utorak, 17.10.2006.
FLEETWOOD MAC - Live In Boston (2003)
Limited edition release (10,000 numbered copies) in an embossed gold box featuring live material from Boston in February, 1970. Though a live album from the four shows these recordings are taken from did emerge in the mid '80s, the sound quality was disappointing. This release features 30 tracks, all remixed & remastered from the original master tapes, including six previously unreleased performances, 'Jumping At Shadows' (Version 2), 'If You Let Me Love You', 'Coming Your Way', 'The Sun Is Shining', 'Tiger' and 'On We Jam'. The box is a sturdy, cardboard box & each disc inside of it is in a separate standard jewel case
FLEETWOOD MAC - Live In Boston vol.1
After circulating on a variety of budget-conscious packages, Live in Boston (2003) now includes nearly an hour of never-before-issued material spread over three CDs with faultless audio quality derived directly from the first-generation multi-track master tapes. Additionally, the discs have been configured to more accurately replicate a typical Fleetwood Mac set circa February 1970. The concerts captured them at the venerable Boston Tea Party in support of their concurrent effort Then Play On (1969). The lineup had expanded from Mick Fleetwood (drums), Jeremy Spencer (guitar/vocals), John McVie (bass), and Peter Green (guitar/vocals) to include the talents of Danny Kirwan (guitar/vocals). As these performances bear out, this quintet could produce extended and incendiary psychedelic jams that rivalled that of Quicksilver Messenger Service, or the bluesy-fused battles of the Allman Brothers' Duane Allman (guitar) and Dickey Betts (guitar/vocals). The languid and jazzy "Black Magic Woman" is without question among the finest available as the melody wafts through Green's shimmering runs. "Only You" is a dark and edgy boogie, notable as only one of two Kirwan compositions on this installment. Another focal point is the thoroughly harrowing 12-minute ride on "Green Manalishi." Here again is an example of an epochal reading that succumbs to the otherwise familiar studio version. At the center of Live in Boston, Vol. 1, is the double-barrel onslaught of the previously unreleased "Rattlesnake Shake," which clocks in at close to a half hour, yet remains criminally incomplete. However, before the dreaded fade-out are 26 of the most musically exhilarating minutes in the entire package. The blues-based improvisations tread consistently new territory as Green and Kirwan feed off of the other's respective inspiration. Taken on its own, these bright moments are truly and unequivocally worth the price of admission. The incorporation of High Definition Compact Disc (HDCD) playback technology further enhances the listening experience, undeniably revealing nuance after subtle nuance in the timbre of the instruments. Live in Boston, Vol. 1 is a suggested starting point for interested parties and an essential selection for serious enthusiasts.
FLEETWOOD MAC - Live In Boston vol.2
This is the second of three CDs reassessing Fleetwood Mac's February 1970 run of shows at the Bosstown's very own psychedelic dungeon, the Boston Tea Party. For decades, these recordings have masqueraded under a plethora of titles, including Jumping at Shadows (1985), Cerulean (1985), and Rattlesnake Shake (1985). A late-'90s revisitation in the digital domain yielded nearly an hour of never before available material in uniformly stellar sound quality. At the time these sets were documented, the combo of Mick Fleetwood (drums), Jeremy Spencer (guitar/vocals), John McVie (bass), and Peter Green (guitar/vocals) had recently expanded with the addition of Danny Kirwan (guitar/vocals). He had joined just in time for their most concurrent release, Then Play On (1969). The introductory fretwork on "World in Harmony" recalls Steve Miller's intricate ode to Girl Freiberg on "Quicksilver Girl" and is contrasted by some soulful double-lead guitar work that could have easily been inspired by the Allman Brothers' Duane Allman and Dickey Betts. The reading of Green's "Oh Well" is thoroughly incendiary; however, here listeners are presented with only the opening segment, compared to the nearly nine-minute studio side. This makes way for the second and complete version of "Rattlesnake Shake," contrasting the one on Live in Boston, Vol. 1 (2003), which fades during the waning moments of the ferocious finale. Another distinction reveals that while presumably both renderings began in the same key, this one concludes in a lower register. The band's salute to Little Richard on "Keep a Knockin'" and "Jenny Jenny" is loads of fun, allowing them to blow out the jams and clear the deck for the "Encore Jam," with guest guitarists Joe Walsh and a serene and subdued Eric Clapton. While not as essential as the first part of the trilogy, Live in Boston, Vol. 2 (2003) is a great companion piece and, for likeminded listeners, a recommended addition.
FLEETWOOD MAC - Live In Boston vol.3
As the title suggests, 2003's Live in Boston, Vol. 3, is the third installment in the re-evaluation of Fleetwood Mac's February 1970 Boston Tea Party tapes. Initially, some of these sides circulated in less than favorable quality on heavily abridged budget collections, including the thoroughly dismissible Jumping at Shadows [live] (1985), Cerulean [live] (1985), and Rattlesnake Shake (1985). For this project, producers chose to go all the way back to the first-generation multi-tracks and the results are uniformly phenomenal. Those with High Definition Compact Disc (HDCD) playback technology can experience the real nuances and interactions between the musicians as they become practically tangible. Speaking of, the lineup boasts Mick Fleetwood (drums), Jeremy Spencer (guitar/vocals), John McVie (bass), and Peter Green (guitar/vocals), as well as Danny Kirwan (guitar/vocals), whose nimble electric fretwork effortlessly melded with alternately stinging and fluid leads from Green. Kirwan's arrival came as the band prepared Then Play On (1969). The LP became one of their earliest musical benchmarks and was also the last with Green, who would depart Fleetwood Mac less than six months after these concerts were captured — perhaps adding to their historical significance. Of equal importance are the incredible combination and fusion of what is by all accounts an aggregate rooted in British blues. However, almost as if by sonic osmosis, Green's playing has developed a psychedelic timbre that easily rivals his contemporaries John Cipollina (guitar/vocals) and Jorma Kaukonen (guitar/vocals). There are half a dozen previously unissued cuts restored on this disc, commencing with a dank and soulful "Jumping at Shadows," giving a comparatively edgier spin than the erstwhile available version on Vol. 1. Green's aggressive rocker "Sandy Mary" builds and ebbs with the same hard-hitting presence that he brought to sides such as "Green Manalishi." Kirwan's "Coming Your Way" is well jammed in the lyric-less rendering that evolves into a brief, up-tempo percussive solo onslaught from Fleetwood before fading out. A similar anomaly faces the closing "On We Jam," which enthusiasts may find woefully incomplete, as the quintet is thrashing about at its most ferocious. One final caveat, the lengthy cover of B.B. King's "If You Let Me Love You," suffers from Green's nearly inaudible vocals.
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