February 28, 2013
STS9 - EUREKA THEATRE :: EUREKA, CA - 02/24/2013
2013.02.24 :: EUREKA THEATRE :: EUREKA, CA
STS9
2013.02.24 :: Eureka Theatre :: Eureka, CA - SET I: Move My Peeps, 20-12, King Pharaoh's Tomb*, Crystal Instrument, Tooth, By the Morning Sun,
Be Nice, Breathe In SET II: Untitled**, Satori**, Monkey Music, Rent, Somesing, Circus, Jebez, Hidden Hand Hidden Fist, Inspire Strikes Back E:
Baraka *with Russ Liquid on trumpet / ** "Axed”
TRACKS
1.
Move My Peeps (10:41)
2.
20-12 (7:47)
3.
King Pharaoh's Tomb (6:22)
4.
Crystal Instrument (8:02)
5.
Tooth (4:42)
6.
By the Morning Sun (4:55)
7.
Be Nice (6:35)
8.
Breathe In (11:57)
9.
Untitled (7:00)
10.
Satori (6:23)
11.
Monkey Music (10:15)
12.
Rent (11:22)
13.
Somesing (9:35)
14.
Circus (8:09)
15.
Jebez (6:33)
16.
Hidden Hand, Hidden Fist (7:44)
17.
Inspire Strikes Back (11:40)
18.
Baraka (11:49)
FURTHUR - 1st Bank Center, Broomfield, CO - 02/22/2013
Furthur
2013-02-22
1st Bank Center, Broomfield, CO
Set 1
1. Hell In A Bucket > 09:46
2. Dear Mr. Fantasy > 06:27
3. Good Morning Little Schoolgirl 6:22
4. It Must Have Been The Roses 9:33
5. I Need A Miracle > 9:42
6. Bird Song > 16:00
7. Promised Land 4:43
Set 2
8. Jack Straw > 13:49
9. Shakedown Street > 14:36
10. Mountain Song > 10:44
11. The Other One > 17:24
12. Scarlet Begonias > 9:52
13. Fire On The Mountain > 10:21
14. Dear Prudence > 8:27
15. Not Fade Away 11:42
Encore
16. Donor Rap 1:42
17. Knockin' On Heaven's Door 8:27
http://fp.io/mbd3334e/
ROBBEN FORD - Bringing It Back Home
Robben Ford – Bringing It Back Home (2013)
Robben Ford‘s last studio effort, 2007's Truth, received a Grammy nomination for best contemporary blues album. Where that recording focused on his workmanlike songwriting skills and his prodigious guitar technique, Bringing It All Back Home highlights other aspects of his musical persona. This is Ford putting on offer his considerable skills as a bandleader and song interpreter. There’s not a lot of superpicker athleticism on display here, and there doesn’t need to be. Backed a smoking band that includes organist Larry Goldings, drummer Harvey Mason, bassist David Pilch, and trombonist Stephen Baxter, Ford makes it look easy. On this series of mainly cover tunes, his modern blues is infused with his love of New Orleans’ R&B throughout. This is especially true on the slippery, punchy, readings of Allen Toussaint’s “Everything I Do Gonna Be Funky” and “Fair Child” — two of the first three tunes here — that are simultaneously polished and greasy. One of the three guitar burners here is “Trick Bag,” by NOLA guitar hero Earl King. It showcases the locked-in interplay between Pilch and Baxter as they ride atop Mason’s funky butt breakbeats. Even Bob Dylan’s “Most Likely You Go Your Way and I’ll Go Mine” gets a second-line backbeat treatment. Another guitar highlight, albeit a gorgeously relaxed one, is an instrumental update of the traditional “On That Morning,” wherein Ford expertly channels his inner Wes Montgomery. On “Slick Capers Blues,” by little known pre-war bluesman Charlie “Little Buddy” Doyle, he and Goldings trade knotty lines in updating the tune for the new century. A great surprise here is how fine a singer Ford has become. His voice is as much an instrument on this set as his guitar is. Whether it’s on the aforementioned cuts, his version of wife Ann Kerry Ford’s and Michael McDonald’s jazzy “Traveler’s Waltz,” or his Mose Allison-by-way-of-Ben Sidran reading of “Fool’s Paradise,” his vocals are expressive and relaxed; he displays sophisticated, savvy, seemingly effortless phrasing. The grain of his voice on the lone original, “Oh, Virginia,” establishes a seamless connection between Southern soul, New Orleans rhythm & blues, and country music — and may be the finest song he’s written. There is a precedent for Bringing It All Back Home: Lowell George’s classic, Thanks, I’ll Eat It Here. That album was misunderstood upon release because it downplayed the artist’s slide guitar and songwriting chops to focus on his consummate skill as a singer. Ford has done something similar, yet offers his fans enough of his instrumental talent to balance the equation.
http://fp.io/e93da372/
ROBBEN FORD - ANTHOLOGY: THE EARLY YEARS
ROBBEN FORD
''ANTHOLOGY: THE EARLY YEARS,
MARCH 6 2001
142:34
DISC ONE
1/Sweet Sixteen
Joe Josea / B.B. King/12:34
2/You Drive a Hard Bargain
Robben Ford/5:44
3/Raining in My Heart
Boudleaux Bryant / Felice Bryant/10:32
4/Blue and Lonesome/8:27
5/Red Rooster
Willie Dixon / Big Mama Thornton/4:26
6/Eighty-One
Ron Carter / Miles Davis/8:09
7/Miss Miss
Robben Ford/8:59
8/Sunrise
Robben Ford/11:29
DISC TWO
1/Oh Gee/6:33
2/You Don't Know What Love Is
Gene DePaul / Don Raye/8:51
3/Everyday I Have the Blues
Peter Chatman/5:28
4/It's My Own Fault
John Lee Hooker/10:29
5/Ladies' Choice
Robben Ford/6:33
6/Hawk's Theme
Robben Ford/6:25
7/S-K Blues
Sonny King/3:45
8/Low Ride
Robben Ford/2:29
9/Softly Rolling
Robben Ford/7:30
10/Stella and Frenchie
Robben Ford/8:05
11/Goin' Down Slow/6:06
Jim Baum /Drums
Robben Ford /Guitar, Guitar (Electric), Sax (Tenor), Vocals
Paul Nagle /Keyboards
Stanley Poplin /Bass
Jimmy Witherspoon /Guest Artist, Vocals
REVIEW
by Alex Henderson
Robben Ford has always been a very eclectic musician; therefore, the people who get the most out of his recordings tend to have eclectic tastes themselves. If you're the sort of broad-minded listener who holds blues, rock, and jazz in equally high regard, Anthology: The Early Years is a musical feast. This two-CD set, which Avenue Jazz provided in 2001, looks back on recordings that the singer/guitarist/saxman made from 1972-1976 (when he was in his early to mid-20s). Even then, Ford was difficult to categorize -- those who insist on pigeonholing musicians wondered if he was really a blues-rock singer or a jazz instrumentalist at heart. And, truth be told, he wore both hats equally well. Anyone who loves down-and-dirty blues-rock cannot help but applaud his gutsy versions of Willie Dixon's "Little Red Rooster" and B.B. King's "Sweet Sixteen." But Ford is equally convincing as a jazz instrumentalist on "Softly Rolling," "Miss Miss," and Miles Davis' "Eighty One." Many of the instrumentals are shining examples of 1970s fusion, but Ford favors more of a post-bop approach on the standard "You Don't Know What Love Is" (which is one of the tunes that finds him on tenor sax and is very John Coltrane-minded). Anthology: The Early Years isn't the last word on Ford in the 1970s, but Avenue Jazz' picks are generally excellent -- and it is certainly among the places to go if you're exploring his early output for the first time.
BIOGRAPHY
by Scott Yanow
Robben Ford has had a diverse career. He taught himself guitar when he was 13 and considered his first influence to be Mike Bloomfield. At 18 he moved to San Francisco to form the Charles Ford Band (named after his father, who was also a guitarist) and was soon hired to play with Charlie Musselwhite for nine months. In 1971, the Charles Ford Blues Band was re-formed and recorded for Arhoolie in early 1972. Ford played with Jimmy Witherspoon (1972-1973), the L.A. Express with Tom Scott (1974), George Harrison, and Joni Mitchell. In 1977 he was a founding member of the Yellowjackets, which he stayed with until 1983, simultaneously having a solo career and working as a session guitarist. In 1986, Ford toured with Miles Davis and had two separate periods (1985 and 1987) with Sadao Watanabe, but he really seemed to find himself in 1992 when he returned to his roots: the blues. Ford formed a new group, the Blue Line, and subsequently recorded a couple of blues-rock dates for Stretch that are among the finest of his career. In 1999, he released Sunrise on Rhino and Supernatural on Blue Thumb. Ford signed to the Concord Jazz label in 2002 and released Blue Moon that same year, followed by Keep on Running in 2003 and Truth in 2007. That same year, he was a billed special guest on Larry Carlton's Live in Tokyo. He followed this with the predominantly live Soul on Ten in 2009. In 2013, Ford began his label association with Provogue, and issued the studio album Bringing It Back Home, comprised mostly of blues and R&B covers played by an all-star band.
http://fp.io/mfe4f9b1/
PAT BENATAR - Tower Theater, Upper Darby, PA Westwood One Superstars in Concert Show #CO 89-02
Pat Benatar
Tower Theater,
Upper Darby, PA
Westwood One Superstars in Concert
Show #CO 89-02
For Broadcast the weekend of February 3, 1989
01. Superstars CO 89-02 Intro
02. Commercial - Miller Lite
03. We Live For Love
04. Fire And Ice
05. Commercial - Miller Lite
06. Commercial - Greyhound
07. Westwood One - Steve Downes
08. We Belong
09. Cool Zero
10. Commercial - Greyhound
11. Commercial - Clorets
12. Commercial - Trident Gum
13. Westwood One - Steve Downes
14. Outlaw
15. Invincible
16. Heartbreaker
17. Commercial - Clorets
18. Commercial - Miller Lite
19. Commercial - Greyhound
20. Westwood One - Steve Downes
21. Promises In The Dark
22. All Fired Up
23. Commercial - Miller Lite
24. Commercial - Greyhound
25. Westwood One - Steve Downes
26. Shadows Of The Night
27. Hell Is For Children
28. Commercial - Trident Gum
29. Commercail - Miller LIte
30. Westwood One - Steve Downes
31. One Love
32. Let's Stay Together
33. Westwood One Outro
34. Superstars CO 89-02 Promo Spot http://fp.io/3mm2565e/
PETE TOWNSHEND - LIVE THE FILMORE - 1996
PETE TOWNSHEND
''LIVE THE FILMORE 1996,
OCTOBER 30 2000
112:14
DISC ONE
1 - Let My Love Open the Door/3:30
2 - English Boy/6:57
3 - Drowned/6:17
4 - The Shout/6:53
5 - I Put a Spell on You/Screamin' Jay Hawkins/3:52
6 - Cut My Hair/4:26
7 - Sheraton Gibson/3:08
8 - I'm One/5:07
9 - Heart to Hang Onto/5:09
10 - O'Parvardigar/7:13
11 - A Legal Matter/3:09
DISC TWO
1 - A Friend Is a Friend/7:50
2 - I Am an Animal/6:43
3 - All Shall Be Well/5:44
4 - Slit Skirts/5:25
5 - Eyesight to the Blind/Sonny Boy Wlliamson II/2:12
6 - Drifting Blues/Johnny Moore's Three Blazers, Charles Brown, Eddie Williams/2:56
7 - Now and Then/4:46
8 - Rough Boys/6:33
9 - I'm a Boy/5:06
10 - Magic Bus/8:26
Tracks By Townshend, Except As Indicated
REVIEW
by Dave Thompson
Recorded live at the Fillmore on April 30, 1996, this excellent disc captures Townshend stripping his career back to just guitar and keyboards (contributed by the great Jon Carin), and then running through 21 songs that could almost be a live recounting of the Scoop series. It's a staggeringly intimate performance, with Townshend exuding a warmth that rarely comes across on disc, but which here could heat your house all winter. The set is, as usual with Townshend's live outings, remarkable for its variety: anybody who has been patiently collecting his self-released live CDs will know by now that there's really no such thing as a surprise any longer, just songs that you never expected to hear him perform. "A Legal Matter," "Rough Boys," and a tremendous"I Put a Spell on You" are the strongest contenders for that honor on this night, although the roar that greets "I'm a Boy" proves that Townshend isn't the only person who reckons history often overlooks that song -- remember, without the proto-opera that he intended building around this tragic tale of juvenile cross-dressing in 1965, he might never have had the courage to create Tommy; speaking of which, how nice it is to go through an entire concert without the deaf, dumb and blind boy staggering into view and bumping into tables. Not until the last leg of the set does he even get considered, when Townshend unleashes a sharp "Eyesight to the Blind," and that's it for Tommy. "Won't Get Fooled Again," too, is conspicuous by its absence, but an energetic "Magic Bus" more than makes up for that.
BIOGRAPHY
by William Ruhlmann
Pete Townshend was the guitarist and primary songwriter for the Who from 1964 to 1982, also participating in the group's occasional reunions after its formal breakup. Best-known for his conceptual works, he wrote Tommy and Quadrophenia for the band, as well as the bulk of its other material. He made his first, tentative solo album, Who Came First, in 1972. Dedicated to his guru, Meher Baba, it continued themes pursued in Who's Next and like that album, contained material originally intended for an abortive conceptual work, Lifehouse, and it sold modestly. In 1976, he made a duo album, Rough Mix, with Ronnie Lane, formerly the bassist in the Small Faces.
Townshend's first full-fledged solo effort was Empty Glass (1980), which sold a million copies, reached the Top Five, and featured the Top Ten hit "Let My Love Open the Door," as well as the minor hits "A Little Is Enough" and "Rough Boys." He followed it in 1982 with All the Best Cowboys Have Chinese Eyes, which was less successful. Nevertheless, he felt he could no longer write for the Who, and at the end of the year, the group disbanded following a North American tour. Townshend released Scoop, a two-disc compilation of demos, in 1983 (a second volume appeared in 1987).
In 1985, he returned to thematic efforts with the album White City - A Novel, which included the Top 30 single "Face the Face." The same year, he published a book of short stories, Horse's Neck. As part of the White City project, he appeared in an accompanying film, for which he organized a band called Pete Townshend's Deep End. The unit played only a few gigs, but one was videotaped and recorded, resulting in the 1986 album Pete Townshend's Deep End Live! In 1989, he released an album based on poet Ted Hughes' children's story, The Iron Man. The record featured guest vocals by John Lee Hooker and Nina Simone, as well as two tracks featuring the three surviving members of the Who. Simultaneous with the album's release, Townshend embarked on a reunion tour with the Who, an event that overshadowed The Iron Man, which enjoyed only modest sales.
In 1993, Townshend delivered Psychoderelict, another conceptual work, to mixed reviews and poor sales. By that time, however, he had successfully reinvented himself as a Broadway tunesmith -- the theatrical production entitled The Who's Tommy had become a runaway hit, earning him a Tony Award and prompting him to pursue more stage musicals. None of these came to fruition during the rest of the 1990s, though, and by the end of the decade, he was releasing live and archival recordings (notably the long-delayed Lifehouse) through his website and planning another reunion with the Who.
http://fp.io/6e7829a5/
LOTUS - Freebird Live, Jacksonville, FL - 02/23/2013
Lotus
2013-02-23
Freebird Live, Jacksonville, FL
Set I:
Bellwether
Ashcon
Grayrigg
Neon Tubes
Greet the Mind
Let Me In
Disappear
Jump Off
Set II:
Kodiak
Flower Sermon >
Dowrn
Sodium Vapor
Through the Mirror >
Moonset >
Flower Sermon
Marisol
We Are Now Connected
Encore:
Cloud 9
Age of Inexperience
http://fp.io/d3c8a6f9/
LOTUS - Trees, Dallas, TX - 02/15/2013
Lotus
2013-02-15
Trees, Dallas, TX
Set I:
Grayrigg (8:14)
Banter (:26)
Massif (5:00)
Banter (:27)
Middle Road (9:20)
128 (12:09)
Uffi (6:33)
Another World (4:31)
Bubonic Tonic (12:53)
Age of Inexperience (9:03)
Banter (:16)
Set II:
Break Build Burn (4:38)
Suitcases (10:40)
Shimmer and Out (9:20)
Arupa (9:37)
Shimmer and Out (2:51)
Ersatz (5:06)
Greet the Mind (9:37)
Sodium Vapor (6:48)
Spiritualize (13:04)
Crowd Banter (2:24)
Encore:
Cain and Abel (4:47)
Blacklight Sunflare (6:33)
Banter (:18)
http://fp.io/fc998225/
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