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Posts Tagged ‘Wolfgang’s Vault’

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.

Tracklist

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-BB King at the Fillmore East 6.19.71 (Early & Late Shows)

Posted by jhochstat on June 19, 2008

Every now and again when I am walking through the East Village and past the Emigrant Savings Bank that stands where the famed Fillmore East used to be, I wonder how rockin’ that venue must have been “back in the day”. Today we present you a day of epic performances from the King of the Blues himself, BB King at the legendary Fillmore East.

On this date 37 years ago, BB King took the Fillmore East stage for 2 shows, early & late and in the process took his music further into the mainstream of American music.

Here is what Wolfgang’s Vault has to say about these shows:

These two Fillmore East sets by the great American blues guitarist, singer and songwriter, B.B. King, capture him at the peak of popularity. The previous year, his remake of the Roy Hawkins’ tune, “The Thrill Is Gone,” raced up both the pop and R&B charts, gaining him many more fans and more media attention than at any other time in his career. For the first time, he was experiencing mainstream success, and he sounds passionate and full of conviction.

Fans of his Live at Cook County Jail LP will find these shows just as remarkable, if not more so. King always delivered well-rehearsed, utterly professional shows, and these are no exception; in fact, he sounds even more relaxed and spontaneous here. King has obvious enthusiasm for his music, and when he solos you can hear the sheer joy of it in every note. His brilliant, inspired guitar playing defies easy categorization. Whether he sounds soulful, rocking, contemplative, or down and dirty, his guitar style and tone exudes authority with every note.

This early show begins as King is taking the stage following a band warm up number, and he dives right into what he does best with the powerhouse slow blues of “Let Me Love You.” For most of the song, King solos over the piano, bass and drums, with his delicious guitar tone unadorned. Not until the last two minutes does the rest of the group kick in. “Walkin’ Doctor Bill” increases the tempo and excitement level. “So Excited” and “(Ain’t That) Just Like A Woman” feature swinging horn punctuation and infectious piano from Ron Levi. The latter jams directly into a short instrumental, showcasing the other guitar player, Milton Hopkins, who cranks up his wah-wah pedal to the audiences’ audible delight. Another instrumental follows, this one a laid back exercise that lets the sax players have a blow. King returns to the mike for “Please Accept My Love,” and a fantastic version of “The Thrill Is Gone” follows, with King in great form, peeling off delicious solos and singing with utter conviction. Another short jam follows, again featuring Hopkins on wah-wah guitar with the horn section letting loose. The set ends with another powerhouse slow blues, “Sweet Sixteen.”

This is a very enjoyable set, but a mere warm up for the late show.

The late show begins with King’s band warming up on an instrumental with a style somewhere between R&B and contemporary jazz. At the end they announce B. B. King, who takes command of the stage and again leads the group through a double whammy of straight blues. First up is King’s trademark “Everyday I Have the Blues,” which segues into “How Blue Can You Get.” Levi’s infectious piano playing, the hot horn arrangements -to say nothing of King’s powerful guitar playing and impassioned vocals – all add up to a great performance, already equaling the best moments of the earlier show.

The first of this set’s instrumentals kicks things into high gear. This swinging rocker features frenetic piano and smoking guitar throughout. “A Whole Lotta Lovin'” is another up-tempo number with King and the group rocking out full tilt. The style’s reminiscent of Johnny Winters, but with a refinement and tension control that is pure B.B. They then slows things down and delivers a searing, slow blues number showcasing his delicious guitar tone and vocals. Next up is a cover of Leon Russell’s “Hummingbird.” While the piece is enjoyable as an ensemble performance, King’s vocals seem to lack the usual conviction.

Another hot instrumental jam gets things cooking again before the band begin vamping while King introduces the musicians. The band segues into another powerhouse version of “Sweet Sixteen,” here played in its entirety. With hardly a second to catch their breath, the group launches into another, wild instrumental featuring Hopkins’ wah-wah guitar. The piece slows down and morphs into “The Thrill Is Gone.” It’s another fantastic version with King in great form, peeling off delicious solos and singing with utter conviction. Another short jam follows, featuring Hopkins on wah-wah guitar and the horn section letting loose as King exits the stage.

Early Show (click title to play show)
01-Let Me Love You
02-Walkin’ Doctor Bill
03-You’re So Fine
04-Ain’t That Just Like a Woman
05-Instrumental
06-Instrumental
07-Please Accept My Love
08-The Thrill Is Gone
09-Instrumental
10-Sweet Sixteen

Late Show (click title to play show)
01-Instrumental
02-Every Day I Have the Blues
03-How Blue Can You Get
04-Instrumental
05-A Whole Lotta Lovin’
06-Nobody Loves Me But My Mother
07-Hummingbird
08-Instrumental
09-Intros
10-Sweet Sixteen
11-Instrumental
12-The Thrill Is Gone
13-Instrumental
14-Crowd

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From our friends at Wolfgang’s Vault

Posted by T Rex on June 6, 2008

This Weekend in the Concert Vault

What’s up loyal Friday newsletter readers? Get your crazy baldhead over to the local “legal” distributor of the green stuff and tell them we sent ya. Your mission is to get loose with a little kind and laze away to today’s Buried Treasure. Yup, the emperors of reggae, the immortal Bob Marley and the Wailers.

We’re also gonna drop some B-Side and Indie Monday knowledge on you this week. Due to your surprisingly positive response to Treasure, we’re bringing out some more. We’re rascals here in the Vault (I couldn’t resist) and we know that Felix and his band of Treasure buddies will push the soft-yacht-rock all the way into Saturday. Stick that in your pipe and smoke it!

For those who want to hear a band that is seriously blowing minds right now, you cannot miss the White Denim Daytrotter concert. These dudes are for real.

Cheers – Your Friday newsletter installment. It’s miller time!

This Weekend’s Buried Treasure
Bob Marley and the Wailers Oakland Auditorium 11/30/1979
This Weekend’s B-Side Concerts
Treasure Bottom Line 12/12/1977
The Rowan Brothers Fillmore West 7/2/1971
Tom Robinson Band Bottom Line 6/15/1978
Honeymoon Suite Marquee Club 3/13/1986
Upcoming Indie Monday Concerts
White Denim Daytrotter Studio 4/25/2008
Fleet Foxes Studio Paradiso 4/17/2008
Jolie Holland Daytrotter Studio 4/16/2007
Lightspeed Champion Big Orange Studios 5/1/2008
Deer Tick Daytrotter Studio 3/28/2008
Au Revoir Simone Daytrotter Studio 11/9/2007
Mason Proper Daytrotter Studio 3/21/2008
Peter and The Wolf Daytrotter Studio 4/4/20

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Wolfgang’s Vault Concert of the Week-Bonnie Bramlett

Posted by jhochstat on April 30, 2008

click picture to play concert

30 years ago today…

This, the first of two shows recorded at New York’s famed Bottom Line club, was presented on a tour designed to be a comeback for blue-eyed soul belter Bonnie Bramlett.

On this recording, Bonnie attempts to recapture the magic of the soul/gospel/country/blues/rock mix that she and Delaney had so carefully crafted. The material on her solo albums was never as good as what D&B had done (none of these songs made it to radio play lists), and Delaney’s ability to arrange songs is sorely missed, but she comes pretty damn close more than a couple of times, especially on the funked-out version of the Dolly Parton song “Holding On To You” and the old Delaney and Bonnie R&B rocker “Living On The Open Road.”

Regardless, Bramlett certainly proves on this recording that she was still in possession of some remarkable vocal chops. Her powerful growl surfaces more than once during this show, and her backing band is more than adequate. Among the highlights are the soulful ballad, “Don’t Know Why,” her rocked out version of Blind Faith’s “Can’t Find My Way Home,” her gospel remake of the Beatles’ “I’ve Just Seen A Face” and the retrospective ode “Can’t Stay With You Tonight,” written for her ex-husband. “I wrote this song,” she tells the audience, “because I fell in love with a tremendous liar. I still love him, and he’s still lying.”

Bonnie Bramlett
Bottom Line
New York, NY
05/01/1978
Early Show

Tracklist

01.Introduction 5:04
02.Living On The Open Road 4:30
03.Holding On To You 4:05
04.Writing On The Wall 3:18
05.Don’t Know Why 4:23
06.Can’t Stay 5:49
07.Atlanta, Georgia 5:56
08.Can’t Find My Way Home 8:59
09.I’ve Just Seen A Face 6:57

Bonnie Bramlett – vocals
Ricky Hirsch – guitar
Allen Kaatz – guitar
Robert Wilson – bass
Rick Allen Sutherland – piano, organ
Big John Thomassie – drums
Patty Smith, Carolyn Brandt – backing vocals

jroxx note: Bonnie Bramlett was the first white Ikette before she partnered with Delaney to form Delaney & Bonnie in 1968

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Wolfgang’s Vault Concert of the Week-Bruce Springsteen (In Memory of Danny Federici)

Posted by jhochstat on April 24, 2008

Last week, the music world lost a true friend, talent and someone that many of us grew up listening to whether on the radio or at Bruce Springsteen’s legendary concerts….Danny Federici. Danny passed away a week ago today at the age of 58 (way too young) from melanoma. Danny and Bruce had a history going back 40 years and it was Bruce who originally joined Danny’s band. RIP Danny, you provided us all with a lifetime of memories. Your talent, contributions and sound will be sorely missed……

Click picture to play concert

Bruce Springsteen

Winterland
San Francisco, CA
12/15/1978

Get comfortable, ‘cuz all the stories are true – the E Street Band came to play, and they’re not gonna stop until the roof caves in! This is powerful rock ‘n’ roll revivalism and Springsteen makes the heat rain down upon the assembled Winterland parishioners.

Years before punk deconstructed popular music as a violent protest against the bloated rock ‘n’ roll dinosaurs staggering from stadium to stadium, Bruce Springsteen was earnestly providing his own alternative to bone-headed riffing and cowbell solos, putting out albums that echoed a simpler time while thoughtfully chronicling the plight of the workin’ man on his eternal quest for Saturday Night.

Concentrating on material from their recent release, Darkness on the Edge of Town, Springsteen and his crew lay into the first half of this set with reckless abandon, reserving the early hits and holiday cheer for the second half. As soon as they take the stage, it’s all lost love and drag races and full-throttle rock ‘n’ roll; then factory walls and plaintive piano with dusty, wheezing harmonica. This is the whole history of 20th century America set to music, geared up and rolling down the highway ‘till everyone, audience included, is ready to pass out. Then, about an hour after they should be taking their bows, the band launches into “Born to Run” with an emotional fury that would kill a group of weaker constitution. It’s like Phil Spector meets Jack Kerouac, hooked up to about a dozen car batteries. Then they play an encore!

In two short weeks the Winterland would shut its doors for good. Fittingly, Bill Graham brought in the Grateful Dead for the official last concert, but for many present at Springsteen’s show, the Winterland really closed on December 15th.

01.Badlands 5:06
02.Streets Of Fire 5:24
03.Spirit In The Night 8:01
04.Darkness On The Edge Of Town 5:25
05.Factory 3:37
06.The Promised Land 5:50
07.Prove It All Night 11:20
08.Interlude 1:11
09.Racing In The Streets 8:44
10.Thunder Road 5:18
11.Jungleland 10:24
12.The Ties That Bind 3:51
13.Interlude 3:43
14.Santa Claus Is Coming To Town 4:12
15.The Fever 5:40
16.Fire 3:03
17.Candy’s Room 3:09
18.Because The Night 7:21
19.Point Blank 8:36
20.Mona (I Need You Baby) 3:42
21.She’s The One 3:58
22.Interlude 4:39
23.Backstreets 11:10
24.Interlude 2:30
25.Rosalita (Come Out Tonight) 11:13
26.Radio Interlude 1:52
27.Born To Run 4:58
28.Radio Interlude 2:00
29.Detroit Medley 5:07
30.Interlude / Detroit Medley (Reprise)…4:00

Roy Bittan – piano
Clarence Clemons – saxophone
Danny Federici – organ
Bruce Springsteen – vocals, guitar
Garry Tallent – bass
Steven Van Zandt – guitar
Max Weinberg – drums

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Wolfgang’s Vault Concert of the Week-Janis Joplin

Posted by jhochstat on April 16, 2008

(Image ©2007 Fred W. McDarrah / Courtesy Great Modern Pictures NYC)

Janis Joplin
Fillmore East
New York, NY
02/12/1969

(click picture to play concert)

1. Raise Your Hand 5:09
2. As Good As You’ve Been To This World…3:12
3. Maybe 3:51
4. Summertime 4:47
5. To Love Somebody 7:00
6. You’re The Only One Who Really Know…4:30
7. Walk Right In 4:21
8. Work Me Lord 9:15
9. Piece Of My Heart 5:57
10.Ball And Chain 7:15

Wolfgang’s Vault Review

This show was recorded during Janis Joplin’s transitional period, when she was trying to find her own artistic space amid a sea of adulation, controversy, and confusion. At the urging of her manager, Albert Grossman, her label Columbia Records, and many writers in the rock press, she had abandoned Big Brother and the Holding Company, who was, of course, the Bay Area band that had added her as lead vocalist in late 1966 and had been part of her ascent to superstardom after an incendiary appearance at the Monterey Pop Festival.

This is the second of two nights recorded at the Fillmore East in New York.

These shows were some of the earliest showcases of songs that would become staples in the Joplin repertoire, including her sassy remake of the Eddie Floyd soul classic, “Raise Your Hand,” her bluesy re-take of the Chantel’s “Maybe,” her complete re-arrangement of the Bee Gees pop hit, “To Love Somebody,” and her showstopper, Nick Gravenites’s blues anthem, “Work Me Lord.”

Thanks to Wolfgang’s Vault for continuing to share their amazing library of music with all of us

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Live Music- Jimi Hendrix Experience

Posted by T Rex on February 27, 2008

jimi-hendrix.jpg 

This week’s gem from Wolfgang’s Vault is a hit filled set by Jimi Hendrix Experience from Winterland 10/10/1968.

Setlist:

Are you experienced?

Voodoo Child

Red House

Foxy Lady

Like a Rolling Stone

This America

Purple Haze

To listen to the show click here.

In related Hendrix news Buddy Miles, who co-founded and played drums in Band Of Gypsys with Jimi Hendrix, passed away yesterday (Feb. 26) in Austin, Texas, at the age of 60.

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Live Music-Allman Brothers

Posted by T Rex on January 30, 2008

allmanbeacon.jpg

Woflgang’s Vault concert of the week is in celebration of the legendary southern rockers The Allman Brothers Band announcing that they will in fact continue their tradition of playing a multi-night engagement at New York’s Beacon Theatre this spring.The band has lined up 15 shows at the historic venue starting May 5 and running through May 24. Tickets–which go on sale Feb. 9 to the general public–will be priced at $149.99, $99.99 and $59.99 so start saving up now.

This week Wolfgang’s Vault presents Allman Brothers at the Cow Palace in San Francisco from 1/1/1974.

To listen to the concert click here.

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Live Music-Dire Straits

Posted by T Rex on January 23, 2008

dire-straits.jpg

This week’s Wolfgang’s Vault concert of the week is Dire Straits at The Summit Arena in Houston, Texas from August 8, 1985.

Listen to the entire 1:52 min show here .

Mark Knopfler 2007 album Kill to get Crimson is great.

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Live Music

Posted by T Rex on January 16, 2008

the-grateful-dead-photo-4.jpg

Wolfgang’s Vault is streaming a gem from The Grateful Dead from The Orpheum Theater in San Francisco from July 18, 1976.

Some show notes: This legendary Dead show is the last of six shows staged over seven nights at San Francisco’s prestigious Orpheum Theater, in July, 1976, and was recorded for broadcast on the King Biscuit Flower Hour. It was the first time the Dead had launched a tour in nearly two years, and these shows were designed to take advantage of the hoopla that coincided with America’s Bicentennial.
The Dead had “retired” after their 1974 tour, due to an over ambitious two-year tour that featured the group’s infamous Wall of Sound PA system. That monster setup consisted of 89 300-watt solid-state and three 350-watt vacuum-tube amplifiers generating a total of 26,400 watts RMS of audio power that could carry the band’s sound a full quarter of a mile. But it turned out to be a 75-ton nightmare whereby the band had to have two complete systems, each traveling leap-frog to every other show with 21 crew members. It nearly bankrupted the Dead. So, this run of shows was a welcomed return, and presented the band in a more manageable normal stage/sound set-up.

To listen to the entire show click here.

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