10 reasons why The Rolling Stones are better than The Beatles

By Stefano on May 2nd, 2013

1 They have the coolest member of both bands



Brian Jones or Ringo? There’s no contest there.

2 The Stones had an edgy dark side.



The Beatles would never have released an album called Their Satanic Majesties would they? The Beatles dabbled with the counter culture in the 60s. The Stones were the counter culture

3 The Beatles gave up at the end of the 60s.



Lightweights. The Stones made some of their best albums in the 70s and beyond.

4 The Beatles gave up touring. The Stones are the greatest live act the world have ever known



So a few screaming girls stopped The Beatles from touring. Have you seen the violence at the early Stones gigs? Yet they went on to become the best live band ever.

5 The Stones were much better musicians.



Keith is the Human Riff, Charlie Watts is an amazing drummer, Brian Jones could play anything with strings. The Beatles were great songwriters, but only average musicians.

6 The bands that followed The Stones were cool.



In the wake of The Stones we got the dirty punk R&B of The Pretty Things. The Beatles gifted us Gerry and The Pacemakers and Cilla Black!

7 Gimme Shelter has the best intro to a pop song ever.



Though Paint It Black runs it close

8 The Beatles’ solo stuff is mostly pretty poor.



Ok I’ll give you Imagine and Ram, but there’s also Double Fantasy and this gem. The Stones (oh, apart from Bill) never bothered too much with indulgent solo stuff.

9 Who would you rather go and see today. The Stones or Macca?



Well if the Olympics is anything to go by the Scouse fella can’t really sing any more.

10 Without The Stones there would be no Brian Jonestown Massacre, the best psych band of the last two decades.



And the world would be a much poorer place

http://www.brandish.tv/2013/05/02/10-reasons-why-the-rolling-stones-are-better-than-the-beatles.html

10 reasons why The Beatles were better than The Stones

By Stefano on May 3rd, 2013

1 Without The Beatles The Stones would still be playing in back street pubs in Kent



The Fabs even gifted The Stones their first hit single

2 The Beatles had an amazingly consistent run of brilliant albums





The Stones’ 60s albums were a bit hit and miss. There is a reason why they got a reputation as a singles band

3 Mick’s crimes against fashion



And it got worse

4 The Beatles were the innovators



The Beatles went psychedelic with Revolver. It too nearly two years for The Stones to catch up

5 The Stones in the 80s



Jarvis has a point. Some terrible albums

6 The Beatles invented the pop video



Again The Stones copied them, but not for a few years

7 The Beatles just had better songs



There’s a lot of fodder on The Stones’ albums

8 The Beatles released the best album of all time



And the second best one too

9 There are hundreds of amazing Beatles cover versions



Not so many good Stones ones

10 This

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Not convinced?


http://www.brandish.tv/2013/05/03/10-reasons-why-the-beatles-were-better-than-the-stones.html#respond


Edited by Joffa: 5/5/2013 03:14:57 PM

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Imagine McCartney, Hendrix, Davis

From: AP May 10, 2013 11:34PM

FANS of Miles Davis and Jimi Hendrix know the pair had been making plans to record together before Hendrix's death.

But less attention has been paid to the bass player they were trying to recruit: Paul McCartney, who was busy with another band at the time.

This tantalising detail about the super group that never was - jazz standout Tony Williams would have been on drums - is contained in an oft-overlooked telegram that Hendrix sent to McCartney at The Beatles' Apple Records in London on October 21, 1969.

"We are recording and LP together this weekend," it says, complete with a typographical error. "How about coming in to play bass stop call Alan Douglas 212-5812212. Peace Jimi Hendrix Miles Davis Tony Williams."

The telegram, advising McCartney to contact producer Douglas if he could make the session, has been part of the Hard Rock Cafe memorabilia collection since it was purchased at auction in 1995. Still it has only generated attention in recent months with the successful release of People, Hell & Angels, expected to be the last CD of Hendrix's studio recordings.

"It's not something you hear about a lot," Hard Rock historian Jeff Nolan said of the telegram, now displayed at the restaurant in Prague. "Major Hendrix connoisseurs are aware of it. It would have been one of the most insane supergroups. These four cats certainly reinvented their instruments and the way they're perceived."

French promoter and Hendrix fanatic Yazid Manou, who has researched the telegram, says it offers a glimpse of what might have been.

"It's amazing because of the names of the people," he said. "Of course that didn't happen, but the telegram brings us something to dream about. This is a document, proof that they had an idea to do an album."

The telegram raises more questions than it answers. It's not clear if McCartney was even aware of the unusual, apparently impromptu invitation to rush from his London base to New York for the planned session.

Beatle aide Peter Brown replied on McCartney's behalf, telling Hendrix the following day that McCartney was on vacation and not expected back for another two weeks.

The invitation came at an extremely awkward moment for the Beatles' bassist. It was sent the same day a prominent New York City radio station gave wide exposure to a rumour that McCartney had died in a car crash and been replaced by a lookalike.

The bizarre story, supposedly supported by hints on Beatles records and album covers, briefly gained worldwide credibility. Its dark nature apparently prompted the exasperated McCartney to retreat with his family to their farm in Scotland.

It also came at a time when the Beatles were falling apart due to business and artistic conflicts that likely would have been exacerbated by McCartney appearing on a record with Hendrix and Davis. McCartney was also still bound by a songwriting partnership with John Lennon that might have further complicated the release of any McCartney-Hendrix-Davis compositions.

And then there is the question of what the proposed group would have sounded like. Davis was moving away from his jazz roots toward a fusion-based sound. He said in his autobiography that by 1968 he was listening primarily to James Brown, Sly and the Family Stone and, particularly, Hendrix - musicians joined by a love of syncopated funk not found on Beatles' tracks.

It is not clear either how McCartney's melodic, subtle bass playing would have made its presence felt in a band that included Hendrix' guitar and Davis' trumpet.

"At first, though, it sounds really weird and off the wall. But on second thought it makes perfect, Hendrix-type sense to chuck in someone who's a great musician but comes from a different tradition," said Hendrix biographer Charles Shaar Murray. "I regret this never actually took place. ... it would have been magnificent."

McCartney is the only one of the four musicians who is still alive. His spokesman, Stuart Bell, said the former Beatle is too busy on his world tour to comb his memory for his thoughts about a telegram sent more than four decades ago.

In his autobiography, Davis said he and Hendrix occasionally jammed together at his apartment in New York City and tried to get into the studio to record but were hampered by financial matters and by their busy schedules. Murray and others maintain that Davis wanted $50,000 up front to attend the session.

The Juilliard-trained trumpeter Davis described Hendrix, who learned his chops backing up the Isley Brothers and others, as a self-taught "natural musician" who could not read music but was able to pick up complicated pieces in the blink of an eye.

Davis says in the book that he and arranger Gil Evans were in Europe planning to record with Hendrix at the time of his death in London.

"What I didn't understand is why nobody told him not to mix alcohol and sleeping pills," Davis wrote.

Hendrix's death dashed their plans to record together, with or without McCartney. Eddie Kramer, the engineer who produced most of Hendrix's music, said there will always be speculation about what might have been.

"I think it would have been phenomenal," Kramer said. "Lord knows where it may have gone; those huge egos in the studio at the same time! I would have loved to have done that one. But it was not to be."

http://www.heraldsun.com.au/entertainment/music/imagine-mccartney-hendrix-davis/story-e6frf9hf-1226639751544

My favorite album is revolver

amd favorite all time beatles song is "she said she said"

and i think let it be is their most under rated album

I agree with your coment about Let It Be being under rated


Track listing [edit]

All songs written and composed by Lennon–McCartney, except where noted.
Side one   
No.   Title   Lead vocals   Length   
1.   "Two of Us"    McCartney and Lennon   3:37
2.   "Dig a Pony"    Lennon   3:55
3.   "Across the Universe"    Lennon   3:48
4.   "I Me Mine" (George Harrison)   Harrison   2:26
5.   "Dig It" (Lennon–McCartney–Harrison–Richard Starkey)   Lennon   0:50
6.   "Let It Be"    McCartney   4:03
7.   "Maggie Mae" (trad. arr. Lennon–McCartney–Harrison–Starkey)   Lennon and McCartney   0:40
Side two   
No.   Title   Lead vocals   Length   
1.   "I've Got a Feeling"    McCartney and Lennon   3:38
2.   "One After 909"    Lennon and McCartney   2:54
3.   "The Long and Winding Road"    McCartney   3:38
4.   "For You Blue" (Harrison)   Harrison   2:32
5.   "Get Back"    McCartney   3:09


Some amazing songs on this album. Incredible to think that as The Beatles were falling apart, their music was getting better....

George Harrison: Musician, Mystic, Gardener, Film Producer - 10 Years After His Death, We Remember 'The Quiet Beatle'

First Posted: 29/11/11 11:29 GMT Updated: 29/11/11 17:37 GMT

George Harrison died 10 years ago today. His great friend, motor-racing legend Jackie Stewart, recently tried to express what this loss still meant to him.

Stewart was speaking in a documentary by Martin Scorsese charting Harrison's life and death (George Harrison: Living in a Material World). Stewart explained how the world of motor-racing had forced him to experience grief at first hand many times, but how the loss of the Beatles' lead guitarist had somehow left a deeper and longer-lasting wound than all of these.

And Stewart added, "And I wasn't even one of his closest friends. I bet if you were to ask dozens of people, they would say the same thing."

Stewart's words are testament to the scope of interest and influence Harrison enjoyed in his life. Far from being just "the Quiet Beatle",
Harrison took paths encountering everything from Eastern mysticism to motor-racing, via film production and even gardening.

His road to global fame and wealth was shared for the most part with his schoolmate Paul McCartney - from Liverpool's renowned Cavern, the training ground of Hamburg's neon light district to the craziness of Madison Square Garden. The song-writing skills of John Lennon and McCartney always took centre-stage, but Harrison's songs Something and Here Comes the Sun are an indispensable contribution to the Beatles' legacy.

He was also the Beatle who, in the midst of all the euphoric attention surrounding the band, sought a quieter place for contemplation with Eastern mystics, introducing the other three to the teachings of Maharishi Mahesh Yogi, and learning the sitar at the knee of Ravi Shankar.

With the folding of the Beatles, Harrison could have been forgiven for packing away his guitar and counting his millions. Instead, he continued to be creative, enjoying a solo worldwide hit in 1970 with My Sweet Lord, and later jamming with his pals Roy Orbison, Jeff Lynne, Bob Dylan and Tom Petty as The Travelling Wilburys.

His production company Handmade Films (founded 1978) was behind many of Britain's most influential and enduring pictures (for example Withnail and I, Brazil, Mona Lisa), including backing the Monty Python team's successful foray onto the big screen.

And he even went where few would dare, steering newlyweds Madonna and Sean Penn in Shanghai Surprise.

His ever-hectic career was a world away from the serenity of Harrison's Gothic pile, Friar Park, in Henley-on-Thames, Oxfordshire, where he was often photographed lovingly cultivating his huge garden. He was as likely to invite Hare Krishna members to stay as he was racing drivers and rock stars.

His deep belief that nothing can be permanent or possessed was personally tested in 1974 when his first wife Patti Boyd embarked on an affair, and later went off with, his great friend Eric Clapton. Asked about this at a press conference very soon after, Harrison reflected, "He's a great friend of mine - better him than someone else."

Harrison himself later found lasting contentment with his second wife Olivia, who proved her mettle when the couple were attacked by an intruder in their home in 1999. Although Olivia fought off the attacker and saved the life of her stabbed husband, their son Dhani later reflected how much this trauma took out of his father, already suffering from cancer.

Olivia Harrison also described how that was the night her husband, who had always been deeply philosophical, properly began to question whether he was in a fit state, spiritually, for what lay ahead of him..

Ironically, this man who had been blessed with material gifts and rewards beyond measure in his material world, became increasingly defined by the dignity and grace with which he prepared to leave it all behind. Ten years later, it is clear that it is this gentleness and quiet sense of purpose which has kept his place dear in the hearts of his family, friends and fans as much as his music and creative talents.

http://www.huffingtonpost.co.uk/2011/11/29/george-harrison-beatles-10-years-on_n_1118100.html?

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hey joffa i don't know how you feel about progressive rock. but this Todd Rundgren album called Utopia is one of the best Progressive rock albums ive ever heard. It has a touch of Frank Zappa about it, but todd rundgren was a master producer and the band really kills it on the opening half of the album.

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As a general rule I quite enjoy prog rock let me have a listen and I will get back to you on this one. I really liked his work with The Band and The Paul Butterfield Blues Band

i love The Band i always re-watch the robbie robinson and eric clapton guitar duel on the last waltz. legendary stuff!

The Last Waltz is my all time favourite music video, up there with The Beatles rooftop performance and Woodstock.....The Band are so underrated truly awesome.

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couldn't agree more. very underated 'up on cripple creek' was my favorite song from them and was a great thrill to learn the chords on guitar.

Great song, My current fave is Long Black Veil

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Edited by Joffa: 31/5/2013 10:51:05 PM

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love this song! and the performance:lol:

25 Greatest Beatles Songs by Paul McCartney

By Tiffany Lee | List Of The Day

While the kids may be wondering who's this Paul McCartney dude -- use the Internets, kids -- those of us who have been following music for a few years know he was the guy who put out that awesome Liverpool Oratorio! and who played bass in The Beatles and The Wings. If it matters, according to Wikipedia, he is one of the most successful songwriters and musical artists of all-time. Sales numbers for Bach back in his day are not available.

What I've foolishly done here is put together the "25 Greatest Beatles Songs by Paul McCartney" and left off "Let It Be," "The Long and Winding Road" and "When I'm Sixty-Four" because I like these other songs better.

My own choices are what they are. The order is nearly nonsensical, since if you asked me to reproduce this list without referring to it, even right now -- it would come out very different. Fact is, you can't go wrong with any of the 25 songs listed. You likely can't go wrong with another 25 Paul McCartney songs that didn't make the list. But I'm sticking to 25! To think, I didn't even make it past anything after he left the Beatles! Wow! I really have wasted my life!



25) Hey Jude: You could shave off a couple minutes of the Na-Na-Na-Na part and I don't think most people would feel bad. It's important that he did it at the time (1968). He gave us the Beatles' longest hit single, but we're not on the clock anymore and I'd like to spend more time with friends and family and the first part of the song, which, true to McCartney's talents, sounds both as natural as breathing and as carefully thought out as an atomic bomb. Well, a peaceful atomic bomb.



24) Yesterday: Yes, yes, the working title was "Scrambled Eggs" and while McCartney's performance with Jimmy Fallon proved it was probably a good idea that he changed the words, the melody is indestructible. Perhaps, because I don't listen much to radio, I've never developed an aversion to this song or maybe it's because it's less than three minutes. I don't have time to grow tired of it or time enough to change it before it's over.




23) The Fool On The Hill: Magical Mystery Tour was a lousy film. The music for it, however, was fantastic. The beauty of the melody suggests Macca was still feeling the heat of Pet Sounds. In my own mind, I like to imagine what rock 'n' roll would've become if, by 1968, people weren't getting back to basics and to the land and instead got weirder and weirder.



22) Helter Skelter: Determined to make the loudest track he could -- why should The Who have all the fun? -- McCartney put this ear-bleeder to tape. It is often considered the Beatles' heavy metal track. I consider it very loud folk music.




21) Blackbird: While Paul was known for his spot-on Little Richard impersonations, he is better known for his ballads, his quiet acoustic songs, and is considered, therefore, the soft Beatle where John would be hard. The question you must ask yourself is what's wrong with playing soft, as long as you're the best at it? I know plenty of guys who play hard and they're awful.



20) I'll Follow The Sun: None other than Beatles producer George Martin singled this track out as one of his favorites. Paul had been kicking it around since the earliest of days -- a recording from 1960 exists -- and by the time it made it to an album (late 1964), it was truly ripe and perfect and needed less than two minutes to say its peace. Within a decade, not only would louder be better, but longer would be better. (I admit, it's a pet peeve of mine that so many musicians insist on wasting time.)



19) Back In The U.S.S.R.: It's an obvious tip of the hat to Chuck Berry and the Beach Boys and further proof -- should you need any -- that McCartney could rock and was as hip and self-conscious as anyone. His decision to write about Russia as if it were Southern California was a humorous conceit that made the song work on a variety of levels. It wouldn't be a stretch to say that it single-handedly ended Communism and brokered world peace!



18) I Will: Another one of McCartney's less-than-two minute wonders. "The White Album" was good for stuff like this, where you could sneak these little songs in the nooks (and the crannies) and have them come across both important and minor, simultaneously. Said to have taken 67 takes, "I Will" was obviously of great importance to Paul. Important enough to make it sound easy.




17) I Saw Her Standing There: Written early enough in the Beatles' career that Lennon helped steer it on course, the song, which appeared on their first album, shows just how smart and advanced the lads from Liverpool were. McCartney swears up and down he stole the bass line wholesale from Chuck Berry's "I'm Talking About You." I have no reason to doubt him. What's the line, "amateurs borrow, professionals steal"? Yeah, it was the best of songs, it was the worst of…forget it.



16) All My Loving: Who doesn't love the Tim Urban performance of this song on American Idol? I wouldn't know, since I missed it, but I'm sure it was wonderful. Considering this song appeared in 1964 and was solely written by McCartney, it makes you wonder why Lennon and McCartney so easily gave credit and royalties to each other for all those ensuing years. I thought young people had egos?




15) Paperback Writer: What's all this talk that McCartney didn't rock? Sure, he was good at the ballads, but he knew how to do everything. He was the most versatile of the Beatles, able to play Ringo's drum parts, George's leads, and John's rhythms if need be. Just because he had the most classically good looks and liked to please people where Lennon was more likely to test their mental abilities doesn't mean we should rank Paul any lower on the scale. Or figure this, if John Lennon was impressed by his mate, shouldn't we be?



14) Got To Get You Into My Life: The Beatles loved soul music. Yet, many of their earliest attempts to sound like Wilson Pickett didn't even come close. Which turned out to be a blessing, since no one would ever accuse them of ripping anyone off. By adding horns here, the band made their interests more explicit. Don Draper might have been less perplexed if he'd put the needle down on this track instead of "Tomorrow Never Knows." Why, it's almost big band!




13) Michelle: Some say it's sappy. Overrated. Responsible for every parent of a certain age naming their daughter Michelle. Bah, humbug! It's a nice name (you would prefer McCartney had called the song Mulva?) and the bass line alone is enough to die for. Fact is, the track has feel. Even if it won a Grammy and was covered too many times, it has nothing to do with the raw meat of the track. The Free Design nailed it!



12) I'm Looking Through You: Rubber Soul was the Beatles in such a perfect place that anything they did turned to gold. Gold, I tell you! The earlier version of the tune was a highlight on the second volume of the Anthology series. It all sounds so simple. Yet, why was it not?




11) Good Day Sunshine: Everybody stand around the piano and sing a song of praise! To the sun! Uh, oh! False gods? Nah, just better harmonies than most bands and definitely better than the relatives that insisted on singing "Danny Boy" on holidays. The only advantage to Irish heritage? The food! Ooh, boiled cabbage! (Can we order out for pizza, please?)



10) Eleanor Rigby: By featuring a double-string quartet arrangement from George Martin, surely Martin should've been made an official member of the group. The Fab Five! He'd already contributed a number of great performances to their records and he would've sealed the over 30 crowd that kids would stupidly begin not trusting in another year or so… Yeah, "old" people. What do they know? Dad, can I borrow $20?




9) We Can Work It Out: In two minutes and 15 seconds, the Beatles complete a song, where Don Henley, Robbie Robertson (solo) or Peter Gabriel would've been no further than bird sounds, a long synth intro and maybe half of the first verse.(The clock is ticking, folks, on my life!) Lennon added the bridge. You really can work things out when the two people in question are John and Paul. With a proven track record like that, you have to assume they know something you don't about songwriting.



8) And I Love Her: A lot of "differences" in alternate mixes are so minute that you're forgiven if you can't hear them. However, the single-tracked vocal heard on the mono mix of the Something New album vs. the double-tracked vocal on its UK counterpart on A Hard Day's Night is something we all can distinguish. Not that it means anything. But I thought I'd mention it just in case you wanted to sound like an audiophile!



7) Mother Nature's Son: McCartney's time in India studying with the Maharishi Mahesh Yogi led to his writing this fine track that's as satisfying as Chicken Vindaloo (sorry, Paul).



6) Martha My Dear: Everyone's pet should have a song written for them. Or named after them, as McCartney has said the song while named for his Old English Sheepdog is actually about Jane Asher, the girl in McCartney's life who didn't marry him and left the field wide open for "The Lovely Linda" to score the winning goal! (Metaphors-To-Go offers half-baked metaphors at just a third of the price!)




5) Things We Said Today: A tune written in happier times with girlfriend Jane Asher, "Things" looks into the future to think about the things we'll one day feel nostalgic about! This is why Mr. McCartney is a visionary!



4) For No One: For a band, the Beatles sure allowed its members to work alone or with outside influences. Ringo got to play tambourine, while Alan Civil played his Freedom Horn. McCartney hogged the rest of the instruments for himself. Or perhaps he was just being nice, not wanting to wake John "I'm Only Sleeping" Lennon.




3) Here, There and Everywhere: Best known as the song being played on steel drums as Phoebe Buffay walks down the aisle for her wedding on Friends (thanks, Wikipedia!), "Here, There And Everywhere" is widely considered one of McCartney's greatest songs. Maybe the rockers in the house aren't pleased with the mellowness, but have you never been mellow?



2) I've Just Seen A Face: Here's where the Ugly American in me shows his middle finger. UK Beatles fans know this as just a nice little track from the Help! album, but us US fans know it as the lead-off track from Rubber Soul, the song that sets the pace for the entire album, that fits so perfectly next to "Norwegian Wood (This Bird Has Flown)" that we can't imagine trivializing it on side two of another album. Drive your own car, you drafty old Brits!




1) Penny Lane: There's plenty of conjecture concerning what Sgt. Pepper's would've been like had this track and its flip-side, "Strawberry Fields Forever," been included on said LP. It apparently wasn't as good as Engelbert Humperdinck's "Release Me" to the ears of British audiences who failed to send the double-sided single to #1. But I bravely declare the track to be better than "Release Me" and really don't care how many Humperdinck fans write in to tell me I'm wrong. We all must stand for something.

http://music.yahoo.com/blogs/list-of-the-day/25-greatest-beatles-songs-paul-mccartney-005427068.html

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rename thread - The Beatles Thread

Whilst you Beatles fan boys have been off debating Nirvana V Pearl Jam the early years, you all completely forgot that whilst these guys were off doing their thing the Who were the greatest English band around rocking harder and faster for the Mods and leaving the hippies and teddy boys behind.
Along side Live at Leeds, this is the lost concert, the one that pete Townsend was bitchin' about that they couldn't get the levels right to release so was packed away on a shelf for 40 odd years. now with modern technology we now get to relive a moment in glory!




Disc 1:
Heaven and Hell (Entwistle)
I Can't Explain (Townshend)
Fortune Teller (Neville and Spellman)
Tattoo (Townshend)
Young Man Blues (Allison)
Substitute (Townshend)
Happy Jack (Townshend)
I'm a Boy (Townshend)
A Quick One, While He's Away (Townshend)
Summertime Blues (Capehart and Cochran)
Shakin' All Over (Kidd)
My Generation (Townshend)

Tommy
Overture (Townshend)
It's a Boy (Townshend)
1921 (Townshend)
Amazing Journey (Townshend)
Sparks (Townshend)
Eyesight to the Blind a.k.a. "Born Blind" (Sonny Boy Williamson)
Christmas (Townshend)
The Acid Queen (Townshend)
Pinball Wizard (Townshend)
Do You Think It's Alright? (Townshend)
Fiddle About (Entwistle)
Tommy, Can You Hear Me? (Townshend)
There's a Doctor (Townshend)
Go to the Mirror! (Townshend)
Smash The Mirror (Townshend)
Miracle Cure (Townshend)
Sally Simpson (Townshend)
I'm Free (Townshend)
Tommy's Holiday Camp (Keith Moon)
We're Not Gonna Take It (Townshend)

I've been listening to heaps of The Doors and Pink Floyd lately. Brilliant bands with some brilliant lyrics

Yeah we've had the doors on almost repeat since Ray died. Listening to the first album and LA Woman. So brilliant in totally different ways!

LA Woman was the first Album I heard Stoned and has been one of my top 5 albums of all time.

From The Who to Bob Dylan and The Rolling Stones: The albums that make you wish you’d been there

Ahead of a new compilation of James Brown shows, Robert Webb lists the best live records

ROBERT WEBB FRIDAY 07 JUNE 2013

The Who Live at Leeds (1970)

Recorded at Leeds University in February 1970, this was the Who’s return to roots; their Let It Be. According to Pete Townshend it was only intended to appease fans between albums: “Our intention was simply to blow you away”. The album helped inspire the heavy metal revolution of the early Seventies.

Download “Summertime Blues”

John Martyn Live at Leeds (1976)

With an Echoplex and Free’s guitarist Paul Kossoff at his side, Martyn hit the road in 1975 to promote his album Sunday’s Child. The resulting live recording, made at the same venue as the Who album and beautifully capturing Martyn’s breezy, bluesy jazz-folk, was initially distributed from the singer’s Hastings home in a limited, signed edition of 10,000.

Download “I’d Rather Be the Devil”

Bob Dylan Live 1966 - The “Royal Albert Hall” Concert (1998)

Among the most famous of all concerts – the one where disgruntled folkies heckle an indifferent Dylan. The bootleggers were wrong when it first appeared in the Sixties: it was Manchester’s Free Trade Hall and not the circular London venue. No matter, the official release is an essential recording of a pivotal cultural moment.

Download “Like a Rolling Stone”

Van Morrison - It’s Too Late to Stop Now (1974)

Cut with the Caledonia Soul Orchestra in California and London, this is one of those rare double-live sets that doesn’t drag. Morrison performs old Them hits, R&B standards and a roster of solo tracks. A joyful recital from a legendarily cantankerous performer.

Download “Listen to the Lion”

Thin Lizzy Live and Dangerous (1978)

Recorded during two world tours, using different tape sizes and conflicting noise-reduction settings. To even things out Phil Lynott replayed every bass part in the studio and the guitarists overdubbed licks. “The album is about 55 per cent live,” said producer Tony Visconti.

Download “Emerald”

Talking Heads - Stop Making Sense (1993)

When first released in 1984, this was a heavily-edited soundtrack to the movie of the same name. The expanded reissue addressed early complaints and finally provided fans with an essential live recording.

Download “Once in a Lifetime”

Aretha Franklin Live at Fillmore West (1971)

Franklin’s best live album ranges across classics from the likes of McCartney, David Gates and Simon and Garfunkel, all carefully chosen to appeal to the largely white hippie audience. Stunning on vinyl; later expanded to fill four CDs.

Download “Bridge Over Troubled Water”

The Band - The Last Waltz (1978)

Fourteen months before the Sex Pistols bid farewell at the Winterland Ballroom, asking if we had ever felt cheated, The Band bowed out at the same San Francisco venue. Between these two concerts pop music spun on its axis. The Band are joined on stage by a dozen dinosaurs, including Eric Clapton and Joni Mitchell.

Download “Helpless”

Bob Marley & The Wailers Live! (1975)

Few concerts have been as influential as the Wailers’ packed, hallucinatory shows at London’s Lyceum in July 1975. This was reggae’s crossover moment, making Marley an instant star in rock’s white firmament.

Download “No Woman, No Cry”

David Bowie Live at Nassau Coliseum ’76 (2010)

David Live was marred by botched recording and Stage lacked atmosphere. Bowie’s best live albums have been the unofficial ones. This concert recording, culled from his 1976 US tour (and now a bonus with the recent reissue of Station to Station) is unyielding in its monochrome intensity.

Download “Waiting for the Man”

The Rolling Stones - Get Yer Ya-Ya’s Out (1970)

Recorded in late 1969 and probably issued to counter various bootlegs in circulation, this is the sound of the Stones (with new boy Mick Taylor) in the ascendancy. It was instantly hailed as the best concert album by a rock band to date and was the first rock live LP to make No 1.

Download “Midnight Rambler”

Johnny Cash At San Quentin (1969)

Keen to repeat the success of his Folsom Prison recording of a year earlier, and accompanied by a Granada TV crew, Cash booked the maximum security San Quentin gaol in February 1969. The improved sound quality and almost rioting audience tops Folsom.

Download “San Quentin” (first take)

Elvis Costello Live at the El Morcambo (1993)

A widely bootlegged promo from the late Seventies given official release in 1993. Elvis (below left) and the Attractions are caught at their raw best at the Toronto club in March 1978. The crowd holler and whoop.

Download “Less Than Zero”

Led Zeppelin - How the West was Won (2003)

The lumbering soundtrack for The Song Remains the Same failed to deliver an accurate document of Zep’s live appeal. This crushingly brilliant triple-disc set, assembled by Jimmy Page from June 1972 performances found during the production of the Led Zeppelin DVD, does the trick.

Download “Since I’ve Been Loving You”

Nirvana Unplugged in New York (1994)

Kurt Cobain was nervous at the prospect of playing an unplugged set for MTV. He refused to comply with the channel’s request for a set-list of hits and insisted on channelling his acoustic guitar through a hidden amp. Perhaps because of the tension between band and broadcaster, the performance at New York’s Sony studios was electric.

Download “The Man Who Sold the World”

James Brown’s ‘Best of Live at the Apollo – 50th Anniversary’ (Universal/Polydor) is released on 24 June
http://www.independent.co.uk/arts-entertainment/music/features/from-the-who-to-bob-dylan-and-the-rolling-stones-the-albums-that-make-you-wish-youd-been-there-8648119.html

probably one of my favorite songs from the 70s i absolutely love the lyrics.
very underated band.
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The Grateful Dead
May 1977
Grateful Dead/Dead.net

By WILL HERMES
June 17, 2013
The Grateful Dead's May 8th, 1977, gig at Cornell University is widely considered the ne plus ultra of Dead bootlegs. This 14-disc set, packed in a psychedelic sarcophagus, documents five gigs from later that month. It puts the consensus-maker in perspective, occasionally rivals it and, flaws notwithstanding, shows a band on a hell of a hot streak. Compared to the hard-tripping Sixties edition, this is comfort-food Dead, long on unhurried jams and raggedy country harmonies sweetened by their only-ever female band member, Donna Jean Godchaux.

The improvisation shines on wah-wah-powered twofers that became concert staples: "Estimated Prophet"/"Eyes of the World" (making their paired debut on May 15th in St. Louis) and "Scarlet Begonias"/"Fire on the Mountain," which stretched to 25 minutes on May 17th in Tuscaloosa, Alabama, with a segue epitomizing the band's sleight-of-hand groove magic. A tempo-shifted "St. Stephen" gets flubbed, omitting a verse and its howling off-ramp jam. Other revisions – Jerry Garcia's guitar effects on "Uncle John's Band," the boy-girl harmonies on "High Time" – are more winning. And minor tracks often surprise: See "Sugaree," from May 11th in St. Paul, Minnesota, in which Garcia explodes around the six-minute mark into a torrent of guitar bliss, then slips back into a molasses verse like he'd just been picking his teeth. As the bearish Zen master sang later that night, "Once in a while you get shown the light/In the strangest of places if you look at it right."


Read more: http://www.rollingstone.com/music/albumreviews/may-1977-20130617#ixzz2XVh65ATn
Follow us: @rollingstone on Twitter | RollingStone on Facebook


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Edited by Joffa: 28/6/2013 10:20:44 PM

A new box captures the band's epic 1977 shows. But offstage, things were beginning to fray

Peter Simon / Retna Ltd
By DAVID BROWNE
June 26, 2013 9:00 AM ET

Bikers, blow and Belushi: As usual when the Grateful Dead took Manhattan, the band's five-night stand at the Palladium in April 1977 had them all. Hells Angels rode their hogs right into the dressing rooms, brandishing a knife and demanding they play "Truckin." John Belushi, in his Saturday Night Live heyday, popped into a dressing room to share some weed. Onstage, though, something different took place in those shows. Dating back to their earliest performances a decade before, the Dead could be loose, sharp, undisciplined, sloppy, fierce – sometimes all during the same night. But Deadheads who caught the Palladium shows witnessed a startling sight: a firm and focused Grateful Dead. "We came out really strong," says percussionist Mickey Hart of those and other shows on the band's spring '77 tour. Recalling some of the brand-new songs the group premiered onstage then, he adds, "'Estimated Prophet,' 'Fire on the Mountain' – it was fresh meat, and we were ready to play those things. It was perfect timing."

20 Essential Grateful Dead Shows

Ask Dead fans and scholars to name certain key years, and you know what you'll hear. Some point to 1970, when the band cut two enduring masterpieces, Workingman's Dead and American Beauty. Or 1972, when the Dead toured Europe for two months and played some of their finest shows, resulting in another landmark album, Europe '72. Singer-guitarist Bob Weir points to the late Eighties, just before the death of keyboardist Brent Mydland: "For me, that was our peak," Weir says. "We could hear and feel each other thinking, and we could intuit each other's moves. Jerry, Brent and I reached new plateaus as singers. We packed a punch."

Yet few years make Deadheads wax more nostalgic than 1977. Over the course of two tours, an Eastern-rooted swing in the spring and a mostly Western and Midwestern trek in the fall, the Dead played what many consider the tightest, most consistently satisfying shows of their career. "It's as close to a flawless Grateful Dead tour as I've ever heard," says band archivist David Lemieux. "There were no train wrecks."

Grateful Dead's First Decade Captured in New Photo Memior

About a dozen concerts from that year have already been released on CDs and downloads, but on June 11th, the biggest batch yet arrived with May 1977, a 14-disc box featuring five complete shows from that tour. "We had all this new material we were excited about playing," says Donna Jean Godchaux, who sang with the Dead during this period. "Everyone wanted to say, 'All right, this is the time to make a statement and not just be a psychedelic weirdo hippie band.'" As a record-company ad that year read, A NEW DEAD ERA IS UPON US – which, as the band would learn, was both a blessing and a curse.

The dead were coming off a troubled few years. In 1973, beloved founding member Ron "Pigpen" McKernan had died as a result of a longtime drinking problem. The following year, the Dead's experiment with their massive, costly Wall of Sound PA collapsed. Their attempt at running their own record label, Grateful Dead Rec­ords, had floundered and left them in the hole when label head Ron Rakow skipped town with the $225,000 he felt was owed to him. Rex Jackson, a member of the Dead's hardworking, hard-rocking crew, had died in a car accident in September 1976.

The following month, the Dead signed with Clive Davis' Arista Records, then also the home of rockers like Lou Reed and Patti Smith. At Davis' suggestion, they agreed to work with a pop-oriented producer: Keith Olsen, who had just produced a huge hit album for Fleetwood Mac. "We were trying to make a real rec­ord for Clive," says Hart.

Starting in January 1977, the band and Olsen bore down on new material – including the epic "Terrapin Station" suite and Weir's reggae-influenced "Estimated Prophet" – at Sound City, the funky but first-rate San Fernando Valley studio recently immortalized in Dave Grohl's Sound City documentary. More so than probably any previous studio collaborator, Olsen put the bandmates through their paces, making them rehearse and replay parts until they nailed them. Normally, the Dead would have bristled, but not this time: "Keith was cracking the whip, but we liked it – it made us sharper," says Hart. "We became much more disciplined. And Keith was always a little too small to hit. So he got away with a few things."

Although he got high with Garcia on at least one occasion, Olsen didn't become fully acclimated to the Dead universe until the later wrap-up sessions in New York, when Belushi came by, did cartwheels in the studio and hung out. "He drank everything he could and took everything and then passed out in front of the console," Olsen says. "Everyone said, 'Don't bother him – let him be.' This was all still really new to me." Yet Olsen was also impressed with Garcia's creativity and nonstop input: "He would have 20 ideas for everyone. He'd say, 'I got a bunch of ideas,' and we'd do them all. He really enjoyed the process."

But the process was slow. As the recording sessions started to drag throughout the winter of 1977 – and the band faced the possibility of not finishing the record before going on tour – Steve Parish, a member of the crew (and later Garcia's manager), came up with a novel idea: Nail the studio door shut. "It was a joke," says Parish. "But we were under the gun, and it kept the guys in there."

The finished album, Terrapin Station, was the Dead's most polished, professional effort to date, foreign adjectives that didn't necessarily thrill everyone in the band. Hart was upset when Olsen overdubbed strings on one of his parts without telling him. With tempered enthusiasm, bassist and co-founder Phil Lesh later called the album "a fairly successful effort" that "varied wildly in terms of material." At the time, though, the band put on a positive face about its aural makeover. "It actually sounds like a record," Garcia enthused to Rolling Stone before its release. "People won't believe it's us." Added Weir, "It's the Dead without all those wrong notes."


On May 8th, fans crammed into Cornell University's Barton Hall, a field house, were a little too pumped that the Dead were in town. "All right, now," a newly bearded Weir told them about halfway through the show. "We're gonna play everybody's favorite fun game: 'Move back.' Now, when I tell you to take a step back, everybody take a step back." Weir had to say it a few times, and bit by bit, the nearly 5,000 fans moved toward the rear of the venue to alleviate the crush at the front of the stage.

For the Dead, Barton Hall was just another stop, and a fairly out-of-the-way one. The only thing Donna Jean Godchaux remembers about it is how cold it was. "A college gig in New York, and it's snowing, and you just play the gig," she says. Hart's future wife, Caryl, attended Cornell at the time but opted to see "Barry Manilow or something" with a boyfriend that night. Just about every Deadhead, though, remembers Barton Hall, whether they attended or not. The show regularly tops fan polls of best Dead performances, and last year a tape of the show was included in the Library of Congress' National Recording Registry. Ironically, the Barton Hall performance has never been officially released, since the master tape is now in the hands of an unknown collector. In the mid-Eighties, recording engineer Betty Cantor-Jackson – who recorded all the shows on the '77 tour – lost possession of the tapes after they were auctioned off (without her consent) from the storage facility where she was keeping them.

For fans and even band members, debate rages about whether or not the show matches the legend. "That was a really good performance," says Hart. "Was it the best? That's not for me to say, really." Listening to one of the many audience tapes available, there's no denying its highlights: a rare performance of Bonnie Dobson's apocalyptic nightmare "Morning Dew," which the Dead transformed into a huge, cathartic soundscape; fans also heard a new combination introduced onstage in February: "Scarlet Begonias" segueing into "Fire on the Mountain," which didn't make the cut on Terrapin Station but would end up on the Dead's following album, Shakedown Street.

What few debate is how sparkling the Dead sounded that night, and throughout that tour. At the University of Alabama, they played a slow, mournful "High Time" and added dramatic flourishes to Weir's "Looks Like Rain." A beautifully burnished "Wharf Rat" in Hartford, Connecticut, showed how they'd matured as a band without losing their shambolic charm. During a particularly strong "Sugaree" in St. Paul, Minnesota, Garcia discharged a wild flurry of notes that dispelled any sense that the Dead were mellow old hippies – one of many demonstrations that all the studio hours they'd logged with Olsen had paid off. "We're still as confused as we ever were," Garcia told RS's Charles M. Young during the Palladium run. "But the old Dead trip was getting to be a burden, so we sacked it and went on to new projects. We're having fun again."

Members of the Dead's legendary road crew still enjoy reminiscing about the musical high points. The secret weapon was keyboardist Keith Godchaux, Donna Jean's husband, who'd joined the band in 1971. "When you hear the tapes now, you're totally blown away," says Bill "Kidd" Candelario, a member of the crew from 1968 to 1995. "He played so quietly, but you're astounded at what he was playing. He was magical."

Every so often, the Dead encountered a bump in the road. When they played Buffalo's War Memorial Auditorium the night after Cornell, the two young local concert promoters – Bob and Harvey Weinstein, later renowned movie producers – offered receipts that seemed "a bit cockeyed," says tour coordinator John Scher. "I've kidded Harvey about it." But more often than not, the Dead machine rolled along as smoothly as it ever would. When they arrived at the University of Alabama, marking their first-ever visit to a state not known for being friendly to longhairs, the school's football team helped the Dead crew set up. "If you want to pick a year where everything was working well, that year stands out," says Parish. "We realized there were losses we had overcome, but we were still tight and had each other and were close. Everyone was healthy and partying full blast, every day."

In the predawn hours of June 20th, while the band was back home in Marin County during a break, Hart left a local club show and lost control of his car. He crashed through a guardrail, and only a tree on the side of the road prevented the car from falling into a ravine. Hart emerged with a broken collarbone, smashed ribs and a broken arm. "I opened my eyes [in the hospital] and Jerry was there: 'You look like shit!'" he says.

Hart recuperated, thanks to almost two months of rehab, but the incident was a sign that there were more troubles ahead. Stuck in an unhappy marriage, Lesh began relying increasingly on alcohol for what he called "the slightly numb, detached feeling"; by the fall, he'd put on 30 pounds thanks to the beers he would start downing for breakfast. Drummer Bill Kreutzmann's second marriage was falling apart, and Weir had, the year before, parted ways with his longtime love, Frankie Weir (they weren't married, but she took his last name anyway).

Offstage, Keith and Donna Jean Godchaux were an increasingly volatile couple. Donna Jean was, in her words, "no angel," and was regularly using cocaine and drinking wine. She'd tried heroin once and hated it: "I just threw up for 24 hours. So I couldn't plant my feet in that patch." But her husband became increasingly beholden to the drug; Olsen remembers him mostly sleeping on a couch during the Terrapin Station sessions. On the road that year, band and crew often heard the couple's screaming matches. "There was always backstage drama," says Candelario.

Garcia, the group's charismatic but unwilling leader, was besieged on numerous fronts. "It was an emotionally difficult time for him," says Richard Loren, then the Dead manager. "He was at wit's end pretty much." He went through a messy breakup with his girlfriend (and future wife), Deborah Koons, and had to deal with the fallout from Ron Rakow's expensive departure from the band. Since it was Garcia who had brought Rakow into the fold, the band penalized him for it, cutting his paycheck down to about $50 a week (from about five times that amount). Garcia was also beginning to feel the burden of being an iconic figure who was easy prey for anyone who needed a favor. "He was starting to hide," says Candelario. "He had guys hounding him to do free shows. They didn't come by to say, 'Hi, what's going on?' They came to tell him he needed to do a benefit concert or whatever. It was a hustle. He had all those kinds of things pounding on him."

As with Keith Godchaux, Garcia turned to opiates – in particular, a new, strong Persian style of heroin. At the time, Garcia hid his growing habit from his bandmates; Hart and Godchaux say they didn't realize until later that he was using. And given the quality of Garcia's playing and singing in 1977, there was no reason to suspect anything at that point. "I think it made him feel good," says Loren, "and when he felt good, he played good."

One bright spot cracked open that June, when The Grateful Dead Movie, filmed during the band's pre-hiatus shows in San Francisco in 1974, made its long-overdue premiere at the Ziegfeld Theatre in Manhattan. "Jerry was really proud of that movie," says Loren. Of Garcia during that period, Hart recalls, "He was in a creative zone, and his health was OK. Yes, there was a lot of pressure. But that didn't interfere with Grateful Dead music. Music was the only way any of us could deal with pressure."

On Labor Day weekend, the Dead returned to the road in a big – almost risky – way. Scher booked the band into Raceway Park, a racetrack in Englishtown, New Jersey. The park normally held about 50,000; the band sold 102,000 tickets – up to that point its biggest nonfestival gig. Until then, everyone assumed the Dead's on-the-road success was a result of repeat business – the same fans buying tickets to more than one show. But Raceway Park proved that the Dead could pull in huge numbers for just one show. "It said, 'We're a big band,'" says Loren. "It put the Dead up there with anybody else who was performing: 'Yeah, the Allman Brothers are a big band, but they're not the Grateful Dead.' The industry stood up and said, 'Holy mackerel!'"

In the years that followed, the Dead's audience would only grow larger and more fervent – and the Dead's excesses would sometimes grow proportionally. The Godchauxs left the group in 1979 (Keith was killed in a car accident the following year). Garcia grappled with hard-drug use on and off between then and his death in 1995, and Lesh sobered up, but only after hitting rock bottom in the early Eighties. But in 1977, it seemed as if the music could hold everything at bay, at least for a while. "We kept getting reborn, and this was one of those birthing processes," says Hart of that flagship year. "We all played good when we got to that group-mind place. When the music played, everything made sense. When the music stopped, things started getting weird."


Read more: http://www.rollingstone.com/music/news/the-grateful-deads-greatest-year-20130626#ixzz2XVtZUxWc
Follow us: @rollingstone on Twitter | RollingStone on Facebook

Edited by Joffa: 28/6/2013 10:48:43 PM

Move over, Rolling Stones – here come the Bootleg Beatles

Glastonbury revived the infamous rivalry between the two most famous groups of the 60s, with fans choosing to snub Mick Jagger and co in favour of the Beatles tribute band

On a night when the Rolling Stones headlined on the Pyramid stage and pulled one of the biggest crowds Glastonbury has ever seen, a little under 1,000 people gathered in a tent at the far edge of the festival site to see the Bootleg Beatles in preference to their real-life counterparts' 60s rivals.

Some were lifelong Beatlemaniacs, some die-hard Jagger-haters and others just there to escape the crowds. "What's all the fuss about the Stones, really?" asked 47-year-old fan John before the show. "There are about six decent Stones songs and everyone pretends there are about 500."

The crowd were rewarded for their loyalty to the Fab Four with the most hit-heavy set of the weekend – and plenty of space to dance. Which they duly did.

"I've seen the Bootleg Beatles three times before," said 25-year-old Stacey, there with a friend. "We just decided that, although we do like the Stones, we prefer the music of the Beatles. We'd be going to see the Stones just because it's them and not because, actually, we'd enjoy them more as artists."

"All of my friends have gone to see the Stones," admitted 40-year-old Simon, "and I love the Stones, but whenever I've been to Glastonbury – this is my ninth time – my best experiences have always been in smaller tents. The Stones will be epic, but it'll be like watching them on telly. This will be fun, and I'll dance, and I'll know all the words and I'll just have a good time."

It's hard to imagine that he didn't. A faithful opening salvo of I Saw Her Standing There, She Loves You and I Wanna Hold Your Hand had everyone up and bopping, from teens in caps and high-tops waving iPhones to veterans old enough to have seen the real deal. In the quieter moments, you could hear Jagger et al half a mile away, but few wandered off. By the time the tribute band launched into Help!, six hits in, the crowd had doubled in size.

"They've got more people, but we've aged better," quipped Bootleg Lennon as they kicked into A Hard Day's Night. And when make-believe Macca took to the stage alone to lead the audience through Yesterday, he told them: "You've got to be a bit louder cos we've got to drown out the Stones!" When the band returned in full Sgt Pepper regalia, the crowd roared and rose to the occasion, a small but cheery gang of rebels, forgoing Gimme Shelter for Helter Skelter and, yes, getting satisfaction.

http://www.guardian.co.uk/music/shortcuts/2013/jun/30/rolling-stones-bootleg-beatles-glastonbury