranoia Blues” as well as “Alcohol” fair less successfully, but are crucial to the aura of any Kinks show. Sadly, some of the best tracks are incomplete or are provided as outtakes. They, however, remain necessary to show the total Kinks experience in concert. Among them: “All Day and All of the Night,” “You Really Got Me” and “Top of the Pops,” which were originally cut for the Lola vs. the Powerman album in 1970. The Kinks would remain intact for another 24 years, but in the end, only Ray and Dave Davies would remain from the original lineup.

This show is a good example of why this cutting edge British Invasion band remained so influential for so many years. Like their contemporaries, The Beatles, the Stones and The Who, The Kinks were able to explore and develop a number of different musical styles and lyrical themes through a myriad of different songs, that, in one way or another, could all be considered rock ‘n’ roll.

Click here to play the concert

01. You’re Looking Fine/Little Queenie  5:58
02. A Well Respected Man 2:01
03. Lola 5:19
04. Here Comes Yet Another Day 4:40
05. Brainwashed 2:25
06. Mr. Wonderful 0:45
07. Acute Schizophrenia Paranoia Blues 3:13
08. Alcohol 7:12
09. Skin & Bone 6:22
10. Good Golly Miss Molly 3:17
11. All Day and All of the Night (Outtake) 1:14
12. You Really Got Me (Outtake) 0:58
13. Top of the Pops (Outtake)

Ray Davies – guitar, vocals
Dave Davies – guitar, harmonica
John Dalton – bass
Mick Avory – drums
John Gosling – keyboards
John Beecham – trombone, horn
Michael Cotton – trumpet
Alan Holmes – flute, saxophone
Dave Jones – saxophone

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Steve Winwood Announces Several East Coast Dates in Early 2009

Posted by jhochstat on November 5, 2008

Via Live Daily

Steve Winwood has lined up a slate of early 2009 concert dates as he continues to support his latest studio set, this year’s “Nine Lives.”

The Rock and Roll Hall of Famer, who is currently gearing up for a brief European trek, kicks off the US outing Jan. 15-16 in New York. The East Coast tour includes visits to seven cities; dates are below. Winwood’s overseas schedule is posted at his website.

East Coast Tour Dates

January 15, 16 – New York, NY – United Palace (Presale begins: Mon, 11/10/08 10:00 AM)
January 17 – Mashantucket, CT – MGM Grand Theater at Foxwoods (Presale begins: Mon, 11/10/08 10:00 AM)
January 19 – Baltimore, MD – Meyerhoff Symphony Hall (Presale begins: Mon, 11/07/08 10:00 AM)
January 20 – Montclair, NJ – Wellmont Theatre
January 22 – Lancaster, PA – American Music Theatre
January 23 – Niagara Falls, NY – Seneca Niagara Casino Theatre
January 24 – Kingston, NY – Ulster Performing Arts Center (Presale begins: Mon, 11/12/08 10:00 AM)

Steve Winwood – Dear Mr Fantasy 7.2.07

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Wolfgang’s Vault Concert of the Week-Derek and the Dominos at The Fillmore East 10.23.1970

Posted by jhochstat on October 22, 2008

(Text courtesy of Wolfgang’s Vault)

This is a complete recording of the late show Derek and the Dominos played as headliners over Ballin’ Jack and Humble Pie at the Fillmore East.

After months touring with Delaney and Bonnie and collaborating with them on his first solo album, Clapton took the nucleus of his band – Whitlock, Radle and Gordon – and formed Derek and the Dominos. By 1970, Clapton had amassed an impressive catalogue on which to draw, and these musicians jelled in a way that certainly brought out the best in the material. For many fans, this quartet was the most consistently exciting group Clapton ever toured with, and these concerts feature some of the most passionate live playing of his career.

Full description can be found here on Wolfang’s Vault


01. Got To Get Better In A Little While 14:21
02. Key To The Highway 7:31
03. Tell The Truth 11:56
04. Why Does Love Got To Be So Sad? 14:48
05. Blues Power 11:01
06. Have You Ever Loved A Woman 8:59
07. Bottle Of Red Wine 6:29
08. Presence Of The Lord 6:36
09. Little Wing 6:20
10. Let It Rain 20:15
11. Crossroads 8:25

Eric Clapton – guitar, vocals
Bobby Whitlock – keyboards, vocals
Carl Radle – bass
Jim Gordon – drums

Click here to play this amazing concert

You can also find the following night’s show here

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The Clash – Live At Shea Stadium 1982 Out on CD Today

Posted by jhochstat on October 7, 2008

In 1982 The Clash went out on tour with The Who on their (The Who’s) “Farewell Tour.”  On October 12th and 13th the tour rolled into New York City’s own Shea Stadium.  Even though The Clash was the opening act , their fans at Shea almost matched or overtook the amount of Who fans in attendance for both shows.

Sony Legacy is finally releasing this legendary (often bootlegged) show on CD today.  This release marks the first (and only) full live Clash show officially released.  If early reviews are any indicaton, this recording is destined to take its place amongst the greatest live abums of all time.

VH1 has been streaming the album and you can listen to it in its entirety here


1. London Calling
2. Police On My Back
3. The Guns of Brixton
4. Tommy Gun
5. Magnificent 7
6. Armagideon Time
7. Magnificent 7 (Return)
8. Rock The Casbah
9. Train In Vain
10. Career Opportunities
11. Spanish Bombs
12. Clampdown
13. English Civil War
14. Should I Stay Or Should I Go
15. I Fought The Law

R.I.P. Joe Strummer, wish you were here to see this legendary concert finally released.

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Springsteen, Joel Sign On For Obama Benefit

Posted by T Rex on September 30, 2008

As the race to the white house begins it’s final sprint two more big stars are showing their support for Obama. Both of these musicians can sell out Madison Square Garden for 2 weeks at a time on their own so this intimate show will be legendary.

In what is being billed as the first time they’ve ever played at the same concert, Bruce Springsteen and Billy Joel have signed on for a benefit for Democratic presidential nominee Barack Obama on Oct. 16 at New York’s Hammerstein Ballroom.

Other “exciting guests” for the show have yet to be announced. Balcony tickets are $500, while premiere seats are $2,500 and lounge seats are $10,000. They can be purchased by clicking here.

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One more time…..No.

Posted by T Rex on September 29, 2008

With the constant rumors swirling around a Led Zeppelin 2009 tour Robert Plant put out a statement on his Web site, Plant says he “has no intention whatsoever of touring with anyone for at least the next two years.”

“It’s both frustrating and ridiculous for this story to continue to rear its head when all the musicians that surround the story are keen to get on with their individual projects and move forward,” he said.

“I wish Jimmy Page, John Paul Jones and Jason Bonham nothing but success with any future projects,” he added.

See you in 2011.

Plant: No Tour Or Recording with Led Zeppelin

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Wolfgang’s Vault Concert of the Week-The Persuasions Palace Theater Manchester, England 35 Years Ago Today 9.25.1973

Posted by jhochstat on September 24, 2008

Via Wolfang’s Vault:

Recorded on the band’s triumphant U.K. tour in 1973, this show captured one of America’s most renowned a cappella groups at the height of its career. This recording opens with the Persuasions’ take on the Del Vikings’ 1961 classic, “Come Go With Me.” A gospel blues medley provides the transition to their version of Sam Cooke’s “Chain Gang” and Bill Withers’ “Lean On Me.” When things get a little quiet they simply revive old rock gems such as “I Only Have Eyes For You,” “Creation of Love,” “Tears On My Pillow,” and “Money Honey.” A gospel arrangement of “Lord’s Prayer” is a high point, as is the title song of their 1971 hit LP, ”Streetcorner Symphony.”

When the future members of the Persuasions were growing up they were listening to the 1950s black doo-wop vocal groups that emerged from the front stoops of New York City. Formed in Bedford-Stuyvesant, N.Y., in 1966, the Persuasions were an a cappella vocal group that only had a few chart successes but managed to maintain a strong, loyal following that has continued through the early 2000s. Performing with no instrumentation at all (among their most popular albums was one named We Still Ain’t Got No Band), the Persuasions bridged the gap between the classic doo-wop groups of the 1950s and the multi-layered R&B vocal groups of the 1960s.

They were discovered when they sent a tape to none-other-than Frank Zappa in 1968, who immediately signed them to his Bizarre Records label. The group found a large pool of industry support on the west coast, where they remained for several years. The Persuasions might have been more popular (response to them from rock critics was very positive) had they not had problems with Bizarre Records.

Zappa had formed the label with his manager, Herb Cohen, and signed an odd-ball, but eclectic, roster of acts including the Persuasions, the late folk crooner Tim Buckley (father of Jeff Buckley), a strange British stand-up comedian named Lord Buckley, a then-unknown rock band named Alice Cooper, and the controversial GTOs, a vocal group made up of real-life groupies whose full name was Girls Together Outrageously.

The Persuasions fell through the cracks for a couple of reasons: They were “normal” by the standards of the other acts on the label (which the press was more inclined to cover), and because shortly after they released their debut album, Zappa and Cohen had a nasty falling out and ending up suing each other over control of the label.

Still, the group persevered and eventually landed a deal with MCA Records, who was determined to break them into the contemporary R&B market. Most of their material was classic ‘50s and ‘60s pop music, with the occasional contemporary rock song thrown in as a challenge to their ability to arrange for voice only. The Persuasions have remained together and recorded dozens of albums, many of them based around the music of a particular artist, such as The Persuasions Sing U2 or The Persuasions Sing The Beatles.

The original lineup remained intact for over two decades, until the death of Herbert Tuobo Rhoad, who collapsed and died while touring with the group in 1988. The remaining four continue on the road even today.

Jimmy Hayes – vocals
Herbert Tuobo Rhoad – vocals
Jerry Lawson – vocals
Jayotis Washington – vocals
Ray Sanders – vocals

You Can Listen to the Concert Here!

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