5 comments about BBC Radio 1 Live in Concert.

1. Yet,another title I've been wanting to sink my claws into for quite sometime now.Literally,I believe it's been like ten years(I'm not kidding,either)since this title was released as a limited edition on the Griffin label.Anyone know if they're even still in existence?Anyway,I just recently got my own copy of 'BBC Radio 1...' and I'm very impressed with it.I'm now discovering how many live Jethro Tull titles are available out there.This gig took place on October 8,1991 at the Hammersmith Odeon.All ten tracks MORE than gives the fans what they came for,like "Minstrel In The Gallery"(although we get a mere snippet of the classic)along with "Cross Eyed Mary","Rocks On The Road","Tall Thin Girl","Thick As A Brick","A New Day Yesterday" and "Blues Jam".Line-up:Ian Anderson-flute,mandolin,acoustic guitar&vocals,Martin Barre-guitar,Dave Pegg-bass,Martin Allcock-keyboards and Doane Perry-drums(didn't realize Perry had been with Tull this long).A must-have.Recommended.



2. This live disc from 1991 is a surprisingly terrific recording. The 80's Tull recordings were often spoiled by overproduction and as a result quickly sounded dated. However, with both of the early nineties live recordings, this date and the fine A Little Light Music, Tull exposed the fact that, in a different context, the material worked well. Still, the cut selection on both discs emphasises their entire body of work with a handful of tunes from that time period. It works well. The band consists of Anderson, Barre, Pegg, Allcock and Perry. At this point, they were finely attuned to one another, making for rich and tight performances. Anderson's flute playing is particularly strong (flawed-but at that time improving-technique and all) as is Barre's guitar work. Much to enjoy here. Highly recommended if you can get it...Simon



3. The 1978 live album "Bursting out" is the best live CD of the band, and represents the "Songs from the wood" and "Heavy horses" era (in my opinion it was also the best band Anderson ever had). The 1984 Hammersmith live album is a very good one, heavy-metal sounded, fantastic recording (by the BBC), but it was taken during the worst years of the band - the years of "Under wraps". That one is from "Crest of a knave" years, and also was taken by the BBC that, as usual, made a great work. The quality is great, The album is good too, includes a good short version of "Thick as a brick" (better than the one in "Bursting out"), a nice (but not more) mix of "A new day yesterday" and "Bouree" (did i spell it right?), and not a very good mix of "Ministral in the galery" and "Crossed eye Mary". The rest are good, but Tull was at its best on the late 70's, so in that late 80's show, something was missing.



4. A Nice Concert CD. The sound quality is excellent for a live recording. It seems like the flute is mixed up front with almost no reverb, compared to the rest of the band. And of course, Ian's voice and Martin's guitar also seem to have a more up front share of the mix as well, but with a more apparent concert echo. There are no annoying track fades, it flows like a good concert should. A couple of details are offered about the song listing. The Minstrel In The Gallery cut is only the first verse of the song with no instumental interludes. It was only used as an intro to Cross Eyed Mary which is played in it's entirety. The next songs in order are played pretty much straight up: This In Not Love, Rocks On The Road, Heavy Horses, Tall Thin Girl, Still Loving You. Thick As A Brick is the shortened version that has been performed on tours after the newness wore off and more time had to be made for newer material. You'll need to find an old bootleg from the early seventies to get a complete live recording of that song (i.e. L.A. Fabulous Forum '73). But I digress. A New Day Yesterday has Bouree (not mentioned in the track listing) sandwiched in the middle making a nice medley. The next cut is very interesting, it is an acoustic instrumental rendering of an old JT song called Reasons For Waiting followed by a short Blues Jam (listed titled of this track) and then finished up with some more of the Reasons For Waiting instrumental. And finally, a rockin' version of Jump Start completes this concert CD. Any major fan of Jethro Tull will probably grade this as a five star CD. I personally stopped collecting JT after the Mistrel In The Gallery, only picking up three more later albums and the 20th year 3 cd compilation box set, until now when I purchased the Live At The BBC album. I will probably keep it, but I'm sure it will get less playing time then my old Jethro Tull studio albums.



5. While a lot of live acts feel that energy is far more important than expert musicianship, Jethro Tull has always been a group that, under writer/flutist/acoustic guitarist/singer Ian Anderson, has the guts and the artistry to meld energy with genuinely complex playing. The result is music that stands outside of time: this 1991 concert recording is not tied to a certain time or place musically - it stands outside fads and fashions and that is what makes Jethro Tull so lovable to its fans and, perhaps, bewildering to others. Count me amongst the fans. Listen to the live performance of "Cross-Eyed Mary" (originally written in 1971), followed by the rendition of "This Is Not Love" (a 1991 composition, new when this concert was recorded). They're unique songs, and don't sound dated or at odds in each other's company. And then there's the pastoral folk grandeur of "Heavy Horses," and the hard rock of "Jump Start." Tull can play just about any style (sometimes incorporating different styles into one song and making it work as a cohesive whole). It's a pity the general public and current musicians can't take a cue from these classic entertainers. Long may they continue to play to their enthusiastic audience, and here's to more live albums such as this one so we can preserve the magic!

5 comments about Unplugged.

1. This cd is worthy of its reputation, and is the last great recording by Eric Clapton. "Malted Milk", "Walkin' Blues", "Layla", which he was able to successfully alter to fit an acoustic setting, "Nobody Know You When You're Down & Out", the classic made famous by Bessie Smith and later covered by an aged Scrapper Blackwell, and "Tears In Heaven", are all exceptionally great tracks. "Hey Hey" is not one of Broonzy's better songs, so I'm not sure why Clapton chose to record it. "Old Love" is mediocre, but "Running On Faith" is wonderfully done. This disc would have been even better if Clapton would have performed the material solo, much like the legendary Bluesmen he so greatly admired used to do, day in and day out. However, he has admitted in interviews that he is not a good enough musician to do what his idols did. For those of you who doubt this, simply look up interviews with Eric Clapton done by Guitar Player magazine. This is also the reason that his tribute record to Robert Johnson was not done alone.



2. It's Eric Clapton - intimate and unplugged - playing some great blues and acoustic rock. Does life get any better than that? Everyone needs this CD!



3. eric clapton is and always will be considered as a guitar legend. and this shows it.
   
   a soothing and uncomplicated production in a very intimate atmosphere, "unplugged" has a serene sound that will captivate anyone who has ears for good music. i highly recommend listening to it in a good set of stereo system



4. When you find yourself listening hungrily for the nuances of each individual note, when you find that the performances get better each time you listen to them, when you feel as if there is no bottom to the virtuosity and feeling in a performance, then you know that you've made some little connection with the mind of a genius. I am untutored in guitar technique, regrettably spotty on the history of the blues, but I can tell you that this is simply, modestly, great music.



5. Who knew? Eric Clapton Unplugged (1992) was just going to be a treat for Clapton fans, and a chance to see and hear one of history's greatest guitarists show his stuff on an acoustic guitar. But Clapton and Unplugged made history by winning six Grammy Awards including Album Of The Year, Best Male Rock Vocal Performance, and Best Rock Song (Layla). It turned out to be MTV's proudest moment and grandest achievement.
   
   There's a lot to like on Unplugged including this cool laid-back version of Layla. It loses none of it's purpose, has a great guitar solo and some nice piano work from Chuck Leavell.
   
   The deep and personal Tears In Heaven won three of those Grammy Awards, and the fact that Eric managed to bravely perform the song he wrote about his son, Conor, who had recently died, speaks volumes.
   
   The acoustic blues songs, Nobody Loves You When You're Down And Out, Before You Accuse Me, San Francisco Bay Blues and Robert Johnson's Walkin' Blues and Malted Milk, all sound great, too.
   
   Two huge standouts on the album are Old Love and Running On Faith. They are personal, soulful and include inspired vocal perfomances, fine acoustic guitar work, and excellent slide guitar. Both songs stand with E.C.'s best work.
   
   Unplugged is really more of a perfect storm, where circumstances came together and fell into place, than a great work of art, but it's still a fine example of how talent, tragedy, and triumph can form an inspiring and wonderful creation. Eric Clapton Unplugged isn't perfect, but it's close.

5 comments about A Little South Of Sanity [Limited Ed.].

1. I luv Aerosmith sooo much! When i bought this, I wasn't sure if it would be any good because a lot of live cds are no good~ but this one was terrific! I'm so used to listening to the live versions of songs now, that when i hear one on the radio i think i actually like the live one better! This cd is absolutley fabulous! Any and Every Aerosmith fan should go out and buy this~ it's an absolute MUST in your collection!!!



2. They may be one of the top 5 bands ever- this is hardcore rock and roll, you got the legendary songs that gave Aerosmith its spot as one of the top bands of the 70's such as Sweet Emotion, Walk This Way, and Dream On. You have the powerful ballads that brought Aerosmith back from the rock and roll gutter such as Angel, Cryin', Crazy, What It Takes,Amazing, and Hole In My Soul . And you have timeless hits that anyone would just want to stop what they're doing and get up and dance to such as Mama Kin, Same Old Song And Dance, Rag Doll, and Dude(looks Like A Lady). The only songs that were left out were Full Circle (i guess im the only one who really thinks that song kicks ass), Pink, Toys in the Attic, and Draw the Line. Other than that, this is a must have for any Aero Fan



3. ...But it certainly won't be the Bad Boys from Boston. This Masterpiece rocks for sure. Lacks only Taste of India, Pink and Round and Round, but that's my taste only. Let yerself a-roll, and use carefully. Causes addiction.



4. ...But it certainly won't be the Bad Boys from Boston. This Masterpiece rocks for sure. Lacks only Taste of India, Pink and Round and Round, but that's my taste only. Let yerself a-roll, and use carefully. Causes addiction.



5. ...But it certainly won't be the Bad Boys form Boston. This Masterpiece rocks for sure. Lacks only Taste of India, Pink and Round and Round, but that's my taste only. Let yerself a-roll

5 comments about Wheels of Fire.

1. Please Note: This review is for the DCC Gold Edition of "Wheels of Fire" NOT for the regular edition.
   
   Double albums were all the craze when Cream recorded "Wheels of Fire". Since this legendary and short lived band didn't have the material for two albums worth of material and their live shows were legendary, the trio of Jack Bruce, Eric Clapton, and Ginger Baker elected to have the second disc of this set a live recording (much like The Byrds' "Untitled"). The Gold edition on DCC exists in TWO versions; a small number were initially manufactured in Japan and these editions have THREE secret bonus tracks that were put there by accident.
   
   On disc one we get the original 9 song line up that made up the first disc and Steve Hoffman added "Anyone for Tennis". There are THREE tracks after that one--alternate mixes of "Sitting on Top of the World", "As You Said" and "Passing the Time". The edition that has the three bonus tracks (that were put there by accident it should be added) is the edition that was manufactured in the U.S. YOu'll have to inspect the discs to find out of course because unfortunately the outside packaging for the U.S. edition often had the artwork that says Made in Japan.
   
   The packaging for the Gold edition is superb--the outside box replicates the silver foil colored cover of the original gatefold sleeve. Inside, the inserts for each disc does likewise. There is also a booklet with session dates, etc. and credits for the album.
   
   The sound quality for the gold edition is the best out there and it is definitely worth hunting for!



2. THE VERY BEST OF THE CREAM CATALOGUE. THIS CD HAS IT ALL. GREAT LIVE CUTS ANDTREMENDOUS BLUES PRODUCED IN STUDIO.THIS IS A TERIFFIC COLLABORATION BETWEEN THE MUSICIANS THEMSELVES AND ALL THE PRODUCERS AND ENGINEERS THAT IT TOOK TO PUT THIS PIECE OF MUSIC TOGETHER.TRY AND FIND THE REMASTERED VERSION. IT IS WELL WORTH THE MONEY.



3. I remember when this one came out. A two record set. Wow! Unheard of at the time. The funny thing is it would almost fit on one CD today.
   
   I'm not a fan of the live stuff here. Drum solos aren't my thing, and 20 minutes of "Spoonful" is about 14 minutes too long. The studio cuts are top notch and remain ahead of their time. "Passing The Time" sounds like it could have been recorded in the 1700's. "White Room" remains an all time classic, but what does it really mean?
   
   All in all, an ambitious album filled with great songs.



4. I bought this one only for one song, Pressed Rat and Warthog. I already had Cream's first album Fresh Cream, and a best of album, The Very Best of Cream. Pressed Rat and Warthog is unusual in that the "singing" is a vocal recitative, done in the usual deadpan British vocal style. The British deadpan vocal style can be found, e.g., on any album by the Gang of Four, almost anything by Squeeze, for example, Up The Junction, and in Keith Relf's work with the Yardbirds.
   
   What is more unusual in Pressed Rat and Warthog are the British Isles folk tunes provided by the trumpet and other instruments. I am certain that these melodies also appear in some of Ralph Vaughan Williams' shorter symphonic pieces which, in turn, were copied from folk musicians. There are so many fine British and Irish folk melodies available. It is too bad that these tunes have been popularized only by the Byrds, and by less than a handful of other rock'n'roll bands.
   
   I saw Cream twice, once at the Fillmore in San Francisco where they played with Gary Burton Quartet and the Flaming Groovies. Also, I saw Cream at the Oakland Coliseum, where It's A Beautiful Day was the opening act.



5. Sorry, but this is my favorite 'album'of all time. I wore out two vinyl copies of it and still slap on the CD when in doubt about what to listen to. This album is the sixties to me: indeed, when Saturday Night Live lampooned hippie holdovers in a skit, it had them listening to Spoonful from Wheels of Fire.
   
   The Live Disk contains the best stuff you can get- Crossroads in the definitive Clapton treatment, played on a firey Strat above rumbling, volcanic bass lines and precision trip-hammer jazz-rock drumming. The epic treatment of Spoonful still conjures images of Hades, rolling thunder, burning rivers, thundering beasts (the 'elephant race' middle instrumental passage). Also, it features amazing mournful vocals by Jack Bruce, sounding like he is negotiating in blues format for his mortal soul. This rendition is just so doggone inspired. If you listen to it after listening to Cream's studio original from "Fresh Cream" or the Howlin' Wolf original, your mind reels from the comparison. They were really feeling this version. They're playing like the Hell Hounds are really on their trail.
   
   For a time, in the early seventies, I grew tired of the extremely long 'Toad' workout by Ginger Baker, but in recent years, it seems one of the many stellar high points of the proceedings. It's great and it never bores me now. Sure, its drumming for the sake of drumming, but so what? Its effing awesome spectacular unparalleled.
   
   The Studio Tracks
   White Room, a big hit for Cream in 1968 is orchestral cum wah-wah mysterious with a spacious sound with vocals by turns ethereal and menacing. It rocks on, I want to say. It was backed on the 45 by Pressed Rat and Warthog (I think), one of Ginger Baker's goof-poetry ditties that always was a favorite of mine. The balance of the songs are amazing. "As You Said", a string piece featuring Jack Bruce on cello and vocal is singular - nothing like it I'm aware of. It has always perplexed, amazed and pleased me when I hear it. The arrangement is super-fine. Deserted Cities of the Heart is a great, underrated track that boils along feverishly. Those Were the Days is an outstanding pop song whose lyrics typify my feelings about That Time (1968)- pure nostalgia written nostalgically at the time. Politician and Sitting On Top of the World are major Cream cuts which most people know. They are essential, bluesy rock classics.
   
   I feel totally at home when I hear this stuff - I always listen to this many times when on a road trip: can't imagine travel without it.
   
   You know, I haven't even mentioned Train Time - blow that harmonica, son!
   
   Can we make this 6 stars?

No comments about Five Live Yardbirds.

No comments about Live at the Marquee Club.

No comments about Live.

5 comments about Live at Leeds.

1. The Who's Live At Leeds, recorded on February 14, 1970, is unquestionably deserving of its reputation as one of the greatest live recordings in rock 'n roll. One should put aside whatever reservations he or she might have about live albums and embrace it in all of its bombastic glory. As rightfully skeptical as one should be of a live album as an introduction to a band, however, Live At Leeds might be the best disc in The Who's catalog to serve as such. True, more succinct and more comprehensive compilations are available, but Live At Leeds - released the year prior to the masterpiece Who's Next and the compilation Meaty Beaty Big and Bouncy - contains hits, covers, and epics. Plus, at the time the album was recorded, The Who had one foot on either side of the dividing line between their early R&B-influenced pop songs and the ambitious, larger-canvas rockers of the late 60s and early 70s.
   
   The first of the hits on the album is "I Can't Explain", which (although it isn't here) was and continues to this day to be the opening number to almost every Who concert. About halfway through the CD's set list come what Pete Townshend calls "three selected hit singles...the three easiest": "Substitute", "Happy Jack", and "I'm A Boy". They might be easy and simple, but they are also catchy, intelligent, and even - in the case of "I'm A Boy" - a bit risqué. Each of these songs is presented in a no-frills fashion.
   
   Two epics follow on the heels of these less-than-three minute pop songs. On their second LP, "A Quick One, While He's Away" was impressive but a bit brittle. In this live setting, however, it is pumped up significantly. The spectacular "Amazing Journey/Sparks" is arguably the highlight of the set. At the original Leeds concert, "A Quick One", "the story of Tommy's parents", led directly into a performance of the double LP Tommy. The Who was wise to select this one particular track for expanded CD version. (Tommy as a whole is available on disc 2 of the deluxe edition of Live At Leeds.)
   
   Two other classic hits are given mammoth treatment at the end of the show. "My Generation" runs for almost fifteen minutes, and is interspersed with lyrical and musical references to songs from Tommy (including some riffs that had originally appeared in "Rael I" from The Who Sell Out). I have never personally cared much for "Magic Bus", which runs for nearly eight minutes. However, it was definitely a crowd pleaser, and the band did a fine job of mixing it up here.
   
   Finally, the band revisits its roots with four covers throughout the disc. These are the obscure blues numbers "Fortune Teller" and "Young Man Blues" and the rock `n roll classics "Summertime Blues" and "Shakin' All Over". The Who make the former two tracks very much their own, but the latter two feel a bit perfunctory and surprisingly uninspired.
   
   Several better-known songs - such as "The Kids Are Alright", "Anyway, Anyhow, Anywhere", and "Pictures of Lily" - were not performed at the Leeds concert. However, they are not that noticeably absent on the disc. The Who wisely treated Live At Leeds as an opportunity to present themselves in not-so-obvious ways. John Entwistle's "Heaven and Hell", the opening number, was never included in a studio version on a Who album. The Who Sell Out, the band's first great album, is represented not by the ornate hit single "I Can See for Miles", but by the poignant "Tattoo". Tommy is represented by "Amazing Journey/Sparks" rather than by the classic single "Pinball Wizard".
   
   The greatest thing about The Who in a live setting is that each member played as if he were the only one on stage. John Entwistle and Keith Moon don't just keep the beat, they rise above the surface of the songs. Pete Townshend was never quite the soloist that his contemporaries were, but given the chance to spread out, he proved himself to be at least as good of a riffer and every bit as inspired as his fellow axemen. Roger Daltrey literally and figuratively speaks for himself, especially on "Young Man Blues", which might be his finest performance of the show.
   
   Live At Leeds was pretty much by accident the first Who concert made available to record buyers. The band had done an extensive tour in support of their 1969 LP Tommy, and planned to release a live album afterward. Townshend balked at the idea of listening to and sifting through all of the shows, so he scheduled two dates to be recorded specifically for a live album. When the mics failed to record John Entwistle's bass at Hull City Hall on February 15, the concert at Leeds University became the show for the live LP by default. However great any of the shows might have been, it is hard to imagine them being as good as or better than the one at Leeds. Whatever the case might have been, rock fans of every generation are lucky to have at least one of them preserved for prosperity.



2. First time I heard this was over FM radio wearing headphones lying in bed, listening. They played the whole thing and they had short interval of somthing weird and then played the next cut, did this for the whole album, it was 1970 somthing.
   IF you havent listened to this whole thing with real headphones without distraction, do it, trust me, do it, I would not lie.
   Good lesson for guitar players also.



3. It's The Who. Live. At Leeds University. Duh. How come you haven't bought it already? Powerful live set from seminal rock four-piece, blah, blah, sizzling energy, innovative songwriting, blah blah....Keith Moon....buy it. Listen to it. Have mind blown.



4. Amazing live album is all that i have too say for this. The drums are absoutley amazing Keith Moon is probaly one of the greatest rock drummers of all time his peformance is great here. Pete Townshends guitar is great and everybody in this is really doing great on there instruments.
   
   This may just be one of there greatest peformances of all time it has the energy and they sound just really great here i think all the live versions sound great on here
   
   If your a big Who fan like me buy this album today you wont be dissapointed...



5. Really horrible sound quality, and the band must have been totally wasted...Apparently with so many for sale , others thought the same.

No comments about Tokyo 1988.

5 comments about Live at the California Jam.

1. If I heard the story correctly, ABC television wanted to capitalize on the large numbers of outdoor concerts, and cooked up "California Jam 1974". Sounded good on paper: Black Sabbath, America, Eagles, Seals & Croft and many other bands of the day were scheduled for the April 6, 1974 event. What ABC did not realize was how difficult rock shows could be.... as well as rock stars.
   
   According to Jon Lord, DP was scheduled to co-headline and go on at sunset (in order to be the first band to use lights on stage at this all-day festival). And unlike other large rock shows, this show ran EARLY (instead of behind schedule). An hour before the sun set, DP was called to the stage. Not realizing that one Ritchie Blackmore was adamant in not sharing the stage with sunlight, he refused to leave his dressing room until dusk. This caused a delay in the show, and had 200,000 fans unnerved and countless ABC execs freaking out to the point of arresting Blackmore. However... at sunset, the band took the stage, with the crowd at its peak of anticipation, and BLEW EVERYONE ELSE out of the water!
   
   
   Kicking off with BURN!, Deep Purple (Lord, Paice, Blackmore and new-comers Glenn Hughes and David Coverdale) came at the southern California crowd like a hurricane, kicking a$$ along the way! Might Just Take Your Life, Lay Down Stay Down and Mistreated followed, and then Smoke on the Water. You Fool No One kept the energy going, and the the famous finale with The Mule/Space Truckin', with Blackmore accidently blowing up his amp (was just meant to light it on fire, but the roadie put too much gasoline into it and it blew Blackmore off the stage almost, and knocked Lord off his keyboard stand (according to Lord in a 1990 video interview). ABC had no idea how to handle this show, and by the time the fire marshall and ABC decided to arrest Blackmore for the damage, they were wisked away via helicopter.
   
   This show is the audio document of this event, and its not only a GREAT concert, its an incredible show in itself!



2. Recorded on April 6, 1974. When I first got this CD like a month ago, I wasn't aware that ace guitarist Ritchie Blackmore was still in the band. This was apparently the 'MK 3' Deep Purple line-up. Was amazed at just how well new vocalist David Coverdale had filled in Ian Gillan's shoes. Tracks that have me keeping this disc in my current rotation stack for awhile were the powerful opener "Burn", the catchy "Might Just Take Your Life", the total *ss-kicking "Smoke On The Water" (sounds different with Coverdale on vocals, but still good) and the 18-minute "You Fool No More" (great keyboard and guitar solos). Also like the extended 24-minute wailing "The Mule / Space Trucking". Okay, I admit it, every cut on this CD rips. Line-up: David Coverdale-vocals, Ritchie Blackmore-guitar, Glenn Hughes-bass, Jon Lord-keyboards and Ian Pace-drums. Comes with nifty twelve-page booklet. Essential listening.



3. There are some very good songs here (That from the Burn album) but those from Mark II (Smoke on the water and the endless Space Truckin') are badly played, which prevents this recording from getting more than 3 stars, alongside the poor quality sound. Then I'm talking about the video version - the only one I have found.
   
   -Burn. Awesome and harder version than the studio cut. Glenn Hughes (as elsewhere on this video) sings far better than the hoarse David Coverdale. The first bits of Blackmore' solo can be seen but soon this obnoxious lad comes forward, keeping his guitar from view. Jon Lord plays a gorgeous solo.
   
   -Might just take your life. Whoever being dumb enough to claim Deep Purple were a heavy rock band should pay attention to this song to realize their error. Lord's intro may be one of his finest. David's vocals are again too lazy but Glenn Hughes saves the day...again. Jon Lord's solo is short but incredible.
   
   -Mistreated. No bitching about Coverdale's voice here. The band turns on one of their best performances here. Ritchie shows how comfortable he feels playing blues. His intro is stunning.
   
   -Smoke on the water. After a very short blues by Blackmore, their biggest classic is somehow trashed by the last vocal part. Glenn Hughes really screws up with his improvisations. They should have left the song alone, with its entire lyric and organ solo by Lord but unfortunately they seem to feel like f****** it up. Sadly they succeed.
   
   -You fool no one. The first part is Jon Lord's solo, with bits of Lazy. Needless to say he rocks one more time. After this the whole band kicks in with You fool no one, only to stop to let Ritchie Blackmore do his part. Incredible playing, very fast and hard in the beginning, to return to blues one more time. Goes to show how much he loves it. The group goes back to You Fool No One and then Ian Paice does an incredible drum solo, as only he can. The song ends with The Mule melody.
   
   -Space Truckin'. Dull as dust. Overlong, with weak vocals and the dumbest thing I've ever seen Ritchie do. Why the smashing and burning thing? Does he believe he is Pete Townshend or Jimi Hendrix? No, he ain't, so he should have retained his own style, with which these samples of behaviour are definitely at odds. A big embarrasment, to say the least. When I play this video I skip both Smoke on the Water and Space Truckin'.
   
   In a nutshell: when it's good it's very good but when it's not, it sucks.
   
   3/5.



4. I found this live version on DVD format Deep Purple - California jam 1974. you will see how good the band was !!!! you will see how Blackmore smashed his stratocaster neck to the ABC Camera....and then he burned the cables on stage with fire.
   
   buy the DVD format dudes! buy it!!



5. The infamous Deep Purple California Jam appearance in 1974 has
   been sought after ever since it was recorded. In recent years,
   three different sources of the concert audio have been released and this is the worst of the trio. It was recorded from the ABC-TV "In Concert" video, and sounds hollow and flat; as if it were copied with a Radio Shack tape recorder and a hand held plastic mike. I don't know what everyone else reviewing this miserable disc is thinking, but the only decent source for this show has been released as "Just Might Take Your Life ". It's the original 16 track remote truck recording, which has been well recorded and properly mixed, mastered. Yes, this is a damned fine performance..but ignore all the ignorant kudos here; it's the worst sound quality of three different releases. Get "JMTYL" !