Omnivore Recordings has released all four sets recorded that weekend in a four CD box set “Performance: Rockin’ the Fillmore-Complete Recordings”.
“My God, it just took my breath away,” Jerry Shirley said of hearing the new mixes by engineer Ashley Shepherd. “You feel like you’re sitting in the Fillmore East, five or six rows back. In the quiet bits, you could hear a pin drop, and in the loud bits, you can almost feel the room shaking. And all four shows caught Steve at the absolute zenith of his powers. It’s astonishing. I’m only sorry that he, Greg, and Dee aren’t around to enjoy it with the rest of us.”
“It was amazing to hear the new mixes of these shows after all these years,” says Peter Frampton. “This really was that version of Humble Pie at the peak of its powers—playing in a venue with a wonderful vibe.”
Wow has it been 40 years already since the release of Pink Floyd’sDark Side of the Moon? I remember well March 17, 1973 when that recording debuted (US release date according to Capitol Records). The FM radio station I listened to out of New York City, WNEW-FM 102.7 leaned on it strongly. I bought my vinyl LP copy on the Saturday afternoon it was released here in the States. On the following day, Sunday the 18th of March 1973 I was fortunate to witness Pink Floyd’s Dark Side of the Moon 1973 Tour. They performed at The Palace in Waterbury, Ct. I wrote about that experience in the blog post hyper-linked below.
Pink Floyd and EMI Music will mark the 40th Anniversary of the original UK release of The Dark Side of The Moon on 24 March 2013, as fans around the globe unite to turn a specially designed moon dark. Centred around a global playback of the album on PinkFloyd.com, each memory, thought and photo tweeted as fans rediscover the album will count towards the creation of a dark side of the moon.
Starting at 00:01am GMT on 24 March 2013, for the entire day fans all over the world will be able to share thoughts and comments via twitter using #DarkSide40 and witness the impact as the volume of messages combine to turn the moon dark.
When it comes to branding and logo there may not be a more discernible icon than the Pink Floyd, Dark Side of the Moon “Prism”. (Well perhaps the Rolling Stones Lips might top it…) It was designed by Storm Thorgerson when he was with Hipignosis. I have been a major fan of Storm Thorgerson for decades.
Keep watching the Pink Floyd Web page, http://darkside40.pinkfloyd.com/ for the variants of the Dark Side of the Moon prism. Each day another square in the diagram gets filled in and I’ll see you on the dark side of the moon 😉
I reached into the recesses of the music of our heart to reconnect with Don McLean and his début recording Tapestry (MediaArts – October 1970). I can recall hearing Don McLean’s Tapestry being played on WNEW-FM by Scott Muni on weekday afternoons in the fall of 1970. I own the MediaArts vinyl LP Scottso would spin on the airwaves.
Tapestry is a treasure chest filled with song gems all penned by Don McLean. The song that exhibits Don McLean’s clairvoyance prognosticating the future is the title track, “Tapestry”. The last two lines sum up where the fate of civilization is today with the greed of oil and gas baron’s (and the consumer) laying ruin to our planet.
Every thread of creation is held in position by still other strands of things living. In an earthly tapestry hung from the skyline of smoldering cities so gray and so vulgar, as not to be satisfied with their own negativity but needing to touch all the living as well.
Every breeze that blows kindly is one crystal breath we exhale on the blue diamond heaven. As gentle to touch as the hands of the healer. As soft as farewells whispered over the coffin. We’re poisoned by venom with each breath we take, from the brown sulfur chimney and the black highway snake.
Every dawn that breaks golden is held in suspension like the yoke of the egg in albumen. Where the birth and the death of unseen generations are interdependent in vast orchestration and painted in colors of tapestry thread. When the dying are born and the living are dead.
Every pulse of your heartbeat is one liquid moment that flows through the veins of your being. Like a river of life flowing on since creation. Approaching the sea with each new generation. You’re now just a stagnant and rancid disgrace that is rapidly drowning the whole human race.
Every fish that swims silent, every bird that flies freely, every doe that steps softly. Every crisp leaf that falls, all the flowers that grow on this colorful tapestry, somehow they know. That if man is allowed to destroy all we need. He will soon have to pay with his life, for his greed.
We saw Don McLean in concert on September 21, 1975 at Stamford Catholic High School. I was covering the event as a music reporter for The Entertainer a Fairfield County, Connecticut entertainment weekly newspaper. Don McLean did two shows that night. He was brilliant. My fondest memory of the night was watching him joust with reporters and radio/television station staff at the press conference between shows about “American Pie”. His press agent asked that people refrain from asking questions about American Pie. He said Don McLean was tired of answering that question. But several reporters didn’t heed that request and they really irked Don McLean. He rebuffed them with class and dignity, yet put them in their place. I respected Don McLean too much to make that mistake.
After the press conference Don McLean signed 8×10 black and white photos for us. Don McLean was the first musician autograph I secured in my now extensive music autograph collection. We exchanged some nice pleasantries about his first album, Tapestry which he humbled and honored to discuss.
I’ll never forget that I ended up walking and talking with him on his way back to the stage in the gym from the press conference in the science room. He smiled and began to played the bridge of Tapestry on his guitar for me as we walked together. It was a charismatic feeling to hear him playing that song acoustic, finger picked as it echoed in the hallway. I thanked him for playing that choice, he smiled warmly, shook my hand and said enjoy the show. His second set that night was stronger than the first. He featured music from the LP, Homeless Brother as I learned about the folk singer/protest connection he had with Woody Guthrie and Pete Seeger.
I was shopping yesterday when I heard Al Stewart‘s “Time Passages” come over the Muzak sound system. I had forgotten how much I loved this song. It was a staple on the progressive FM radio station WNEW-FM 102.7 in the late 70s. This Metromedia affiliate station has left an indelible impact on my musical listening tastes.
Al Stewart has performed music for more than 40+ years. I especially liked his partnering with Alan Parsons as his engineer. Their first collaboration genius effort resulted in Modern Times with one of my favorite album covers.
Alan Parsons and Al Stewart then produced together his two largest hits, “Year of the Cat” and “Time Passages”.
Al Stewart is an artist I am hoping to finally see perform live in 2012.
This year marks the 40th anniversary of the closing of The Fillmore East on June 28, 1971. No rock hall echoes stronger in the music of our heart than Bill Graham’s legendary venue in the East Village section of NYC.
There were 40 albums recorded live at The Fillmore East from 1968 through 1971. Considering there were 111 main concerts during that time frame (more if you count both early and late show events) 40 concerts was close to 1/3 of all shows that were performed there. You can see the complete list of live Fillmore East albums, sorted A-Z by recording title on this Wikipedia page, http://en.wikipedia.org/wiki/Category:Live_at_the_Fillmore_East_albums
Many people associateThe Allman Brothers Band At Fillmore East as “the” recording that captured the music live of the last night. Truth of the matter is that only when the deluxe edition of this dual CD was released did we get to hear two tracks from June 28th, “One Way Out” and “Midnight Rider”. According to Peter Wolf, lead singer of the J Geils Band who performed that night, “the Allman Brothers started at around four in the morning. At dawn, they were still playing “Crossroads,” or something like that.” (Graham and Greenfield, 2004).
The late, great photographer Jim Marshall took the photographs for the cover of The Allman Brothers Band At Fillmore East in the alley next to Capricorn Recording Studios in Macon, Georgia. (not in the alley of The Fillmore East as many, including myself, always thought). This is my favorite pose by the band that Jim Marshall’s unique lens captured.
There are several definitive sources of information available about The Fillmore East. I refer you to my reference section at the end of this blog post.
As we get closer to celebrating the real 40th anniversary of the closing of The Fillmore East I will update this blog post with any potential celebrations and events. Trust me I plan to take part as fully as I can in those events.
I drift back to the time when we listened perpetually to FM radio, in particular Metromedia affiliate WNEW-FM 102.7 out of New York City. The year was 1973, Rosemary and I were newly married and living in an apartment in South Norwalk, Ct. We were very in league with the NEW-FM disk jockeys such as Dave Herman in the morning and Scott Muni (Scottso) in the afternoon. It was Dave Herman who turned us on to Garland Jeffreys and his anthem-like song, “Wild in the Streets”. Garland’s 45 r.p.m record got a lot of airplay on the station that year, deservedly so 😉
Rolling ahead to 1977, Garland Jeffreys recorded and released Ghost Writer on A&M Records. I used to go on record buying binges to J&R Music World and other record haunts throughout NY City, sometimes buying 10-12 albums at a clip. I recall purchasing Ghost Writer in the Village and playing it extensively on my Sunday morning radio show on WVOF-FM 88.5 at Fairfield University. I would lean strongly on “35 Millimeter Dreams”, “Lift Me Up” and “Why-O” in my playlists. I was just going through my vinyl collection recently, thinking the next time I see Garland Jeffreys I’ll ask him to sign Ghost Writer for me so I can frame it for my home office 😉
Rolling forward to October 9, 2010, we saw Garland Jeffreys perform live as part of Happy Birthday John, An Informal Celebration of John Lennon’s 70th Birthday in NY City. Here is the video clip of his poetic reading of “Help”, which was very moving to witness.
I was very honored to have a chance to talk to Garland Jeffreys on the steps of the Society for Ethical Culture before the show and again after the concert at the after party at Gibson Studios. I loved his sincerity and the sense of excitement I felt about his career revival.
I’m making a solemn pledge to spend quality listening time with Garland’s music and his official video channel on YouTube. I want to become more in harmony with Garland’s music in anticipation of his new recording (which is in production). He’s stepping up his touring schedule as a result and we hope to catch him live again real soon. 🙂