Zz Top Live 1973

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Diante Scharsch

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Aug 3, 2024, 4:38:32 PM8/3/24

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As with both of Parsons' solo studio albums, Emmylou Harris provides prominent duet and harmony vocals. The Fallen Angels, however, were a different band than that which appeared on Parsons' two solo albums. As Parsons and Harris prepared to tour the United States in 1973 to promote his solo debut, GP, James Burton, Ronnie Tutt, and most of the band who performed on the album had prior commitments to Elvis Presley's TCB Band. Parsons instead assembled a crew of roadhouse pickers he dubbed "the Fallen Angels", and they began making their way through America's rock clubs and honky tonks.[3]

The original album had eleven tracks, but included a 7" 45rpm record with the encore medley on side one, and an interview with Parsons, Harris, and Jock Bartley plus a version of the Flying Burrito Brothers' "Hot Burrito #1" performed by Gene Parsons in tribute as the B-side. When later reissued by Rhino Records on CD in 1994. the medley and in between song patter were added but the interview segments and the Gene Parsons track were omitted.

Genesis were persuaded by their label, Charisma Records, to release Genesis Live as a budget-priced title to mark time while the band recorded Selling England by the Pound in mid-1973. The group's manager, Tony Stratton Smith said that the low price would allow it to be sold in stores such as Woolworths and WHSmith.[2] Genesis Live was issued in the US several months after Selling England's release,[3] which upset Gabriel as the album included songs from their old live sets and was quickly recorded with little care given to the quality of the recordings. When Gabriel reluctantly agreed to have the album released, part of the deal was that it would not be issued in the US.[4]

The album was recorded when the band was touring in support of Foxtrot, by the Pye Mobile Recording Unit, engineer Alan Perkins; all tracks were recorded at De Montfort Hall, Leicester, England on 25 February 1973 (1973-02-25) except for "The Return of the Giant Hogweed", which was recorded at the Free Trade Hall in Manchester, England on the previous day.[5] These recordings were originally made for the U.S. radio show King Biscuit Flower Hour, though they were never broadcast. John Burns mixed the multi-track tapes in July 1973.[2]

A surrealistic short story by Peter Gabriel was printed on the back cover of the album. William Friedkin, who directed the film The Exorcist, read the story and was interested in possibly working with Gabriel on a film. Discussions with Friedkin took Gabriel away from the 1974 recording of The Lamb Lies Down on Broadway, his final album with the group.[7]

Rolling Stone gave the album a brief but positive review, commenting that "this album goes a long way toward capturing the gripping power and mysticism that has many fans acclaiming Genesis as 'the greatest live band ever'".[8]

A retrospective review by AllMusic was also resoundingly positive. They remarked "it's doubtful that anyone ever got a richer sound out of a Mellotron on-stage than Tony Banks does on this album, and Steve Hackett, Mike Rutherford, and Phil Collins' playing is all quite amazing as a whole unit, holding together some very complex music in a live setting". They judged all the recordings to be far superior to their studio originals.[1]

This recording captures the Iceman in his early prime and the band is tight and smoking. Any fan of electric guitar play and funky blues should be entertained by Albert Collins and these highly charged tracks taken from a 1973 concert in Cambridge, Mass. The experience is intensified by playing in a small venue with 'participation' from up close fans, adding to the music's energy.

It took my friend Frank from Manhattan to convince me a few years later, by playing The Lamb Lies Down on Broadway for me, that I should pay attention to Genesis. I quickly bought their back catalog. Unfortunately for me, by the time I caught them live, in 1976, Peter Gabriel had departed the group. However, I must say that it was a treat to see Bill Bruford (ex Yes and King Crimson), as he assisted on drums to let Phil Collins front the band. The opening act was the Strawbs.

And, I did get to see Peter Gabriel on his first solo tour in early 1977 at the Capitol Theatre in Passaic, NJ. Robert Fripp was present on guitar, albeit, he was playing offstage due to some legal consideration. The opening act was Tom Verlaine and Television. The highlight for me was when Gabriel performed Back In N.Y.C.

I really miss those days when rock musicians could care less about having a hit or reaching the mainstream or fitting into a particular niche. They were focused on musicianship and had a unique vision and this usually translated into more interesting music. I will never understand why Progressive Rock was once so well received but was later relegated to the dustbin of history.

Foghat formed in 1971 in the UK and hav achieved eight gold records, one platinum, and one double platinum record in their career.
Permission To Jam: Live in New Orleans 1973 features all previously unreleased live material recorded over two shows at The Warehouse in New Orleans, with highlights from the two nights chosen by drummer, Roger Earl. This is the first live release from Foghat to feature the bands early-era, blues-based material with heavy use of slide guitar and will appeal to fans of Peter Greens Fleetwood Mac, John Mayall and the Bluesbreakers with Eric Clapton, Cream, The Faces and many more.

Miles would also make several changes to his live ensemble across the first half of 1973, including swapping out saxophonists, adding guitarists, ditching the tabla and sitar, and burning through keyboardists before taking over organ duties himself.

A word of explanation (Apologies if most of it is teaching granny how to suck eggs for you lot!)This compilation serves as a companion volume to the re-edit of The Song Remains The Same I made in 2020. I created that because I find the 2007 reissue an extremely frustrating listen, despite having great love for the original album (probably my favourite ever live album). It unfortunately uses some performances and clumsy edits that were chosen purely to match the visuals of the film rather than using the superior performances chosen for the original album. While I never find myself wanting to listen to the reissue, I often want to listen to a more complete version of the original album, hence my 2020 re-edit.However, this new alternate version recognises that there were many other great performances during the 3 nights at Madison Square Garden that were perhaps used in the film but not the album or that were only used as edits and for fixing mistakes, or that weren't used at all. The fantastic Garden Tapes website goes into mind-bending detail of how each song was constructed for the film, album and 2007 reissue and I have summarised this research in the info below by firstly stating the night that was used as the main source and then any other nights used for major edits. This was so I could ensure the new alternate album presented a complete show made from Madison Square Garden performances that were either completely unused for the official film and album or were only partially used as an edit. The exceptions to this are: 1) Celebration Day which is the same performance that can be found as an extra on the 2007 DVD reissue as it contains a different guitar solo to the one found on the original album and 2) Bring It On Home as I didn't want to split this from the Black Dog performance I chose which is the one from the film but complete and unedited. (Even the CD reissue inexplicably uses the edited version!)Some choices weren't really choices at all as unfortunately the 1st part of the 27th has never been bootlegged and the soundboards are all incomplete. I was determined not to use any audience recordings for this so there were a couple of alternate performances I couldn't use. My only source is Empress Valley's 18CD Garden Tapes Box Set but I have fixed just a few things. I've tidied up a timing issue in Dazed And Confused towards the end, removed the very brief audience source from No Quarter but made the cut as seamless as possible, fixed a couple of bars of wrong notes in The Rain Song, No Quarter and Heartbreaker and replaced the audience source that EVSD used to complete Bonzo's Ocean count-in with his hilarious count-in from the 28th soundboard.There are some absolute treats here for those of you who only know the album and the film. If Jimmy Page had treated us to a proper multi-disc box set back in 2018, this is what I would have loved to have seen as discs 4, 5 and 6 alongside a 3 disc expanded version of the original album similar to my 2020 re-edit. Every now and then you'll recognise a snippet that was used as an edit piece for the official releases (and you can verify that using the info below and The Garden Tapes website) but as a complete listening experience it should be quite unique and almost equal to the versions we know and love. By the way, hats off to anyone who can EQ the 28th and 29th soundboards to sound the same. I know the difference in guitar sound between the end of Celebration Day and Bring It On Home riff is rather obvious. Feedback welcome!Performances used in the original film and reissueRock And Roll: 27Celebration Day: 28 (DVD extra)Bring It On Home: 29Black Dog (version 1): 29 - editedBlack Dog (version 2): 28 - complete (2003 DVD)Over The Hills And Far Away: 28 (DVD extra)Misty Mountain Hop: 27 + 28 for middle min (DVD extra)Since I've Been Loving You: 29 main + 27No Quarter: 28 for solo to end + 27 for 1st 3 minsThe Song Remains The Same: 28The Rain Song: 28Dazed And Confused: 27 + 28 for 3rd verse + 29 for endingStairway To Heaven: 27 + 28 for vocal endMoby Dick: 27 - edited + 28 for 1st 2 mins of drum soloHeartbreaker: 27Whole Lotta Love: 27The Ocean: 27 + 29 for guitar solo + coda (DVD extra)Performances used on the original album and reissueRock And Roll: 27 + 28 for 1st minCelebration Day: 28 + 29 for last minBring It On Home: 27 (reissue)Black Dog: 29 + 28 for 1st min - edited (reissue)Over The Hills And Far Away: 28 (reissue)Misty Mountain Hop: 27 + 28 for middle min (reissue)Since I've Been Loving You: 27 main + 29 (reissue)No Quarter: As film but 27 for solo endThe Song Remains The Same: 28The Rain Song: 28Dazed And Confused: 27Stairway To Heaven: As film but 29 for 1st 2 minsMoby Dick: 28 - editedHeartbreaker: 27 (reissue)Whole Lotta Love: 27The Ocean: 27 + 29 for guitar solo + coda (reissue)All above info included in the download.You'll notice I stayed away from using the 27th apart from the complete killer Moby Dick which was chopped up so much in the film. The 27th was the night that Jimmy used most on the album as perhaps it was the strongest night overall but that 28th Dazed And Confused and 29th Whole Lotta Love show how easy it is to get 2 strong albums out of those Garden performances.Enjoy!