Reprinted from 'Smilin' Ears Magazine', September 1997
Greetings, folks! It's been a very exciting Summer for live music in New York!. The public television network here, with the help of Sony music and Sony studios, have been producing episodes of a wonderful live music/interview program called "Sessions At West 54th". If you can acquire copies (even NTSC ones) of some of the episodes that have aired so far, do so. Every show has been great so far.
Tickets for these events were offered up, free of charge, through a website (SonicNet) and through the leading New York public radio station, WFUV (a station many live tape collectors are familiar with!). Thankfully, I was able to enjoy a summer holiday that coincided with the bulk of most of these live tapings. The thrill and honor of being a studio audience member for these live shows was a highlight of my concert-going "career", since many of these were truly "special" performances". Over the next few months broadcasts will include some incredible shows featuring Emmylou Harris with Daniel Lanois, Patty Smith, Sinead O'Connor, The Squirrel Nut Sippers (who are a thoroughly enjoyable young band!), David Byrne, Shawn Colvin, Joe Jackson (who performs his entire new album!), Ron Sexsmith (with guest Elvis Costello) and Leo Kottke - among others. Watch out for these tapes as they begin circulating. I only wish that the entire performances were being broadcast, rather than merely half hour or one hour segments of them.
Most of the artists were caught in an unnatural, yet exciting and interesting, "television' environment. The typical unbridled audience passion for a live show could not be expressed under the strict circumstances of cameras, light balancing, and silence during songs, so there was a constant feeling that the crowd was being forced to hold back. In some instances, it seemed to drive the performers to play even harder - giving us 120 percent. In other instances it made them uneasy. The strong and intense Sinead O'Connor, for example, seemed to radiate an almost childlike insecurity between songs - as did the "godmother of punk", Patty Smith.
Flubs and retakes were also common; and to see an artist critically examining his own performance was also a very thrilling experience. Poor Shawn Colvin was plagued by sound problems, blown lyrics and missed bass notes as she made no less than three attempts at one song during her "Sessions" taping!
All in all, the series was a most enjoyable summer experience. Now, even with the impending Fleetwood Mac tour in the states, I'm sure that the Fall can't hold as much in store where live music is concerned.
Meanwhile ... here are some of the tapes that I've had the time to pursue in between all of these TV tapings!
1) The Planet Earth Rock and Roll Orchestra (a.k.a. "P.E.R.R.O.") - Wally Heider Studios - 1971 App. 100 min. SDBD
This is an incredible tape for anyone who is a collector of The Grateful Dead, David Crosby, or The Jefferson Airplane.
In 1983, Paul Kantner released an LP entitled "Planet Earth Rock and Roll Orchestra. Don't look for it on CD. In typical corporate wisdom RCA hasn't released it yet. The album was thoroughly enjoyable, and conceptually seemed to represent a "sequel", of sorts", to the classic 1970 "Blows Against The Empire" album. One particular outstanding track on the album is "Mountain Song". The track is a Paul Kantner / Jerry Garcia co-composition, and it is "dedicated to one Summer when our schedules almost didn't conflict". This reference, which piqued many fans' interests in 1983, was to the sessions featured here on this tape - recently unearthed in quite enjoyable stereo sound quality.
It is uncertain exactly who was present for these extremely loose "sessions". We can easily pick out Jerry Garcia, David Crosby, Paul Kantner and Jorma Kaukonen (by his unique playing style). Both of San Francisco's most prominent bassists - Jack Casady and Phil Lesh - are present, according to most sources, but since they are not vocal, it's difficult to tell exactly who is playing when. The same rule applies when trying to decipher whether or not the drum work can be credited to Mickey Hart or Bill Kreutzman. The musical resents vary from merely interesting to brilliant. In some instances, such as in the extensive run-through of "Loser", the tape provides some insight into the work processes of these incredible musicians. The guitar jam on side two is virtually unremarkable, although they do wander into some semi-exciting runs here and there. Perhaps a bit more planning from the likes of two guitarists as gifted as Garcia and Kaukonen would have made for more exciting and usable results.
The opening three songs (or song fragments) are probably the most unique and entertaining. David Crosby, in a particularly inspired mood, brings three interesting pieces to the table for this merry band to work on, expand, and complete. None of the three songs have ever surfaced. With David being the sole member of this bunch to frequently lurk about the Internet, perhaps he is aware of the current proliferation of these songs. Who knows, maybe this will inspire him to dig one or more of them out for a reworking. The song "Wild Turkey" appears on the penultimate Airplane studio album, "Bark", and it is uncertain whether or not the loose jam version of the song that appears here predates that album's release. Two versions of the Crosby / Garcia / Kreutzman piece "Wall Song" are included; not surprising, since this one was bantered about by Grateful Dead members when they backed Crosby as "David & The Dorks" for a few shows in 1970. Of course, an embryonic "Mountain Song" is also expanded upon and worked out by the "band".
The camaraderie and musicianship of these talented individuals shine through on this recording. Despite the fact that some, uh ... chemical interference, may stunt their progress at times, they manage to make some very nice music. A most enjoyable tape!
2) Elton John - Delta Center, Salt Lake City, UT - Sept 18. 1995 App. 140 min. AUD
By the time this issue has gone to press, it is possible that Elton John will have the fastest and biggest selling single of all time. I, like the rest of the world, am horrified, shaken, and saddened by the circumstances in which Elton's rerecording of "Candle In The Wind" has come about. I do believe, however, that it attests both to the power that music has to help us in the grieving and healing processes, and to the strength and unending appeal of a beautiful, heartfelt melody and lyric. I also feel that Elton's performance, under such trying circumstances, was remarkable. The new version of this lovely work is a stunning tribute to a woman ... a lady ... who will be missed by all.
Having said that, I'd like to review this tape of a show from Elton's last tour. He continues, after almost thirty years, to thrill and delight audiences with his high energy shows which, especially in recent years, also manage to highlight his fine musicianship.
While I've always adored 1986's "Too Low For Zero" album, I'd grown a bit weary of "I'm Still Standing" as an opener for Elton. When he was making his most recent "comeback" in the late eighties it was great to hear - but now that he's back in full force, the song didn't seem to hold the weight. But now it's celebratory. He IS "still standing". The troubadour who has had at least a half a dozen "insurmountable" problems throughout his extensive career has triumphed over them. Despite his wealth, his fans and the public at large have never really seen him happy - until now. He is still standing, still playing, still singing with a considerable range, and still writing great songs. All of this comes through during the course of this show.
The opener is followed by the same album's "Guess That's Why They Call It The Blues" - in my opinion, a disappointing choice for such an early point in the evening. The moderate US hit "I Don't Want To Go On With You Like That", the evening's third offering, has become a show highlight in recent years, with Elton using the song's driving "techno" rhythm" as a backdrop for some exceptional piano work. The mood dips slightly again with a lovely rendition of "Sacrifice". It's at this point, twenty minutes into the performance, where the fun really begins. Elton digs into his bag of tricks for 1976's "Dixie Lily", a chestnut from the "Caribou" LP which was never performed on-stage before this tour. Audience response is moderate, but you can hear "hardcore" fans respond with a few loud "whoops". Davey Johnstone and company keep their mandolins and banjos out as the charming "Honky Cat" reappears after an extensive absence from Elton's tour sets. It's a wonderful one-two punch for this long-time EJ fan. As if that wasn't enough, Elton ends the "flashback" segment with a lovely rendition of "Come Down In Time" - a song that he, thankfully, revived a few years back.
The songs from "Made In England", Elton John's new release at the time, sound great live. While it is absent from this set, I recall the song "Pain" being part of the New York set when the tour reached here. The three from the album that are performed here - the title track, "House", and the single "Believe" - are all extremely well done, and blend in nicely in the set.
The other show highlights include a wonderfully spirited piano solo which leads into a powerful version of "Take Me To The Pilot". The typically strong run through of "Funeral For A Friend" here is, as usual, a real crowd pleaser. Elton's spoken intros before "Your Song" sound very heartfelt these days, as do the performances of the song. This night is no exception. And although Elton's been forced to bring down some of the parts of "Someone Saved My Life Tonight" musically these days, it doesn't seem to compromise the integrity of this brilliant piece of art in any way.
Overall, this is the best sound quality tape and the best recording (in terms of crowd noise) from this tour that I have found so far. It's well worth pursuing for any fan of Captain Fantastic's.
Well, that's all for now. See you when the leaves have changed color here!
Tickets for these events were offered up, free of charge, through a website (SonicNet) and through the leading New York public radio station, WFUV (a station many live tape collectors are familiar with!). Thankfully, I was able to enjoy a summer holiday that coincided with the bulk of most of these live tapings. The thrill and honor of being a studio audience member for these live shows was a highlight of my concert-going "career", since many of these were truly "special" performances". Over the next few months broadcasts will include some incredible shows featuring Emmylou Harris with Daniel Lanois, Patty Smith, Sinead O'Connor, The Squirrel Nut Sippers (who are a thoroughly enjoyable young band!), David Byrne, Shawn Colvin, Joe Jackson (who performs his entire new album!), Ron Sexsmith (with guest Elvis Costello) and Leo Kottke - among others. Watch out for these tapes as they begin circulating. I only wish that the entire performances were being broadcast, rather than merely half hour or one hour segments of them.
Most of the artists were caught in an unnatural, yet exciting and interesting, "television' environment. The typical unbridled audience passion for a live show could not be expressed under the strict circumstances of cameras, light balancing, and silence during songs, so there was a constant feeling that the crowd was being forced to hold back. In some instances, it seemed to drive the performers to play even harder - giving us 120 percent. In other instances it made them uneasy. The strong and intense Sinead O'Connor, for example, seemed to radiate an almost childlike insecurity between songs - as did the "godmother of punk", Patty Smith.
Flubs and retakes were also common; and to see an artist critically examining his own performance was also a very thrilling experience. Poor Shawn Colvin was plagued by sound problems, blown lyrics and missed bass notes as she made no less than three attempts at one song during her "Sessions" taping!
All in all, the series was a most enjoyable summer experience. Now, even with the impending Fleetwood Mac tour in the states, I'm sure that the Fall can't hold as much in store where live music is concerned.
Meanwhile ... here are some of the tapes that I've had the time to pursue in between all of these TV tapings!
1) The Planet Earth Rock and Roll Orchestra (a.k.a. "P.E.R.R.O.") - Wally Heider Studios - 1971 App. 100 min. SDBD
This is an incredible tape for anyone who is a collector of The Grateful Dead, David Crosby, or The Jefferson Airplane.
In 1983, Paul Kantner released an LP entitled "Planet Earth Rock and Roll Orchestra. Don't look for it on CD. In typical corporate wisdom RCA hasn't released it yet. The album was thoroughly enjoyable, and conceptually seemed to represent a "sequel", of sorts", to the classic 1970 "Blows Against The Empire" album. One particular outstanding track on the album is "Mountain Song". The track is a Paul Kantner / Jerry Garcia co-composition, and it is "dedicated to one Summer when our schedules almost didn't conflict". This reference, which piqued many fans' interests in 1983, was to the sessions featured here on this tape - recently unearthed in quite enjoyable stereo sound quality.
It is uncertain exactly who was present for these extremely loose "sessions". We can easily pick out Jerry Garcia, David Crosby, Paul Kantner and Jorma Kaukonen (by his unique playing style). Both of San Francisco's most prominent bassists - Jack Casady and Phil Lesh - are present, according to most sources, but since they are not vocal, it's difficult to tell exactly who is playing when. The same rule applies when trying to decipher whether or not the drum work can be credited to Mickey Hart or Bill Kreutzman. The musical resents vary from merely interesting to brilliant. In some instances, such as in the extensive run-through of "Loser", the tape provides some insight into the work processes of these incredible musicians. The guitar jam on side two is virtually unremarkable, although they do wander into some semi-exciting runs here and there. Perhaps a bit more planning from the likes of two guitarists as gifted as Garcia and Kaukonen would have made for more exciting and usable results.
The opening three songs (or song fragments) are probably the most unique and entertaining. David Crosby, in a particularly inspired mood, brings three interesting pieces to the table for this merry band to work on, expand, and complete. None of the three songs have ever surfaced. With David being the sole member of this bunch to frequently lurk about the Internet, perhaps he is aware of the current proliferation of these songs. Who knows, maybe this will inspire him to dig one or more of them out for a reworking. The song "Wild Turkey" appears on the penultimate Airplane studio album, "Bark", and it is uncertain whether or not the loose jam version of the song that appears here predates that album's release. Two versions of the Crosby / Garcia / Kreutzman piece "Wall Song" are included; not surprising, since this one was bantered about by Grateful Dead members when they backed Crosby as "David & The Dorks" for a few shows in 1970. Of course, an embryonic "Mountain Song" is also expanded upon and worked out by the "band".
The camaraderie and musicianship of these talented individuals shine through on this recording. Despite the fact that some, uh ... chemical interference, may stunt their progress at times, they manage to make some very nice music. A most enjoyable tape!
2) Elton John - Delta Center, Salt Lake City, UT - Sept 18. 1995 App. 140 min. AUD
By the time this issue has gone to press, it is possible that Elton John will have the fastest and biggest selling single of all time. I, like the rest of the world, am horrified, shaken, and saddened by the circumstances in which Elton's rerecording of "Candle In The Wind" has come about. I do believe, however, that it attests both to the power that music has to help us in the grieving and healing processes, and to the strength and unending appeal of a beautiful, heartfelt melody and lyric. I also feel that Elton's performance, under such trying circumstances, was remarkable. The new version of this lovely work is a stunning tribute to a woman ... a lady ... who will be missed by all.
Having said that, I'd like to review this tape of a show from Elton's last tour. He continues, after almost thirty years, to thrill and delight audiences with his high energy shows which, especially in recent years, also manage to highlight his fine musicianship.
While I've always adored 1986's "Too Low For Zero" album, I'd grown a bit weary of "I'm Still Standing" as an opener for Elton. When he was making his most recent "comeback" in the late eighties it was great to hear - but now that he's back in full force, the song didn't seem to hold the weight. But now it's celebratory. He IS "still standing". The troubadour who has had at least a half a dozen "insurmountable" problems throughout his extensive career has triumphed over them. Despite his wealth, his fans and the public at large have never really seen him happy - until now. He is still standing, still playing, still singing with a considerable range, and still writing great songs. All of this comes through during the course of this show.
The opener is followed by the same album's "Guess That's Why They Call It The Blues" - in my opinion, a disappointing choice for such an early point in the evening. The moderate US hit "I Don't Want To Go On With You Like That", the evening's third offering, has become a show highlight in recent years, with Elton using the song's driving "techno" rhythm" as a backdrop for some exceptional piano work. The mood dips slightly again with a lovely rendition of "Sacrifice". It's at this point, twenty minutes into the performance, where the fun really begins. Elton digs into his bag of tricks for 1976's "Dixie Lily", a chestnut from the "Caribou" LP which was never performed on-stage before this tour. Audience response is moderate, but you can hear "hardcore" fans respond with a few loud "whoops". Davey Johnstone and company keep their mandolins and banjos out as the charming "Honky Cat" reappears after an extensive absence from Elton's tour sets. It's a wonderful one-two punch for this long-time EJ fan. As if that wasn't enough, Elton ends the "flashback" segment with a lovely rendition of "Come Down In Time" - a song that he, thankfully, revived a few years back.
The songs from "Made In England", Elton John's new release at the time, sound great live. While it is absent from this set, I recall the song "Pain" being part of the New York set when the tour reached here. The three from the album that are performed here - the title track, "House", and the single "Believe" - are all extremely well done, and blend in nicely in the set.
The other show highlights include a wonderfully spirited piano solo which leads into a powerful version of "Take Me To The Pilot". The typically strong run through of "Funeral For A Friend" here is, as usual, a real crowd pleaser. Elton's spoken intros before "Your Song" sound very heartfelt these days, as do the performances of the song. This night is no exception. And although Elton's been forced to bring down some of the parts of "Someone Saved My Life Tonight" musically these days, it doesn't seem to compromise the integrity of this brilliant piece of art in any way.
Overall, this is the best sound quality tape and the best recording (in terms of crowd noise) from this tour that I have found so far. It's well worth pursuing for any fan of Captain Fantastic's.
Well, that's all for now. See you when the leaves have changed color here!