Emerson, Lake & Palmer – Welcome Back My Friends To The Show That Never Ends (1974)

Welcome Back, My Friends, to the Show That Never Ends ~ Ladies and Gentlemen is the second live album by the English progressive rock band Emerson, Lake & Palmer, released as a triple album in August 1974 on Manticore Records. It was recorded in February 1974 at the Anaheim Convention Center in Anaheim, California during the group’s 1973–74 world tour in support of their fourth studio album, Brain Salad Surgery (1973).

The album was a commercial success, reaching number 4 on the Billboard 200, the band’s highest charting album in the US.[1] In the UK, the album peaked at number 6. The album is certified gold by the Recording Industry Association of America (RIAA) for 500,000 copies sold in the US. Following its release, Emerson, Lake & Palmer took an extended break from writing and recording.

The album was recorded in February 1974 at the Anaheim Convention Center in Anaheim, California during the group’s 1973–74 world tour in support of their fourth studio album, Brain Salad Surgery (1973). Its title comes from the introduction to the show spoken by the show’s Master of Ceremonies (Pete Murray, the UK disc jockey) and the opening line of “Karn Evil 9: First Impression, Part 2”.

To record the album, staff and equipment were brought in from Wally Heider Studios in Los Angeles, including a 24-track mobile recording unit and a 40-input console. Peter Granet, one of the engineers, called it “the finest recording experience I’ve ever had”. The band used a Quadrophonic PA system on the tour, allowing a Quadrophonic mix of the album to be released on three 8-track cartridges. A four-channel sound LP, known as Quadradisc, was planned for release but it was scrapped due to engineering issues with master recording which prevented JVC, the manufacturer, from cutting a stable master to meet the format’s specifications.

Most of the recordings on the album were first used for broadcast on the American rock music radio show, The King Biscuit Flower Hour. In 1999, the radio recordings were released on CD.

AllMusic gave the album a mixed retrospective review, saying that it “makes one realise how accomplished these musicians were, and how well they worked together when the going was good.” They praised the set for including all but one song from Brain Salad Surgery, and particularly commended the performance of “Karn Evil 9” as being far superior to the studio rendition. However, they noted that unlike most live albums of the era, Welcome Back did not incorporate studio overdubs, limiting the band’s ability to recreate moments from their albums and resulting in poor sound quality: “Even the most recent remastered editions could not fix the feedback, the occasionally leakages, the echo, the seeming distance – the listener often gets the impression of being seated in the upper mezzanine of an arena.” (by wikipedia)

The year was 1974, and progressive rock supergroup Emerson Lake & Palmer had just finished an unbelievable run of chart topping studio recordings since their inception in 1970, and headed out to a massive stadium world tour dubbed ‘Somebody Get Me a Ladder’, which was documented in this legendary live album Welcome Back My Friends to the Show That Never Ends-Ladies and Gentleman. Originally released as the first ever triple-vinyl live rock album, this live set showcased the true musical powers of the band onstage, pulling some of the best songs from their first four studio albums and turning them into musical theater for their fans.

A band fully capable of not only writing their own fantastic songs, but also taking traditional pieces and recreating them in their own vision, ELP put both on display here alongside daring improvisations for a live prog masterpiece. The late Keith Emerson’s uncanny abilities on his array of keyboards (Hammond organ, Moog, and piano) are on full display throughout, highlights being of course the epic “Tarkus”, the upbeat romps “Hoedown”, “Toccata”, and his gorgeous “Piano Improvisations”. Greg Lake adds some stellar lead guitar and Carl Palmer drops in an acrobatic drum solo on the classic “Karn Evil 9”, while the band deliver powerful melodic prog in the form of “Jerusalem” and the yearning “Take a Pebble”, with the lovely Lake ballads “Still…You Turn Me On” and “Lucky Man” housed within for good measure.

Bombastic, virtuosic, and most importantly, melodic, are just a few descriptions of what you are in store for on Welcome Back My Friends to the Show That Never Ends-Ladies and Gentleman, quite simply a mandatory live album for any fan of ’70s rock … and a wonderful tribute to this legendary band. (seaoftranquility.org)

Personnel:
Keith Emerson (keyboards)
Greg Lake (bass, guitar, vocals)
Carl Palmer (drums, percussion)

Tracklist:
01. Hoedown (Copland) 4.27
02. Jerusalem (Parry/Blake) 3.18
03. Toccata (Ginastera) 7.22
04. Tarkus 27.12
04.1. Eruption (Emerson)
04.2. Stones Of Years (Emerson/Lake)
04.3. Iconoclast (Emerson)
04.4. Mass (Emerson/Lake)
04.5. Manticore (Emerson)
04.6. Battlefield (Lake) / Epitaph (Fripp/Lake/McDonald/Giles/Sinfield)
04.7. Aquatarkus (Emerson)
05. Take A Pebble / Still…You Turn Me On / Lucky Man (Lake) 11.05
06. Piano Improvisations (including Friedrich Gulda’s “Fugue” and Joe Sullivan’s “Little Rock Getaway”) (Emerson) 11.52
07. Take A Pebble (Conclusion) (Lake) 3.14
08. Jeremy Bender / The Sheriff (Emerson/Lake) 5.24
09. Karn Evil 9 / 35.14
09.1. 1st Impression (including “Percussion Solo (Con Brio)) (Emerson/Lake/Palmer) 17.26
09.2. 2nd Impression (Emerson) 7.36
09.3. 3rd Impression (Emerson/Lake/Sinfield) 10.17

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Keith Emerson:
02 November 1944 – 11 March 2016

Greg Lake:
10 November 1947 – 07 December 2016

Leonard Cohen – New Skin For The Old Ceremony (1974)

New Skin for the Old Ceremony is the fourth studio album by Leonard Cohen. On this album he began to move away from the minimal instrumentation of his earlier work, with the use of violas, mandolins, banjos, guitars, percussion and other instruments producing a more orchestrated (but nevertheless spare) sound. The album has been certified silver in the UK, but never entered the Billboard Top 200.

For his fourth album, Cohen chose to work with John Lissauer, a recent college graduate and rising producer whose jazz background contrasted sharply with Bob Johnston, the Nashville-based producer who had been at the helm of Cohen’s two previous releases, 1969’s Songs From a Room and 1971’s Songs of Love and Hate. According to the Anthony Reynolds 2010 book Leonard Cohen: A Remarkable Life, Cohen sat on Lissauer’s couch and played him his new songs on his guitar at the producer’s loft on 18th Street in New York City, and eventually cut a handful of demos at a CBS studio before moving to Sound Ideas studio in February. Reynolds reports that Lissauer had the impression that the whole Nashville experience, including the 1972 European tour with “The Army” (the touring band that Johnson assembled) had been a bit overwhelming for Cohen: “It was like a big wave picking him up, and while he had fun it didn’t quite have the artistic sensibility that Leonard needed. The focus then had been on this Nashville energy thing.”

Lissauer assembled a new group of musicians to join Cohen in the studio, including double bass player John Miller, as well as engineers Rip Lowell and Leanne Ungar. Lissauer brought a European tinge to many of the songs, adding a depth and richness by employing woodwinds, viola, and strings. The album is notable for its very dry mix, with reverb and echo used very sparingly. The album features several popular Cohen compositions, most notably “Chelsea Hotel #2” (“Chelsea Hotel”, the precursor to “Chelsea Hotel #2”, was only performed live and co-written by Cohen and his guitarist Ron Cornelius). “Chelsea Hotel #2” refers to a sexual encounter in the Chelsea Hotel, probably New York City’s most famous Bohemian hostelry. For some years, when performing this song live, Cohen would tell a story that made it clear that the person about whom he was singing was Janis Joplin. Cohen would eventually come to regret his choice to make people aware that the song was about Joplin, and the graphic detail in which the song describes their brief relationship. In a 1994 broadcast on the BBC, Cohen said it was “an indiscretion for which I’m very sorry, and if there is some way of apologising to the ghost, I want to apologise now, for having committed that indiscretion.”

According to Ira Nadel’s 1996 Cohen memoir Various Positions, the singer finished writing Chelsea Hotel #2″ at the Imperial Hotel in Asmara, Ethiopia and reworked an early song called “The Bells” into “Take This Longing”. Nadel also notes that several songs, such as “Field Commander Cohen”—about a surrealistic spy known for parachuting “acid into diplomatic cocktail parties”—were influenced by his recent stay in a turbulent Israel, and that the melody for “Who By Fire” (sung as a duet with Janis Ian on the album) is based on the Hebrew melody for the prayer “Unetanneh Tokef” sung at the Mussaf (or noontime service) of the High Holy Days. In an interview with John McKenna of RTÉ in 1988, Cohen discussed the idea behind “A Singer Must Die”: “There’s something I listen for in a singer’s voice and that’s some kind of truth. It may even be truth of deception, it may even be the truth of the scam, the truth of the hustle in the singer’s own presentation, but something is coming across that is true, and if that isn’t there the song dies. And the singer deserves to die too, and will, in time, die.”

Cohen’s vocals on “Is This What You Wanted” and “Leaving Green Sleeves” are some of his most aggressive and confrontational, although for the most part his singing on the LP is quiet to the point of being almost conversational. The latter is a reworking of the 15th-century folk song “Greensleeves”; Cohen retains the chord progression, but changes the melody and takes the latter verses in a different direction than the original. The song, and in turn the album, ends with Cohen violently screaming the chorus as the track fades out. Cohen would express satisfaction with the album in an interview with Melody Maker’s Harvey Kubernik in March 1975:

For a while, I didn’t think there was going to be another album. I pretty well felt that I was washed up as a songwriter because it wasn’t coming anymore. Actually, I should have known better, it takes me a long time to compose a song…However, last summer I went to Ethiopia looking for a suntan. It rained, including in the Sinai desert, but through this whole period I had my little guitar with me, and it was then I felt the songs emerging – at least, the conclusions that I had been carrying in manuscript form for the last four or five years, from hotel room to hotel room…I must say I’m pleased with the album. It’s good. I’m not ashamed of it and am ready to stand by it. Rather than think of it as a masterpiece, I prefer to look at it as a little gem.

Cohen would tour in support of the LP, beginning a thirty-three date European trek (his third) in the fall of 1974 followed by his first North American tour in November.

The original cover art for New Skin for the Old Ceremony was an image from the alchemical text Rosarium philosophorum. The image originally came to public attention in C.G. Jung’s essay The Psychology of The Transference (2nd ed.1966), where it is held by Jung to depict the union of psychic opposites in the consciousness of the enlightened saint. (by wikipedia)

Leonard Cohen was a poet long before he decided to pick up a guitar. Despite singing in a dry baritone over spare arrangements, Cohen is a gifted lyricist who captivates the listener. New Skin for the Old Ceremony may be Leonard Cohen’s most musical album, as he is accompanied by violas, mandolins, banjos, and percussion that give his music more texture than usual. The fact that Cohen does more real singing on this album can be seen as both a blessing and a curse — while his voice sounds more strained, the songs are delivered with more passion than usual. Furthermore, he has background vocalists including Janis Ian that add significantly to create a fuller sound. It is no surprise, however, that he generally uses simple song structures to draw attention to the words (“Who By Fire”). The lyrics are filled with abstract yet vivid images, and the album primarily uses the metaphor of love and relationships as battlegrounds (“There Is a War,” “Field Commander Cohen”). Cohen is clearly singing from the heart, and he chronicles his relationship with Janis Joplin in “Chelsea Hotel No. 2.” This is one of his best albums, although new listeners should start with Songs of Leonard Cohen. (by Vik Iyengar)

Alternate front + back cover

Personnel:
Leonard Cohen (guitar, vocals)
Gerald Chamberlain (trombone)
Lewis Furey (viola)
Ralph Gibson (guitar)
Armen Halburian (percussion)
Jeff Layton (banjo, mandolin, guitar, trumpet)
Barry Lazarowitz (percussion)
John Lissauer (woodwinds, keyboards, background vocals)
Roy Markowitz (drums)
John Miller (bass)
Don Payne (bass)
+
background vocals:
Janis Ian – Emily Bindiger – Erin Dickins – Gail Kantor

Tracklist:
01. Is This What You Wanted 4.15
02. Chelsea Hotel #2 3.08
03. Lover Lover Lover 3.19
04. Field Commander Cohen 4.00
05. Why Don’t You Try 3.51
06. There Is A War 2.59
07. A Singer Must Die 3.18
08. I Tried To Leave You 2.38
09. Who By Fire 2.29
10. Take This Longing 4.06
11. Leaving Green Sleeves 2.40

All songs written by Leonard Cohen

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Redwing – Dead Or Alive (1974)

Essentially, Redwing, Glad, and the New Breed are all the same band…sort of. As the band evolved and their styles changed, so did their name.

Actually, the story begins in Sacramento, CA in 1962 when Timothy (B.) Schmit, Ron Floegel, and Tom Phillips played together in a folk trio, appropriately named Tim Tom & Ron. In 1963, as high school sophomores at Encina High, the band added drummer George Hullin and switched to surf music. With this new change in direction and new member, Tim Tom & Ron became The Contenders.

Then the British Invasion hit, and the group jumped on that ship. Surf music was out and Beatlesque-sounding music was their new thing. By now, the quartet of Tim Schmit, Ron Floegel, Tom Phillips, and George Hullin went by the name, the New Breed.

In 1965, the New Breed cut a single, “Green Eyed Woman” b/w “I’m in Love,” which was quite successful as a regional hit in Northern California. The B-Side, “I’m in Love,” was actually a Lennon-McCartney tune that never appeared on a Beatles record. However, the New Breed’s rendition was extremely faithful to the Beatle-sound, almost sounding as though it was a track that could have been pulled right off of A Hard Days Night; production-wise, it was very much in the “I’m Happy Just to Dance With You” vein.

The New Breed next recorded an album’s worth of material. Most of the 11 tracks were cover tunes, but there were a few New Breed originals recorded. Due to problems with their label, the record was not released.

 

In 1966, under their own label, World United, the band recorded a new single, “Fine With Me” b/w “The Sound of Music.” The band’s music mirrored the progressive changes that were happening in the music world around this time, and their follow-up single “Wand Ad Reader,” was, essentially, a New Breed re-write of “Paperback Writer.”

Around 1968, the band signed on with a new label, Equinox, under producer Terry Melcher, who had the group change their name to Glad. In Los Angeles, Glad recorded one album, Feelin’ Glad. The album, again, is very Beatlesque, but it is a highly produced effort, more so like the post-’65 Beatles. Apparently, the band was unhappy with the album due to the fact that they had very little control over it. Certain parts of the record were overdubbed with strings, horns, and fancy production against the band’s wishes. Furthermore, its been stated that Tim Schmit is the only Glad member that appeared on the LP’s track, “Shape of Things to Come,” and this was apparently a sore spot for the group. Regardless, the album, which is mostly Glad originals, is a solid album filled with great cuts and great singing and harmonies.

Unfortunately, Feelin’ Glad did not sell particularly well, and in 1969, Tim Schmit, aka, Timothy B. Schmit was offered the position of bassist for Poco . He accepted it and went onto record some of the most under appreciated music ever with the band. He became the replacement for Randy Meisner, who, ironically, he would replace again in the Eagles in 1977. With Poco, Tim released 11 albums.

Glad, again, changed their name. This time, they became Redwing. Replacing Tim was Andy Samuels, formerly of Nate Shiner’s Band. Samuels was really another guitarist, and not really a bassist, although he would play some bass on Redwing’s albums and was–according to soon-to-be-bassist Dale Lyberger–quite accomplished. Although it seems that the band never actually found an “official,” long-term bassist, several four-stringers played with the group over the ensuing years–most notably Dale Lyberger, John Myers, and Buddy Harpham.

Redwing did well locally, but, unfortunately, never made it nationally. Under the Fantasy label, they released 5 records–one each year starting in 1971: Redwing, What this Country Needs…, Take Me Home, Dead or Alive, and Beyond the Sun and Stars. Much like with the New Breed and Glad, each record reflected the band’s style evolving and incorporated new ideas. (More information is available on each record on the records page.)

By the time of the release of Beyond the Sun andStars, the band’s final record, the spark that originally defined the band had diminished. The end was not too far away, and the group disbanded not too long aftewards.

Although the 5 Redwing LPs remain unreleased on CD and long out of print, those who have had or have been able to find vinyl copies recognize that the group left behind some fine music. The members of the New Breed (including Timothy B. Schmit) still occasionally see each other, and have reunited for a few jams over the years: usually at high school reunions. After all, Encina High School was the place where it all started so many years back. (by desktop21.com/redwing)

And this is their 4th album …

… and if you like the sound of Crosby, Stills, Nash & Young, The Eagles, The Marshall Tucker Band or The Band …. then is this album for you.

And songs like “Rainbow Mountain”, “I’m Holding On”, “Two Brothers (Dead Or Alive)”. “Early Mornin’ Sunrise” or “Shine On Me” … stands the test of time ! Listen and enjoy !

The inlet

Personnel:
Ron Floegel (guitar)
George Hullin (drums, percussion, fiddle)
Tom Phillips (guitar, slide-guitar, steel-guitar, dobro, banjo, harmonica, saxophone, vocals)
Andrew Samuels (guitar, bass, vocals)
+
David Fraser (piano on 04., 08. + 10.)
Tiny Moore (fiddle, mandolin on 06. + 09.)
Kenneth Nash (percussion on 01., 05., 06. + 08.)
+
background vocals:
Debbie Moore – George Hullin

Tracklist:
01. I’m Holding On (Phillips) 3.58
02. You’ve Got It (Phillips) 2.47
03. Two Brothers (Dead Or Alive) (Phillips) 3.26
04. The Rhythm King (Floegel) 2.01
05. Early Mornin’ Sunrise (Phillips) 4.49
06. Foxfire (Phillips) 2.19
07. Shine On Me (Phillips) 3.12
08. Angel Eyes (Floegel) 3.01
09. Give Me A Song (Phillips) 2.59
10. Rainbow Mountain (Floegel) 3.38

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Tom Phillips today

Andy Fairweather Low – Spider Jiving (1974)

The seven million people who bought Eric Clapton’s Unplugged album and the countless more who saw the MTV Unplugged TV show experienced the work of Andy Fairweather Low, who served as Clapton’s backup guitarist/vocalist. But probably few in that giant audience knew that Fairweather Low had once been a teen idol and had an extensive recorded catalog in groups and as a solo star. Born in Cardiff, Wales, Fairweather Low formed Amen Corner in the mid-’60s, for which he served as lead singer. The group scored six U.K. hits from 1967 to 1969, the biggest of which was the number one “(If Paradise Is) Half as Nice.” Its success put Fairweather Low’s attractive face on the bedroom walls of teenage girls all over Britain. Amen Corner broke up at the end of the ’60s and evolved into the more progressive Fair Weather, which scored a hit with “Natural Sinner” in 1970, but broke up in 1971. Fairweather Low retired for several years, but returned as a solo artist in 1974 and made a series of albums through 1980, reaching the U.K. Top Ten with the singles “Reggae Tune” and “Wide Eyed and Legless.” Gradually, however, he began to work as a sideman to more prominent British musicians, notably ex-Pink Floyd leader Roger Waters, and with the ARMS benefit group in 1987. He toured Japan with George Harrison and Eric Clapton in 1991 and has since been part of Clapton’s backup band. Fairweather Low began touring with Bill Wyman’s Rhythm Kings and, in 2006, hit the road again with Waters for the Dark Side of the Moon Tour. (by William Ruhlmann)

Andy Fairweather Low spent a fair amount of the late ’60s through 1970 in the British Top Ten with the pop-R&B band Amen Corner, as well the short-lived Fair Weather, before taking a nearly three-year hiatus from recording. Shedding his teen idol image of previous years, the Welsh-born Low returned in 1974 with his first solo record, Spider Jiving. Here he delivers 11 self-penned gems that can be as laid-back as they can be funky, employing support from both Nashville and Memphis while retaining the sort of looseness found in an English pub band. With producer Elliot Mazer — known for his work with Neil Young — Low punches up tunes such as the acoustic-based title track with help from the Memphis Horns, while his rock & roll and R&B sport wry touches of banjo, fiddle, pedal steel, and Charlie McCoy’s harmonica. Lyrically, there’s a thread of frustration, steeped in the experiences of someone who’s had to sit back and watch others get rich from his hard work and success (Low and Amen Corner made very little money despite their success, and were actually in debt to their label following their breakup). And while lines such as “…and the sad thing is, that no one really cares” and “I’ve been abused too long…” may hint at singer/songwriter self-pity, closer investigation reveals a playfulness in the music, as well as a sense of humor and a sly wink in his delivery that keeps everything in perspective. Some of the highlights include the irresistible title cut; the dancehall ballad “Dancing in the Dark”; and the wah-wah driven “Reggae Tune,” which continued Low’s string of U.K. Top Ten hits. (by Brett Hartenbach)

Personnel:
Kenny Buttrey (drums)
Vassar Clements (violin)
Andy Fairweather Low (guitar, vocals)
John Kahn (guitar)
Charlie McCoy (harmonica)
Henry McCullough (guitar)
Weldon Myrick (steel-guitar)
Mark Naftalin (keyboards)
Denny Seiwell (drums)
Buddy Spicher (violin)
Chris Stewart (bass)
Bobby Thompson (banjo)
Mick Weaver (keyboards)
+
The Memphis Horns Horn
+
background vocals:
Lea Jane Berinati – Dianne Davidson – Ginger Holladay – Mary Holladay

Tracklist:
01. Spider Jiving 3.07
02. Drowning on Dry Land 3.30
03. Keep On Rocking 3.47
04. Same Old Story 3.47
05. I Ain’t No Mountain 4.06
06. Every Day I Die 4.33
07. Standing On The Water 4.05
08. Mellow Down 3.10
09. The Light Is Within 4.21
10. Reggae Tune 3.24
11. Dancing In The Dark 3.02

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Keith Jarrett & Jan Garbarek – European Quartet (1974)

For a band destined to be so influential, led by a pianist who is certainly not shy of the recording process, Keith Jarrett’s so-called European quartet was parlously under-documented.

Two studio albums, Belonging (1974) and My Song (1977) and a single live recording, Nude Ants (1979) made at New York’s Village Vanguard, were all that Jarrett and producer Manfred Eicher saw fit to release at the time. But the studio albums in particular were of such a high quality, so totally original in their conception, so utterly, heart-openingly beautiful, they were enough to establish the quartet as one of the most influential acoustic units to emerge from the otherwise fusion-soaked 1970s.

Formed around Jarrett’s bravura playing and writing, the group featured three then little-known Scandinavian musicians: saxophonist Jan Garbarek, bassist Palle Danielsson and drummer Jon Christensen. The Europeans seemed to have a liberating effect on the Pennsylvania pianist.

Even now, with more than 50 other ECM recordings to his name, among them some of the most celebrated jazz albums of the post-Coltrane era, Jarrett stands out for his playing with the European quartet – joyous, exuberant flights of pure melodic invention, imbued with a bright-eyed romanticism that is rare in modern jazz.

Also known as the Scandinavian quartet, Jarrett’s alliance with Jan Garbarek (tenor and soprano sax), Palle Danielsson (bass), and Jon Christensen (drums) stood in smooth contrast to the American quartet’s restlessness. Common to both groups was Jarrett’s brilliant writing and a few free and ethnic tangents. Their first album Belonging was recorded in the heyday of the American quartet, but they only became a working unit after the Americans had dissembled. Considering all the compositions Jarrett wrote for both groups, it cements him as one of the most creative jazz artists of the 1970s, all without playing a lick of fusion.  (by jazzshelf.org)

And here´s a brilliant live recording from this “European quartet”… a broadcast recording, live at the Funkhaus, Studios 1, Hannover … recorded by the German radio station “NDR”.

Listen and you´ll know why I think and feel, that this is timeless music !

Personnel:
Jon Christensen (drums)
Palle Danielsson (bass)
Jan Garbarek (saxophone)
Keith Jarrett (piano)

Tracklist:
01. Introduction (in German) 0.35
02. Belonging 5.03
03. Spiral Dance 13.53
04. Blossom 15.50
05. Give Me Your Ribbons And I’ll Give You My Bows 7.53
06. The Windup 13.37
07. Long As You Know You’re Living Yours 17.13
08. Mandala 7.23
09. Solstice 14.44

Music composed by Keith Jarrett

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Eagles – On The Border (1974)

On the Border is the third studio album by American rock group the Eagles, released in 1974. Apart from two songs produced by Glyn Johns, it was produced by Bill Szymczyk because the group wanted a more rock‑oriented sound instead of the country-rock feel of the first two albums It is the first Eagles album to feature guitarist Don Felder. On the Border reached number 17 on the Billboard album chart and has sold two million copies.

Three singles were released from the album: “Already Gone”, “James Dean” and “Best of My Love”. The singles peaked at numbers 32, 77 and 1 respectively. “Best of My Love” became the band’s first of five chart toppers. The album also includes “My Man”, Bernie Leadon’s tribute to his deceased friend Gram Parsons. Leadon and Parsons had played together in the pioneer country rock band Flying Burrito Brothers, before Leadon joined the Eagles.

This is the first album by the Eagles to be released in Quadraphonic surround sound. It was released on Quadraphonic 8-track tape and CD-4 LP. A hidden message carved into the run out groove of some vinyl LPs reads: “He who hesitates is lunch”.

The album was initially produced by Glyn Johns and recorded at Olympic Studios in London, but during the making of the album, disagreement arose between the Eagles and their producer. As the band tried to lean towards a more hard rock sound, they felt that producer Glyn Johns was overemphasizing their country-influenced rock sound. Johns however felt that the Eagles were not capable of that the band wanted and told the band: “You are not a rock-and-roll band, The Who is a rock-and-roll band, and you’re not that.” The band—Glenn Frey in particular, but not Don Henley—were also unhappy with the no-drug policy of Johns during the recording; furthermore they did not feel at home recording in London. The band was concerned about the lack of success of the previous album Desperado, and were more assertive in wanting more input into the album, which Johns was unwilling to allow. The Eagles spent six weeks recording in London, with both the band and the producer becoming frustrated with each other and frequent arguments between Johns and Frey. The band then took a break, decided to find a new producer and discarded all the recordings except for two usable tracks, “Best of My Love” and “You Never Cry Like a Lover”.

The band relocated back to California and hired Bill Szymczyk, who had produced The Smoker You Drink, the Player You Get by Joe Walsh—who was also managed by their manager Irving Azoff and who would go on to join the Eagles in late 1975—that interested the band. The band recorded the rest of the album at the Record Plant Studios in Los Angeles. They were allowed more input in how the album was made and enjoyed more freedom with Szymczyk in the making of the album. Szymczyk suggested they bring in a harder-edged guitarist to add slide guitar to the song “Good Day in Hell”. Bernie Leadon suggested his old friend Don Felder, whom they had met and jammed with on a few occasions. The band was so impressed that they invited Felder to become the fifth Eagle. The only other track on this album on which he appeared was “Already Gone”. They credited him as a late arrival on the album’s liner notes.

On the difference in sound between Johns’ and Szymczyk’s productions, Henley said: “There’s a lot less echo with Bill, for one thing. There’s more of a raw and funky presence. Glyn had a stamp he put on his records which is a deep echo that is really smooth like ice cream”. He thought that the production on the two songs that Johns produced was good and necessary. Frey, however, found that L.A. country-rock records were “all too smooth and glassy”, and wanted a “tougher sound”. Their friend and collaborator J. D. Souther ascribed the change of producer to “Eagles’ desire to get more of a live, thin sound on the albums”.

The first two singles released were more rock-oriented; Frey was reluctant to release the Johns-produced “Best of My Love” as a single, and held off its release for some months. However, when it was finally released, the label had truncated the song–without the band’s knowledge or approval–so that it would be more radio-friendly.[13] “Best of My Love” would become their biggest hit thus far, and their first No. 1 on the charts.
Songs

“Already Gone”, “James Dean”, and “Best of My Love” were released as singles from the album.

In an early review, Janet Maslin of Rolling Stone found the album “competent and commercial”, but was disappointed that it did not live up to the potential for bigger things shown in Desperado. She also thought that with three guitarists in the band, there were “just too many intrusive guitar parts here, too many solos that smack of gratuitous heaviness. Many of the arrangements seem to lose touch with the material somewhere in mid-song.” Overall, she judged the album “a tight and likable collection, with nine potential singles working in its favor and only one dud (“Midnight Flyer”) to weigh it down,” and that it’s “good enough to make up in high spirits what it lacks in purposefulness.”

The album became the band’s most successful album of the three released thus far. It debuted at number 50 on the US Billboard 200 chart in its first week of its release,[22] peaking at number 17 in its sixth week on the chart.[23] On March 20, 2001, the album was certified double platinum by the Recording Industry Association of America (RIAA) for shipments of 2 million copies.

The Eagles began recording their third album in England with producer Glyn Johns, as they had their first two albums, but abandoned the sessions after completing two acceptable tracks. Johns, it is said, tended to emphasize the group’s country elements and its harmonies, while the band, in particular Glenn Frey and Don Henley, wanted to take more of a hard rock direction. They reconvened with a new producer, Bill Szymczyk, who had produced artists like B.B. King and, more significantly, Joe Walsh. But the resulting album is not an outright rock effort by any means. Certainly, Frey and Henley got what they wanted with “Already Gone,” the lead-off track, which introduces new bandmember Don Felder as one part of the twin guitar solo that recalls the Allman Brothers Band; “James Dean,” a rock & roll song on the order of “Your Mama Don’t Dance,” and “Good Day in Hell,” which is strongly reminiscent of Joe Walsh songs like “Rocky Mountain Way.”

But the album also features the usual mixture of styles typical of an Eagles album. For example, “Midnight Flyer,” sung by Randy Meisner, is modern bluegrass; “My Man” is Bernie Leadon’s country-rock tribute to the recently deceased Gram Parsons; and “Ol’ 55” is one of the group’s well-done covers of a tune by a singer/songwriter labelmate, in this case Tom Waits. The title track, meanwhile, points the band in a new R&B direction that was later pursued more fully. Like most successful groups, the Eagles combined many different elements, and their third album, which looked back to their earlier work and anticipated their later work, was a transitional effort that combined even more styles than most of their records did. (by William Ruhlmann)

Personnel:
Glenn Frey (vocals, guitar, guitars, piano)
Don Henley (drums, vocals)
Bernie Leadon (vocals, guitar, banjo, pedal steel-guitar)
Randy Meisner (bass, vocals)
+
Don Felder ( guitar;slide guitar on 01., + 09. – credited as “late arrival”)
Al Perkins (pedal steel guitar on 07.)

Tracklist:
01. Already Gone (Tempchin/Strandlund) 4.15
02. You Never Cry Like A Lover (Henley/Souther) 4.01
03. Midnight Flyer (Craft/Meisner) 3.58
04. My Man (Leadon) 3.31
05. On The Border (Henley/Leadon/Frey) 4.26
06. James Dean (Henley/Frey/Souther/Browne) 3.39
07. Ol’ ’55 (Waits/Frey/Henley) 4.22
08. Is It True? (Meisner) 3.14
09. Good Day In Hell (Frey) 4.24
10. Best Of My Love (Henley/Frey/Souther) 4.31

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Beck Bogert Appice – Live In Japan (1974)

Although the all-star power trio of guitarist Jeff Beck, bassist Tim Bogert, and drummer Carmine Appice discussed a potential collaboration as early as 1970, the project went on indefinite hiatus after Beck suffered a fractured skull in an automobile wreck. With the guitarist on the sidelines for well over a year, Bogert and Appice — who previously teamed in Vanilla Fudge — opted instead to form Cactus with singer Rusty Day and guitarist Jim McCarty, issuing a series of boogie rock LPs for Atlantic before dissolving. In the meantime, following his recovery Beck founded a new incarnation of his Jeff Beck Group, releasing a pair of albums before disbanding the project in 1972; with Bogert and Appice again available, the threesome immediately set to work on recording, issuing Beck, Bogert and Appice to solid sales in 1973. A much sought after live album was subsequently issued in Japan only, but while working on a second studio effort, the famously mercurial Beck abruptly dissolved the trio in early 1974. (by Jason Ankeny)

Live in Japan is a 1973 release by the rock supergroup power trio Beck, Bogert & Appice. The album, although initially called Beck, Bogert & Appice Live, was only issued in Japan and is also known as Live in Japan. It is generally considered rare due to the fact of it being manufactured in only limited numbers in Japan. Live in Japan was the last LP by Beck, Bogert & Appice and their only live album. Within months of the album’s release the band would dissolve after Jeff Beck suddenly decided to leave.

On this record, Beck can be heard heavily using a Heil Talkbox, two years before the release of Peter Frampton’s landmark album, Frampton Comes Alive! (1976). The album also contains renditions of songs originally recorded by the Jeff Beck Group, “Plynth”, “Going Down”, and “Morning Dew” and one Yardbirds number “Jeff’s Boogie”. (by wikipedia)

This is one of the best live albums of its era. The power trio format leaves nothing but room for the master, Mr. Beck, to play as few can. Not a note is wasted. I see from other reviews that people are less than satified with the abilities of Carmine and Tim. While their playing can indeed be over the top and bombastic at times, when they hit it right they become a powerful canvas for Jeff to paint over. The vocals? Who cares? Nobody buys this expecting stellar singing. Also, it should be noted that Led Zeppelin “borrowed” (that is the nice way of putting it) their entire template from both Jeff Beck and Carmine and Timmy’s older group Vanilla Fudge. So enjoy this for what it is, the originators of Heavy Rock doing it to death!!! (by G. Griffin)

This is Beck in his best, performed live!:
One of key attractions for me to purchase rock live albums is the live vibes and ambient created by scream of the audience (like Queen Killers). But with this Beck, Bogert, Appice power rock trio, it’s not the scream by the audience that matters most to me but . the improvisational work performed by these three powerful musicians. It’s awesome. Again, this album was very popular during my teenage years where I got the cassette version. We called this album as the “red” album by BBA, while the studio version as the “brown” album. Both we considered good albums but the red album has something much more to offer: the energy of rock music which is very obviously trajected by the three musicians. As this is a rare collection and the CD price is quite expensive for me, I only keep the cassette version that I have had it with me since teenager.

This album was in par excellent with live albums by other classic rock bands like Led Zeppelin “The Song Remains The Same”, Deep Purple “Made In Japan”, Grand Funk “Live” and Humble Pie “Live at Fillmore”. They were all so rockin’! Of course, all of them were part of musical listening zone during that age and I did enjoy them very much. As far as BBA concerns, I especially like how Beck explores his range of technical capabilities in sliding his guitar. It’s marvelous. No wonder, when in February 14, 2006 I had a dinner with Mick Box (Uriah Heep) he replied my question of “Who is your favorite guitar players?” with “Jeff Beck!”.

Of course, it’s not only Jeff Beck who rocked the audience during the the show in Japan. Tim Bogert also performed his tight and dynamic bass lines excellently while Carmine Appice not only providing beats for the rest musicians but he also played dynamically to create great grooves of the songs performed. Of course, the most legendary track is Stevie Wonder’s “Superstition”. But other tracks also excellent. “Jeff’s Boogie” and “Going Down” are also great favorite of all time. Having known how the band performed and how this record was so popular during 70s, I can only say that this is a gem of 70s that no one should miss.

Overall, it’s an excellent classic rock, performed live. You should not miss this album! (Gatot)

Personnel:
Carmine Appice (drums, vocals)
Jeff Beck (guitar, talkbox, vocals)
Tim Bogert (bass, vocals)

Tracklist:

CD 1:
01. Superstition (Wonder) 5.17
02. Lose Myself With You (Beck/Appice/Bogert/French) 10.50
03. Jeff’s Boogie (Beck/Dreja/McCarty/Relf/Samwell-Smith) 3.33
04. Going Down (Nix) 3.33
05. Boogie (Beck/Appice/Bogert) 4.58
06. Morning Dew (Dobson/Rose) 14.11

CD 2:
01. Sweet Sweet Surrender (Nix) 4.43
02. Livin’ Alone (Beck/Appice/Bogert) 6.11
03. I’m So Proud (Mayfield) 5.43
04. Lady (Beck/Appice/Bogert/French) 6.17
05. Black Cat Moan (Nix) 9.14
06. Why Should I Care (Kennedy) 7.21
07. Plynth/Shotgun (Medley) (Hopkins/Stewart/Wood/Dewalt) 5.57

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