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Better than Live At Leeds ?

Here is the LP they should have released instead – available from http://www.1960s.london

The Who Live In Amsterdam 1969

All tracks recorded live at the Concertgebouw, Amsterdam, The Netherlands on September 29th 1969 and broadcast by AVRO FM radio on September 30th, produced by Karel van de Graaf.

Side A

  1. Heaven And Hell (John Entwistle)
  2. I Can’t Explain (Pete Townshend)
  3. Fortune Teller (Naomi Neville)
  4. Tattoo (Pete Townshend)
  5. A Quick One While He’s Away (Pete Townshend)

Side B

  1. Substitute (Pete Townshend)
  2. Happy Jack (Pete Townshend)
  3. I’m A Boy (Pete Townshend)
  4. My Generation (Pete Townshend), including themes from

See Me, Feel Me (Pete Townshend)

Pinball Wizard (Pete Townshend)

Naked Eye (Pete Townshend)

The Ox (Pete Townshend / Keith Moon / John Entwistle / Nicky Hopkins)

Sparks (Pete Townshend)

 

Personnel

Pete Townshend – Guitar, vocals

Roger Daltrey – Lead vocals

John Entwistle – Bass, vocals

Keith Moon – Drums

Sleevenotes: Sheik E. Hand

The Who’s performance at Amsterdam’s Opera House in September 1969 was remarkable in a number of ways. It was the first of a series of gigs in more formal surroundings, to be followed by the London Coliseum, the Berlin Opera House and the Metropolitan Opera in New York. This had been achieved through the critical and commercial success of Tommy. Who co-manager Kit Lambert was the son of noted classical composer Constance Lambert and took understandable pride in his proteges playing such prestigious venues. Amsterdam was also notable for being recorded in extraordinarily high quality by Dutch radio.

This was also one of the longest live gigs the Who ever performed. The band decided to insert the double album Tommy into the middle of their existing set, thus extending their time on stage to well over two hours. This most physical of bands had been touring since May and it is a testament to their road-hardened stamina that throughout this performance their energy levels never flag. The central position and length of the Tommy segment tended to overshadow the other songs in the set, despite the Who effectively and concisely playing a string of their stunning 1960s hit singles. And then there was the mini-opera A Quick One While He’s Away, Tommy’s predecessor and a clever blend of song fragments held together by sung orchestral arrangements such as “cello, cello, cello”.

A successful three-week American tour had prompted Daltrey to stop straightening his hair and grow it out and his new curly mane was fit for a rock god (see also Plant, Robert). Sartorially Townshend went in the other direction, with an equally distinctive disheveled boiler suit, Dr Martens and a Cherry Red Gibson SG. A Dutch TV clip revealed that just before the Amsterdam gig started Keith Moon fell off stage knocking over two speaker cabinets. Moon emerged covered with blood but carried on regardless. The same clip shows the all-seated audience to be an intriguing mix of suits and Afghan coats.

The set opener is Entwistle’s Heaven and Hell, a perfect choice and the best rocker he wrote for the band. Elements of the guitar solo would later emerge in obscure single Priorities, recorded by Shel Talmy-produced punkers Trash. I Can’t Explain is terse and urgent, in contrast to the more delicate opening section of Fortune Teller. As Townshend says in his introduction this cover was a staple in  the live set of many groups but here The Who make it their own, with a faster second half seguing delicately into Tattoo. This sensitive reflection on masculinity was clearly a band favourite: having been released on The Who Sell Out in 1967 it was still being played live as late as 1974. Then a sparkling version of A Quick One While He’s Away  which rivals the live take recorded for the Rolling Stones Rock’n’Roll Circus. The immaculate trio of Substitute, Happy Jack and I’m A Boy are played in arrangements close to the original singles with Townshend and Entwistle easily handing the high vocal harmonies and Moon playing lead drums on Happy Jack. Set closer My Generation summarises the history of the Who to date as it lurches through a number of other songs including the only known live performance of The Ox, the savage surf instrumental that formed the B side to 1965’s The Kids Are Alright.

Was there ever a better Who live recording than Live In Amsterdam ? For Monterey in 1967 the band played through weedy borrowed Vox amps. A Fillmore East 1968 gig saw the band playing well but the choice of material and recording quality was not as good.  In August 1969 Woodstock saw the band spiked, onstage late and thoroughly pissed off (“fucking awful”). Better results were obtained when the band used the Pye mobile to record their gig at Leeds University on February 14th  1970 on. Six tracks from this gig were released as the LP Live At Leeds in May 1970 to great acclaim. Chris Charlesworth called it “the best live rock album of its era” and Dave Marsh acclaimed “the most ferocious, visceral rock the Who have ever recorded…absolutely nonstop hard rock”.

Earlier in 1970 Nik Cohn had written that Live At Leeds would include Happy Jack, I’m A Boy, Heaven And Hell and Tattoo. Cohn had heard this material and he was ecstatic about the Who’s performance “Without exception, they are shatteringly loud, crude and vicious, entirely expressive. Without exception they are marvelous.” None of these tracks made it on to the original Live At Leeds LP.

Live In Amsterdam is the LP that Cohn described so eloquently, embodying his vision of The Who as Superpop. The choice of songs is perceptive. The sound quality is extraordinary. The performances are intuitive, sensitive and wildly exciting. Live In Amsterdam is a vital document of the Who at their performing peak, and Probably The Best Who Live LP In The World.

Denny Laine, Charlatans (US), Them – Three NEW 7″ Vinyl EPs out now!

All available from http://www.1960s.london

The Charlatans Live 1967

Tracklisting

  1. Folsom Prison Blues (Johnny Cash)
  2. Lulu’s Back In Town (Al Dubin & Harry Warren)
  3. KSAN-FM Radio Commercial
  4. I Always Wanted A Girl Like You (George Hunter & Richard Ohlsen)
  5. Alabama Bound (Robert Hoffman)

Tracks 1 – 2, 4 – 5 recorded at the Straight Theatre 22.7.67 for San Francisco radio station KSAN-FM

Personnel

George L. L. Hunter (autoharp, vocals)

Richard “Baby Face” Ohlsen (bass, vocals)

Michael “Slim Pickens” Wilhelm (lead guitar, vocals)

Byron “Mike” Ferguson (piano, keyboards, vocal)

Daniel “California” Hicks (drums, rhythm guitar, vocals)

The founder of the Charlatans was George Hunter, who conceived of the band as a visual experience. Even before their first rehearsal the band had publicity pictures taken exploring the mythic possibilities of Victorian and Old West costume. Rolling Stone magazine described the Charlatans musical trademark as “a jaunty, ragtime rhythm that was of a piece with their style.  Their repertoire remained essentially folk material – blues, ballads, good time jug band tunes plus a few original numbers and the odd Rolling Stones tune. “ Mike Wilhelm takes lead vocals for the opening Fulsome Prison Blues, a brave choice at a time when country music was seen as old-fashioned and reactionary. Lulu’s Back In Town is a short instrumental, followed by a sprightly I Always Wanted A Girl Like You and the closing Albama Bound, the band’s signature song which allowed them to stretch out instrumentally. The Charlatans never enjoyed the popularity or commercial success that their innovative musical and visual approach so richly deserved. A disappointing studio LP was released by a later line-up on Phillips in 1969, albeit with a cool accompanying KSAN radio ad. Only in 1996 would Big Beat release a definitive collection of studio tracks on CD as “The Amazing Charlatans”. The same songs finally made it onto vinyl in 2016 as “The Limit Of The Marvellous”. Dan Hicks had some success fronting Dan Hicks And His Hot Licks whilst Mike Wilhelm formed his own band Loose Gravel and then became a member of The Flamin’ Groovies. Sadly after a long illness Mike Wilhelm died in May 2019.

Sleeve notes: Phil More

 

Them Live 1965-67

Side A

  1. Mystic Eyes
  2. Gloria

Side B

  1. One More Time
  2. If You And I Could Be As Two

Tracks 1 and 2 recorded for French TV live in Paris October 19th 1965, Tracks 3 and 4 recorded in Deventer, Holland on September 3rd 1967 for Dutch TV

All songs written by Van Morrison

Personnel

Van Morrison – vocals and harmonica

Alan Henderson – bass 91,2)

Billy Harrison – guitar (1,2)

Jackie McAuley – organ (1, 2)

Patrick McCauley – drums (1,2)

Herman Brood – piano (3,4)

Eelco Gelling – guitar (3.,4)

Willy Middel – bass (3,4

Hans Waterman – drums (3,4)

Sleevenotes

The title of debut LP The Angry Young Them seems an apt summary of their stance. Originally from Belfast the band had to fight hard to make it in London, which they did after a startling performance of Baby Please Don’t Go on Ready Steady Go.

The Paris performances show Them to be a gritty r’n’b band driven by Jackie McAuley’s organ. Mystic Eyes begins with a raucous instrumental passage which highlights the bands instrumental prowess before the entry of Morrison’s vocal. Garage band anthem G-L-O-R-I-A gets a brief workout with effective call-and-response vocals.  A later show in Holland saw Van Morrison backed by Dutch blues band Cuby + Blizzards and showcases slower, more soulful tunes. One More Time features guitar rather than organ whilst the spoken passages in If You And I Could Be As Two are totally convincing.

Greil Marcus has a theory as to why Them were not more successful. “Van Morrison was as intense and imaginative a performer as any to emerge from the first wave of the post-Beatles British invasion.  But it was clear to those who saw his early live shows in 1965 that Morrison lacked the flash and flair for pop stardom possessed by clearly inferior singers such as Keith Relf of the Yardbirds or Eric Burdon of the Animals.”  Morrison would go on to find solo success in 1969 with his more reflective LP Astral Weeks.

Sleeve notes: Madame George

 

 

New Vinyl LP: Marianne Faithfull a la television 1965-67

Available from http://www.1960s.london

Marianne Faithfull à la Télévision 1965-67

Side One

1. Come And Stay With Me (Jackie DeShannon)
2. Plaisir d’Amour (Jean-Paul-Égide Martini)

3.As Tears Go By (Mick Jagger, Keith Richards, Andrew Loog Oldham)
4. Go Away From My World (Jon Mark)
5. Yesterday (John Lennon, Paul McCartney)
6. Nuits d’Eté (Brian Thomas Henderson, Lisa Strike, Marcel Stellman)
7. What Have They Done With The Rain? (Malvina Reynolds)
8. Hier Ou Demain (Serge Gainsbourg)
9. Brian Epstein interview

Side Two

10. This Little Bird  (John D. Loudermilk)

11. Come And Stay With Me (Jackie DeShannon)

12. What Have They Done With The Rain? (Malvina Reynolds) / As Tears Go By (Mick Jagger, Keith Richards, Andrew Loog Oldham)
13. There But For Fortune (Phil Ochs)
14. Come And Stay With Me (Jackie DeShannon)

15. Yesterday (John Lennon, Paul McCartney)
16. Nuits d’Eté (Brian Thomas Henderson, Lisa Strike, Marcel Stellman)
17. Si Demain (E. Woolfson, M.Stellman)

Recording Details

 

1-6 Scene de L’Olympia, Discorama 1966

7 A Tous Vents 1966

8 Dents de Lait Dents de Loup 11/1/67
9 Hullaballoo 19/01/65

10-12 Shindig 07/07/65

13 Shindig 14/10/65

14-16 Music Hall de France 66

17 Melody French TV 1965 / Tom Jones Show 1966

 

Personnel

Marianne Faithfull – Vocals

Jon Mark – Guitar

 

Sleevenotes

The French have always loved Marianne Faithfull and the feeling is reciprocated: today she has a flat in Paris on the grand Boulevard du Montparnasse. Back in the mid-1960’s Marianne was a regular performer on French television: such shows provide the majority of the songs featured here, all presented in excellent sound quality.

Marianne Evelyn Gabriel Faithfull was born in Hampstead on December 29th 1946. She was a 17 year old schoolgirl when she met Andrew Loog Oldham at a show-biz party in early 1964. Oldham was then managing the meteoric rise of the Rolling Stones, and he persuaded Keith Richards and Mick Jagger to donate her a song. Talking to Andrew Tyler of the New Musical Express in February 1974 Marianne said that although Mick Jagger said he wrote her first hit ‘As Tears Go By’ for her she has always doubted this. “When I was 16 I wanted to be an actress and a scholar too. But whatever I wanted to be I wanted to be great at it. My first move was to get a Rolling Stone as a boyfriend. I slept with three and then I decided the lead singer was the best bet.“ Her relationship with Jagger would be a major influence on both her personal life and her career trajectory.

Interviewed by Alain Elkan in October 2018 Marianne said that in retrospect she feels proud of these embryonic performances.  “It took me a long time to make my career. It really started in 1979, but I think my early work was rather beautiful too.”  The follow up to ‘As Tears Go By’, Bob Dylan’s ‘Blowing In The Wind’ didn’t do anything but in 1965 she had further hits with ‘Come And Stay With Me’, ‘This Little Bird’ and ‘Summer Nights’. Her first two albums Marianne Faithfull and Come My Way also made the charts, despite inexplicably being released on the same day in May 1965. These records featured Faithfull’s delicate, wistful voice plus arrangements and backing from Jon Mark.

The song selection is eclectic. There is pop in Yesterday – Marianne knew Paul McCartney through ex-husband John Dunbar, and As Tears Go By was a song she would return to throughout her career.  Highly respected American singer/songwriter (and Jimmy Page’s girlfriend) Jackie DeShannon provided Come And Stay With Me, troubled troubadour Phil Ochs was the source of There But For Fortune and Tobacco Road / Everything’s Alright songwriter John D. Loudermilk was responsible for This Little Bird. Regular accompanist Jon Mark got a rare songwriting credit on Go Away From My World. The songwriter of What Have They Done To The Rain was Malvina Reynolds a US social commentator, better known for her hits Little Boxes and Mornington Ride.

Of the songs sung in French Plaisir d’Amour (literally ‘The Pleasure Of Love’) dates back to 1784. The melody may sound familiar as it is the basis of ‘Can’t Help Falling In Love’. Nuits d’Eté (‘Summer Nights’) is based on music by Berlioz and is part of a song cycle which runs from youthful innocence to loss to final renewal. Hier Ou Demain was an original Serge Gainsbourg song specially written for the musical film Anna, broadcast on French TV in January 1967. Si Demain appeared on the 1966 EP Coquillages.

Further LPs would follow in a similar idiom, but to diminishing sales. By 1967 Marianne was completely entangled with Mick Jagger, to her own artistic detriment. However in her role as his muse she helped inspire of some of the Stones best ever songs including Sympathy For The Devil, Let It Bleed, You Can’t Always Get What You Want and Wild Horses. In 1969 Marianne released her version of the Gerry Goffin / Carole King song Something Better. Produced by Mick Jagger and arranged by Jack Nitzsche it should have been a huge hit, but Decca withdrew the release after being spooked by the B side, a Faithfull co-write entitled Sister Morphine. A luminous Marianne performed Something Better for the Stones Rock’n’Roll Circus TV special.

Nothing more was heard from Marianne Faithfull until 1975 when the country-influenced LP Dreaming My Dreams reached number one in the Irish charts. Her artistic renaissance began in earnest with the punk-influenced Broken English album in 1979. Since then she has continued to release new material on a regular basis and in recent years has seemed to face down her demons – addictions, anorexia and Mick Jagger.

Andrew Loog Oldham dismissively described the teenage Marianne as “an angel with big tits”. After making artistically-acclaimed records for over 50 years and releasing two autobiographies Marianne Faithful is now regarded not as a muse but as a successful and determined artist in her own right. Returning to those charming early live performances offers an opportunity to relive how it all began.

Sleevenotes: Cherie Redd

 

The Rolling Stones – more LIVE if you want it! 7″ Vinyl EP Out Now!

Available from http://www.1960s.london

Side One

  1. High Heel Sneakers (Robert Higgenbotham)
  2. Not Fade Away (Charles Hardin, Norman Petty)

Side Two

  1. I Just Want To Make Love To You (Willie Dixon)
  2. I’m Alright (Ellas McDaniel)

 

Recording details

1 The Joe Loss Pop Show, broadcast 10.04.64,

2-4 NME Poll Winners Concert, Wembley Empire Pool 26.04.64, broadcast by ABC on 03.05.64 as “Big Beat ‘64”

 

Personnel

Mick Jagger – vocals

Keith Richard – guitar, vocals

Brian Jones – guitar, harmonica

Bill Wyman – bass

Charlie Watts – drums

 

Sleevenotes: Lou Goldham

Throughout 1964 and 1965 the Stones were beneficiaries of the BBC’s ‘needletime’ agreement. Until it was abandoned in 1988 needletime was the number of hours of music on record that the BBC and other broadcasters were allowed to play per day. In order to supplement this allowance, the BBC commissioned extensive live recording sessions from the prominent pop groups of the day, thus inadvertently creating a rich archive of otherwise unavailable material. The Rolling Stones official “On Air” set showcased many of the tracks recorded for the BBC but some still remain officially unreleased. Here we have an extended version of High Heel Sneakers, a stalwart of the Stones 1964 live repertoire that was never released on a studio LP.

Later in April 1964 Bill Wyman’s diary says “We played the NME poll winners concert at the Empire Pool, Wembley. We chatted with the Beatles backstage, John Lennon was very complimentary about our album. Also on the bill were the Swinging Blue Jeans, the Dave Clark Five, Cliff Richard, Manfred Mann and the Searchers. We performed I Just Want To Make Love To You, Not Fade Away and I’m Alright. A year ago we had been playing to an audience of just a few hundred people at the Ricky Tick in Windsor: now we had a wonderful reception from over 10,000 fans. Even the Beatles admitted that the scale of the response to our performance had freaked them out.”

Ronnie Wood Review from Record Collector Magazine (January 2020 edition)

Carroll, Perry, Reeves & Cash

The Hope & Anchor, Islington, 19.12.19

Carroll, Perry, Reeves & Cash are not a firm of accountants but a highly effective showcase for JC Carroll’s evocative songs. Playing unbilled as support to JCs main band The Members their five song set was brief but left the crowd wanting more. JC was on acoustic guitar and vocals, John Perry on lead guitar, Tony Reeves on double bass and Nick Cash on drums. An extensive pedigree here: John Perry made his reputation with the Only Ones, Nick Cash has played with The Lines and Fad Gadget whilst Tony Reeves’ CV is extensive, ranging from Davy Graham to Colosseum and Curved Air. So Many Shades Of Blue, In the Beginning and Caveman TV all highlighted Perry’s elegant, understated lead parts, totally distinctive and equal parts Peter Green and Hank Marvin. Reeves dextrous double-bass managed to both drive the songs and provide a melodic counterpoint to the guitars whilst Cash’s brushwork unobtrusively held the songs together. The interplay of Carroll and Perry worked well until the closing Golborne Road when Carrol switched to electric and the parts were less well defined. All this and a “surf cabaret” version of Delilah. More please.

Merchandise; None

Review written for Record Collector magazine

Ronnie B. Goode!

Ronnie Wood With His Wild Five

All Saints Church, Kingston November 20th and Shepherd’s Bush Empire, November 21th

Ronnie took full advantage of gigging in a Saxon Church by playing Sweet Little Sixteen from the pulpit before taking his rightful place stage centre. Prior to this pianist Ben Waters had warmed up the 300-strong crowd with a tribute to Johnnie Johnson and introduced us to the band – Dion Egtved (bass), Dexter Hercules (drums), Antti Snellman (tenor sax) and Tom Waters (alto sax). A brace of backing singers and Imelda May on co-vocals allowed for a varied set of Chuck Berry songs. Outstanding were Mad Lad, a haunting instrumental played on lap steel plus several tracks covered by the Stones including Let It Rock, Little Queenie, Don’t Lie To Me, a rousing Carol and  set-closer Bye Bye Johnny. Ronnie also  revisited his time as a Face  with an evocative version of  Memphis Tennessee (“we always used to screw that one up”). Throughout a ninety minute set Ronnie’s guitar playing was faultless and just loose enough to be fun.

The following night saw a very similar set played to an absolutely rammed Shepherds Bush Empire. The audience response was equally enthusiastic with fans from all over the world helping with the vocals of Sweet Little Rock And Roller. Special guest vocalist on a seasonal Run Run Rudolph was Lulu – small in stature, big in voice.

Special Merchandise: Unique T shirts with artwork designed by Ronnie £30 (Kingston) and Mad Lad hoodies £50 (Shepherd’s Bush)

This review written for Record Collector magazine

Photocredit: Chalky1172 (via Instagram)