3 CD SET FEATURING LIVE PERFORMANCES FROM 1970, 1973 & 1976 With one of the most extraordinary career trajectories of any musical group across the past 50 years, The Band s recording career proper actually lasted less than a decade, but in that time they released seven studio albums that were jam-packed with classic tracks - nay anthems - which define the era in which they were released better than almost any other music of the time. This superb triple CD set features three excellent live performances from The Band recorded during their prime era in the 1970s, all of which feature simply the finest audio quality, the very best performances and the perfect set-lists. Taken from FM Radio Broadcasts, these shows, previously unreleased, reveal The Band at their live best during a time when they were arguably the finest contemporary music group in the world.
When Ian Gillan was recording his solo albums in the late 1970s and early '80s, Deep Purple's influence never went away. But Gillan did make an effort to try different things, and he was at his most experimental on Clear Air Turbulence. Enjoyable, if uneven, this album illustrates Gillan's willingness to take some chances. While the singer favors an aggressive hard rock groove on "Money Lender," the jazz fusion-influenced touches of "Over the Hill," "Goodhand Liza" and the title song could lead you to believe that you'd been listening to Weather Report and Return to Forever. Had Chick Corea formed an alliance with Deep Purple, perhaps it might sound something like "Over the Hill"…
Child in Time is the debut album by British jazz-rock fusion band Ian Gillan Band, released in 1976. The album took its title from the Deep Purple song "Child in Time", a version of which appears on side two of the LP. This was Ian Gillan's first release after leaving Deep Purple, and also features his former Deep Purple colleague Roger Glover. Although Ian Gillan Band went on to produce material more suited to their jazz-rock label, this first album has much more of a harder rhythm and blues style.
The Joker is, without question, the turning point in Steve Miller's career, the album where he infused his blues with a big, bright dose of pop and got exactly what he deserved: Top Ten hits and stardom. He also lost a lot of fans, the ones who dug his winding improvs, because those spacy jams were driven by chops and revealed new worlds. The Joker isn't mind-expanding, it's party music, filled with good vibes, never laying a heavy trip, always keeping things light, relaxed and easygoing. Sometimes, the vibes are interrupted, but not in a harsh way – the second side slows a bit, largely due to the sludgy "Come in My Kitchen" and "Evil," the two songs that were recorded live…
Beginning with the first notes of Too Much through to the last notes of its reprise, this midsummer show from Atlanta, GA brings some heat. The 2004 Summer Tour saw the live debut of Sugar Will, Joyride, Crazy Easy, Good Good Time and Hello Again played alongside proven fan favorites and rarities. From Captain to Crush, founding member LeRoi Moore’s playing is nothing short of amazing as the band delivers one of its finer sets.
Shirley Collins' collaboration with the Albion Country Band for No Roses is considered a major event in the history of British folk and British folk-rock. For it was the first time that Collins, roundly acknowledged as one of the best British traditional folk singers, sang with electric accompaniment, and indeed one of the first times that a British traditional folk musician had "gone electric" in the wake of Dave Swarbrick joining Fairport Convention and Martin Carthy joining Steeleye Span. The album itself doesn't sound too radical, however. At times it sounds something like Fairport Convention with Shirley Collins on lead vocals, which is unsurprising given the presence of Ashley Hutchings on all cuts but one, and Richard Thompson and Simon Nicol on most of the selections (Dave Mattacks plays drums on a few tracks for good measure). The nine songs are almost wholly traditional tunes with Collins' arrangements, with perhaps a jauntier and folkier mood than that heard in early-'70s Fairport, though not much. It's more impressive for Collins' always tasteful smoky vocals than for the imagination of the material, which consolidates the sound of the more traditional wing of early-'70s British folk-rock.
From the outset, Archie Shepp's terminally misunderstood Attica Blues on Impulse during the 1970s was an attempt by the saxophonist and composer to bring together the various kinds of African American musics under one heading and have them all express the conscience of the day. His ensemble featured singers, string players, horns, drums, guitars, etc. The sounds were a Gordian knot of jazz, free music, R&B, soul, groove, and even funk. In 1979 Shepp was given the opportunity to realize the project with an ensemble of his choosing at the Palais des Glaces in Paris (New York was already courting Wimpton Marsalis). Shepp chose 30 musicians and director/conductor Ray Copeland. Among the throng were saxophonists Marion Brown, John Purcell, Patience Higgins, and John Ware.