Sunday, August 31, 2014

Neil Young and Crazy Horse-'Long Ago In the Museum'-1976 LP Zuma

Imagine two outstretched arms, extracting themselves from a dirty roadside ditch, fingertips dug into the flesh of the earth pulling a hidden body out into the blinding sunlight. This is the imagry representing Neil Young and Crazy Horse's 1976 LP Zuma, recorded following Young's so called mid 1970's 'ditch trilogy', comprised of the records, Time Fades Away, Tonight's the Night and On the Beach and respectively recorded between 1973-1974.

In addition to collecting some of Young's most revolutionary and long standing music, the aforementioned records also set out to shatter the illusions and myths that had surrounded Young since the beginning of his career. The music was an infected flesh wound, some fans had to look away, some listeners opened the door and decended to the basement. During this prolific era, there was also a failed attempt at recording an LP with CSNY, as well as a huge amount of Young music that being recorded but remained shelved. Right up to current days this music has yet to see an official release.

Young was peaking as an artist, suffering as a person and searching for for new ways of expressing his art, even developing films for his restless mind.  Following these creatively hectic days, Young reunited and retooled 'Crazy Horse' for the subject of this 'rock room' rant, 1976's LP Zuma. The original rhythm section of Ralph Molina and Billy Talbot was supplemented by guitarist Frank Sampedro who stepped in for, but never replaced Danny Whitten who was lost to a drug overdose in 1972 and was the inspiration of 1974's Tonight's the Night. The group had last recorded with Young during sessions for 1970's After the Gold Rush and their street cowboy punk attitude was the perfect tonic for Young's musical ill regarding a band..

This record would eventually become responsible for permanently casting the 'Crazy Horse' sound and providing Young with his most trust worthy and surefooted medium of musical dissemination. The band's rough hewn and gritty attitude locked in puzzle piece syncopation with Young's artistic sensibilities, allowing him a freedom and challenging creative outlet. The 'Horse' may have been simple, but they were always real. Raw electric emotion has always mattered to Young more than musical showboating and self important ideals. Zuma would develop into a representation of Young's new direction, a swinging electric bar band armed for sonic assaults and based in melody and big guitars.  The conglomerate of compositions and ideas Young had strewn around his mind collided with a group hungry to back him. The results are documented as explosive and definitive, The band would stand witness to these ideas providing a charged and quaking musical backdrop. The band equal to a well oiled road machine of unparalleled power, rattling windows as it travels down the back roads, pipes exposed.


The album opens with the country thunder of 'Don't Cry No Tears', a song developed from a melody that had been rebounding around Young's head since he was a youth. The track introduces as well as encapsulates the 'Crazy Horse' sound, illustrating a creaky swinging rhythm and weaving dual guitars that glistening with a chrome luster. Edgy instrumentation and wildflower melodies, the perfect harmonious combination for Young's eclectic band of brothers..

'Dangerbird' is the song the truly reveals what the 'Horse' was truly about and what they would become, to be illustrated in full glory on 1978's Rust Never Sleeps. Unfortunately faded out on the official LP release, the song illicits memories of the formative Horse excursions such as 'Cowgirl In the Sand' and foreshadows the upcoming musical travelogues like 'Cortez the Killer'. The song reveals itself on a bass pulse and feedback note, its slow metallic dirge opposing the imagery of flight. The first solo flaps furiously over scratchy guitar support, Young's notes quaking with a nervous vibrato. The music fights gravity, struggling to become airborne, its silvery sonic streaks shedding weight, aiding its levitation. Young's second solo soars in spite of being made of solid stone, lifting, then finally fracturing into a dizzying array of quaking riffs.

The following song, 'Pardon My Heart' lowers the dynamic with an acoustic rendition of a track that had been floating around Young's songbook since early 1974. He plays all of the instruments on this recording except for bass guitar which is played by Tim Drummond. Young's vocals are picture perfect, at one point answering his own plaintive backing calls. Reminiscent of the future Young composition, 'Will To Love' in its recording approach and vibe, I will always classify 'Pardon My Heart' as a 'lost' classic.

"Lookin For A Love 'is a cloudy ray of sunlight bottled inside a lean melodic country lilt. What sounds to me like Young's glorious Gretch White Falcon, the notes ring out in harmonic intercourse with Sampredro's crisply picked rhythm. The Horse play it straight and let the well traveled melody lines carry all of the heavy lifting. The last tracks allow for a nice respite from the stampeding and anxious Horse.

The first side of the record concludes with the quintessentially Neil Young, 'Barstool Blues'. In my humble opinion one of the finest tracks on the record, 'Barstool's' lyrics flash fleeting spectral glimpses of Danny Witten next to the bar, the passing scent of Young love interest Carrie Snodgrass and the blurred imagery of a darkened head in hand establishment. The vocals are live and upfront on this studio track, and the music reminisces as well as forebodes. Young's shaky solos sing in a voice that match his own rattling throat. Slam the door, take a gulp and get rowdy for this one.
Side two opens in audio verite' fashion with the sludgy beginning of 'Stupid Girl' that slickly shifts into double time as the verses begin. The blunt accusations of 'Stupid Girl' are slightly disconcerting, but brutally honest and that's why we love Neil. The song spits out insult on a dry bobbing lick and concludes on a highly lyrical solo of contrasting beauty and forgiveness.


'Drive Back' follows and ups the intensity with abrasive soloing and late in the evening back road tire scorching. The song wants to lend a feisty hand of encouragement but cannot help but display its clandestine knife edge. This is the place where the 'Crazy Horse' plays best, there is the overwhelming smell of gasoline, Poncho is smoking a cigarette and the band is holding a burnt match.

The definitive 'Neil Young and Crazy Horse' epic 'Cortez the Killer' comes next, its historic genesis born from this record. The song would soon be extended and twisted into smouldering heaps on later concert tours, but here it sits in its purest unadulterated form. The introduction of the song slowly bobs past three minutes on Young's patient exploration of the watery theme. Young reportedly built the song based on a history lesson learned at at school, the lyrics both tell a tale and portray a heavy mood. The songs basic structure is custom build for expansion and development through extended guitar soloing. A well deserving and recognizable classic.

Always the master of moods and contrasts, the LP gently concludes with David Crosby, Stephen Stills and Graham Nash making an appearance for the airy 'Through My Sails'. Unable to get it together for their own LP, Young must have not wanted to waste the possibilities presented in this beautiful song. A sweet, even optimistic composition from Young, closes the door on one era in his career, revealing a time where the 'Horse' would become old dependable and CSN quite dispensable.

Zuma is a record that further entrenched Neil Young's electric identity by providing another, yet familiar avenue for his creative expressions. The LP would prove to be a formative foundation in the explosive performances yet to come from Young and the Horse. The rest of the 1970's would find Young morphing yet again into uncharted musical realms, but always having the 'Horse' in the stable awaiting his return. This continued gravitation back to a comfortable pair of sonic shoes for Young would remain the catalyst for the groups deep and lasting musical relationships. These enduring friendships, forged deeply during the recording of Zuma, continue right on into the present day.

Dangerbird-Zuma

Cortez the Killer-Zuma

Through My Sails-Zuma

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Saturday, August 16, 2014

Eric Clapton - 'Beautiful Thing'-1976's No Reason To Cry LP

 Spinning on the turntable today in the 'rock room' is Eric Clapton's 1976 LP No Reason To Cry. Highly underrated in the spectrum of Clapton's catalog, the record contains a plethora of special guest musicians, co-writers and friends lending to the boozy celebratory vibe of the record. Recorded at 'The Band's' Malibu clubhouse 'Shangri La' studios, the record offered Clapton his long standing wish to become a default member of 'The Band'. All members of the 'Band' appear on the LP in some form as well as Clapton cronies, Bob Dylan, Jessie Ed Davis, Billy Preston, Ronnie Wood, George Terry, Georgie Fame, Yvonne Elliman and Marcy Levy among a host of others. The famous story that emanates from these sessions is of Bob Dylan camped out in a tent at the bottom of a hill near the studio and popping in to offer musical assistance or songs to Clapton.

These were heady days never to be witnessed again, resulting in a recorded document of friendship and collaboration featuring the some of the most respected musicians of the time. It's a low key affair, light on guitar fireworks but stewing with a smoky and boozy soul. Soon, Clapton's next LP, 1977's Slowhand would overshadow this particular record, producing three huge singles and rocketing up the charts. So, No Reason To Cry  remains a clandestine member of Clapton's discography; birthing only one Top 40 single, his fourth solo LP stands a wonderful collection of good time music, drenched with Jim Beam and soaked in comradery. It has some soft spots, but the payoff is worth the wait. While only containing three true Clapton compositions, the LP still contains some gems. Co-produced with long time Clapton comrade Carl Radle and Band associate Rob Fraboni, this is the record that had to be created in order for Clapton to make the next natural move in his career.

The record begins with the Manuel/Danko composition 'Beautiful Thing' originally composed around 1966 in the late days of 'The Hawks' and the formative days of 'The Band'. There is a delicate and beautiful demo recording of the track on 'The Band's', A Musical History box set coming from 1966 which illustrates the songs early beginnings. Unfortunately, Manuel or Danko could never shoehorn the song onto a 'Band' record, holding on to it for ten years until Clapton used it for the opening song on his own record. Churning on a instantly recognizable Richard Manuel piano melody the music drips with watery lament, dressed in overlapping slide guitars and secular organ lines. The chorus is sung by the collaborative ladies visiting the studio eliciting all of the emotion from Manuel's original intent. Clapton's whiskey and cigarettes voice is the proper fit for a song that precariously balances on hopefulness and loneliness. Clapton would fulfill his wish to become a member of his favorite group with the multiple collaborations with the principals of 'The Band' on this record. Ronnie Wood and E.C. both play dueling slide on the track, intertwining their licks into a cloudy swell.
The second track of the record is a jumpy fairground calliope of music, with the Clapton composition, 'Carnival'. The song opens on a shouted 'Oye!' that sounds suspiciously like Ronnie Wood. Settling into the groove of what would later be mined for 'The Core' on 1977's Slowhand, 'Carnival' is comprised of flashing organs, chunky rhythms and expletive percussion. The lyrics are very simplistic, an invitation for a chosen lady to take a late night night to walk through the midway. Not Clapton's finest lyrical moment, but the song is more about the groove than any deep philosophical content. The construction of the song illustrates the upcoming musical developments and approach developed on future Clapton releases.

The acoustically rooted Bob Dylan composition 'Sign Language' follows next and is a charming result of Dylan's visits to the recording sessions when leaving his tent. In typical Dylan fashion the song places the listener into a developed scene with minimal effort, highlighted by Robbie Robertson's fluid guitar work and flexing tremolo bends.The rhythm track shifts with bellowing acoustic rhythm and syrupy dobro slithering.The solos are an absolute chill inducing blend of swells, picked harmonics and plucky punctuations. Dylan and Clapton share lead vocals (no easy feat) encouraging the mind image of them standing at the microphone arms around one another, bottle hanging by their side. Dylan's vocals still retain the 'Rolling Thunder' era push and are a highlight to crane an ear for.

The bluesy stomp of the Alfred Fields song 'Country Jail Blues' originally released in 1941, follows and finds Clapton at home with a straight blues stomp. The song would stay with Clapton for years, making an appearance on stage during his 1994 Blues tour. Here it is Clapton's comfort zone, a straight forward campfire blues, shackled ankles and black and white stripes. The song swings on what sounds like heavy left hand Richard Manuel piano and multi-tracked electric and wooden slide guitars. Billy Preston's organ underlines Clapton's sing/speak vocal approach and his dagger sharp guitar solo.
The first side concludes with another fine collaboration with a member of 'The Band'. The song, 'All Our Past Times' is a co-written number by Rick Danko and Clapton which would later be revisited during the 'Last Waltz' and performed by Clapton with the 'Band'. The song is unfortunately tucked away at the end of side one on this often forgotten LP, but did end up with some longevity. Toward the end of his life Danko would resurrect the track for one of his own solo recordings. This is a straight up 'Band' song minus Levon Helm, featuring Eric Clapton and full of sensitive playing and a reflective ambiance. Danko and Clapton trade lead vocal duties and Robertson and Clapton flip guitar solos on this song that reflects on the forging of deep and lasting friendships regardless of the passing of time. Golden.

Side two in my humble opinion is slightly inferior to the first, but still contains fine moments of note. 'Hello Old Friend' is the big single from the record and is a good representation of the sought after sound of the LP and the direction in which Clapton's music was traveling. A harmless but very catchy song, 'Hello Old Friend' welcomes the listener with hearty backing vocals and a cascading chorus piano. A positive beginning to side two of the record for one of Clapton's more recognizable numbers.

Soon to become a concert showcase of Clapton's, 'Otis Rush's 'Double Trouble' follows and again finds Clapton with the seat back, driving the blues to his true home. This studio reading is no slouch exhibiting a shredded vocal attack by Clapton and a smoke blue backing. This song also features the first 'big' soloing of the record with Clapton exhibiting his usual form. The rendition is a highlight of side two without a doubt.

Clapton then introduces collaborators for the next two songs, the Marcy Levy/Clapton penned, 'Innocent Times' and the Sims/Levy track, 'Hungry'. Levy sounds invested and powerful on 'Innocent Times', a slow waltz and country swing that suits her voice well. The following tune, 'Hungry', while containing interesting instrumentation, sounds too much like a poor rewrite of 'Keep on Growing' from Layla and Assorted Love Songs to these ears. Check it out and decide for yourself.

The album closes with the unassuming Clapton deep cut, 'Black Summer Rain'. Clapton reveals the Richard Manuel influence by singing in a sweetly strained falsetto. The lyrics are direct, pastoral and self deprecating. The song contains within a slightly extended outro jam that contains crisply understated and taffy sweet riffing played by Clapton. The organist contributes some cinematic and swirling church organ that drives Clapton to even greater heights. (it sounds like Billy Preston to me) The album certainly redeems itself here, (if it had to) by closing with a smoothly inspired and slightly 'lost' classic.

The 1976 LP No Reason To Cry was a communal attempt by Clapton and his associates to make a great record while still helping to define the next direction in his career. The record works in some spots and struggles in others. What cannot be denied is the soulfulness of its best songs. The collaborations are timeless and the' music as therapy' approach is tangible. Clapton would soon be approaching greater fame and dealing with more intense struggles. But for these captured musical moments it was all about 'work as play', with mostly positive results. Worth searching out alone for the diverse combinations and unique approaches contained within.

Black Summer Rain

Beautiful Thing

No Reason To Cry-Entire Record

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Saturday, August 9, 2014

Tools of the Trade: 'Every Night I Want to Play Out' Paul McCartney's 1964 Rickenbacker 4001S

 
One of the most iconic instruments in rock and roll history is Paul McCartney's Hofner violin bass guitar. Not quite as recognizable, but equally important is McCartney's 'other' bass, his Rickenbacker 4001 bass guitar. The Rickenbacker was first presented to McCartney on the Beatles introductory American tour in 1964 due to the fact that both Lennon and Harrison obviously used Rickenbacker guitars on stage. McCartney originally showed no interest in the instrument, possibly because of the dependability of his trusty Hofner and also rumored to the fact that no one at Rickenbacker took the time to notice that Macca was a left handed player. Later, during the Beatles performance at the Hollywood Bowl in August of 1964, McCartney was presented a left handed model, its construction started in January of 1964. The instrument would stay silent until the year 1965 when McCartney got to spend some proper time exploring its features.

In contrast to his Hofner bass, the Rickenbacker was a larger and heaver bass guitar. It's solid body weighed in at ten pounds and its maple and rosewood neck at 33 1/4" was much longer that the Hofner at 30". The longer through body neck and solid form gave the Rickenbacker a deeper more elastic tone and a more complex resonance than the Hofner, which according to McCartney also had a hard time staying in tune. The bass was fitted with a pair of robust 'toaster top' pick ups, one covered with a large chrome hand rest.When McCartney received the instrument it was decorated in a sharp 'fireglo' finish and featured two regal horns that protruded from the top and bottom of the instrument, in addition to volume and tone knobs for each of the pick ups respectively.

As the Beatles touring days came to a conclusion and their radical studio explorations drew closer, the Rickenbacker became McCartney's go to instrument for his increasingly revolutionary melodic approaches. The switch to this aforementioned instrument coincided with McCartney's discovery of the magic of counter melodies and a new guitar players approach to the instrument.  These factors should be taken into account with McCartney's new found experimentation with the avant garde as well as with drugs, as this new bass provided the perfect platform for the Beatles arising musical directions beginning in 1965.
While not definitive, it has been reported that the Rickenbacker was used on the Rubber Soul track 'Think For Yourself' (By George) as well as the 1965 single 'Day Tripper'. It sounds like it. There is  also documentation that the bass was in the studio for these sessions. Following the sessions and moving forward, McCartney took the bass along as a back up instrument on the Beatles final US tour in 1966, while it never did appear on stage. What is interesting about this era of McCartney's bass playing is that his evolution and development as a player coincided perfectly with his slow defection from the Hofner to the 'Ric'. It is the 'rock room's' opinion that the instrument allowed McCartney a new freedom on bass, as well as a new sonic approach that the forward thinking McCartney was constantly searching for. It was the perfect instrument for the right time. As an aside, it has also been recorded that Macca was working with a capo while experimenting with sounds on the bass during this time period (see pic below).
The next definitive sonic appearance of the Rickenbacker 4001 was on the Beatles 1966 single 'Paperback Writer' B/W' Rain'. The fat and taught tone of the instrument is easily recognizable taken in contrast to the usual soft tone of the hollow bodied Hofner. McCartney's approach is that of a lead instrument, the bass lines slither colorfully underneath the Beatles blossoming musical horizon. The band now sounded different and McCartney's new instrument was on of the factors contributing to this eventuality. The Beatles experimentation with compression, echo, overdubbing as well as their willingness to leave the usual recording tactics behind on the record Revolver also contributed to the current flavor of the shifting instrumental attack.

The 4001 bass was now a permanent fixture in McCartney's arsenal. In 1967 the Rickenbacker locked down the bottom end on the Sgt Pepper's Lonely Hearts Club Band LP as well as featuring the Beatles singles during this era. 'Penny Lane' and 'Lovely Rita' are fine examples of the timbre of this instrument in action, as well as McCartney's multifaceted and influential approach. The bass got a facelift in 1967 when Paul had it psychedelically painted in addition to a few of the other Beatles instruments undertaking this change. A nice representation of the 4001 on video with its acquired paint job is on the available 'All You Need Is Love' broadcast footage, the 'Hello Goodbye' music video and the 'I Am the Walrus' performance from the Magical Mystery Tour film.
 
The bass would remain in high use throughout the White Album, noticeable to these ears on 'Dear Prudence', and remain available until the Beatles ended their working relationship in 1970. During this time, Paul would play the 'Ric', return to the Hofner while also using a Fender jazz bass. The 'Ric' was eventually stripped back to its original wood, removing the psychedelic luster and returning the instrument to its natural state.

Post-beatles it would figure heavily in the multitude of buoyant bass lines comprising the 1970 solo LP McCartney, the 1971 album Ram and the 1973 'Wings' album,  Red Rose Speedway. While never becoming his 'main' instrument, it appears that when ever McCartney required a hearty tone with a chunky and cutting attack he would return to the 'Ric'. The 4001 slowly became identifiable with McCartney, as it did  become his preferred on stage bass.
By 1975 the bass was tailor made for the arena era band, the instrument sliced through smoky concert air and offered a heavy footed thump to larger venues. On the video included below the bass flexes its aural muscle with the band on the 1976 tour. McCartney was distancing himself from his 'Beatles' past with 'Wings' and no longer used the Hofner on stage. It was only during his late 1980's touring renaissance would McCartney return to using the Hofner full time. Instead, during the 70's he used the 'Ric', outfitted with a Red Rose Speedway sticker at one point and easily recognizable on the existing footage from these tours for its clarion call and sleek design.

McCartney's Rickenbacker 4001 bass is still working today, Giles Martin, producer on McCartney's 2013 album New revealed that the bass was used during the making of the LP on one track. The 'rock room' has not been able to confirm or deny this track as of yet. The bass has been McCartney's trusted companion for 50 years, never completely replacing the iconic Hofner in the eyes of fans, but always on a rack waiting for its moment to sing. Rickenbacker's have a discernible sound popularized in the 60's and still disseminated today. Combining this sound with the artistic prowess and revolutionary thinking of Paul McCartney equatedto the documented musical success. From its beginnings and creation in the ambiance of creativity of the 1960's, McCartney's Rickenbacker bass has now become inseparable from McCartney himself in the annals of rock history.



Wings-'Rock Show/Jet' 1976

Beatles-All You Need Is Love-Broadcast

Beatles-Lovely Rita

Hey Bulldog -Isolated Bass Line (For Fun)


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Sunday, August 3, 2014

Put the Boot In: Ten Years After - 'Strings On My Fingers' December 3, 1969 Helsinki, Finland

 Live from the 'rock room' today comes a beautifully balanced FM broadcast soundboard recording of  British blues/rock/jazz masters 'Ten Years After' live in 1969. Fresh off of their career defining performance at Woodstock in August, this recording finds the band strutting with attitude and not letting up with the musical blues bombardment. This recording illustrates the group full of confidence, prepared for fame and playing an hour long set of salacious blues rock. This concert is in support of the band's 1969 LP release Ssssh.

While there are a few defining official releases of the group available for purchase, I would consider this particular recording an essential addition to viewing the musical palette developed by the group. The crowd is rowdy, the band is hot and they continuously ring the bell with their smoky interpretations of rock, jazz and blues sensibilities. The band consistsof founding members, Alvin Lee (Guitar, Vocals), Leo Lyons (Bass), Chick Churchill (Keyboards) and Ric Lee (Drums). This is the era that defined the group and their developing popularity which would soon reach its nexus.

The concert begins with the simmering shuffle of 'Spoonful', a dramatic reading of a tune many, if not all British blues bands from the 1960's tried their hand at covering. The song is an absolute standard of the blues idiom. The first highlight of the recording comes during Alvin Lee's introductory solo when he releases a charged blue hum of feedback that rings out as the rhythm section churns underneath his sonic manipulations. He follows to unleash a golden daisy chain of notes, so true one can only shake ones head in amazement.

Unbelievably, following the opening 'Spoonful' the band now turns up the burners with the band showcase reading of Count Basie's, 'I May Be Wrong, But I Wont Be Wrong Always'. This high octane jump blues is a swinging nine minute clinic with each band member illustrating their own personal instrumental prowess. At 3 minutes in Alvin Lee falls off of the steep precipice of the amusement park coaster for a roly poly and euphoric array of riffs that seamlessly lead into Chick Churchill's series of dissonant, yet icy cool sliding of the keys. One thought that enters by mind here is how modern day guitar god Warren Haynes' discovered his own sound and how it had to have been pulled from the grooves of early 'Ten Years After' records. His own technique was obviously influenced by Lee's mastery of tone and resonance. It genesis is witnessed here as Lee gallops across the fretboard for a plethora of fuzzy kazoo glissando's, revolutionary in his approach, disorienting in its effect. A jazz club bass breakdown of heavy exclamations continues the groove before falling back into the main theme of the track. Breathless jamming to be found inside of this particular track.

Ric Lee's recognizable drumming takes center stage for a reading of 'Hobbit,' a jam constructed in the fashion of previous popular drum excursions such as Ginger Baker's 'Toad' and John Bonham's 'Moby Dick'. Lee's showcase is a tom-tom and hollow snare extravaganza, a series of melodic and pounding tribal statements. Lee raises the tension slowly and then pulls out the carpet so all that remains is a wash of cymbals and golden swells. This particular drum clinic is unique and is less about showing off abilities and more about building a towering wall of rhythmic statements and dynamic grooves.

Next comes a shady and sinister reading of the Sonny Boy Williamson classic 'Good Morning Little School'. The band hooks the jumpers to the terminals for a weighty and electric interpretation of this classic blues. Designed around a boulder heavy riff that pulls from the proprietary melody, the song splits open midway for a exposed deconstruction of the song. The drums drop out leaving only the hi-hat metronome click and the interweaving of Lyons bass and Lee's clean syrupy 335 tone. Like a stone skipped across a lake, Lee's well of spring water lines glides across Lyon's diffused riffing. Lee's playing becomes visceral, tumbling over rocks, leaving a glistening trail in its wake, only to disappear from the directed and created heat of the rhythm section. The drums return bombastically, initiating the jazzy groove into a over driven and tumbling improvisation.

Bringing the vibe down slightly and keeping the increasingly rowdy crowd in check, Lee introduces the next song as a track they 'haven't done in a while'. The band begins the cobwebbed and haunted blues of 'No Title', hailing from 1969's Stonedhenge. It's roots reaching back to a classic Delta blues, Lee's vocal line and his guitar melody run side by side down a darkened two track country road. Like a vintage blues man Lee growls in heady syncopation about the contemporary state of the hippy blues man. This is the illustrated strength and power of 'Ten Years After', their ability to attach a modern approach to a vintage and respected past through any song they tackle. The song starts by slithering quietly, restraining an obscured strength, singing the the real blues. From out of the roadhouse dust and debris rises a shifty progressive sounding instrumental introduced by a shimmering extended Lee guitar line. At four minutes the band begins to unravel, Churchill holding down the jam with funky keyboard exclamations. Lee rides the undercurrent with profound soloing that bites, soothes and rolls across the landscape uncontrolled, subject to the gravity of the world. Following Lee's exposing of the songs interior, Churchill takes a pulsing and extended organ solo that peeks through a crack in the door at private quivering jazz lines, celebratory baseball stadium organ and thematic secular wonder. The journey takes a 90 degree turn, faces its accuser and drops perfectly into the sparse blues that began the song, ending appropriately on the single strike of a ringing bell of a ride cymbal.

A short break follows with the assembled crowd refusing to let the band leave the stage through shredded yells of encouragement. Lee announces that this will be their final song, though it will be 'five hours long'. The band then viciously concludes the evenings performance with a prelude of 'Scat Thing' which segues seamlessly into 'I Can't Keep From Crying'. 'Scat Thing' illustrates Lee as Mel Torme on acid, an animated guitar/voice marriage where Lee's love for jazz improvisation is on full display. The perfect conglomerate of talent, humor, improv and musical knowledge allows Lee to use his voice articulation and rhythmic mastery in conjunction with his clean and buttery guitar attack.

The band slides into 'I Can't Keep From Crying' like a clandestine lover slipping between the sheets, the groove a cross between the Butterfield Blues Band meeting the Doors at a British corner pub. The first solo spot by Lee is constructed of slippery phased block chords, distorted and linked together into a buoyant feathery musical chain. This metaphorical musical chain settles on the cloudy blue musical turbulence stirred by Lyons and Ric Lee's thunderous collaboration. Churchill initiates the slightest musical turn signal with whispered influence and Lee follows without question, goes clean and races around the corner to pull away from the group. 
The band lowers the temperature slightly when Lee returns, leaving room for him to space out with Morse Code licks, springy trills and creaking string trickles and tickles. Just when the jam is going to float off into the unknown never to return, it explodes into the atmosphere with a hyper and kinetic 'Bo Diddley' alien groove. This jam becomes superimposed into a bipolar excursion that swings between multiple poles first quoting 'Sunshine of Your Love' and then 'Foxy Lady'. As 'Foxy Lady's dress is blown up from the exhaust, Lee glances back red faced before an obscene and muddy rutted guitar solo appears from the earth. Down tuning mid jam, Lee sinks the band into soft earth, burrowing with a substantial and guttural tone composed of the thickest mud and gravel. The group forms a circle around Lee ass he strangles thick blobs of sound, ringing the notes from his ax like hands squeezing a balloon full of water to its breaking point. Churchill again signals a change in the attitude of the jam with a quick musical clue, giving the rhythm section a slight goose in the behind. This institutes a herky-jerky sideways climatic ascending jam that reaches a peak, then descends only to attempt another towering summit. Rising again and then eliciting shattering glass, slamming doors, glitter guns and euphoric improvisational attitude this central jam is a highpoint of the song and of the evenings performance. The band carefully navigates their way back to the body of the song through a musical mine field before returning to the verse briefly, then departing on a final concluding funk jam that allows Lee to free form vocally while the band percolates behind him. The band brings it way down, dimming the lights to dusk, before concluding on a horny wave of bull horn feedback. The crowd erupts in rapt amazement and adulation as the MC announces the end of the performance while the existing tape concludes.

The circulating recording of 'Ten Years After' from the Kulttuuritalo in Helsinki, Finland December 3, 1969 is well worth the search for any fan of the British blues explosion, as well as any admirer of psychedelic or improvisational music. The well known and diverse musical styling of guitarist Albert Lee, who's playing smooths the edges of multiple genres, is instrumental in driving the band into their amazing blues interpretations as well as into differing realms of jazz, and bebop and boogie. This perfectly balanced soundboard recording will be a welcome addition to the collection of any lover of  edgy blues and jazz based musical explorations. It's clarity and ambiance only magnifies the incendiary performances to be found upon review.











Sunday, July 27, 2014

Put the Boot In: The Who-'The Simple Things'-August 24, 1968 Oklahoma City, OK

 Windmilling in the 'rock room' this evening is an amazing audience recording hailing from the Who's second American tour in August of 1968. On August 24th the Who played an early and a late show at Wedgewood Amusement Park in Oklahoma City, Oklahoma. According to notes the band played on a grandstand in front of the main building and across from the 'Tornado' roller coaster. Audio documentation by Pete Townsend referring to the sun 'bearing down on their necks as well as beaming in the audience's eyes point to this recording as coming from the afternoon performance. The group's LP Magic Bus had just been released in July and the band toured in support of the record, with the schizophrenic visions of Tommy already visible on the horizon.

This recording is biting and raw, an amazing capture for a tape made on somewhat still primitive recording devices. The personality of the individual instruments is sharp and in focus. The hallmarks of any forty plus year old tape in existence are slight anomalies and sonic reediness. But it the case of this recording, the capture is an absolute pleasure and makes one forget the few issues. Only thirty minutes exist of this tape, so I am certain it is only a partial recording. What is available is a crushing display of a band starting to discover what they were capable of as writers and stage performers.

The master recording hails from a silver bootleg disc called 'Cry Blue Murder' and begins with the opening strains of the performance, as some tuning is captured before the band thrashes into the blinding opening lick of 'Substitute'. There is some muffling to the recording as the taper presumably adjusts his gear for optimal operating parameters, but this dissipates quickly. What is most striking about the sound quality is John Entwistle's elephant bass tone underpinning Townsend's violent guitar strikes, these features comes through on the tape as elastic and warm for the bass and as violent exposed power lines for the guitar respectively.
The band pauses briefly before launching into the kinetic syncopation of 'I Can't Explain'. Shouts from the stage can be heard on the recording increasing the intensity. This tune is performed a proto-punk garage mod kick in this face. The brisk youthful energy as well as Moonie's over zealous kick drum comes through loud an clear on the tape, placing you center stage. (actually slightly toward the Ox's side) The music washes from the performers in charged electric waves invested with the ambient fairground afternoon from all those years ago. Daltrey growls over the collaborative falsetto backing vocals, a street tough hippie in training. There are some slight sonic issues on this track, but they are outweighed by the stellar performance.

A short pause for Townshend to explain that the next song is one of the band's most requested numbers and then the band initiates the haunted and thumping opening to 'Boris the Spider'. Townshend's horror flick vibrato surf guitar shimmers across the thick bass lines of aural webbing strung across the doorways of the song by Entwistle. This rendition is truly demented containing shadowy vocals and laboratory experimentation with off mic chuckles. The song ends with a deep burp lending some more comedic relief to the intense performance of a fan favorite.
 In my opinion the highlight of the performance, as well as many early Who concerts follows next with the mini-opera, 'A Quick One, While He's Away'. This track is broken into many movements and is Townshend's first foray into composing a 'rock opera'. Reaching ten minutes this version flawlessly navigates all of the various segments of Townshend's tale of seduction. A precursor to Tommy, which is still on the horizon, 'A Quick One' is Pete's formative, yet successful attempt at the extended rock tale. The band romps hornily through a version very close in intensity to the Rolling Stones Rock and Roll Circus rendition still to be played in December. What makes this one so amazing is the ambiance and personality that translates from the tape. Raw and gritty, there is no processing on this bad boy. Entwistle is sneaky in his clattering helicopter lead bass lines, even slightly overshadowing Townshend's shimmering Stratocaster assault strikes. The 'Remedy' section of the movement is celebratory in its status. The closing 'We Are Forgiven' section is unwavering in its aggression and finds Townshend experimenting with distorted silver static readings of the melody lines. As the finale reaches its vigorous conclusion the bands overlapping three part harmonies peak with Entwistle's definitive falsetto statement bringing the band to a proper conclusion.
After an introduction by Daltrey the band enters into the recently released 'Magic Bus', introduced by Moon's clickety-clack wood blocks. A twisted 'Bo Diddley' groove develops out of Entwistle's plump bass groove and Townshend's brittle scrubs. The resonance of Pete's guitar in this segment is a fine jewel placed under perfect illumination for inspection. Teetering on the edge of psychedelia Moon's drums cascade into an explosive 'rave up,' the unbelievable moment to follow is captured flawlessly by the enterprising taper. Townshend's guitar and Entwistle's bass are two Goliath's wrestling for control of the apocalyptic jamming. Beneath it all Moon thrashes his kit into submission with a constant hearty series of rolls. Townshend starts to abuse his guitar covering the crowd with a sonic wash like a blanket over a bed. Entwistle's bass takes the lead, pounding out the rhythm through amplified rubber bands and hearty bends, initiating a complete avalanche of  musical noise crushing everything in its path. This musical maelstrom is jaw dropping in its muscle flexing tonal strength

After properly destroying the mountainside and surrounding communities, without a pause the band segues into the 'Johnny Kidd and the Pirates track, 'Shakin All Over'. While not as mature as the version to be featured on the future Live at Leeds record in 1970, this version slams doors and breaks windows of the garage it was born from. Daltrey struts with an attitude, a young punk on the prowl, honing his craft, soon to be a 'golden god' of the stage.
This short but plentiful slice of primal 'Who' from 1968 belongs on a list of definitive tapes available of the band 'Pre-Tommy'. The priceless recording places you front row center for the fleeting but intense moments otherwise left to drift on the unattainable breezes of rock and roll history. The group is bursting at the seams and full of confidence while developing the stage craft that would make them one of the pillars of rock. You can experience the feeling of discovery permeating the band as they deconstruct 'Magic Bus', or witness the elicited enthusiasm of Keith Moon's off mic shouts of joy prior to detonating a tune on the stage. For rock fans who are dependent on sound quality you will find issues with this recording. For Who fans and bootleg fans who want to get inside an evening of music that took place of forty years ago through sonic time travel- there are multiple gifts awaiting for you, all you have to do is listen.


A Quick One-8-24-1968

Magic Bus-8-24-1968

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Saturday, July 19, 2014

Tools of the Trade: 'All Will Be Revealed'- Jimmy Page's 1961 Danelectro 3021 Guitar

 Instruments are often inseparable from the artists that use them. Their shapely contours and placid tones are identifiable characteristics for both the artist's expression and for the brand or maker of each particular instrument. Each individual musical implement is a tangible representation for a particular artist's outward soul expression. Over time these instruments will gain an aura, a certain mysticism commensurate with  the personality aspects of its user. Today's rant from the 'rock room' will focus on a famed disseminate of rock riffs.... Jimmy Page's 1961 Danelectro 3021 guitar.

Mr. Page's arsenal of guitars could very well be the most impressive in rock. His astonishing instrument vault, which was briefly witnessed in the rock documentary, 'It Might Get Loud' is stacked with 'Telecasters', 'Stratocasters', acoustic guitars and of course 'Les Paul's'. In addition to Page's numerous guitars sit a Hurdy Gurdy as well as Sitars, Theremins and plentiful electronic wizardry and amplification.

The guitar put under the 'rock room' microscope is an unassuming budget guitar that in Jimmy Page's hands became a tool of screaming argentate resonance. The 'budget' double cutaway Danelectro guitar became the destructive instrument of choice for Page when playing in alternate tunings as well as when playing slide guitar. Page allegedly gained possession of the 1961 Danelectro 3021 guitar from the 'Selmer Showroom' in downtown London date unknown. The first documentation of him playing the guitar comes from a photo dated from 1965 where he is seated at a studio session with it.
The 'shorthorn' guitar contains a masonite body, two plated 'lipstick' pickups, a white waved pick guard, tone and volume knobs and pick up selector.

The guitar was available in mail order catalogs at the time, so during the era of Page's mid 1960's use it was by no means a 'rare' instrument. But inside the body of the guitar resided a chiming 'silvertone' if you will, a crisp treble that in the hands of a player such as Page' shot sonic streaks across numerous stages.

Used on famed tracks such as 'White Summer'/Black Mountain Side', the guitar sounds as if it is transmitting as an alien transistor radio precariously balanced on a sharp cliff of a Himalayan peak. Scratching and over driven tones abound. Page often used the Celtic modal tuning of DADGAD, where the first, second and sixth strings are tuned down a full step. Page's exploratory and exotic riffing sounds sonically disturbed when passed through the internal electronics of the 3021 in unique tunings. The officially released footage of Led Zeppelin at the Royal Albert Hall in 1970 is a priceless document of Page and the instrument in action and is included in this review below.

The guitar was used on stage as early as 1968 when Page was still a member of the Yardbirds, on their version of 'White Summer' hailing from the Little Games LP. It would continue to be used until Led Zeppelin's final European tour in 1980 and even made an appearance in 1988 (Atlantic Records 40th) and 2008 (It Might Get Loud) respectively. Similarly to 'White Summer/Black Mountain Side' the other tracks which featured the Danelectro in studio and on stage also found the instrument being tuned to the previously mentioned alternate tuning. The rare appearances of 'When the Levee Breaks' during the 1975 tour featured the 3021 with Page's gravelly slide coaxing deep blusey melody's from its rosewood fingerboard. During the same era the guitar became the permanent instrument for additional concert staples, 'In My Time of Dying' and the legendary 'Kashmir'.

'In My Time of Dying' again illustrated Page playing with slide and strangling the 21 frets in fearful excitement. A highlight of numerous late era Zep performances, look to the included Earl's Court's shows from 1975 for Page using the Danelectro to its full capacity. In 1977 when 'White Summer'/Black Mountain Side' was paired with 'Kashmir' the 3021 became the spotlighted guitar for the rest of Zeppelin's career for this powerful pairing

The substantial neck appears thick in photographs, which is perhaps why Page also preferred to play bumpy slide guitar in live performance on the piece. From other players comments on Danelectro guitars and from witnessing Page play the instrument, it appears that the guitars idiosyncrasy's are also its greatest asset. The qualities that originally made it a 'budget' buy have made it bargain for later day guitarists. It fires of sonorous tones and bleeds rough and ragged soul.

The brand has continued to thrive right up through present times obviously due to Page's playing of the instrument as well as other respected players such as Peter Buck, R.L. Burnside, Jeff Beck, Nels Cline and a host of others donning their own Danelectro guitars. But it was Page, in all of his dark, demonic and revolutionary glory, conforming the instrument to his needs while using it to propagate his guitar creations. Check out the clip included below from It Might Get Loud, of Page revisiting a battered and war worn old friend for a bit of give and take.

In My Time of Dying-1975 Earl's Court

Kashmir-It Might Get Loud

White Summer/Black Mountain Side 1970 RAH

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Sunday, July 13, 2014

CSNY 1974 Box Set- 'Don't Forget to Hide the Roaches' (2014)

 
Finally. Officially released after years of rumor, conjecture and speculation the new forty track Crosby, Stills, Nash and Young document from the famed 'doom' tour of 1974 has hit the shelves of your local record shops. Compiled and developed by self proclaimed group archivist Graham Nash and famed rock photographer and Neil Young archive keeper Joel Bernstein the box set is a true labor of love for an era of the band which has been misrepresented by the passing of time, flapping of lips and rumination by the media.

The 1974 CSNY tour was a massive stadium tour brimming with all of the usual rock excesses, unfortunately magnified to extravagant and unbelievable levels due to the size of the undertaking. Drugs, attitude, money, mental derangement unbelievable talent and extravagant actions all combined to cover this concert tour with an air of mystery, dread and 'rumored' sub par performances. While all of this and more may be true, this era was also a time of four individuals reaching summits of their respective careers. Neil Young in particular was composing songs of stunning power and was wading through the most prolific time of his storied career. Stills was playing unbelievably well during this time and Crosby and Nash both has a sheath of new songs of grace and beauty. True, the harmonies suffered due to the imposing stadium venues and the ongoing volume competition on stage between Stills and Young, but there were plenty of moments containing that spellbinding magic.The massive venues while a sonic struggle, also allowed for a certain poignancy to be touched upon during the concerts, due to entire crowds becoming silenced through unique musical moments as well as by experiencing the kinetic energy exchange between crowd and performer.

Nash and Bernstein painstakingly waded through the existing tapes from ten concerts hailing from Landover, MD, Chicago, IL ,Hempstead, NY, Wembley Stadium and a Crosby/Nash concert from December to develop the ideal representation of the concert experience developed over the course of 31 dates. While  musty and aged treasures still remain to be found among the numerous field recordings of these concerts, Nash and Bernstein have finally compiled a definitive statement on the tour containing pristine sound quality, rare cuts and true representations of what happened musically on this legendary excursion. Yes, there are songs missing that I wish were included, "Southbound Train', Pardon My Heart', 'First Things First' and an extended rendition of 'Carry On', but as Nash as stated, sometimes versions of tracks were not sonically up to par, or the performances suffered. What has resulted from the producers choices is a true representation of the tour that puts the band in the best light possible. The hourglass of time has revealed this tour to be clouded by the principals views, we must be ecstatic that it has finally gone under the microscope and is receiving a proper examination.

The collection begins excitedly with the usual opener for the tour, an undulating 'Love the One You're With', the song augmented by the legendary rhythm section of Russell Kunkel, Tim Drummond and former 'Manassas' percussion master extraordinaire Joe Lala into a swirling rhythmic stew.

For too long now the only official live representation of CSNY has been Four Way Street,  a proper collection yes, but too narrow a view for the fan peaking through the keyhole. After hearing the first track of the set, even the layman can realize this is an entirely different glimpse of the group. The simulated first set moves along expectedly through well played renditions of  buoyant 'Wooden Ships' and serious 'Immigration Man' before settling in on the first major highlight of the recording, a full band rendition of one of  David Crosby's finest compositions, the yet to be released, 'Carry Me'. The normally placid song settles in with a slight funk and is delicately interpreted by Crosby with both Young and Nash contributing on creaky backing vocals. Immediately the marvelous sound quality is noticeable and welcomed, each instrument in perfect balance, each individual harmonious voice retrievable in the sonic pallet.
A series of special takes on unique tracks follows with an intricate country oasis version of Manassas's 'Johnny's Garden', as well as Young's unreleased song outline 'Traces' and Nash's underrated LP track 'Grave Concern'. 'Grave Concern' is the epitome of the term 'lost classic'. First appearing on 1973's Wild Tales its luminescent and catchy melody covers the slightly dark lyrical content in a peaceful haze. Young is featured on this track playing a solo in his very recognizable and quirky piano style.

Perhaps the peak of the entire first disc and possibly the collection is the version of 'On the Beach' from Young's self titled release that follows the performance of 'Grave Concern'. A dark and brooding late night stroll occurs. Stills punctuates Young's shore lapping vocals with moaning and bubbling statements. Stills and Young eventually embrace for a shady duel guitar captured in a call and response sequence. Separated by an explosive series of dynamic verses, Stills and Young undertake another sonic rendezvous, this time intertwining for a classic 'Buffalo Springfield' guitar interaction and conclusion.

'A distorted and spiteful 'Black Queen' follows with Stills examining his blues chops through an impressively loud and extended series of Wah-Wah'd melodic statements. The disc then close out the first set with 'Almost Cut My Hair', a version also featured on the accompanying DVD that contains selected tracks from the Landover, MD and Wembley Stadium performances. This particular performance hails from Landover and is highlighted by aggressive Stills/Young soloing, though the version suffers from David's voice sounding slightly tour weary. A proper tune for the closing of the first disc in extravagant style.

The hypothetical concert construct now moves on to disc two represents which the acoustic set. A big and beautiful strummy version of 'Change Partners' starts things off with the band sounding giddy, with an added and extra emphasis on the vocals from all of the members. This is an all time performance. Illustrated here, Nash and Bernstein made the important decision to leave much of the important dialog surrounding the tracks to more successfully allow the listener to attend the performance in their own head.
"Lee Shore', 'Only Love Can Break Your Heart', and 'Our House' follow and all contain masterful performances. 'Lee Shore is started with Crosby instructing the overzealous percussion to play 'nice and light' which results in a version that slowly gains momentum waves as it moves forward.
The 'rare' solo piano version (Crosby helps at the end) of Graham Nash's 'Fieldworker' is  a welcome addition as is the concert staple 'Guinevere' which is always magical. But the real jewel here is the crystalline version of  Crosby's 'Time After Time', breathtaking in its intimacy and vocal touch, thankfully immortalized on this collection. Of note is Stills and Nash offering spine tingling vocal assistance.

Nash's 'Prison Song' comes next with Young pitching in creaky back porch vocals and acoustic guitar before being spotlighted for a definitive version of 'Long May You Run'. Performed as a duo with Stills, their acoustic guitars play as one, their vocals a full bottle of wine passed around a late night fire. Neil's harp a lonesome moonlight train whistle moaning in the distance. A multitude of emotions are disseminated from this pull you close and whisper in the ear version.

The one time performance of Neil's ditty, 'Goodbye Dick' performed on solo banjo is a one minute rarity, historic and humorous, just the sort of impromptu song choice the later shows in the tour were accustomed to. A neat addition to the song list of the collection. 'Mellow My Mind' one of Young's most beloved songs follows and is another banjo rendition, this time Crosby and Nash drape their vocals over the verses, singing every line with Young, making this track a disc two highlight.

A Stills guitar clinic is illustrated next with a solo acoustic 'Word Game' that never fails to thrill in live performance. Not a wasted note or lick, Stills is in his best gruff throat for this legendary talking blues. Stills 'cuts heads' with this dusty Southern commentary, sketched with some of the quickest chicken picking you will ever here.

Stills sits at the piano next for a personal favorite of this reviewer, 'Myth of Sisyphus', a highlight of many 1974 performances, a commentary on the absurd as well as man's psychological struggles, this sparse piano ballad soaks up the silenced crowd and digs it fingers into the musical cliff it hangs precariously from. Stills ringing piano hits in addition to his sweet reaching falsetto reach deep into his own pain for such a heartfelt performance.

A 'CSN' staple, the version of 'Blackbird' found here proves the straight up assertion by David Crosby that 'CSN' sing it better than the Beatles ever could.

Neil Young's next feature moment in this longer than usual concert representation comes in the form of two legendary unreleased tracks that are seeing their premier on this set. 'Love Art Blues' is a lazy saloon door swinging from a bent hinge and features a full band performance. The song illustrates the internal struggle between creation and relation in a slow country sway. Following 'Love/Art Blues' is the floral island aroma of the unreleased 'Hawaiian Sunrise', a song in the running for the proposed 1974 LP, 'Human Highway' is featured here with Young on beach acoustic and Stills on woody stand up bass. Crosby and Nash wipe off their sandy feet before loaning morning bird vocal support.

The acoustic set concludes with crowd pleasing renditions of a full band singalong 'Teach Your Children' marked by Stills twangy Chet Atkins guitar filigrees, as well as  a golden and sparkling 'Suite Judy Blue Eyes', one of the finest performances of the song captured for posterity. The trio of 'CSN' move their way through a patient version that gazes out of the windows longingly, each harmony a line of thick sweet honey coating each chosen word.

Disc three represents the second electric segment that bookends the juicy acoustic center of the show. The concluding segments of the 1974 shows often featured extended readings and jammed out tracks. Opening with an extended and starry night 'Deja Vu', the band takes the title track from the 1970 album and stretch it out while investigating its cobwebbed nooks and crannies. A thorough reading of a strange song that continues to be a hallmark of 'CSN' sets to this day. Worthy of attention is Stills hearty SG work and Young's plunky piano additions.

'My Angel', a track of Stills yet to be released 1975 LP Stills is premiered on this collection in a live version the balances on the edge of funky world music disco. Stills plays piano and Young a slick Hammond B3 while Crosby and the rhythm section excitedly percolate underneath. The sexy silhouette of the song shadows the stage when Stills takes a exclusive and spongy clavinet solo.

The electric set continues with 'Graham Nash's 'Pre Road Downs', a track from 'CSN's' debut album coming dressed as another definitive version. The song hugs the corners in a precarious tour bus, smoke pouring  from the windows, women's garments hanging from windows and antennas. Stills smokes his solo down to the butt, its smouldering remnants left laying on the highway.

A flag flying 'Don't Be Denied' is represented in its 'CSNY' format, the song having been performed with David and Graham on Young's 1973 Time Fades Away tour. This version similar to those performances, its strength in the songs enduring melody not any unique instrumental approaches.

What follows 'Don't Be Denied' happens to be a very unique performance as well as a highlight of the collection. Young's incendiary 'Revolution Blues' bounds over fences and under barricades under the clandestine cover of dusk. Stills and Young both take aggressive and knifing solo guitar spots, Stills sharp and snaky, Young's blue and shaky. What is interesting is that a few members of the band showed their displeasure at the lyrical content of the song from Young's 1974 On the Beach, so on stage performances of the track are a definite anomaly for the band.
The illustrated set list of the collection now builds to the hypothetical conclusion of the show. 'Military Madness', 'Long Time Gone', 'Chicago' and 'Ohio' all express the political undercurrent and unabashed commentary the band is famous for. The crowd is stirred into a frothing boil of emotion through the fiery renditions of the bands activist sensibilities. 'Military Madness' becomes a joyous sing a long with the crowd lending their voices to the 'No more war' mantra sung by the band. "Long Time Gone' has already gained its status as one of the finest 'political' musical statements from the 1960's and here is given a uptempo and chunky reading.

Placed in the middle of the aforementioned four tracks is one of the most legendary and sought after 'missing pieces' from Neil Young's massive discography. 'Pushed It Over the End' is a shifty off tempo musical movement that somehow escaped official public release. It did appear as a 'B' side on an overseas single for a brief time, but otherwise has been left languishing in the vaults for 40 years. In this live set the song is finally given a proper introduction to the record buying public in this power position in the second electric set. The song begins a haunted waltz and dances through feedback drenched pauses, inspired melodic changes, accented rhythmic ideas and four part harmonies. Arguably one of Young's greatest compositions, the song, similarly to Dylan's tune left  unreleased 'Blind Willie McTell' was destined to be forgotten and left to collect dust until the time was right. Young coaxes grey cloudy notes from his famed 'White Falcon' as the band swindles up a chunky slab of musical meat. A definite anticipated highlight of this amazing collection.

 'Chicago' and 'Ohio' are given towering and ragged portrayals, the groups excitement unable to be contained on the recording, the music bursting from the seams and leaking from the lids. I am going to assume that these songs originally resided at the end of the respective concerts they were pulled from as the voices are frayed and the instrumentation is rough and ready. Stills stands tall on both of these numbers blowing out distorted guitar lines like a highway tire on a runaway tractor trailer truck.
The collection fittingly concludes with 'Ohio', probably the best example of the 'CSNY' collaborative strength and attitude. The song that illustrated to the band exactly what their music could accomplish given the proper time and attention. A big song for a big concert conclusion.

As previously mentioned, in addition to the three discs of music a bonus DVD is included in the package, lending a visual document to accompany the journey through the 1974 tour. Four songs exist in color pro shot format from the August 20, 1974 Landover, MD show, never before seen and exclusive to the collection, in addition to four songs from the famed Wembley Arena show in England which has circulated in 'bootleg' form for some time now. While the completest would like it all, Nash and Bernstein have distilled the existing videos down to what the regard as an appropriate representation of the band. Separating the 'wheat from the chaff' so to say. The Wembley performance has often been ruminated on because of the questionable condition of its participants, captured here, only the best tracks are disseminated.
It is often said, 'The best things come to those who wait' and that cannot be more relevant than when applied to this lovingly crafted box set. The CSNY 'doom' tour has become the stuff of legend, sometimes not always true, sometimes maybe too true! Regardless, what cannot be denied is what occurs when the four members put aside their egos and attitudes to create music. In deference to outside forces and factors, Crosby, Stills, Nash and Young are magical minstrels whose powers increase when placed together. This new anthology disregards the fluff and focuses on the songs,  a simple idea that sometimes even the musicians can forget. It took forty years to happen, but finally as fans we can look back and enjoy at a time we may have lived through, or we may have missed. But one thing we can now know for sure, at this particular time,'CSNY' were the best rock and roll band on the planet.

Love the One Your With-1974

Deja Vu-1974

Pushed It Over the End-Wembley 1974

Helpless-1974

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