Sometimes we can type until our fingers are battered, bloodied stumps and still fail to come up with anything that’s a patch on that which some poor, harried blurb writer managed to spit out seconds before popping down the pub for a few pints. So what are Ten Years After all about? Take it away Blurbie…
“In the beginning God made the guitar. Then he created a new breed of guitar Gods to play it, and Alvin Lee of Ten Years After was the fastest guitar-slinger in the West.”
Jane were a German progressive rock outfit who recorded for the legendary Brain imprint in the early and mid-‘70s. While more feted label mates like Cluster and Neu! favored austere ambient experiments and driving minimalism, Jane delighted in ambitious displays of their instrumental virtuosity. LIVE AT HOME was recorded in 1976 and features darkly progressive psychedelia that blends doomy, Sabbath- derived riffs with Hawkind-like psychedelia and free form improvisational excursions.
After five years of promises, Ten Years After finally release their first live DVD with the new line up, "Live At Fiesta City". Recorded at the Fiesta City Festival in Verviers, Belgium on August 30th 2008, in front of a 5000 capacity crowd, it is a great showcase of the band's talents in a live environment. What you see is exactly what happened that night: no technical doctoring, no overdubs, just TYA at their finest. Included on the DVD as added bonuses are interviews with each band member, biographies, plus a photo montage synchronized to "I Think It's Gonna Rain All Night".
This superbly recorded double disc (the original engineer was Eddie Kramer, best-known for his work with Hendrix) captured over a weekend worth of dates in February 1970 at the venerable New York City venue catches the Brit boogie quartet at the peak of their powers. These shows were sandwiched between their triumphant Woodstock set and the release of Cricklewood Green, generally considered the band's best work. They find the group primed through years of roadwork, as well as obviously excited to be playing in front of an appreciative N.Y.C. crowd…
I've seen Counting Crows live several times. I admit fully to being a fan and there are several reasons for that. (See how "Mr. Jones" is already slipping into this piece?) I was quite pleased to receive a copy of the Counting Crows' concert DVD, August And Everything After: Live At Town Hall. This particular concert is unique because for this one show, the set list was the album August And Everything After, (and is there a fan out there who doesn't love this album?) played beginning to end. After watching this DVD, I think I would have given my right leg to be at that show. I've always loved Adam Duritz's lyrics because his metaphors have always spoken to me.
SLY & ROBBIE recruited the American rock guitarist Daryl Thompson († 2014) whom they knew from their time with PETER TOSH. They engaged the keyboardist Franklyn 'Bubbler' Waul who was however not allowed to play the reggae typical shuffle organ but to steadily thrash the offbeat onto the piano. Those two musicians who were being replaced at several shows with Keith Sterling and Mikey Chung formed the core of BLACK UHURU which together with a second guitarist and a percussionist also dominated the stage in Essen.
Something of an anomaly on the Sub Pop roster, the Supersuckers bore a limited surface resemblance to grunge, but they were a party band at heart, donning cowboy hats and kicking out a gleefully trashy brand of throttling, rockabilly-flavored garage punk. Their lyrics were a raucous, over-the-top celebration of all the attendant evils of rock & roll – sex, booze, drugs, Satan, and whatever other vices the band could think of, all glorified with tongue planted firmly in cheek. Save for an abrupt and temporary detour into hardcore honky tonk, their approach stayed relatively consistent through the '90s, as did their quality control.