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tolomoquinkolom
LONE JUSTICE – BBC Radio 1 Live In ConcertHighlight!
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Living Well Is The Best Revenge.Highlights von Rolling-Stone.de50 Jahre „The Köln Concert“: Fliegen mit gestutztem Flügel
Sid Vicious: Die letzten Tage im Leben des Sex-Pistols-Bassisten
Xavier Naidoo: Das „Ich bin Rassist“-Interview in voller Länge
John Lennon: Sein Tod und die Geschichte seines Mörders
Die letzten Stunden im Leben von Marilyn Monroe
In diesen legendären Tonstudios entstanden große Alben
WerbungRob FlemingHighlight!
Jawohl! Schade, dass sich die Band so schnell aufgelöst hat.
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gypsy tail windDa solltet Ihr Euch aber dringend ein paar frühere Konzerte anhören… etwa „On Stage“ (am besten die 2CD Legacy/Deluxe Edition, auf der „In Person“ auch noch dabei ist) oder die 3CD-Version von „That’s The Way It Is“ (CD2 ist eine der grossartigsten Konzertaufnahmen Elvis, wie mir scheint), oder auch das 1968 Comeback (komplett auf vier CDs oder in einer – mir bisher nicht bekannten – DVD-Box).
von Elvis gibt es sicher noch einige sehr gute live CDs !
Die „On Stage“ habe ich auch (1CD).
Bin aber trotzdem der Meinung, dass die Hawaii besser ist.
u.a. wegen den ausgezeichneten Versionen von See See Rider und Suspicious Minds.
wenn man noch den musikhistorischen Hintergrund dazunimmt, ist das dann noch ein Punkt für die Hawaii.--
life is a dream[/SIZE]Beatsteaks – Kanonen auf Spatzen
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Der war gut.
Selbst:
Pur – Live
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Ohne Musik ist alles Leben ein Irrtum.Stormy MondayAhoi, Ferry, willkommen im RS- Forum. Rennräder sind, verglichen mit Musik, wirklich etwas, mmmmmhm, langweilig. :
Hier möchte ich allerheftigst widersprechen!!!!
:lol:
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U2 – New Years Concert
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Step on a steam train Step out of the driving rain maybe Run from the darkness in the night MyPlaylistThin Lizzy-Live and dangerous! :sonne:
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AlternativeU2 – New Years Concert
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Warum so sparsam? Nenne doch mal ein paar mehr!;-)
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Jetzt schon 62 Jahre Rock 'n' Roll
AnonymRegistriert seit: 01.01.1970
Beiträge: 0
SongdogThin Lizzy-Live and dangerous! :sonne:
Du darfst Thin Lizzy aber nicht mit Uriah Heep verwechseln :lol:
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The 25%-Live-and-75%-Dangerous-Album
THIN LIZZY – Live And Dangerous
Bad Reputation was a big hit. That meant Lizzy and I would get a second chance to create a great album. Unfortunately they caught me between a Bowie album and at least three other projects I had committed myself to produce – albums by the Steve Gibbons Band, the Radiators and Rick Wakeman. I was also trying to launch my own Good Earth record label that year. The record company was clamouring for a new Lizzy album and the band wanted to work with me. As much as they wanted to do another studio album, they felt that I couldn’t accommodate them because of my commitments (which was true). So we had a summit meeting at my Good Earth studios. Phil said that they had stacks of tapes from live gigs, so why didn’t we spend two weeks going through the tapes and come up with a decent live album? That was the best we could do in two weeks. Hah! For the next eight weeks I was up to my eyeballs in Live And Dangerous!
We listened and listened and listened – to at least 30 hours of tape recorded during many gigs, from Toronto to Philadelphia to London! We definitely had something, but the task of choosing the right takes was awesome. When we did, Phil asked if he could touch up some vocals. No harm in that – this is commonly done for live albums because of technical faults, like microphone wire buzz and other gremlins. The trick to getting a studio vocal to sound like a convincing live vocal is to sing the song in the same way. Otherwise the live voice will poke through if the new voice is not in sync.
We spent a few days re-recording a few vocals. It went very well. Once we established a sound and a system to do this, Phil suggested that we might as well redo all the vocals. So we did. Then we noticed that Gorham and Robertson were not on mic for backing vocals half the time. If you listen closely you can hear Phil doubling the backing vocals at the same time he was singing lead! Then Phil realized that he’d missed a few notes on the bass when he was singing live. Could we replace some bass parts? „Of course!“ I said. We did. The bass was harder and more precise and so ALL the bass parts were replaced. In walked Scott Gorham and Brian Robertson. Since it was so easy to replace Phil’s parts, could they redo theirs? „Of course!“ But now it was obvious that this was not completely live anymore. The guitars, bass and vocals were replaced – just Downey’s drums and the audience reaction were left! Fortunately Downey liked his playing and we kept ALL the drums.
I’ve gone on record before saying this album was 75% recorded in the studio, so I hope I haven’t shattered any illusions. Still, the album went platinum, reaching #2 on the British charts, and it deserved it. Every track was performed before a live audience with the exception of „Southbound“. There weren’t any good takes of the song recorded in concert, so we used the recording made during the sound check onstage in Philadelphia and dubbed in the intro and outro audience reaction from that night’s show.
Because the original recordings lacked certain details I had to resort to some trickery when Phil asked for audience participation. For instance, on the breakdown of „Rosalie“ Phil asks the audience to „put yer hands together“. I boosted up the audience tracks and there was a wildly enthusiastic audience clapping like mad, but the band was far louder. I couldn’t use those tracks because the band would’ve sounded too echoey, picked up by the high audience mics. So I made a 20-second loop of the audience clapping for an encore. I put the loop through electronic gates that were triggered by a note from a keyboard. The loop was silent until I played a note on the keyboard. So when I played quarter notes (crotchets) it sounded like the audience was clapping along. Remember, they’d been clapping along that night but the mics just didn’t pick them up loud enough. Also, at the end of this track the tape ran out and I had to edit in the audience reaction from the end of another song. That’s why it literally sounds like a burst of applause at the end. Despite the necessary trickery this album is very real. It represents electrifying moments before an audience and fabulous second chances to get it right in the studio.
[Tony Visconti, Producer]
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Ein großer Fan von Live Platten bin ich, wie Viele hier, nicht wirklich, weshalb ich auch nicht gerade sehr Viele kenne. Trotzdem habe ich mal eine Top 10 erstellt von Live- Alben, die ich doch für ganz erwähnenswert halte.
1. Saint Vitus – Live
2. Dead Kennedys – Mutiny on the Bay
3. Mittagspause – Punk macht dicken Arsch
4. MC5 – Kick out the Jams
5. Earth – Sunn Amps and Smashed Guitars
6. Mission of Burma – The Horrible Truth about Burma
7. Trisomie 21 – Raw Material
8. Bérurier Noir – La Bataille de Pali-Kao
9. Alien Sex Fiend – Liquid Head in Tokyo
10. Einstürzende Neubauten – 2×4(Die Live- Seite von D.A.F.´s „Die Kleinen und die Bösen“ steht allerdings über Allem)
Früher lief auch noch ganz gerne
Die Ärzte – Wir wollen nur deine Seele
Slime – Live
Terrorgruppe – BlechdoseAlben von Motörhead, Talking Heads und Johnny Cash werden allerdings noch beschafft!
01. JOHN COLTRANE – Live At The Village Vanguard
02. JOHN COLTRANE – Coltrane Live At Birdland
03. BILL EVANS TRIO – Waltz For Debby
04. BILL EVANS TRIO – Sunday At The Village Vanguard
05. CHARLES MINGUS – Mingus At Antibes
06. FRED ANDERSON QUARTET – The Milwaukee Tapes, Vol. 1
07. JOHN COLTRANE – Concert In Japan
08. CHARLES GAYLE / WILLIAM PARKER / RASHIED ALI – Touchin‘ on Trane
09. ERIC DOLPHY – Eric Dolphy At The Five Spot
10. ERIC DOLPHY – Eric Dolphy At The Five Spot, Volume 211. ERIC DOLPHY – Memorial Album Recorded Live At The Five Spot
12. NEIL YOUNG – Live At Massey Hall 1971
13. JONI MITCHELL – Miles Of Aisles
14. FRANK WRIGHT – Unity
15. JONI MITCHELL – Shadows And Light
16. ATOMIC – Bikini Tapes
17. TOWNES VAN ZANDT – Live At The Old Quarter, Houston, Texas
18. JOHN COLTRANE – The Paris Concert
19. CECIL TAYLOR – One Too Many Salty Swift and Not Goodbye
20. SONNY ROLLINS – A Night At The Village Vanguard21. CECIL TAYLOR – Live at the Cafe Montmartre
22. CHARLES MINGUS – The Great Concert Of Charles Mingus
23. THELONIOUS MONK QUARTET WITH JOHN COLTRANE – At Carnegie Hall
24. TIM BUCKLEY – Dream Letter: Live in London 1968
25. MILES DAVIS – At Plugged Nickel, Chicago
26. DIE LIKE A DOG QUARTET – Little Birds Have Fast Hearts, No. 1
27. DIE LIKE A DOG QUARTET – Little Birds Have Fast Hearts, No. 2
28. MILES DAVIS – At Plugged Nickel, Chicago Vol. 2
29. CHARLES MINGUS – Mingus In Europe Volume I
30. JOHN COLTRANE – One Down One Up: Live At The Half Note--
Hey man, why don't we make a tune... just playin' the melody, not play the solos...„Miles Of Aisles“ liebe ich sehr, Joni singt fantastisch und der L.A. Express fügt manchen Tracks, die in sich sowieso alle nahezu perfekt sind, interessante Details hinzu. Im Gegensatz dazu kann ich „Shadows And Light“ wenig abgewinnen, die Band ist sicherlich nicht schlechter, allerdings ziehe ich fast immer die jeweiligen Studioversionen vor.
Die Jazz LPs überraschen wenig, spiegeln sie doch ein Teil der Top100 faves wieder. Überrascht hat mich die Nennung von Dream Letter (obwohl ich weiß, dass „Happy Sad“ ja mal eines der Lieblingsalben war).
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and now we rise and we are everywhere
AnonymRegistriert seit: 01.01.1970
Beiträge: 0
AlternativeU2 – New Years Concert
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Du meinst das aus Dublin, Point Depot zum Jahrzehntwechsel 89/90?
Toller Abend, hab ich als MP3 in guter Qualität.
Leider etwas zu kurz und es fehlt das eine oder andere gute Stück in der Setlist.--
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