Live! Fillmore West 1969 is a live album taken from Fillmore West performances on January 9, 10 and 11, 1969. First released in 1994 on compact disc, it mainly includes live versions of the fourth album Here We Are Again with a performance of Donovan's Reef lasting more than 38 minutes. Notes by Sam Charters and Bill Belmont and published by Vanguard Records.
Recorded live at the Bucklein Theatre, Krakow, Poland, October 14th 1995 and at the Hall of TV in Krakow, Poland, 11th October 1995. On the 25th of April 1958 there's a great singer born in Edinburgh: Derek William Dick (FISH). Because he finds it very nice to lie in the bath for hours, with his rubber duck, he gets this nickname from his friends: FISH. Later Derek shall use this name as his artists name. Derek grows up in the little village Dalkeith, where his parents have a garage. He's in school there, where he has a easy time, and has good results. Derek too is a fan of THE BEATLES in that period, and he wants to learn to play an instrument. But he never gets beyond playing a tennis racket in front of the mirror. The first single he buys is "Lola" of THE KINKS.
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.
In 1990, the Residents took their grand examination of rock & roll on the road, touring the world with the Cube E tour. The first half found the group reciting cowboy poems to a soundtrack influenced more by Copland and Orff than country & western, then followed with a group of blues, field hollers, and warped jazz that represented the African-American experience. By intermission, the two had combined into rock music, which in the second half was disseminated by an aging Elvis impersonator tearing through Presley covers (essentially a live version of their 1989 album The King and Eye). The staging, costumes, lights, and general performance were not to be missed, and earned justifiable rave reviews.