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Live At the Fillmore 1969

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iTunes Review

Recorded over two nights—Oct. 17 and 18, 1969—during its only U.S. tour, The Move's Live at the Fillmore 1969 is an essential, long-missing piece of the band's story. It’s rougher and rawer than the group’s studio recordings, expanding beyond pop’s parameters into serious electric firepower. Ric Price's bass turns into the band's most vicious instrument. The harmonies still connect, but the band’s sheer brute force takes center stage. The album opens with the first of two Nazz covers, "Open My Eyes,” in an aggressive performance that’s beautiful in its unvarnished glee. The band's U.K. hit single "I Can Hear the Grass Grow" works out to 10 minutes of fierce performance and includes a brief tour of Steppenwolf's "Born to Be Wild.” Tom Paxton's "The Last Thing on My Mind" wanders far from its folk roots, while The Byrds' "Goin' Back" emphasizes the group's superior vocal interplay. Roy Wood's originals are sparingly applied, with the peculiar "Cherry Blossom Clinic Revisited" a highlight. 

Customer Reviews

A must have for MOVE fans

For fans of their Shazam album, with Carl Wayne on vocals, this is a must have. Well recorded for the era.

An album all 60's rock fans, and rock fans period, should hear

This is an insanely GREAT album. The mighty Move captured in a couple of performances at Fillmore West in 1969 when they were absolutely on top it. Yes, it's pretty much a front-of-house board tape, so it's gonna be vocal heavy, but after the first track, which is way out of balance vocal and instrument-wise, things even out nicely and you hear why the Move was heralded in Europe and England as one of the greatest live bands ever, though remaining relatively unknown here in the U.S.
In its most stripped down line-up - Carl Wayne on vocals, Roy Wood on guitar, banjar and vocals, Rick Price on bass and vocals, and Bev Bevan on drums - the power of the sound is amazing. The dominating, overdriven bass sound of Rick Price rivals any of that type a la Jack Bruce, John Entwhistle, John Wetton, Geddy Lee, Chris Squire, whoever, it's as mammoth of a bass sound as there was or is. In this wide open format, the genius of Roy Wood on guitar is showcased, and we get to hear his home-made "banjar", which was a banjo that he strung like a Turkish sar, and sounds very much like a sitar. Bev Bevan's drums are as bombastic as you'd expect, and he shows off some tasty licks that normally aren't heard on the studio stuff.
Any Move fan knows the vocals were always amazing in all of their lineups. As usual, here we have three singers who are all lead-singer quality. The vocals are great, if upfront, and the stretches they make, the chances they take, and what they pull off both vocally and instrumentally will amaze anyone who's been in a rock band or knows live music and it's normal limits. They don't play it safe in any respect.
This is also gold for the Move fan as we get to hear the great Carl Wayne on lead vocals at the end of his stint, and the Move in that transition period just before Jeff Lynne joined. So you get the groovy psychedilc-pop of the Carl Wayne era with the thunderous delivery of the "Looking On"/"Message From the Country" Move. And if you want a sparkling example of what live psychedelic-rock was like at its best in the late 60's, there isn't any better example.
So don't expect a perfect sound, it's flawed and there's some obvious damage, as the long-lost tapes had to be extensively restored. The vocals are too loud, and the power of the drums and bass fades back occasionally. But there's a lot more good than bad.
This is a chronicle and testament to a group that should be way beyond the mere cult status that they achieved, and to an era of live music that will never be matched, in my opinion.

Cherry Bomb Clinic needs Visiting

Nobody is a bigger “Move” fan than I am. But it’s tough to review a recording where the sound and mixing is so terrible it makes your ears hurt. Add the fact that one of my favorite bands from the 60’s just wasn’t on top of their game playing live during that tour, and I question whether I should even bother. It would have been good advise to rehearse Todd Rundgren’s “Under the Ice” before taking it on the road, or at least arranging it to suit their style and range, but they didn’t; and it’s awful. However, there are quite a few sparkling moments throughout the production, a few of them being “Fields of People” and “Don’t Make My Baby Blue”. Sadly, unless you’ve been to one of their concerts, you’re not likely to have ever heard this band live except through this disc; They toured the U.S. only once, and rarely recorded their gigs regardless of where they played. With that said, and terrible recording quality aside, every “Move” fan should have a copy of this disc. It may disappoint you at first, but none the less, there are a few brilliant moments here that will remind you, just exactly why you were thrilled by this handful of unique and wonderful musicians in the first place. I always thought they were “One Good Business Manager and One Good Sound Engineer” away from Total Greatness!!!!!


Formed: 1966 in Birmingham, England

Genre: Rock

Years Active: '60s, '70s

The Move were the best and most important British group of the late '60s that never made a significant dent in the American market. Through the band's several phases (which were sometimes dictated more by image than musical direction), their chief asset was guitarist and songwriter Roy Wood, who combined a knack for Beatlesque pop with a peculiarly British, and occasionally morbid, sense of humor. On their final albums (with considerable input from Jeff Lynne), the band became artier and more ambitious,...
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