Tip: Precede it with four bars of D major licks. He introduces some cool chromaticism over Bm7 bars 1 and 2 , adjusts the accidentals in the key signature to fit the Bb change bar 3 , and concludes with a descending quadruple chromatic approach to F , the 3 of the tonic D chord. This lovely acoustic ballad, which also originally appeared on Frampton, was the third-highest charting single from Frampton Comes Alive!
Run through the chord fingerings a few times, establish the repetitive strumming pattern, and then get ready to woo your sweetheart. For each eight-bar verse, play bars 1 and 2 as shown in Ex. Put it all together and that spells H. The song begins with a smoky, fourbar riff Ex. On the third pass, Mayo takes over Pt. Try inserting Ex. After the fourth round, the figure modulates up a minor third, and Frampton twice plays Pt.
Clocking in at over 14 minutes and featuring one of the most famous audience call-and-response exchanges ever committed to wax with heavy emphasis on the talk box , the song concludes with Frampton following his extended talk box rapport with another furious solo played over Ex. To construct the entire four-bar vamp, play Ex. Characteristic Frampton-style phrases like the one in Ex.
Finally, the three-against-four hemiola shown in Ex. Kudos to P.
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Cheaply made, wildly popular and frequently reissued, Made in Japan was captured during three nights in Osaka and Tokyo. The set feels ever casual, as if the band is performing less for the crowd or the tape machine and more for the sheer enjoyment of stretching these tunes out like playdates. Jarrett hadn't slept the night before and was in pain. Jarrett's extemporized fantasia drifts seamlessly from idea to idea, sometimes settling into a two-chord vamp for minutes at a time.
More relaxed than most of his other solo recordings, it boasts a full complement of Jarrett's whooping, sighing and foot-stomping affectations while still offering a ravishing introduction to the art of improvisation. Side B of the first Stooges live album is, purportedly, one of the gnarliest rock shows ever recorded. For weeks before the February gig, Stooges frontman Iggy Pop had gleefully engaged in public beef with a motorcycle gang called the Scorpions. They showed up in droves, along with all kinds of objects with which to pelt the band — fruits and vegetables, bottles, yard tools.
That hardly bothered Iggy, though — his band was hungry, close to broke, and at the end of their rope. Sloppy on purpose, discordant and gut-churningly raw, the entire set-list is a big screw-you, down to the song selection. We don't hate you. We don't even care. The group performs at the quirky outer limits: The instrumental "Echidna's Arf Of You " has unpredictable light-speed whirrs of xylophone and synth and the minute jazz-prog-rock sandwich "Be-Bop Tango" includes an explanation of how to dance to Duke's sung polyrhythm "You're still too adagio," Zappa jokes.
Meanwhile, the Nixon sendup "Son of Orange County" "I just can't believe you are such a fool" contains one of Zappa's most soulful guitar solos. Zappa included this Zen-like note on the first CD release: "Sometimes you can be surprised that 'The universe works whether or not you understand it. Over four nights in at London's Rainbow Theater, the punk pioneers blasted through 28 songs from their first three albums.
Thanks to their tidily short length, they squeezed in nearly all of 'em. The final LP version came mostly from the last night, charged with an energy so electric that fans are said to have ripped seats from the floor and thrown them at the stage in enthusiasm. It's no surprise, as the entire record pulses with American punk's promise, a spittle-spewing Joey Ramone barely pausing between "Pinhead," "Do You Wanna Dance? During post-production, the speed was something with which even the band itself struggled to keep up.
Arielle Castillo. This rainy Friday night in October was less than a year and a half after Bill Withers' commercial breakthrough allowed him to quit a day job in an aircraft parts factory, but the rising soul star holds the stage at one of the world's most prestigious venues like a seasoned pro. Withers reminisces about his grandma's church "At the funeral they used to have tie the caskets down!
Keith Harris. Bob Seger had released eight albums and had been on the road for nearly a solid decade when he played Detroit's Cobo Hall on September 4th, — but he was still largely unknown outside of the Midwest. The main problem was that he simply couldn't capture the magic of his stage show on in a studio, which is likely why Live Bullet made such a huge impact.
It was also fueled by "Turn The Page," a track about the rigors of touring life that has been a mainstay of classic rock radio for the past 40 years. The gig couldn't have started less promisingly: four probably drunk band members failed to show up, and Ellington played the premiere jazz festival for all of 12 minutes before realizing they couldn't continue.
But late at night they returned en masse and burned the hides off the hipsters with a set that gave his career new meaning. Everything comes down to "Diminuendo and Crescendo in Blue," a then-decades-old dance tune that flowered at Newport into a six minute, chorus jam by tenor saxophonist Paul Gonsalves that bumped, grinded and talked in your ear. Duke shouts at Gonsalves, "Higher! A month later, Duke was on the cover of Time magazine.
Bebop had made big band music seem almost corny, but Newport showed that mastery is mastery. RJ Smith. Pianist Bud Powell had been institutionalized and labeled legally "incompetent"; saxophonist Charlie Parker and trumpeter Dizzy Gillespie had history this would be the last time they'd record together , bassist Charles Mingus might punch out those whose solos offended him.
Here came bebop's original wild bunch, Parker armed with a borrowed plastic sax. That's the thing about that date," said Roach. Led Zeppelin are undoubtedly one of the greatest live acts of the s, but their only live album from the era — the soundtrack to 's The Song Remains The Same — captured them on a rather limp night. This situation was finally resolved in when Jimmy Page combed through hours of tapes from the band's tour and cobbled together this killer 18 track set.
There are tons of Zep bootlegs floating around, but none of them sound this crisp and alive, even though they occasionally cheated and combined multiple versions of a song into one. It's the magic point where it takes on a fifth element. But it's not the Band's best live album. They're on fire from the opening cover of Marvin Gaye's "Don't Do It" a showcase for Rick Danko's sly low-end groove-itude through ridiculously tight deep cuts like "The W.
Organist Garth Hudson's mad jam on "The Genetic Method" into "Chest Fever," taking up nearly an entire side of the double LP, is the stuff of psychedelic roots-rock legend. This is the sound of five guys in telepathic sync, before they got jaded.
Simon Vozick-Levinson. Near the end of a tour in , one date to go, the Miles Davis Quintet cooked up a berserk idea: Everything people expects us to play, we'll play the opposite. When the band Davis with saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter and drummer Tony Williams got to the Chicago club, they discovered label reps setting up to record the stand. This amazing 8-CD package captures every note over two nights of anti-music, jazz upended and shot through with quiet.
At first trumpeter Davis is tentative, but by the end he's leagues ahead at the band's own game.
It was like…this is what freedom means. He had built a reputation around his live shows, and when it came time to illustrate the point on record, he thought big: assembling 40 songs spanning Hollywood gin joints to Jersey arenas, boardwalk hood rat to Rambo Bruce, filling five LPs or three CDs. Steppin' Out was the original title of this triple-vinyl distillation of the Dead's first extended European tour. With Bill Kreutzmann masterfully drumming alone following the resignation of Mickey Hart, and augmented the previous fall by Keith Godchaux's elegant piano, the Dead leaned toward the pared-down sound they'd perfected on their previous studio albums, Workingman's Dead and American Beauty.
The Dead's best-selling live album also marked the group's final recording with singer-keyboardist Ron "Pigpen" McKernan, who died the following year. These nine songs from the iconic, guitar-charring show have appeared in many editions, first as the incomplete Historic Performances Recorded at the Monterey International Pop Festival , a wonderfully strange split album which contained about half of the Jimi Hendrix Experience's set and all of Otis Redding's. Joe Gross. The concept of Ya-Ya's was just to document their brilliant sound: "It's about as un-tampered with as possible," Keith Richards said.
Live, every part of the band was louder and meaner; never before had drummer Charlie Watts sounded so sure of himself. Bassist Bill Wyman to Goldmine : "The Stones were a better live band then any other band at that time…. Me and Charlie were really always on the ball, always straight, always together and had it down.
If we had our shit together we got it right. The concert took place six years after the rock icon's career plummeted after the public learned he had married his year-old cousin, but at age 28, Lewis was at a musical peak. Kory Grow. The four nights in November, that John Coltrane and various lineups of his group were recorded at a Manhattan club yielded a lot more music than the three tracks here — most of his subsequent album, Impressions , was drawn from those gigs, too. But Live! At the Village Vanguard is an argument as much as it is an album.
At the time, the jazz world was bitterly divided over whether what John Coltrane's extended, discursive soloing was brilliant innovation or, as one review called the album, "musical nonsense…being peddled in the name of jazz. At the Village Vanguard puts it more bluntly: We are the train to the future, and you'd better chase us.
Douglas Wolk. On this January night in , performing for a black audience in a packed Miami club, he let his raw, soulful side break free "don't fight it," he tells the audience, "we're gonna feel it".
Cooke's connection with the rapturous crowd is electric, the band swings like crazy and his versions of classics like "Having A Party" and "Bring It On Home To Me" rock as hard anything else going at the time. The album was finally released 20 years later to critical acclaim. Jon Dolan. By the end of , Cheap Trick had three albums on the shelves and a great catalog of songs like "Surrender" and "I Want You to Want Me," but they'd yet to attract a big audience in America.
They did have a huge following in Japan and were treated like the Beatles when they arrived in April of that year, leading to a wild night of music at Tokyo's Nippon Budokan. Originally released solely in Japan, the label wisely released it in America after radio stations began playing the live version of "I Want You to Want Me" and import copies began selling at hugely inflated prices.
Bob Dylan going electric at Newport's sister festival gets all the lore, but Muddy Waters beat him to the plugged-in punch by five years. At the height of the folk revival, the Chicago electric-blues icon brought an amped-up, scarifying-ly powerful combo into Newport Jazz Festival. Between Waters' bull-roar voice, stinging guitar and swinging band, nobody could stand still, not even Muddy — during "I've Got My Mojo Working," he left the mike long enough to do a twirl with harmonica player James Cotton as the crowd shrieked.
For a finale, poet Langston Hughes wrote "Goodbye Newport Blues" on the spot, and pianist Otis Spann sang it because Waters was too worn out from "Mojo" to sing anything further. At Newport quickly became a guidebook for young blues-rock enthusiasts: Keith Richards and Mick Jagger were among those paying close attention.
It's like 60 Minutes on acid. The audience would keep coming back. Strip away the fuzz and bluster and Nirvana were nothing but raw emotion. For a taping of MTV's Unplugged series, they gave the most legendary performance of their brief career, stripping down deep cuts and select covers to acoustic guitars, softly played drums and Kurt Cobain's gravelly, heartbreaking voice. In the three decades before its official release in , this was the most famous live bootleg around, breeding both mythology a heckler calls Dylan "Judas"; Dylan yells back, "I don't believe you!
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You're a liar! In fact, he opened the show, like every show on that tour, with an acoustic set. However, on the electric half of the concert he becomes maniacal and riveting, spitting out every word like a curse. Forget flower-power, the crash-bang throttle of the first 10 minutes of the MC5's debut made garage-rockers of the era sound weak and tentative by comparison.
It's quaint to think of now, but the opening command — "Kick out the jams, motherfuckers! When they sent back the stock and refused to stock either version, the band had an even more choice message to them in a series of national ads: "Fuck Hudson's! Muscular takes on white-knuckle glam classics like "Strutter" and "Cold Gin" reveal just how much sweat seeped into the band members' makeup on any given night.
Not only has Alive! Maura Johnston. Recorded that night, King's first live album would become an entry point for many white listeners, and blues aficionados still speak of it with awe — Eric Clapton was rumored to spin Live at the Regal to prep for his shows. Newcomers encountered an urbane but never slick professional, backed by a killer horn section, who belted each number with class and grit, all the better to showcase the jazzy yet terse yet economical solos he coaxed from his beloved black Gibson, "Lucille.
The Who spent most of and on the road, playing their rock opera, Tommy , as the centerpiece of epic concerts.