Over their 30 years together, Los Lobos have established themselves among the best live bands in America--which makes it all the more surprising that they've waited so long to release their first concert album (though anthologies have included live tracks). For this recording from the venerable Fillmore in San Francisco, the Los Angeles band forsakes the greatest-hits approach in favor of a set dominated by recent material interspersed with some lesser-known earlier tunes (such as "How Much Can I Do?"). Omitting perennials such as "Will the Wolf Survive?" and their hit cover of "La Bamba," the Mexican-American band treats fans to the soulful balladry of singer David Hidalgo on "Rita" and "Tears of God," the bluesier strains of Cesar Rosas on "I Walk Alone," and the saxophone of Steve Berlin and a percolating rhythm section throughout. The music extends the Los Lobos imprint from the arty atmospherics of "Kiko and the Lavender Room" to the social conscience of "The Neighborhood" and the encore of Marvin Gaye's "What's Going On." Whether the material is in Spanish ("Maria Christina," "Maricela"), English (most of the rest), or bilingual (the flute-laced "Luz de Mi Vida"), the enraptured crowd requires no translation. --Don McLeese A DVD of the concert is also available.

Over their 30 years together, Los Lobos have established themselves among the best live bands in America--which makes it all the more surprising that they've waited so long to release their first concert album (though anthologies have included live tracks). For this recording from the venerable Fillmore in San Francisco, the Los Angeles band forsakes the greatest-hits approach in favor of a set dominated by recent material interspersed with some lesser-known earlier tunes (such as "How Much Can I Do?"). Omitting perennials such as "Will the Wolf Survive?" and their hit cover of "La Bamba," the Mexican-American band treats fans to the soulful balladry of singer David Hidalgo on "Rita" and "Tears of God," the bluesier strains of Cesar Rosas on "I Walk Alone," and the saxophone of Steve Berlin and a percolating rhythm section throughout. The music extends the Los Lobos imprint from the arty atmospherics of "Kiko and the Lavender Room" to the social conscience of "The Neighborhood" and the encore of Marvin Gaye's "What's Going On." Whether the material is in Spanish ("Maria Christina," "Maricela"), English (most of the rest), or bilingual (the flute-laced "Luz de Mi Vida"), the enraptured crowd requires no translation. --Don McLeese A DVD of the concert is also available.

titolo-live at the fillmoreartista-dredg etichetta-geffen recordsn. dischi1data10 novembre 2006supportocd audiogenerehard rock e metal-brani----1.warblerascolta2.bug eyesascolta3.ode to the sunascolta4.same ol' roadascolta5.sanzenascolta6.new heart shadowascolta7.triangleascolta8.tanbarkascolta9.not that simpleascolta10.whoa is meascolta11.walk in the parkascolta12.of the roomascolta13.stone by stoneascolta14.catch without armsascolta15.sang realascolta16.the ornamentascolta17.the canyon behind herascolta18.yatahazeascolta19.movement v: 90 hour sle

titolo-live at the fillmoreartista-dredg etichetta-geffen recordsn. dischi1data10 novembre 2006supportocd audiogenerehard rock e metal-brani----1.warblerascolta2.bug eyesascolta3.ode to the sunascolta4.same ol' roadascolta5.sanzenascolta6.new heart shadowascolta7.triangleascolta8.tanbarkascolta9.not that simpleascolta10.whoa is meascolta11.walk in the parkascolta12.of the roomascolta13.stone by stoneascolta14.catch without armsascolta15.sang realascolta16.the ornamentascolta17.the canyon behind herascolta18.yatahazeascolta19.movement v: 90 hour sle

Few artists take the sort of emotional risks that Lucinda Williams does. Pouring her all into songs of hurt, need, and desire, she turns every live performance into an adventure, as the first concert recording of her career attests. Coproduced by Williams, Live at the Fillmore showcases her raw wound of a voice and the rough edges of her band in all their unvarnished glory, as the music cuts across conventional categories of country, blues, folk, rock (and rap) to strike a distinctly personal chord. Even the pacing is risky. Whereas most artists plan their sets to hit hardest at the beginning and end, Williams inverts the dynamic, sustaining a mood of reflective melancholy for extended stretches that open and close the album, while building to an explosive climax in the middle. With the selection dominated by recent material, the first eight numbers are like a sweet ache, as the wistful country of "Ventura" and "Reason to Cry" and the folkish minimalism of "Lonely Girls" explore the fringes of emotional fragility. Then Williams and band flex their musical muscles, shifting into the bluesier side of her artistry on "Change the Locks" and "Atonement," extending the desperate intensity of "Joy" over almost eight minutes, and offering homage to Neil Young's Crazy Horse on "Righteously" and "Essence." Backed by the barbed-wire guitar of Doug Pettitbone over the bare-bones rhythms of bassist Taras Prodaniuk and drummer Jim Christie, Williams tells the crowd, "We got the mojo workin' tonight." --Don McLeese Recommended Lucinda Williams Albums Lucinda Williams Sweet Old World Car Wheels on a Gravel Road Essence World Without Tears Ramblin'

Few artists take the sort of emotional risks that Lucinda Williams does. Pouring her all into songs of hurt, need, and desire, she turns every live performance into an adventure, as the first concert recording of her career attests. Coproduced by Williams, Live at the Fillmore showcases her raw wound of a voice and the rough edges of her band in all their unvarnished glory, as the music cuts across conventional categories of country, blues, folk, rock (and rap) to strike a distinctly personal chord. Even the pacing is risky. Whereas most artists plan their sets to hit hardest at the beginning and end, Williams inverts the dynamic, sustaining a mood of reflective melancholy for extended stretches that open and close the album, while building to an explosive climax in the middle. With the selection dominated by recent material, the first eight numbers are like a sweet ache, as the wistful country of "Ventura" and "Reason to Cry" and the folkish minimalism of "Lonely Girls" explore the fringes of emotional fragility. Then Williams and band flex their musical muscles, shifting into the bluesier side of her artistry on "Change the Locks" and "Atonement," extending the desperate intensity of "Joy" over almost eight minutes, and offering homage to Neil Young's Crazy Horse on "Righteously" and "Essence." Backed by the barbed-wire guitar of Doug Pettitbone over the bare-bones rhythms of bassist Taras Prodaniuk and drummer Jim Christie, Williams tells the crowd, "We got the mojo workin' tonight." --Don McLeese Recommended Lucinda Williams Albums Lucinda Williams Sweet Old World Car Wheels on a Gravel Road Essence World Without Tears Ramblin'

For years, fans of Neil Young and Crazy Horse have been waiting for an official chance to hear Crazy Horse live with original leader Danny Whitten, the insanely talented guitarist who died of a heroin overdose in late 1972, inspiring Tonight's the Night. Tuned-in fans have been awaiting this very set for at least a dozen years, as it was originally to be tacked onto the end of a Decade-style triple CD of outtakes. Thankfully, this well-recorded live set from the infamous Fillmore East was well worth the wait. Here are scorching, extended takes of "Down by the River," "Winterlong," and "Cowgirl in the Sand," each propelled by guitar interplay so delightful you have to keep rewinding to hear it again. In fact, bits of it seem to prefigure the ways that Richard Lloyd and Tom Verlaine would feed off each other in the band Television, only with less of a sweet edge. But the world doesn't need any more arguments that Young was a proto-punk; what the world does need is at least a dozen more releases from Neil's archives! And hopefully, with this awesome live album, the floodgates have truly been opened and there are many more to come, in the vein of Dylan's Bootleg series. This disc is worth it alone for the version of "Wondering," a tune not officially recorded until many years later in Neil's weird '80s rockabilly phase. --Mike McGonigal

For years, fans of Neil Young and Crazy Horse have been waiting for an official chance to hear Crazy Horse live with original leader Danny Whitten, the insanely talented guitarist who died of a heroin overdose in late 1972, inspiring Tonight's the Night. Tuned-in fans have been awaiting this very set for at least a dozen years, as it was originally to be tacked onto the end of a Decade-style triple CD of outtakes. Thankfully, this well-recorded live set from the infamous Fillmore East was well worth the wait. Here are scorching, extended takes of "Down by the River," "Winterlong," and "Cowgirl in the Sand," each propelled by guitar interplay so delightful you have to keep rewinding to hear it again. In fact, bits of it seem to prefigure the ways that Richard Lloyd and Tom Verlaine would feed off each other in the band Television, only with less of a sweet edge. But the world doesn't need any more arguments that Young was a proto-punk; what the world does need is at least a dozen more releases from Neil's archives! And hopefully, with this awesome live album, the floodgates have truly been opened and there are many more to come, in the vein of Dylan's Bootleg series. This disc is worth it alone for the version of "Wondering," a tune not officially recorded until many years later in Neil's weird '80s rockabilly phase. --Mike McGonigal

With its devotion to '50s rock and blues coupled to a manic, if decidedly middlebrow performance tack, Ten Years After could seem positively Jurassic, even by late-'60s standards. This collection culls magnificently recorded performances (kudos to Hendrix/ELP engineer Eddie Kramer) from a February 1970 weekend stand at the Fillmore East, capturing the band at its post-Woodstock performing peak. The running times of most of the tracks (three-quarters of which clock in at seven-plus minutes) will tip listeners to the show's jam-heavy take on covers of Sonny Boy Williamson (an ominous, revamped "Good Morning Little Schoolgirl"), Willie Dixon (a slow, 16-minute burn through "Help Me"), and Chuck Berry (atypically economic romps of "Sweet Little Sixteen" and "Roll Over Beethoven"). But with the band's own primordial originals (the titles "Skooby-Oobly-Doobob" and "Extension on One Chord" speak for themselves) there's an elemental, effusive--and, dare we say it--Ramones-like stoopidity to the tracks. Even Alvin Lee's trademark fret-burner "I'm Going Home" is hard to resist. This set perfectly captures one of the era's hardest working bands in a concise, double-disc time capsule. --Jerry McCulley

The long-anticipated first release of many promised live shows from Young's personal archives, Live at the Fillmore East from 1970 (on the same bill with Miles Davis: how cool is that!), has only been heard on various bootlegged versions, until now. This tour, in support of the album"Everyone Knows This Is Nowhere", features Young backed by Crazy Horse plus renowned arranger and future Young collaborator, the late Jack Nitzsche on piano. Staples such as Down By The River, Cowgirl In The Sand and Everybody Knows This Is Nowhere get the full, stretched treatment that Young's shows would become known for. A great slice of prime Neil Young and friends in all their raw, ragged and rockin' glory. Keep 'um coming, Neil! Mastered and cut by Chris Bellman at Bernie Grundman Mastering in Hollywood from analog master tapes prepared by John Nowland at Neil Young's Studio. ALL Classic / Reprise Neil Young vinyl issues including Live at Fillmore East, are pressed only on Classic's proprietary 200g Super Vinyl Profile. If you weren't at the show in 1970, then this is as close as you'll ever get to "being there"! Track Listing 1. Everybody Knows This is Nowhere 2. Winterlong 3. Down by the River 4. Wonderin' 5. Come on Baby Let's Go Downtown 6. Cowgirl in the Sand

Recorded in October 2008 at the world famous Fillmore Auditorium in San Francisco, this incredible sounding live CD features 17 classic songs and captures the essence of a live Chris Isaak show with his unique reparetee and quick wit. The album cover an booklet feature Chris' original artwork and includes photos from the shows.

Recorded in October 2008 at the world famous Fillmore Auditorium in San Francisco, this incredible sounding live CD features 17 classic songs and captures the essence of a live Chris Isaak show with his unique reparetee and quick wit. The album cover an booklet feature Chris' original artwork and includes photos from the shows.

Sweeping Up the Spotlight: Live at the Fillmore East 1969 features the definitive edition of Jefferson Airplane, icons of 1960s psychedelic rock and political agitation. Jack Casady and Spencer Dryden hold down the free-floating rhythms on bass and drums, Jorma Kaukonen launches feedback-laced guitar solos, and Paul Kantner adds rhythm guitar and backing vocals. Topping it all are the voices of Marty Balin and the '60s acid queen, Grace Slick. In concert, the Airplane were always more rough and ready than on their acid-hued vinyl. Outside the studio, they were ramshackle and punky, which is why they were sometimes referenced when talking about punk bands like X, who also had male and female lead singers. Despite having six albums under their belt, mostly consisting of original material, the Airplane's live set has a lot of mediocre blues and folk filler. Some of their more characteristic repertoire is sacrificed to workman-like renditions of "Uncle Sam Blues" and "Come Back Baby," albeit with some ripping Kaukonen guitar solos. Balin's raucous rant on "You Wear Your Dresses too Short" is embarrassing in its soul-singer aspirations. Assuming this was their set sequence, it takes a while for the Airplane to congeal on stage. They ride roughshod over much of their materiel, but pull it together two-thirds of the way through on one of their most complex tunes, "The Ballad of You and Me and Pooneil." With its shifting time signatures and overlapping vocal lines and harmonies, it's a challenge to pull off live, but they do, with soaring vocals from Balin and Slick and a long instrumental jam with a fractured guitar solo from Kaukonen and a feature slot for bassist Casady, the most innovative and powerful bassist from that era. That paves the way for a darker version of "White Rabbit," the mock celebration of "Crown of Creation," and their show closer, a hyped rendition of Fred Neil's ballad "The Other Side of This Life." As they always did, the Jefferson Airplane land high. --John Diliberto

Sweeping Up the Spotlight: Live at the Fillmore East 1969 features the definitive edition of Jefferson Airplane, icons of 1960s psychedelic rock and political agitation. Jack Casady and Spencer Dryden hold down the free-floating rhythms on bass and drums, Jorma Kaukonen launches feedback-laced guitar solos, and Paul Kantner adds rhythm guitar and backing vocals. Topping it all are the voices of Marty Balin and the '60s acid queen, Grace Slick. In concert, the Airplane were always more rough and ready than on their acid-hued vinyl. Outside the studio, they were ramshackle and punky, which is why they were sometimes referenced when talking about punk bands like X, who also had male and female lead singers. Despite having six albums under their belt, mostly consisting of original material, the Airplane's live set has a lot of mediocre blues and folk filler. Some of their more characteristic repertoire is sacrificed to workman-like renditions of "Uncle Sam Blues" and "Come Back Baby," albeit with some ripping Kaukonen guitar solos. Balin's raucous rant on "You Wear Your Dresses too Short" is embarrassing in its soul-singer aspirations. Assuming this was their set sequence, it takes a while for the Airplane to congeal on stage. They ride roughshod over much of their materiel, but pull it together two-thirds of the way through on one of their most complex tunes, "The Ballad of You and Me and Pooneil." With its shifting time signatures and overlapping vocal lines and harmonies, it's a challenge to pull off live, but they do, with soaring vocals from Balin and Slick and a long instrumental jam with a fractured guitar solo from Kaukonen and a feature slot for bassist Casady, the most innovative and powerful bassist from that era. That paves the way for a darker version of "White Rabbit," the mock celebration of "Crown of Creation," and their show closer, a hyped rendition of Fred Neil's ballad "The Other Side of This Life." As they always did, the Jefferson Airplane land high. --John Diliberto

The 80-minute work, performed by the Atlanta Symphony Orchestra and the men from the Atlanta Symphony Orchestra Chorus, with baritone Nathan Gunn and mezzo-soprano Charlotte Hellekant, was conducted by ASO Music Director Robert Spano and recorded at the Woodruff Arts Center in May. The all-volunteer Atlanta Symphony Orchestra Chorus learned Finnish in order to perform this piece. Jeff Baxter, assistant director of choruses in Atlanta and a tenor in the ASO chorus, began learning the language from a native speaker about a year ago, in preparation for training the chorus to sing the piece. The Finnish native speaker did not know music, so she intoned the syllables, and then Baxter and Director of Choruses Norman MacKenzie made a phonetic translation. The chorus undertook months of preparation, including drilling on Monday nights on the language alone. Kullervo is a powerful figure from the Kalevala, the epic Finnish saga composed of 50 poems compiled by Elias Lönnrot, a physician and folklorist who traveled throughout the Finnish-Russian borderlands recording the lyrics, stories, and ballads sung to him by rural people. Born with magical powers, Kullervo was raised as an orphan by his tribe's enemies. As a young man, Kullervo finds his family, who thought he was dead, but learns that his sister is missing. Because he is inept at farm tasks, Kullervo is sent off to pay the family's taxes. On his return he seduces a beautiful maiden who, they both discover, is his long-lost sister. In horror and shame, she kills herself, Kullervo goes to battle, and finally kills himself as well. Sibelius's music for this dark tale abounds with the rhythms and meters of Finnish folk music, which captures the poetry's brooding sense of hard lives with the ever-present spectre of tragedy. Intent on making this composition - his first large-scale orchestral work - "thoroughly Finnish in spirit," Sibelius traveled to the coastal town of Porvoo to hear Larin Paraske, the famed female folksinger, perform Finnish laments and runes in order to internalize the rugged, archaic style.

Sweeping Up the Spotlight: Live at the Fillmore East 1969 features the definitive edition of Jefferson Airplane, icons of 1960s psychedelic rock and political agitation. Jack Casady and Spencer Dryden hold down the free-floating rhythms on bass and drums, Jorma Kaukonen launches feedback-laced guitar solos, and Paul Kantner adds rhythm guitar and backing vocals. Topping it all are the voices of Marty Balin and the '60s acid queen, Grace Slick. In concert, the Airplane were always more rough and ready than on their acid-hued vinyl. Outside the studio, they were ramshackle and punky, which is why they were sometimes referenced when talking about punk bands like X, who also had male and female lead singers. Despite having six albums under their belt, mostly consisting of original material, the Airplane's live set has a lot of mediocre blues and folk filler. Some of their more characteristic repertoire is sacrificed to workman-like renditions of "Uncle Sam Blues" and "Come Back Baby," albeit with some ripping Kaukonen guitar solos. Balin's raucous rant on "You Wear Your Dresses too Short" is embarrassing in its soul-singer aspirations. Assuming this was their set sequence, it takes a while for the Airplane to congeal on stage. They ride roughshod over much of their materiel, but pull it together two-thirds of the way through on one of their most complex tunes, "The Ballad of You and Me and Pooneil." With its shifting time signatures and overlapping vocal lines and harmonies, it's a challenge to pull off live, but they do, with soaring vocals from Balin and Slick and a long instrumental jam with a fractured guitar solo from Kaukonen and a feature slot for bassist Casady, the most innovative and powerful bassist from that era. That paves the way for a darker version of "White Rabbit," the mock celebration of "Crown of Creation," and their show closer, a hyped rendition of Fred Neil's ballad "The Other Side of This Life." As they always did, the Jefferson Airplane land high. --John Diliberto

The 80-minute work, performed by the Atlanta Symphony Orchestra and the men from the Atlanta Symphony Orchestra Chorus, with baritone Nathan Gunn and mezzo-soprano Charlotte Hellekant, was conducted by ASO Music Director Robert Spano and recorded at the Woodruff Arts Center in May. The all-volunteer Atlanta Symphony Orchestra Chorus learned Finnish in order to perform this piece. Jeff Baxter, assistant director of choruses in Atlanta and a tenor in the ASO chorus, began learning the language from a native speaker about a year ago, in preparation for training the chorus to sing the piece. The Finnish native speaker did not know music, so she intoned the syllables, and then Baxter and Director of Choruses Norman MacKenzie made a phonetic translation. The chorus undertook months of preparation, including drilling on Monday nights on the language alone. Kullervo is a powerful figure from the Kalevala, the epic Finnish saga composed of 50 poems compiled by Elias Lönnrot, a physician and folklorist who traveled throughout the Finnish-Russian borderlands recording the lyrics, stories, and ballads sung to him by rural people. Born with magical powers, Kullervo was raised as an orphan by his tribe's enemies. As a young man, Kullervo finds his family, who thought he was dead, but learns that his sister is missing. Because he is inept at farm tasks, Kullervo is sent off to pay the family's taxes. On his return he seduces a beautiful maiden who, they both discover, is his long-lost sister. In horror and shame, she kills herself, Kullervo goes to battle, and finally kills himself as well. Sibelius's music for this dark tale abounds with the rhythms and meters of Finnish folk music, which captures the poetry's brooding sense of hard lives with the ever-present spectre of tragedy. Intent on making this composition - his first large-scale orchestral work - "thoroughly Finnish in spirit," Sibelius traveled to the coastal town of Porvoo to hear Larin Paraske, the famed female folksinger, perform Finnish laments and runes in order to internalize the rugged, archaic style.