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Live At the Fillmore 1969

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Reseña de álbum

Although the Move made barely a ripple in the U.S., they actually did a short tour in fall 1969, marking their only visit to the States. This double CD has live recordings made from their performances at the Fillmore in San Francisco on October 17 and 18 of 1969, most of them coming from the earlier of the two dates. Apparently its appearance was delayed for quite some time owing to concerns about its fidelity, but with the help of "advances in studio technology" trumpeted in the liner notes, it's finally been prepared in a shape deemed acceptable for release. Thank goodness it's passed muster, because the fidelity is more than acceptable, and it's a quite historically interesting document.

The big surprise, considering the band had already scored half-a-dozen sizable hits in their native U.K., is that just one of them ("I Can Hear the Grass Grow") is here. For that matter, the repertoire is surprisingly cover-heavy, including just two more Roy Wood originals ("Cherry Blossom Clinic (Revisited)" and "Hello Susie"). As perversely uncommercial as the choice of material might have been in 1969, it's to our gain several decades later, giving us the chance to hear some surprisingly arcane tunes for a big-name (at least in much of the rest of the Western world) act. Could there have been any other band anywhere, for instance, that put not one but two Nazz covers in their set — let alone a band that were much bigger than the Nazz? Yet the Move did so at the Fillmore, with an impressive seven-minute version of "Open My Eyes" and a rather less effective 14-minute one of "Under My Ice," which briefly quotes from "Eleanor Rigby" in its instrumental section.

Overall, the Move sound much heavier here than their records up to that time would lead one to expect. All of the tunes are stretched out to five minutes or more; there's more instrumental jamming than you hear on any of their studio records; and Bev Bevan's drums are more frenetic than they were in the studio. Yet the Move are nonetheless also adept at complex pop harmonies, on both their own material and covers like "Going Back" (based on the Byrds' version). At the same time, they take extreme but listenable liberties with some of their stronger studio tracks, stretching "Fields of People" to 17 (!) minutes with what sounds like an electric sitar solo, and even pushing "I Can Hear the Grass Grow" to the ten-minute mark, partly by virtue of a detour into Steppenwolf's "Born to Be Wild" (!).

Though perhaps a bit of a disappointment to those who'd like to hear more of Wood's concise, witty, poppier songs live, the record's a good testament to the band's ability to rock out hard and heavy — a direction they were already leaning toward by the 1970 Shazam album (on which four of the songs previewed here were included). There's a bit of repetition since the final three songs on disc two (the only three from October 18, 1969) are also heard in their October 17, 1969 versions, but they're placed far enough apart that it's not a bother. Bevan, bassist Rick Price, and the late singer Carl Wayne all contribute to liner notes that give the full story of the concert and the tour, the record ending with an informative, ten-minute spoken interview with Bevan.

Reseñas de usuarios

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!!!!!


Se formó en: 1966 en Birmingham, England

Género: Rock

Años de actividad: '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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Live At the Fillmore 1969, The Move
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  • $15.99
  • Géneros: Rock, Música, Pop
  • Publicado: 18/12/2011

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