Archivo de la etiqueta: Recitales y conciertos

The Band – 1983


1976 había sido el año de despedida de The Band, el documental “The Last Waltz” mostraba un concierto en el Winterland que significaba el final de una de las bandas más interesantes y geniales de los últimos años.

Los años siguientes solo traerían fracasos comerciales de la mayoría de sus miembros por separado, adicciones a las drogas y diversos tipos de problemas.

1983 señalaría el año del retorno para The Band, en donde casi todos sus miembros (Robertson decidirá no participar), se reunirían a realizar un tour que quedaría documentado por suerte.

Earl Cate, de los Cate Brothers reemplazaría a Robbie Robertson, a mi gusto de una forma correcta, sumándose otros miembros de los Cate Brothers a la banda.

Y por mas que ya les hayan aparecido algunas canas, o muchas como a Garth Hudson, The Band suena solida y tan genial como 1976.

Un documental/recital fantástico para todos los fanáticos


1 Introduction 1:05
2 Rag Mama Rag 4:15
3 Long Black Veil 5:39
4 Shape I’m In 4:27
5 It Makes No Difference 6:56
6 Milk Cow Blues 3:58
7 Mystery Train 5:53
8 King Harvest (Has Surely Come) 3:59
9 Stage Fright 4:15
10 The W.S. Walcott Medicine Show 3:56
11 You Don’t Know Me 3:10
12 Caldonia 7:37
13 Chest Fever 6:39
14 Java Blues 4:57
15 Willie And The Hand Jive 5:57


Rick Danko – bajo, guitarra acustica, voces
Levon Helm – bateria, mandolina, armonica, voces
Richard Manuel – piano, bateria, voces
Garth Hudson – organo, piano, sintetizador, acordion, saxofones
Earl Cate – guitarra electrica, coros
Ernie Cate – teclados
Ron Eoff – bateria, coros
Terry Cagle – bateria

Notas agregadas de Wolfgang Vault (en ingles)

After nearly 18 years of live performing, as both backing musicians and as headliners, the Band had reached a crossroads in 1976. The group’s seemingly effortless virtuosity and Robbie Robertson’s literary gift for conveying a deep sense of Americana (despite being Canadian) in his songwriting, resulted in a wonderfully organic sound that made the Band one of the most admired and respected musical institutions on the planet. Having created some of the most gloriously rich and influential music of the late 1960s and early 1970s, the group’s Thanksgiving 1976 performance at San Francisco’s Winterland, immortalized in the Martin Scorcese film The Last Waltz, would become both a celebration and a fond farewell from one of the most revered groups ever.

Following The Last Waltz, the various band members would pursue separate career paths, never failing to create intriguing music, but never experiencing the commercial success of their work together. Although members would contribute their talents to each other’s album projects and even turn up as guests at various live performances, the Band as a performing entity would cease to exist for nearly seven years. In 1983 that finally changed when all but songwriter/lead guitarist Robbie Robertson reunited and began touring again as the Band. Robertson’s shoes were big ones to fill and in the process of recruiting a new lead guitarist, they ended up bringing an entire other group into the fold. That group, the Cate Brothers, was an ideal choice, with the talented guitarist Earl Cate having the most daunting job of replacing Robertson’s distinctively clean biting leads. Cate turned out to fit the bill perfectly, adding his own flair to the proceedings while displaying a healthy reverence for Robertson’s style. His brother Ernie supplemented the group on additional keyboards and the rhythm section of Ron Eoff and Terry Cagle provided multi-instrumentalists Rick Danko and Levon Helm the ability to play additional instruments onstage without diluting the core sound of the group. This new expanded lineup toured the globe over the course of 1983 to overwhelmingly positive response and proved that despite Robertson being the primary songwriter, it was Levon Helm, Rick Danko, Richard Manuel, and to a large extent, Garth Hudson who were the chief architects of the group’s distinctively organic sound.

One of the most anticipated gigs of 1983 came at the very end of the year, when the Band returned to the city of The Last Waltz when invited to open for the Grateful Dead at their annual New Year’s Eve extravaganza. Before a sold-out crowd at San Francisco’s Civic Auditorium, the Band proved they were still one of the best sounding groups on the planet, delivering a performance that not only delighted the San Francisco audience, but the Band members themselves. Performing classic original material as well as a smattering of choice covers, this performance was captured by the Bill Graham Presents crew and is presented here in its entirety.

Following Graham’s introduction and a minute or so of tuning up, the Band kicks off their set with the rollicking “Rag Mama Rag.” Right off the bat, this performance is cooking, with Helm fronting the group on lead vocals and mandolin. Meanwhile, pianist Richard Manuel takes Helm’s seat at the drums; bassist Rick Danko keeps rhythm on a telecaster, and Garth Hudson contributes wonderfully frantic piano work. This switch on some the band members’ traditional instrumentation works exceedingly well, with the Cate Brothers providing a solid groove throughout. The performance of “Long Black Veil,” featuring Danko and Helm sharing vocals and Hudson’s mournful accordion work, is equally compelling. However, it is on the next song, “The Shape I’m In,” when the original sound of the Band becomes more realized. Assuming their traditional roles, with Danko pumping out propelling bass lines and Manuel pounding the piano and taking lead vocal, this is an enticing performance that rivals the group’s glory days.

A remarkable version of “It Makes No Difference” follows. Always a showcase for Danko’s impassioned vocal, here it is quite extraordinary, with Hudson switching over to sax and guitarist Earl Cate providing tight vocal harmony and penetrating lead guitar work. Perhaps because Ron Eoff is providing the superb bass lines, it frees Danko up to really concentrate on his vocal delivery, which is quite engaging on this standout performance.

With Manuel again taking over Helm’s drum seat, Helm again fronts the group on lead vocals and harmonica for a great percolating version of Kokomo Arnold’s “Milk Cow Blues.” Following this, the same instrumentation, with the exception of Danko switching from acoustic guitar to a telecaster, fuels a sizzling performance of “Mystery Train.” This features strong solo spots from Cate on lead guitar, followed by Helm on harmonica, and finally Hudson on his arsenal of keyboards.

Then it’s a return to familiar instrument roles as they explore several vintage Band numbers, with Manuel leading the way through “King Harvest,” Danko steering the group through “Stage Fright (featuring double bass players) and finally “W.S. Walcott Medicine Show, which serves as a showcase for Hudson’s outstanding keyboard and sax work.

An extraordinary performance by Richard Manuel occurs next in the form of “You Don’t Know Me,” a country classic written by Cindy Walker and Eddy Arnold, but best remembered for Ray Charles interpretation. Everyone in the group seems to sense how special this is, and they display tasteful restraint, allowing Richard’s voice to totally carry the performance. On this anthem of unrequited love, his emotional vocal, despite showing the ravages of time, is utterly compelling.

After this, Manuel again takes over Helm’s drum seat, while Helm sings lead and blows harp on an excellent cover of Louis Jordan’s “Caldonia.” During this extended workout, Helm engages the San Francisco audience to get involved in a call and response, and Hudson delivers a deliciously gritty R&B style solo on sax. Although considerably shorter than his extended workouts in the ’70s, Hudson next delivers a barrage of sound from his keyboard arsenal. Known as “The Genetic Method,” this segues directly into a wild ride through “Chest Fever,” featuring great piano work from Manuel and another standout solo from Hudson. Here, with all three front men sharing vocals and Earl Cate duplicating Robertson’s guitar work to a tee, one could easily mistake this for a performance from 10 years prior, as it contains all the exuberance of the Band in their prime.

They head toward the finish line by dipping into Danko’s solo catalogue. This performance of “Java Blues” is quite interesting, with Helm, Manuel, and Hudson all strongly contributing and Earl Cate again adding a Robertsonesque sensibility to his solos. In the hands of these musicians, especially Hudson who is particularly inspired here, this also takes on that classic organic sound that defined the Band’s style. To wrap things up, Helm thanks Bill Graham and the San Francisco audience. Taking his drum seat again, he and Danko launch the ensemble into Johnny Otis’ “Willie And The Hand Jive,” which becomes the Band’s final workout of the evening and gets much of the San Francisco audience up on its feet and dancing to its infectious Bo Diddley beat.

The Band always had the innate ability to seem loose and relaxed, while playing in an incredibly tight manner. That cohesiveness is still very much intact here, with each member contributing to the collective whole with little grandstanding or superfluous soloing. All in all, this is an impressive performance that remains one of the most satisfying Grateful Dead openers ever.

Wilko Johnson en vivo


Nada mejor que para este homenaje en vida, traer un video que encontre, parte de un recital que dió en su “tour de despedida” (lúgubre, pero es así) que dió el 13 de julio de este año, es decir un par de días atrás. Van a poder escuchar a un Wilko Johnson disfrutando de la música, de su guitarra y del público. EMOCIONA REALMENTE VER EL VIDEO.

Buenas noches a todos

Let the good times roll (1973) [10 mil visitas]



Entre a mi Mente (Enciclopedia Musical) LLEGO A LAS 10 MIL VISITAS.

Y como regalo quiero dejarles un documental/recital que me marcó mucho en mi adolescencia, que fue la patada inicial para que me introdujera de lleno en el mundo de la musica, el documental: “Let the good times roll” lanzado en 1973 y dirigido por Robert Abel y Sidney Levin.

Es de un concierto en Nueva York de ese año con diversas glorias de la década de 1950, haciendo muchas divisiones de pantalla (no se como se llamará ese método fílmico) en donde se muestran diversas peliculas de la época, estas viejas glorias en su momento de apogeo y diversos sucesos de aquellos tiempos.

Van a poder escuchar a Chuck Berry, Little Richard (en su época de excéntrico), Fats Domino, Bo Diddley, The Five Satins, The Coasters, Chubby Checker, entre otro.

Para mi, un documental fantastico

Esta en inglés, bastante entendible

¿Cual es su opinión?



Faces – Sounds For Saturday 04/01/1972


Siguiendo el post anterior, nada mejor para pasar este domingo que un mini recital de los Faces en el programa de la BBC “Sounds for Saturday” de 1972 (grabado un año antes)

En vivo en el Teatro París de Londres

Esto era la banda en vivo, incluso un poco contenida


Three Button Hand Me Down
Maybe I’m Amazed
Too Much Woman
Street Fighting Man
Too Much Woman
Miss Judy’s Farm
Love In Vain
Stay With Me

The Beatles – Live in Melbourne (1964)



Año 1964, la Beatlemanía comenzaba a desatarse por todo el mundo, y en ese momento The Beatles llegaban a Australia.

Este show en particular es el ultimo de tres consecutivos que la banda hizo en ese país.

Algunos de los temas que van a poder escuchar…I Saw Her Standing There, You Can’t Do That, All My Loving, She Loves You, Till There Was You, Roll Over Beethoven, Can’t Buy Me Love, Twist And Shout and Long Tall Sally (no esta This Boy), pero ademas cabe aclarar que es el show completo con las bandas soportes y artistas internacionales.

Una joya única, un documento.

Buen domingo para todos!

Concierto de domingo: Grateful Dead (1974)


Jerry Garcia

Para un buen domingo psicodelico nada mejor que escuchar a los Grateful Dead, en un excelente serie de recitales dados en el salón Winterland los dias 17, 18 y 19 de Octubre de 1974.

Las canciones que van a poder van desde aquellas grabadas para “Anthem of the Sun”, “Aoxomoxoa”, “Workingman’s Dead”, “Wake of the Flood” y “From Mars Hotel”.

Bellisimas canciones para disfrutar siempre que se pueda, un video muy recomendado, con la banda sonando como nunca



    Jerry Garcia
Donna Jean Godchaux
Keith Godchaux
Bill Kreutzmann
Phil Lesh
Bob Weir


Uncle John’s Band – 10/19
Sugaree – 10/18 8:45
The Other One – 10/17 16:15
Spanish Jam
Mind Left Body Jam
The Other One
Scarlet Begonias – 10/19 32:52
China Cat Sunflower – 10/17 48:13
I Know You Rider
Dark Star – 10/18 1:03:19
Weather Report Suite – 10/18 1:21:01
– Prelude
– Part 1
– Part 2 (Let It Grow)

Keith Godchaux y de fondo la banda

Para este sabado: Wings en Australia (1975)


Imagen ilustrativa

Para pasar este sabado, que mejor que un recital de Wings en su mejor momento, 1975, en Australia, con un repertorio que toca temas hasta de The Beatles.

Realmente una joya para disfrutar una y otra vez



Paul McCartney
Linda McCartney
Denny Laine
Jimmy McCulloch
Joe English
Howie Casey
Steve Howard
Thaddeus Richard
Tony Dorsey


01 – Venus Mars / Rockshow
02 – Jet
03 – Let Me Roll It
04 – Maybe I’m Amazed
05 – live Let Die
06 – Bluebird
07 – I’ve Just Seen A Face
08 – Blackbird
09 – Yesterday
10 – You Gave Me The Answer
11 – Magneto Titanum Man
12 – Go Now
13 – Call Me Back Again
14 – My Love
15 – Listen To What The Man Said
16 – Letting Go
17 – Medicine Jar
18 – Band On The Run

Para este domingo les dejo…Yessongs


Este maravilloso concierto del conjunto de rock progresivo YES (formacion, Anderson, Howe, Squire, Wakeman, White), llamado YESSONGS y que tambien sería lanzado a manera de album en vivo.

No mucho mas que decir que: preparense a disfrutar de un fantastico documento, con una música realmente genial.

Luego vendrá la reseña de este disco (y mas de Yes)

Espero lo disfruten!


Homenaje: The Doors – Live at Hollywood Bowl (1968)


Este pequeño homenaje a Ray, en vivo con Jim y compañia (The Doors), en el Hollywood Bowl del ’68, en uno de los picos de popularidad de la banda

1. Show Start/Intro
2. When The Music’s Over
3. Alabama Song (Whisky Bar)”
4. Back Door Man
5. Five To One
6. Back Door Man (Reprise)
7. The WASP (Texas Radio And The Big Beat)”
8. Hello, I Love You
9. Moonlight Drive
10. Horse Latitudes
11. A Little Game
12. The Hill Dwellers
13. Spanish Caravan
14. Hey, What Would You Guys Like To Hear?
15. Wake Up!
16. Light My Fire (Segue)
17. Light My Fire
18. The Unknown Soldier
19. The End (Segue)
20. The End




Un excelente documental/recital de folk en Big Sur, California que contó con la presencia de Crosby, Stills, Nash and Young, Joni Mitchell y Joan Baez entre otros, un festival de folk rock para todos los gustos que en su momento no recibió la misma crítica que Woodstock.

Un lindo documental para ver esta noche o mañana domingo

    “I Shall Be Released” – Baez
“Mobile Line” – Sebastian with Stills
“Song for David” – Baez
shown rehearsing offstage, with stage performance of same song cut in
“All of God’s Children Got Soul” – Morrison and the Combs Sisters
“Sea of Madness” – CSNY
“4 + 20” – Stills solo performance
Stills introduces this number discussing his interaction with a heckler in the previous scene
“Get Together” – Mitchell with Crosby, Stills & Nash and Sebastian
“Put a Little Love in Your Heart” – Morrison and the Combs Sisters
non-musical footage of nude sauna, audience happenings
“Swing Down Sweet Chariot” – various
offstage, incomplete
“Rainbows All Over Yours Blues” – Sebastian
“Woodstock” – Mitchell
non-musical footage of self-identified “freak” with Woodstock-themed bus
“Red-Eye Express” – Sebastian with Stills
“Changes” – Fariña and Payne with Stills
“Malagueña Salerosa” – Cisneros
“Rise, Shine, and Give God the Glory” – The Struggle Mountain Resistance Band
“Down By the River” – CSNY
incomplete, over 7 minutes
folk musician improvising outside the festival
“Sweet Sir Galahad” – Baez
“Oh Happy Day” – Morrison and the Combs Sisters with Baez
opens with Baez rehearsing same number with Morrison


Musica de domingo: Crosby, Stills, Nash and Young


Como es domingo, y el día se presta, les dejo para que disfruten el concierto COMPLETO de Crosby, Stills, Nash and Young en Wembley por primera vez en 1974, los ideales de Woodstock ya estaban casi perdidos, y el dinero corria permitiendo hacer ya recitales en estadios de futbol, algo muy comun hoy en día, pero que en su momento era bastante singular.

En sintesis, un lindo concierto de CSN&Y en Wembley


Momento de documental: outtakes del Monterey Pop Festival 1967



Momento de documental en Entre a mi Mente, y lo que van a ver a continuacion no es el clásico y mítico Monterey Festival Pop Festival de 1967, sino las outtakes, las tomas fuera de la pelicula o mejor dicho, aquellos numeros que no fueron agregados a la pelicula original.

Si tienen la oportunidad, deben comprarlo

Solo una palabra para describir esto…groovy



The Association- “Along Comes Mary”
Simon and Garfunkel- “Homeward Bound” 3:55 “Sound of Silence” 6:46
Country Joe and the Fish- “Not So Sweet Martha Lorraine” 10:00
Al Kooper- Unknown 15:20
The Butterfield Blues Band- “Driftin’ Blues” 22:50
Quicksilver Messenger Service- “Dino’s Song” 27:34
The Electric Flag- “Wine” 30:51″
The Byrds- “Chimes of Freedom” 33:40 “He Was A Friend of Mine” 37:36 “Hey Joe” 40:30
Laura Nyro- “Wedding Bell Blues” 42:55
Jefferson Airplane- “Somebody To Love” 48:24
The Blues Project- “Flute Thing” 52:29
Big Brother and the Holding Co. w/ Janis Joplin “Combination of the Two” 1:03:07
The Buffalo Springfield- “For What It’s Worth” 1:08:57
The Who- “Substitute” 1:12:30 “Summertime Blues” 1:16:19 “A Quick One” 1:19:57
The Mamas and The Papas- “Straight Shooter” 1:28:14 “Somebody Groovy” 1:32:00 “I Call Your Name” 1:34:53
(Hilarious antics of Mama Cass) 1:38:46 “Monday, Monday” 1:40:36
Scott McKenzie- “San Francisco” 1:44:30
The Mamas and The Papas and Scott McKenzie- “Dancin’ in the Street” 1:48:05