I’m willing to bet you’ve never heard of this album.
That’s okay, neither did I until I saw it at a garage sale. I thought the cover artwork was cool and the record itself was in near mint condition. So I stole it.
Just kidding. I paid for it. But with what I got for the little I paid, it feels like I ripped it off from the guy. This is 1960’s psychedelic rock revisited and mixed with indie garage punk, recorded live at a smallish venue. I wish I had been there when it came down.
I have to admit, the spoken word “Intro Poem” had me worried at first, but it was really short. When the music kicked in about a minute or so later, I was like “WHOA! Iggy Pop and the Stooges meet The Grateful Dead!”
After some quick Internet digging, I found out Plan 9 was from the east coast of the US; Rhode Island, I believe. They released a few albums in the ’80s. I think this was their only live record.
It’s some pretty killer sh!t.
The best record I ever stole.
“Two for the Show” by Kansas is about as perfect as a live album can get. Recorded right after their two most successful studio albums, Kansas was at the height of their popularity and were drawing huge crowds at arenas across America. Feeding off of the energy of the crowds, Kansas sound like an unstoppable progressive force that wanted nothing more than to leave the audiences in awe.
To that point, it didn’t hurt their cause that the popularity of “Leftoverture” and “Point of Know Return”, which came out just before this double album set, had gained Kansas a huge new fan base and provided them with plenty of well-known songs to play at their concerts and include here. Half of the songs on “Two for the Show” are from those albums. The other half are deep cuts from their first three albums that were meant to please their long time fans.
What really makes “Two for the Show” so exceptional though, is the playing. If there was ever any doubt, Kansas proves here that they were not just a studio band. They could perform their complex compositions just as well live; even better at times, extending solos out beyond what was in the original version. And then there’s Steve Walsh’s voice…definitely one of the most incredible vocalists ever in rock and roll.
“Two for the Show” is Kansas at their best; an album of live progressive rock perfection.
When I think of underrated bands from the eighties, I think of first and foremost, the Hooters. Hailing from Philadelphia, the first two albums by the Hooters were pop/rock gems with a slick production that dripped of the ’80s. But anyone who had the good fortune to see them in concert knew this was not the true sound the Hooters represented. On “One Way Home” the Hooters captured a more rootsy, organic sound reminiscent of how they sounded live.
“One Way Home” still made use of synthesizers to create great pop hooks in a style that made their sophomore effort “Nervous Night” so successful, but they were mixed in with a wider array of other instruments. The guitar playing was grittier, especially with the solos, and there was more of a folk-rock/Americana feel to the songs. The lyrics are mostly meaningful and thought-provoking.
For reasons that elude me, “One way Home” did not fare as well in America as “Nervous Night” although it did still earn the Hooters another gold record. The album had better success in Europe, where The Hooters remain more popular today.
The J. Geils Band was always, first and foremost, a live band. That very well might have been their biggest reason for not achieving the success they deserved until their later albums.
I will never understand how some record labels can sign a band, yet do nothing to promote them. The J. Geils Band were in their early years, one of the most popular bands around in their hometown of Boston, MA and in Detroit, MI, and were known nationally for their high energy live performances. With a little push from Atlantic Records, their label during their early career, they could have easily broke out nationally. But because of their strength on the road, Atlantic Records seemed bent on having word of mouth from The J. Geils Band’s live reputation to do all the work; doing little to promote a band destined for success not only on the road but on their records.
Like the five albums before it, “Hotline” was a record that combined the strengths of the five exceptional musicians that were The J. Geils Band. Seth Justman, who’s wizard-like keyboard talent was a dominant force on the earlier live Geils album “Full House”, and on “Blow Your Face Out” – the live record that followed “Hotline” – was also one of the primary songwriters, along with frontman Peter Wolf, who was a former high-energy Boston area Disk Jockey that left radio to join The J. Geils Band just before their first record. The Geils rhythm section was an incomparable combination of Daniel Klein (DK) on bass and Stephen Jo Bladd on drums, who both always seemed to know just when to throw in those little extra flourishes that gave a song that extra kick it needed at just the right time. Then there was J. Geils himself; a master blues guitarist with a tone so full and a style so fluid, he could swing between power rhythms and tight leads effortlessly; listening to him play, one couldn’t help but be in awe. And of course, there’s the pièce de résistance: Magic Dick on harmonica, perhaps the best blues-harp player ever.
Once The J.Geils Band signed with EMI Records, they finally found themselves with a record label that was willing to throw just a little promotion behind them. Just a little was all it took. The result was a string of The J. Geils Band’s most successful albums in their career. They finally got the success the had so long before deserved.
The J. Geils Band was nominated for induction into the Rock and Roll Hall of Fame in 2005, 2006, 2011, 2017, 2018. They have yet to earn the induction recognition they deserve, but I know one day they will.
What started out as a comedy/music skit on Saturday Night Live, turned into one of the best-selling blues albums of all time.
Dan Aykroyd and the late John Belushi were part of the original “not ready for prime-time players” cast on Saturday Night Live when they came up with the concept of a fictitious blues band from Chicago as a way to have some fun, pay homage to their appreciation of blues, soul, and R&B, and fill a slot for a musical guest that was lacking for the show that weekend. Little did they know, it would turn into an opening slot for comedian Steve Martin on his “Wild and Crazy Guy” tour, a hit album recorded from one of the shows on that tour, and a mega-hit movie based on the fake biographies of Joliet Jake and Elwood Blues.
They were just having fun with it all; but they had a band of crack musicians backing them up (who also happened to be the SNL band at the time). That’s what really made it all come together and work so well – taking their music, but not necessarily themselves, seriously.
That’s what I think I love most about “Briefcase Full of Blues” – it taught me that you need to think seriously about, and focus on what’s most important to you, but never forget to have fun with it at the same time.
How can I not love this album?
The J. Geils Band is one of the most underrated bands in the US; except in Boston and Detroit. Boston is understandable. Geils after all, comes from that city. You always love your hometown hero. But Detroit was equally, if not more enthusiastic about The J. Geils Band’s combination of blues, rock, funk, soul, and pop from day one; and Geils loved them right back. They even at one point during an interview, referred to Detroit as their home away from home.
Geils was first and foremost, a live band. If you never saw them perform live, you have no idea what they were all about. Perhaps the album that came closest to capturing their live sound and energy in the studio was their tenth record, “Sanctuary”.
I can’t even pick a favorite song on this album. Every song is my favorite off of it. “Sanctuary” is one of those albums that, when I ignorantly thinned down my record collection, converting everything to compact disc, I never considered parting with. Yes, I eventually bought it on CD, but I was never not going to own this album.
To me personally, “Sanctuary” is memories from my ignorant teenage party days, the album I took refuge in during my early adult years when I felt down and betrayed, and the record I always pulled out when I just needed to f’ing crank it up and jam out.
Musically, it has been and will always be my “Sanctuary”.
One of the greatest things about the resurgence in the popularity of vinyl is bonus content.
Just like when albums started to be reissued on CDs, sometimes the record companies feel the need to include incentives to get music lovers to buy – or rather re-buy – recordings that may already be in their collection.
So how do you get someone who already owned an original copy of Led Zeppelin’s debut album to buy it on vinyl again? You include a previously unofficially released live recording with it as a bonus second album. And if you didn’t still have the original vinyl copy of “Led Zeppelin” because you had a cheap turntable that wore it out way back in the day?
The bonus records here is from a French radio broadcast in late 1969 of a Led Zeppelin concert performed in Paris about a month before. Zeppelin’s second album had just been released and the show included songs from both albums, including the John Bonham drum solo extravaganza “Moby Dick”. Bonham’s solo here differs significantly from what appeared on Zep’s first official live album, “The Song remains the Same”.
The thing I find funny, and what is unique with the bonus content included with This vinyl re-release of Led Zeppelin’s eponymous debut, is that there is more bonus content than original material – four sides compared to two. This live recording could have easily been released as a stand-alone new release, and I would have still bought it. But hey…bonus, bonus!
It’s funny how you never forget your firsts. Journey was my very first concert and I remember it like it was yesterday. My two best friends and me, the legendary Cobo arena, my favorite band at the time at the height of their popularity, and a foot-long “torpedo” of contraband that was fired up when Journey took the stage (thank you EZ Wider Unrolling Papers).
Now that I think of it, I’m kind of surprised I remember any of it at all; but I do. Vividly. It was musical experience I will never forget and still ranks as one of the best concerts I have ever been to. Some of songs on this album were “Captured” at Cobo Hall, so I just might be on this record.
Yeah, I think that’s me right there! 😅
I guess I’m on a live music kick, I just realized this is the third album in a row I’ve chosen to listen to that is a concert recording. Oh well, I always felt rock and roll is best when it’s performed live.
Today, the Fillmore is a pretty popular concert venue in Detroit. Maybe that name is used in other cities now days as well. I don’t know. What I do know – and what a lot of the younger music lovers around today may not know – is that the name “Fillmore” was taken from a couple of legendary concert venues from the ’60s and early ’70s that were run by a man who was perhaps the greatest concert promoter who ever lived: Bill Graham.
Bill Graham was a German holocaust survivor who fled to France and later immigrated to the United States. He was an entrepreneur and philanthropist who more than anything, respected artistic expression; and believed in the power of music. To help promote the emerging music scenes in the ’60s he opened The Fillmore concert hall in San Francisco. It became the premier venue for bands to play in the United States. Without the Fillmore, the world would probably have never heard the music of Santana, Janis Joplin, Bos Scaggs, The Grateful Dead, Jefferson Airplane and many more performers who are hugely influential in pop and rock music today.
Bill Graham is also responsible for the one other thing I collect besides records and CDs – concert tour posters. He would commission local artists to create unique artwork for promotional posters advertising specific shows at his venues. Along with a 32 page historical book, This three record box set also includes a replica of the poster that was used to promote the final shows at the Fillmore.
Bill Graham was a man who believed there could be a balance between financial success and artistic expression. Unfortunately, following the Woodstock festival in 1969, the record companies realized that rock and roll was big business and the intimacy of moderately sized concert halls like the Fillmore gave way to the larger arena rock shows. Knowing the smaller venues couldn’t compete, Bill Graham threw in the towel and made the business decision to close the Fillmore in 1971. He continued to promote bands and concerts into the ’80s. In 1985, he and Bob Geldoff organized Live Aid, a series of concerts that were performed and broadcast around the world to raise millions of dollars for famine relief in Ethiopia.
“Fillmore: The Final Days” captures the music of the bittersweet days that marked the end of a philosophical and musical era. It is a memoir of an unforgettable era in music.
Kiss is known as much for their looks as they are for their music, maybe more. Although their music was pretty much straight forward hard rock, their concerts took pyrotechnics and stage theatrics to a whole new level in the ’70s.
Even though Kiss had one of the most devoted followings in rock and roll, there were still many who wrote their music off as simple three-chord rock and roll (which it is when you get right down to it) hidden behind makeup and theatrics. But Kiss was all about presentation, and on “Alive!”, they proved that their concerts weren’t only about the presentation of visuals. They were about the presentation of the music. Fairly basic songs? Yes. But it’s all in how they’re performed that makes “Alive!” one of the greatest live albums ever.
Being from Detroit, I would be remiss if I didn’t mention that the picture on the back cover of “Alive!” was taken at Detroit’s legendary Cobo Hall. Many of the songs on “Alive!” were recorded at Cobo Hall the night that picture was taken.