Gary Moore - Live At Bush Hall 2007 - Sept. 22 2014

Llevado a cabo en el año 2007 en el Bush Hall (Salón Bush), un pintoresco lugar en en Londres con una capacidad para 400 personas, el álbum de Gary Moore - 'Live At Bush Hall 2007' - capta un concierto muy intimista promocional para el álbum "Close As You Get" que fué realizado en ese momento, (Mayo 25 2007).

Gary trabajó en conjunto con la estación de radio Planet Rock y las entradas fueron regaladas para un espectáculo íntimo en Londres en el Bush Hall. El concierto fué transmitido por Planet Rock.

Gary Moore gozó de una reputación de guitarrista virtuoso con su Gibson Les Paul personalizada y su Fender Stratocaster. El interpretó una gran variedad de géneros desde el Hard Rock y el Heavy Metal hasta el Blues Rock pasando por el Jazz Fusion y el Progresive Rock. Gran cantidad de colegas compartieron el escenario con él, colegas como George Harrison, Greg Lake y Albert King, por mencionar un ejemplo.

A pesar de lo comentado su mas consistente influencia musical fué el Blues de la Vieja Escuela.

Esa noche la banda ofreció una velada de regreso a lo básico y desnuda de todo lo sobrante musicalmente hablando, con Gary Moore en la guitarra y las vocales, Pete Rees en el bajo y Vic Martin en los teclados . Brian Downey, un camarada veterano de Thin Lizzy  y músico en el album "Close As You Get" nuevamente compartió con Moore en la batería.

La idea de una leyenda del Blues moderno de hoy tal como Gary Moore tocando en una habitación íntima sería el sueño hecho realidad de la mayoría de los fans y esta grabación en vivo y este disco en vivo les da a todos los que no pudieron estar allí la oportunidad de poseer y disfrutar de este singular y electrizante show.

Mientras que es verdad que "Live At Bush Hall 2007" carece de éxitos conocidos (la mayoría de estas canciones reproducidas eran de su -entonces- último album) y este disco puede, de entrada, atraer a mas fans incondicionales del guitarrista irlandés que aquellos que no están tan familiarizados con su vasto catálogo de trabajo. Los solos brillantes de Gary Moore y su gran pasión por la música hacen de este un album que es una recompensa escuchar para cualquier fan del Blues.

 

 "Gary Moore era un adolescente cuando un amigo le prestó el album de John Mayall "Beano". Un amigo que resultó ser...nadie, aún el último de todos esos camaradas adolescentes, podría haberse dado cuenta del impacto que un acto tan simple tendría en el resto de la vida de Moore. No solo en su beneficio sino en el movimiento del Blues moderno que nosotros conocemos hoy y en los incontables

fans que el conectó con el Blues en toda su carrera.

El Bush Hall en Londres donde este conjunto se efectuó alberga a poco más de 400 personas y como si esta intimidad no fuera suficiente, su acústica natural y no se diga los gloriosos candelabros de cristal y la decoración del periodo solo ayudaron a aumentar esta atmósfera  en la noche de este concierto."  Liz Barnes

Reseña y texto: SONIC ABUSE,
BC*blogcritics, get ready to Rock! 
y CD booklet

Traducción: Rock and Blues Zone

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"Abrir en nueva pestaña"

Muddy Waters - The Johnny Winter Sessions

Raven presents The Very best of The Johnny Winter Sesions 1976-1981 by the legendary MUDDY WATERS. Muddy is one of the undisputed gigants of the post-war Chicago electric blues scene. Born McKinley Morganfield, a product of the fertile Mississippi delta, he relocated to Chicago in 1943 where he began recording for the Chess brothers´ Aristocrat label. He scored hits with “I Can´t Be Satisfied”, “Honey Bee”, “Mannish Boy”, “Trouble No More”, and many other landmark blues songs.

By the mid-1970´s after a period of steady worldwide touring but little quality recording activity, his studio fortunes were resuscitated by one of his legions of disciples, guitarist Johnny Winter. Signed to Columbia subsidiary Blue Sky, Muddy recorded four hard-edged, timeless, back-to-basics albums with Winter that remain classics of the genre.

 

  Backed by Winter and the likes of Pinetop Perkins, James Cotton, Jimmy Rogers, Big Walter Horton and Jerry Portnoy,  Muddy just roars like a lion from go to whoal

This essential collection culls the best tracks from Hard Again, I´m Ready, King Bee and Muddy "Misissippi Waters" Live on one scintillating 77- minute CD. Highlights include incendiary versions of “Mannish Boy”, “I´m Ready”, “Hoochie Coochie Man”, “Rock Me” and the epical “The Blues Had A Baby And They Named It Rock´n´Roll”. “Great blues from one of the dominant voices of the genre” (Allmusic Guide). Fresh and incredibly powerful, these high energy recordings still kick ass 30 years on! With superb quality audio, color booklet and detailed notes. “Electric blues doesn´t get any better than this.”

Creatividad Rock And Blues Zone

Ten Years After - Ssssh. (1969)

Ten Years After is not a very well known band, and a lot of people have never even heard of them. They were part of the second British Blues invasion between 1966-1975. They had a very underrated front man, Alvin Lee, who is a very good guitarist. They did play Woodstock, and are in the movie playing their jam of I'm Coming Home, that's very good. These guys are a very good live band, and they're probably at their bast when they're on stage performing. This is a very talented, and very underrated band, so I hope you give them a listen, and I hope you like what you hear.

Overall this record is superb, and is a must have. I think it' probably TYA's best. Their other really good album is their s/t, which I'll probably review it pretty soon. If you like bluesy rock, and like a whole lotta guitar then this is the album for you. These guys are probably one of the most underrated bands, so if you ever want to start listening to a new band then try these guys out, chances are you'll love it.

If you want to read a review track by track from this album you can go here 

Review by sputnik*music

 And at last, this time around there was no doubt these guys were gonna be a major act. Good lads, they seem to have realized all of the mistakes they made on Stonedhenge, and this time you're in for a listen of your lifetime! No more stupid grooves or Leo Lyons solo spots. No more trippy quiet guitar sounds and no more muddy, ear-destructive production. What you are presented with is a gruff, rip-roaring, tearing-at-the-walls progressive blues album which boasts brilliant production - AT LAST!

I may be a little biased towards this album, but really, you must realise it was a grandiose effort for the boys. Ten Years After was a homemade album of four guys getting together to play a couple of covers; Undeadwas a live album made by the same boys; Stonedhenge was a first try, but a failure; and this, this is absolutely fantastic. Well, not absolutely. Ten Years After never made an album that was 'absolutely' fantastic. Forget about 'absolutely'. But this is definitely fantastic in the fantastic Ten Years After way.

 Where was I? Ah yes, Ssssh. The only real trouble with that album is an ungly cover and the fact that you never can remember how many 's' you have to write between the capital one and the 'h'.

Apart from that,

Apart from that, there are some great blues numbers, some great ballads and some great heavy rockers the likes of which were not to be found previously. The very album opener ('Bad Scene') is not just heavy - it's practically hardcore punk: a breathtaking speed and a gruff guitar tone that predicts the Ramones but also kinda outdates them. But there are also tricky changes in signature, a special jazzy middle-eight, Alvin's trademark solos, strange electronically encoded vocals and... well, you get my drift. There's everything that Stonedhengesorely lacked.

If you want to read more about this excellent review just click here please.

Review by ONLY SOLITAIRE

  THE BAND
Alvin Lee : vocals, guitar
Leo Lyons : bass
Ric Lee : drums
Chick Churchill : keyboards

1. Bad Scene(3:20)
2. Two Time Mama (2:05)
3. Stoned Woman (3:25)
4. Good Morning Little Schoolgirl Sonny Boy Williamson(6:34)
5. If You Should Love Me(5:25)
6. I Don't Know That You Don't Know My Name(1:50)
7. The Stomp(4:34)
8. I Woke Up This Morning(5:25)
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Vaughan Brothers - Family Style (1990)

Family Style is a blues-rock album by the Vaughan Brothers, released on September 25, 1990. The album features the brethren guitarists and vocalists, Jimmie and Stevie Ray Vaughan, in their only studio collaboration. In his early years, Stevie Ray Vaughan often remarked that he would like to do an album with his brother. He fulfilled that wish in his very last studio performance, which was released nearly a month after his death. The liner notes end with "Thanks Mama V. for letting us play." Review by Wikipedia

This shot taken from NileRodgers.com

Este disco reúne por primer vez –en carácter igualitario- a los hermanos Vaughan: Jimmie y el gran Stevie Ray. A la postre, casi se constituiría en el testamento musical de Stevie Ray porque fue lanzado muy poco tiempo después de su trágica muerte en el accidente aéreo del 27 de Agosto de 1990. Compuesto de 10 canciones, si bien el estilo predominante es, cómo no, el blues y el rock’n’roll,  podemos encontrar una variedad de estilos que van desde el rockabilly hasta el funk –como en el tema Baboom/Mama Said- donde se nota claramente la influencia del productor ex Chic Nile Rodgers, co-autor también de un par de temas.

No es el típico disco a los que nos tenía acostumbrado Stevie Ray, pletórico de guitarras y solos flamígeros –aunque los hay, claro-; toma un par de escuchadas acostumbrarse, pero es una excelente pieza de música para no dejar de mover la patita. Review by El Gramófono

1. Hard To Be (4:43)
2. White Boots (3:50)
3. D/FW (2:52)
4. Good Texan (4:22)
5. Hillbillies From Outerspace (3:42)
6. Long Way From Home (3:15)
7. Tick Tock (4:57)
8. Telephone Song (3:28 )
9. Baboom /Mama Said (4:29)
10. Brothers (5:05)
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Janis Joplin - The Pearl Sessions

Released in January 1971, three months after her October 1970 death, Pearl quickly became Janis Joplin’s definitive studio album, rising to #1 on the Billboard charts and staying there for nine weeks. Joplin ditched the horn section that somewhat muddied her Kozmic Blues project and, along with her new Full Tilt Boogie Band, cranked out a batch of bluesy rock nuggets that would ultimately define her distinctive vocal talents as more substantial and dynamic than just the caricature of a hard charging, heavy drinking, blues belting mama she had become. It has rightly assumed iconic status in her slim catalog of studio recordings.
Review by American songwriter

 When Pearl was first remastered on compact disc in 1991, the package included four live recordings from her last tour in 1970 as bonus tracks. In 2005, a two-disc edition was released that included additional live tracks and a happy birthday to John Lennon tribute recording of “Happy Trails” that she taped in the studio with the band during the Pearl sessions. Now Sony Legacy is reissuing the album for the third time as The Pearl Sessions with more bonus tracks and alternate takes as well as studio conversations between Joplin, the band, and her producer during the recording sessions.
Review by popMATTERS
By Steve Horowitz

 But the treasures come on the second disc which includes fly on the wall studio chatter and rawer takes of “Move Over,” “Get it While You Can,” “My Baby” and “Cry Baby.” A demo and alternate version of “Me and Bobby McGee” aren’t radically altered from what ended up as the final hit. Two live songs and the “Pearl” instrumental—previously released– fill out the rest of the disc’s 75 minutes. It’s all interesting, even fascinating to hear…once. But Janis Joplin was not the Beatles, Dylan or the Stones, artists whose creative process and outtakes would be of immense historical value. While Pearl is a terrific album and the height of Joplin’s studio career, it is not in a league with some of rock’s most genre defining work. How often anyone but the hardest core fanatic will return to this vault clearing ephemera is debatable.
Review by American songwriter

 Suffice it to say that unless you simply need to own everything Janis touched, this package is of negligible value. Newcomers will be better served by the 2005 edition with its powerful concert material showing how Joplin and the scrappy Full Tilt reinterpreted her earlier work. It’s a far more essential, educational and enjoyable listening experience.
Review by American songwriter
By Hal Horowitz 

 CD1
01 - Move Over
02 - Cry Baby
03 - A Woman Left Lonely
04 - Half Moon
05 - Buried Alive In The Blues
06 - My Baby
07 - Me And Bobby McGee
08 - Mercedes Benz
09 - Trust Me
10 - Get It While You Can
11 - Me And Bobby McGee (Mono Single)
12 - Half Moon (Mono Single)
13 - Cry Baby (Mono Single)
14 - Get It While You Can (Mono Single)
15 - Move Over (Single Version)
16 - A Woman Left Lonely (Mono Single)

CD2
01 - Overheard In The Studio...
02 - Get It While You Can (Take 3)
03 - Overheard In The Studio...
04 - Get It While You Can (Take 5)
05 - Overheard In The Studio...
06 - Move Over (Take 6)
07 - Move Over (Take 13)
08 - Move Over (Take 17)
09 - Me And Bobby McGee (Demo Version)
10 - Me And Bobby McGee (Take 5 - Alternate)
11 - Cry Baby (Alternate Version)
12 - A Woman Left Lonely (Alternate Vocal)
13 - Overheard In The Studio...
14 - My Baby (Alternate Take)
15 - Overheard In The Studio...
16 - Get It While You Can (Take 3)
17 - My Baby (Alternate Version)
18 - Pearl (Instrumental)
19 - Tell Mama (Live 7-28-70)
20 - Half Moon (Live - 8-3-70)
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Eric Clapton - Give Me Strength The `74/`75 Recordings (2013)

El fértil año que señaló el espectacular resurgimiento creativo de Eric Clapton será celebrado el 25 de Noviembre de este 2013 con la publicación de Super Lujo de Give Me Strength: The ‘74/’75 Recordings.

Esta colección ejemplar presenta no menos de 29 pistas extras (12 de ellas inéditas), del extraordinario periodo entre Abril de 1974 y Junio de 1975, en el cuál E.C. recuperó y mejoró su estatus como uno de los guitarristas y cantautores más legendarios del rock.

Give Me Strength alberga versiones ampliadas y remasterizadas de sus aclamados albumes de estudio de la época de: 461 Ocean Boulevard and There’s One In Every Crowd, el subsiguiente set en vivo E.C. Was Here (ahora ambos remezclados y expandidos en un doble CD), y un disco que contiene la completa y legendaria sesión de Freddie King Criteria Studios Session.

 

Un sexto disco, Blu Ray agrega una nuevamente disponible mezcla 5.1 Surround Sound de 461 Ocean Boulevard y la mezcla cuadrafónica original de las dos realizaciones de estudio y del album en vivo.

 461 Ocean Boulevard, lanzado en el verano de 1974 y nombrado así por la mansión frente a la playa de Miami donde la banda vivió durante las grabaciones, marcó el regreso de Clapton después de una ausencia de tres años, y emfáticamente anunció su rehabilitación personal y creativa. Previewed by su interpretación personalizada a la canción de Bob Marley I Shot The Sheriff, la cuál alcanzó el lugar número 1 en la lista Billboard Hot 100 el 14 de Septiembre de 1974, el album mantuvo su posición, lidereando la lista Billboard por catorce semanas, y continuando con la venta de cuatro millones de copias en los Estados Unidos solamente. La nueva edición contiene tomas descartadas de sesión y versiones no realizadas (inéditas) de Getting Acquainted y las importantes del album Please Be With Me and Give Me Strength.

Ampliar  imagen: dar click derecho en ella y seleccionar "Abrir en una nueva ventana".

There’s One In Every Crowd, grabado en Kingston, Jamaica en el reconocido estudio de reggae Dynamic Sounds, fué creado en un descanso de la gira triunfal que siguió al asombroso éxito de 461. Esta edición restaurada ofrece el sencillo Knockin’ On Heaven’s Door (original de Bob Dylan) en una versión que Clapton grabó en estilo reggae, realizada en 1975 y que no está incluída en ningún album y una selección de tomas de sesión descartadas y pistas inéditas.

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En 1975 la banda hizo una gira mundial, esa gira sería conmemorada por el album doble E.C. Was Here, el cuál fué grabado en: Long Beach Arena, California (Julio 20 de 1974), Hammersmith Odeon, Londres (Diciembre 4 de 1974), Nassau Coliseum, Uniondale Nueva York (Junio 28 de 1975) y Providence Civic Center, Rhode Island (Junio 25 de 1975), y ahora ampliado a través de dos CD´s  con numerosos extras no pubicados tales como versiones de Layla, Crossroads y Little Wing.  

Portada Frontal del album doble E.C. Was Here.

Portada Trasera del album doble E.C. Was Here.

Y el contenido de este boxset continúa con las históricas sesiones en Criteria Studios, donde 461 Ocean Boulevard fué hecho, en el verano del ´74 con el héroe de Clapton Freddie King, para el album de King, Burglar. Cuatro canciones de estas sesiones aparecen aqui, incluyendo una gloriosa Gambling Woman Blues de 22 minutos. Rara vez en la historia del rock ha un artista redefinido y aumentado su obra creativa del mismo modo que Eric Clapton lo hizo durante la temporada 1974-75.  Give Me Strength: The ‘74/’75 Recordings salutes this watershed era to stunning effect. Reseña CIRCLEKJ´S BLOG Traducción  RBZ

05 AUGUST 1974


CRITERIA RECORDING STUDIOS

1755 Northeast 149th Street, Miami, Florida


Session for Freddie King

A sugerencia de Eric, Freddie King firmó un contrato de un nuevo disco con Robert Stigwood para su sello RSO. Este era un gran sello con Eric Clapton y los Bee Gees siendo ellos los actos más éxitosos. Aunque el 99% de su primer album para el sello, "Burglar", fué grabado en los estudios Chipping Norton de Mike Vernon en Oxforshire, RSO sugirió que una pista debería presentar a Eric, lo cuál ayudaría a las ventas. Como la parte principal del album fué grabada en Julio, Eric fué incapáz de participar ya que estaba de gira. Una sesión fué arreglada para el 5 de Agosto en Miami en un descanso del enorme tour estadounidense de Eric. Cuatro números fueron grabados, aunque solo "Sugar Sweet" fué realizado en el primer album de Freddie en RSO, "Burglar". Las tres restantes fueron eventualmente realizadas postumamente en Freddie King (1934 – 1976) en 1976 y el maravilloso box set de Bear Family Records, ‘Texas Flyer 1974 – 1976’ realizado en 2010. También cabe destacar que una versión alternativa de ‘Sugar Sweet’ también se encuentra en estos dos últimos lanzamientos.

.

Eric Clapton: “Freddie King taught me just about everything I needed to know, when and when not to make a stand, when and when not to show your hand, and most important of all, how to make love to a guitar.” ("Freddie King me enseñó casi todo lo que necesitaba saber, cuando y cuando no pararte, cuando y cuando no mostrar tu mano, y lo más importante de todo, como hacerle el amor a una guitarra." 

 

                                                                                            

 

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Session for Freddie King,

anécdota extracto del libro:  

Eric Clapton Day By Day -The Early Years1963/1982- de 

Marc Roberty

link.

Las sesiones de Freddie King con Eric Clapton en los Criteria Studios estuvieron también disponibles en el bootleg:

"Freddie King Studio Session With Eric Clapton Miami 05/08/1974"

The Beatles - White Album (Purple Chick - Deluxe Edition Vol.1)

Purple Chick discs are fan created and NEVER FOR SALE!!!Seriously, if you pay money for them you were ripped off - someone somewhere sold what they obtained for free. Not cool.

 DISC ONE - Stereo

Single

01. Hey Jude
02. Revolution

The Beatles - Record 1

03. Back In The U.S.S.R.
04. Dear Prudence
05. Glass Onion
06. Ob-La-Di, Ob-La-Da
07. Wild Honey Pie
08. The Continuing Story Of Bungalow Bill
09. While My Guitar Gently Weeps
10. Happiness Is A Warm Gun
11. Martha My Dear
12. I'm So Tired
13. Blackbird
14. Piggies
15. Rocky Raccoon
16. Don't Pass Me By
17. Why Don't We Do It In The Road?
18. I Will
19. Julia

Outtakes

20. Not Guilty
21. Whatís The New Mary Jane
22. Sour Milk Sea (outfake)


DISC TWO - Stereo

The Beatles - Record 2

01. Birthday
02. Yer Blues
03. Mother Nature's Son
04. Everybody's Got Something To Hide
Except Me And My Monkey
05. Sexy Sadie
06. Helter Skelter
07. Long, Long, Long
08. Revolution 1
09. Honey Pie
10. Savoy Truffle
11. Cry Baby Cry
12. Revolution 9
13. Good Night

Outtake

14. While My Guitar Gently Weeps
(demo)

Alternate Mixes

15. Revolution (Love - complete)
16. Back in the USSR (Love - complete)
17. Revolution (Past Masters)
18. Anthology Medley
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Ian Paice’s Sunflower Superjam - Live At The Royal Albert Hall 2012

It was in 2012 when drum legend Ian Paice arranged a concert in the Royal Albert Hall in London. He called it the "Ian Paice's Sunflower Superjam". It was actually meant to be a private charity event that the iconic drummer organised together with his wife Jacky. The couple managed to bring together a bunch of excellent and well-kown musicians that supported them that night. The result was an outstanding evening with some of the most important heores in rock.

 Luckily this event didn't stay just a private one. The concert was recorded and filmed and we all can join in via CD or DVD/BluRay.

 The guys who performed the songs sound like the 'who is who' of rock. Names like Bruce Dickinson, Alice Cooper, Uli Jon Roth, Brian May, John Paul Jones and Ian Paice are a guarantee for excellent live music. Bruce Dickinson sings "Black night" from Deep Purple and does a great Gillan-like scream in the beginning - introduced by a "You now what comes next". He does a great job and having Brian May on the six string makes this version evem more special. Alice Cooper is performing "Elected" and the Cooper-hit "School's out". The first track supported by Uli Jon Roth on guitar while Brian May plays the axe on "School's out". Very cool stuff.

 With "Pictued within" also Jon Lord (R.I.P.) was honored that night. The soulful intepretation of Steve Balsamo is awesome and gets under your skin. Uli Jon Roth added an old Scorpions song, "The sails of Charon" from the "Taken by force" album, to the show and also "Since you've been gone", with Brian May in the lead, is just a treat for your ears.

 "Ian Paice's Sunflower Jam" is an impressive document of an extraordinary evening. Each rock fan should call this record his own. This is music history in all meanings of the words.
Review by Markus' Heavy Music Blog 
 
Reasons Why

The Sunflower Jam is the brainchild of Jacky Paice, wife of Deep Purple drummer Ian Paice. Founded in 2006, Jacky was inspired to help those fighting cancer and other diseases after meeting a 16 year old boy named Kevin. Kevin had leukaemia and a friend of Jacky's who headed the complimentary therapy care team at the University College London called her and asked for a favour. Kevin needed a boost to pull him through and, as a Deep Purple fan, he asked Jacky if she would get Ian to sign something and send it to him. Not only did she organise that, but Jacky also called her brother-in-law Jon Lord (RIP) and asked them both to deliver the signed merchandise. Needless to say the boy was over the moon. Unfortunately, it turned out to be the ultimate going away present as Kevin passed away two weeks after. Since then, Jacky has organised high-profile, classic rock events which, after outgrowing their original venue, have now moved to the Royal Albert Hall and other iconic London venues.

 All in all, documents like this should be in every rock aficionado's collection, if not for the charity character then surely for the uniqueness of it, Brian May seriously fucking up the end of the aforementioned "Black Night" included. The biggest and best UK rock artists on one stage, every year, and clearly having fun doing so. Nothing wrong with that now, I say. (KVK)
 Review by ROCKREPORT

If you are interested in a more explicit review about the Sunflower Superjam you can try this site RED HARD N HEAVY

01 Ain't No Telling feat. The Temperance Movement 04:59
02 This Wheel's On Fire feat. Sandi Thom & Brian Auger 05:21
03 The Sails of Charon feat. Uli Jon Roth 04:33
04 Rock And Roll feat. Uli Jon Roth & Alfie Boe 03:48
05 Pictured Within feat. Steve Balsamo & Brian Auger 05:23
06 Something About You feat. Mark King & Brian Auger 05:22
07 Lessons In Love feat. Mark King & Brian Auger 04:58
08 Emerald feat. Bruce Dickinson & Uli Jon Roth 04:14
09 Behind Blue Eyes feat. Bruce Dickinson 03:51
10 Black Night feat. Bruce Dickinson, Brian May, John Paul Jones, Ian Paice,... 07:05
11 Since You've Been Gone feat. Kerry Ellis, Brian May, John Paul Jones, Ian... 03:42
12 Elected feat. Alice Cooper, Uli Jon Roth, Ian Paice, Brian Auger 04:58
13 School's Out feat. Alice Cooper, Brian May, Ian Paice, Brian Auger 04:11
14 Smoke On The Water feat. Ian Paice’s Sunflower Superjam Ensemble 11:20
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Deep Purple - On The Wings Of A Russian Foxbat (1976)

This is a live album taken from a Deep Purple performance originally broadcast on the King Biscuit Flower Hour, released in July 1995. It contains concert material featuring the Mark IV line-up with Tommy Bolin. The concert was recorded at the Long Beach Arena on 27 February 1976. The album contains four bonus tracks recorded at a Deep Purple concert in Springfield in January, 1976. This concert was originally intended to be used for the King Biscuit broadcast, but imperfections in the recording made the entire show unsuitable for airing and forced the second taping in Long Beach one month later.
The album was released in the U.K. under the title On the Wings of a Russian Foxbat. In 2000, a partial set consisting of ten songs was published by BMG under the name Extended Versions. The album was remastered and re-released with new cover art as Live at Long Beach 1976 on 24 February 2009 by Purple Records.
Review by Wikipedia

 This double-disc live album captures a complete show by Deep Purple Mark IV, featuring Tommy Bolin on guitar, recorded at Long Beach Arena, with two bonus tracks from a show in Springfield, MA. This lineup was not always good in concert -- Bolin, who had a drug problem, was erratic -- but they've got it together here, though David Coverdale isn't in great voice. Bolin has a different canvas of sounds and ideas than his predecessor Ritchie Blackmore, but he's a very fine player, and he does a good job fitting into Purple classics like "Smoke on the Water." The band include several songs from this lineup's only studio album, Come Taste the Band, as well as one from Bolin's solo album, Teaser. Bassist Glenn Hughes' soul-influenced singing is more prominent than in the past, and Jon Lord plays clarinet and Keith Emerson-style synthesizers in addition to his trusty Hammond organ. Hughes and Bolin shine on "This Time Around," but Hughes' over-the-top "Georgia on My Mind" is just grating. All of this makes for an album unlike any other live Purple recording. This release later appeared in the U.S. as King Biscuit Flower Hour: In Concert.
Review by ALLMUSIC 

CD 1:
01. Burn
02. Lady Luck
03. Getting Tighter
04. Love Child
05. Smoke On The Water (inc Georgia In My Mind)
06. Lazy
07. The Grind

CD 2:
01. This Time Around
02. Tommy Bolin solo
03. Stormbringer
04. Highway Star (inc Not Fade Away)
05. Smoke On The Water (inc Georgia In My Mind) (vsn 2)
06. Going Down
07. Highway Star (inc Not Fade Away) (vsn 2)
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George Thorogood - 2120 South Michigan Ave.(2009)

In 2009, George Thorogood and his long-time band the Destroyers put together The Dirty Dozen, an odd album that comprised of a handful of new recordings and never before heard material from the band's archive. Among the new tracks that Thorogood recorded for the album was a cover of Howlin' Wolf's "Tail Dragger." The song must have captured the imagination of somebody in the executive suites at Capitol Records, because they asked Thorogood for an entire album of Chess Records covers.

 The project turned out to be one that was very close to the blues-rock guitarist's heart. As a teen, Thorogood heard the Rolling Stones instrumental "2120 South Michigan Avenue," named for the address of Chess Records in Chicago, and wrote the label asking for a catalog. The music that Thorogood would discover on Chess directly influenced his choice to get into music, and had shaded and shaped his career ever since. Naming his Chess Records tribute album 2120 South Michigan Avenue, Thorogood and band rip and roar through songs originally recorded by such reknown artists as Muddy Waters, Sonny Boy Williamson, Bo Diddley, Chuck Berry, and others.
Review by Reverend Keith A. Gordon
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                                                  blues.about.com

 George Thorogood & the Destroyers have never made their debt to Chess Records a secret, so an album-length tribute to the home of Muddy Waters, Howlin’ Wolf, Willie Dixon, Chuck Berry, and Bo Diddley is a logical move for the rough and tumble blues-rockers. This is so firmly within Thorogood's wheelhouse that 2120 South Michigan Ave -- its name saluting the Chicago address of Chess Studios and the Rolling Stones instrumental saluting the hallowed location, the Stones' song turning a young Thorogood on to the wonders of Chicago blues -- feels like it could have been recorded at any stage in his career.
 Review by Stephen Thomas Erlewine
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01. Going Back
02. Hi-Heel Sneakers (Feat. Buddy Guy)
03. Seventh Son
04. Spoonful
05. Let It Rock
06. Two Trains Running (Still A Fool)
07. Bo Diddley
08. Mama Talk To Your Daughter
09. Help Me
10. My Babe (Feat. Charlie Musselwhite)
11. Willie Dixon's Gone
12. Chicago Bound
13. 2120 South Michigan Ave (Feat. Charlie Musselwhite)
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B.B. King - Live In Japan (1971) (1999 Release)

Recorded in 1971, but unreleased in the U.S. until 1999, B.B. King's Live in Japan deserves high marks for exuberance alone. Had Live in Cook County Jail not just jumped into the charts, this live album might have been released long ago. The recording opens with a swelling of enthusiastic cheers, as King launches into an uptempo "Every Day I Have the Blues." There are plenty of other classics here as well, including "How Blue Can You Get?", "Sweet Sixteen," and "The Thrill Is Gone" (which elicits another round of cheering from the opening notes). Live in Japan may not have the long-standing reputation of Cook County Jail or Live at the Regal, but it's an excellent album, with a decidedly different feel from these two classics. King's obvious enthusiasm for his music and for his audience is infectious, and you can hear the sheer joy of it in every note. And, for those who don't really feel that they need additional versions of well-known songs, let it be mentioned that Live in Japan contains King's only live rendition of "Hummingbird," not to mention a couple of unique jams ("Japanese Boogie," "Jamming at Sankei Hall," and "Hikari #88"). -Amazon.com

 It took 28 years, but in 1999 Live in Japan finally became available in the U.S. Recorded at Sankei Hall in Tokyo on March 4 and 7, 1971, Live in Japan was originally released as a two-LP set in Japan. At the time, King's superb Live in Cook County Jail was a respectable seller for ABC, and the label also planned to release In London -- so ABC felt that because a fair amount of live King albums were coming out in the U.S., it was best to release the Sankei Hall recording only in Japan. But many of King's American fans wanted it anyway, and collectors went out of their way to find imported copies of the double LP. Parts of Live in Japan did come out on various U.S. releases, but it was not released in its entirety in the U.S until this 1999 reissue. Backed by many of the same players heard on Live in Cook County Jail, King is in excellent form on spirited, gutsy performances of "The Thrill Is Gone" and "Sweet Sixteen" as well as Sonny Boy Williamson's "Eyesight to the Blind," Leon Russell's "Hummingbird," and Peter Chatman's "Every Day I Have the Blues." The instrumentals "Japanese Boogie" and "Jamming at Sankei Hall" give the band a chance to let loose and improvise, and "Lucille" (King's name for his guitar) gets in some passionate, inspired solos. Although Live at the Regal and Live in Cook County Jail are King's most essential live albums, Live in Japan is a fine CD that his fans will definitely want. -ALLMUSIC 


01. Every Day I Have The Blues (02:10)
02. How Blue Can You Get? (05:17)
03. Eyesight To The Blind (04:03)
04. Niji Baby (06:27)
05. You're Still My Woman (05:56)
06. Chains And Things (05:41)
07. Sweet Sixteen (06:00)
08. Hummingbird (04:08)
09. Darlin' You Know I Love You (04:26)
10. Japanese Boogie (09:17)
11. Jamming At Sankei Hall (09:35)
12. The Thrill Is Gone (05:36)
13. Hikari #88 (07:57)
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