The Tedeschi Trucks Band carries on the road tradition of The Allman Bros. Band as does Gov’t. Mule. Both groups have strong followings, possessing amazing musical depth combined with unique versatility.
Live From The Fox Oakland, is TTB’s latest recording available in a live concert and audio media CD/DVD format.
Album Track List
Don’t Know What It Means
Keep On Growing
Bird On The Wire
Within You, Without You
Just As Strange
Crying Over You
These Walls (featuring Alam Khan)
Right On Time
Don’t Drift Away
I Want More (Soul Sacrifice outro)
I Pity The Fool
Let Me Get By
Watch the video of the set closer, “Let Me Get By”
Omnivore Recordings has released all four sets recorded that weekend in a four CD box set “Performance: Rockin’ the Fillmore-Complete Recordings”.
“My God, it just took my breath away,” Jerry Shirley said of hearing the new mixes by engineer Ashley Shepherd. “You feel like you’re sitting in the Fillmore East, five or six rows back. In the quiet bits, you could hear a pin drop, and in the loud bits, you can almost feel the room shaking. And all four shows caught Steve at the absolute zenith of his powers. It’s astonishing. I’m only sorry that he, Greg, and Dee aren’t around to enjoy it with the rest of us.”
“It was amazing to hear the new mixes of these shows after all these years,” says Peter Frampton. “This really was that version of Humble Pie at the peak of its powers—playing in a venue with a wonderful vibe.”
The Dead Weather (Alison Mosshart, Jack White, Dean Fertita and Jack Lawrence) have released a streaming edition of “Open Up (That’s Enough)” on YouTube. It’s hauntingly fresh electric.
Originally announced on October 2, 2013 as two BRAND NEW studio recordings from The Dead Weather. “Open Up (That’s Enough)” b/w “Rough Detective” are unlike anything else the band has ever done and are both ample reminders of the ferocity of this motley collection of low-lifes, grifters and ne’er-do-wells. These songs are not throw-aways. These songs are not demos. These songs are not outtakes.
The 7″ was ONLY available via Vault subscription (Sold Out). No other 7″ of these songs will be made. The whole thing is pressed on striking yellow jacket vinyl and coupled with a custom glue-pocket picture sleeve, a slight shift from the Vault’s usual die-cut company sleeves.
Is there more to come from this collaboration? Yes there is. The Dead Weather’s plan is to record and release two-song sets until 2015 at which time they will release a full album that has these singles plus many more album-only tracks. It’s a unique long-term plan for new music from this incendiary group. The songs WILL be released digitally, but not until Vault packages have been dispatched to subscribers. As Third Man Records explains, “It’s a unique long-term plan for new music from this incendiary group… The goal is that physical copies are out there first.”
Cream ruled the progressive rock FM airwaves from 1967 through 1969. Their albums were prized by psychedelic and blues rock fans alike. This supergroup formed the first rock power trio and played extensive “live” jams.
One Cream track I played often on my hi-fi system was “White Room“. The song originally appeared on the US release of their double album Wheels of Firein July 1968 and then was released as a single in September 1968. Wheels of Fire was the first platinum-selling double album. Jack Bruce wrote the song along with poet Pete Brown.
I especially love Eric Clapton’s wah-wah pedal on this track along with the kick of Ginger Baker slamming those skins in animated fashion while seated behind the drum kit.
Here are some photos of the blues artists I saw yesterday on the Jessup Green in Westport. Witnessing six bands in the span of seven hours for $25 was a cost-effective way to experience a major blues festival.
Act #1 – Murali Coryell – Son of Larry and Julie Coryell who grew in Westport 🙂
Today is the 39th Annual Milford Oyster Festival in my city, Milford, Ct. Every year we have a headlining act that plays for free.
Past years that I have attended have included these artists, Kansas, The Marshall Tucker Band, Soul Asylum, The Smithereens, Southside Johnny and the Asbury Jukes, Mark Farner, and Blue Oyster Cult.
This year’s headline act is Blues Traveler. They are a massively popular act in Connecticut with a loyal and fervent following (30,000 people came to see them on the New Haven Green a few years back). I’ll be heading over early to check them out and enjoy the food, festivities and see some old friends. The nice part of this festival is that its less than 10 minutes from the house 🙂
Can you feel the excitement?
The latest album by Blues Traveler is Suzie Cracks The Whip. I wonder if the band is signing today?
I was in my favorite Sunday repose watching CBS Sunday Morning, enjoying the segment “Sunday Morning” Calendar.
I saw that music release Tuesday features the début album from Microsoft co-founder Paul Allen and his band, “The Underthinkers,” titled Everywhere At Once. This revelation struck an immediate power chord in the music of our heart. Knowing what I do about Paul Allen’s passion for music (Experience Music Project Museum, his extensive private Jimi Hendrix collection, how he loves to jam and play with famous musicians), I had to investigate this project further.
I ensuingly discovered that Everywhere At Once pleased my palate. Paul Allen is a major league guitarist, listen to his command of the instrument on the choice, “Straw of Gold” with Ann and Nancy Wilson of Heart. I sampled some more tracks and my appreciation increased substantively for Paul Allen as a competent song lyricist and writer.
It hasn’t totally escaped my grasp that Allen had collaborative help with the 12 of the 13 recordings. He either wrote or co-wrote every track on Everywhere At Once. “Inside Out” is the lone solo composition. Every other track was co-written with either Doyle Bramhall II, Ty Baillie, or Underthinkers bandmates John Bohlinger (guitar), Doug Barnett (bass guitar) and Tim Pike (vocals).
The recording has wonderful merits, a diverse yet challenging range of songs that are complemented with a sharp tonal feel. The studio production embodies sound as it is meant for us to be heard. The audio comes across pure, direct and immediate.
The album features contributions from guests Ann and Nancy Wilson of Heart, Chrissie Hynde, Joe Walsh, Derek Trucks, Doyle Bramhall II, David Hidalgo of Los Lobos, Ivan Neville, and others. I applaud the choice of musicians all of whom I collect and have heard perform live.
I feel sympatric with Paul Allen through this quote.
“I’m still moved by the power of live music,” Paul Allen states, “and I seek it out every chance I get.”
All proceeds from the recording sales will benefit the Experience Music Project’s educational initiatives. Those resources include teen artist workshops, a music therapy camp for children with autism and developmental disabilities, and a program that provides coaching for local high school bands.
As a an EMP member I plan to buy this recording and I urge you to consider doing the same for a worthy cause.
The original album, Super Sessionhas begat several variations on a theme. Starting with the original, genius sessions in 1968, then moving through time Al Kooper and Columbia Records (Sony) have shown us the extended value(at times) of more collaboration, live recordings, and remastering efforts.
We begin the Super Session catalogue with the original pressing on vinyl for Columbia Records. I bought this record in the summer of 1968. I took it to high school with me often during senior year (68-69). I played it many days in my art class where we had a hi-fi system for music as a back drop. I played it the last day of high school in the gymnasium as the prom committee decorated for our prom, The Magic Carpet Ride (1969). The blues filled the gym as we seniors reflected on the last day of class. We booked the superstar band from Elektra Records, Rhinocerosto play as our prom band. They were awesome.
Sony released Super Session as a 24-bit remastered CD on April 8, 2003. I bought a copy and I was disappointed with the result. Yes like most reissues there were extra tracks, even editions of the original tracks without horns (which I abhor). But I found it overkill and a wasted effort.
What frosted my cake even more was that Al Kooper remixed Super Session in 5.1 SACD. But Sony closed the SACD division and this recording along with Blood, Sweat and Tears, Child Is The Father To Man sit on a shelf, collecting dust somewhere. Such a pity.
In late 2004 Al Kooper released this statement:
To the best of my knowledge, based on an unnamed source, the new head of SONY/BMG shut down the 5.1 SACD department and let everyone go. A year and a half ago I remixed Super Session and Child Is Father to the Man for them in 5.1 SACD. They both came out incredible and so I mastered them with Bob Ludwig. Now it seems they will languish on the shelves under the current administration of SONY/BMG.,……..Typical, in soooo many ways.” 
I was very excited in 1969 when I read in Rolling Stone Magazine that Al Kooper and Mike Bloomfield had a live recording coming out based on the Super Sessions. I haunted To-Ve’s Record Shop in Norwalk until that recording hit the wall rack. I loved the feel of that live recording immensely. It also introduced me to a very young Carlos Santana who stepped in to play for Mike Bloomfield when insomnia placed him in the hospital during the Fillmore West gig.
The cover painting by Norman Rockwell is mesmerizing. Here is a picture of Al, Norman and Mike together.
The tapes for Super Session Live (East) were lost for 30 years. Fortunately they were recovered and we have the Fillmore East gigs to listen to now. The sound of the Fillmore East is unequalled in the history of live music recordings. The extra juice of this recording is that Johnny Winter was, if you will excuse the expression, white-hot in those days. Mike Bloomfield introduces Johnny Winter to the audience and he rips it up, Texas blues style.