Complete Monterey Pop Festival DVD

Complete Monterey Pop Festival DVD for sale A surprise best-seller when it was first released, this mostly improvised pairing of singer/keyboardist/producer Al Kooper with two major guitar heroes of the day sounds fascinating all these years later precisely because of the distance of time--nobody makes records like this any more. The material runs the gamut from folk pop (covers of Donovan and Dylan), to blues ("Albert's Shuffle," "You Don't Love Me"), to heady jams ("His Holy Modal Majesty"), to big-band jazz ("Harvey's Tune"). All the tunes make effective templates for the kind off-the-cuff music-making that in less capable hands might have resulted in simple noodling. In fact, although Bloomfield and Stills don't play together on any of the cuts (Bloomfield played on one side of the original LP, Stills on the other), all three principals get off lots of good licks and producer Kooper has some interesting tricks up his sleeve, as in the over-the-top phasing he lavishes on "You Don't Love Me." The only real disappointment here is that Stills, a far better singer than Kooper, never opens his mouth. Those familiar with the Live Adventures album these two recorded at the Fillmore West know how brilliant they could be on stage, and here's another gem, recorded at the Fillmore East this time and featuring 'One Way Out,' 'It's My Own Fault' (with Bloomfield trading licks with Johnny Winter...Johnny was signed to Columbia after this gig!). Newly remastered & now with 4 bonus tracks, 'Albert's Shuffle' (2002 Remix w/o Horns), 'Season of the Witch.' (2002 Remix w/o Horns), 'Blues For Nothing' (Studio Outtake) & 'Fat Grey Cloud' Previously Unreleased Live Track). Features 12-page booklet with unpublished photos from the recording session, new liner notes by Al Kooper & the Rolling Stone Hall Of Fame review by David Fricke. 60 scintillating minutes! 13 tracks. Colunbia/Legacy. 2003. Includes liner notes by Al Kooper, Michael Thomas. Includes liner notes by Michael Thomas. Full performer name: Mike Bloomfield/Al Kooper/Steve Stills. Personnel: Mike Bloomfield (electric guitar); Al Kooper (vocals, 12-string & electric guitars, piano, organ, ondioline); Steve Stills (electric guitar); Barry Goldberg (electric piano); Harvey Brooks (bass); Eddie Hoh (drums). Personnel: Mike Bloomfield (electric guitar); Al Kooper (piano, organ, ondioline, vocals, 12-string & electric guitars); Steve Stills (electric guitar); Barry Goldberg (electric piano); Harvey Brooks (bass); Eddie Hoh (drums). Reissue producer: Bob Irwin.

Complete Monterey Pop Festival review Very few Led Zeppelin performances were caught on camera during the band's life-span, but the footage that has been preserved for posterity is collected on this release. With a running time of over five-and-a-half hours, this is the definitive word on Zep's global stage-straddling performances. The footage is taken from London's Royal Albert Hall in January 1970, London's Earls Court in May 1975, Knebworth in August 1979, and Madison Square Garden in July 1973. Guitarist Jimmy Page has taken great care to restore, remix, and remaster the sound from these shows, providing a visual and sonic assault that offers indisputable proof of Led Zeppelin's reputation as a rock & roll behemoth. Additional footage comes in the shape of several television interviews, a bootleg shot of the band performing "Heartbreaker," behind the scenes footage from Knebworth, and a whole lot more. This 2-DVD boxed set features a variety of live+ programming. Disc 1 includes Live at the Royal Albert hall, 1969, also Danish TV 1969, French TV 1969, Super Show 1969, a promo clip, some bootleg; disc 2 features Splodge Edit live 1972, Madison Square Garden 1973, Earls Court 1975, Knebworth 1979, Australian TV, interviews, promos.

Complete Monterey Pop Festival movie In what just might be the finest rock & roll concert film ever, THE LAST WALTZ celebrates the final performance by the Band (Robbie Robertson, Rick Danko, Richard Manuel, Levon Helm, and Garth Hudson). The show took place on Thanksgiving Day in 1976, at San Francisco's Winterland Arena--where the group had played their very first show more than 16 years before. In order to make their farewell even more unforgettable, they recruited numerous guests to join them onstage, including Bob Dylan, Neil Young, Joni Mitchell, Van Morrison, Eric Clapton, Muddy Waters, Ronnie Hawkins, Paul Butterfield, Emmylou Harris, Neil Diamond, the Staple Singers, Dr. John, Ringo Starr, Ron Wood, and Lawrence Ferlinghetti. Martin Scorsese, a former roommate of Robbie Robertson's, employs some of the world's greatest cinematographers--including Michael Chapman, Vilmos Zsigmond, and Laszlo Kovacs--to film the set in a way that captures the show's sweat and energy with a powerful intimacy. Interspersed into the songs are a series of interviews with the Band's members, who recall their early days playing for empty bars and their emergence as major players in the rock & roll game. THE LAST WALTZ is a thrilling concert film, mandatory viewing even for those unfamiliar with the Band or rock music in general. Twenty-five years ago, on Thanksgiving Day 1976, five thousand cheering fans gathered for the historic farewell concert of The Band: Rick Danko, Garth Hudson, Levon Helm, Richard Manuel and Robbie Robertson. In Martin Scorsese's film, superstars Eric Clapton, Joni Mitchell, Neil Young and Van Morrison join the musicians on-stage, along with one-time collaborator Bob Dylan, and Ringo Starr in an unforgettable finale. Guests include: Neil Diamond, Mavis Staples, Ronnie Hawkins, Paul Butterfield, Emmylou Harris, Dr. John, Pops Staples, Muddy Waters, and Ron Wood. Additional Footage; "Revisiting The Last Waltz" with Martin Scorses and Robbie Robertson.

Complete Monterey Pop Festival video MESSAGE TO LOVE: THE ISLE OF WIGHT FESTIVAL is a vital historical document that depicts a climate in which the boundless hippie optimism of the 1960s was about to be chewed up and spit out by the materialistic capitalism of the 1970s. Poorly organized by three upstart concert promoters, the festival brought together 600,000 music fans for a star-studded five-day event. Unfortunately, not many of the festival attendees bothered to purchase tickets, and the resulting dramas kept the concert from becoming the free-and-easy event that people dreamed it would be. While the lineup reads like a who's who of the era's greatest artists--The Who, Free, Taste, Tiny Tim, John Sebastian, Donovan, Ten Years After, The Moody Blues, Kris Kristofferson, Joni Mitchell, Miles Davis, Leonard Cohen, ELP, Joan Baez, Jethro Tull, The Doors, and more--the overlying tensions threatened to drown out the music itself. That said, the show had its standout moments, including what would turn out to be the final stage performance of Jimi Hendrix. Ultimately, director Murray Lerner was aiming for something greater than mere musical reverie, and the finished product reflects that, including several heated exchanges between the promoters and angry managers. The final Isle of Wight festival was not simply a financial fiasco. It spoke of a much greater loss, the loss of a generation's innocence. DVD. 23 trks by Doors, Who, Joni Mitchell, Free, Moody Blu es, Ten Years After, Jethro Tull, Jimi Hendrix, more. Bksta ge footage. 120 min. Interview w/ dir., interactive menus, Dolby stereo, & instant chapter access to songs. Parental a dvisory: explicit content.

Complete Monterey Pop Festival film Bob Dylan's 1975 Rolling Thunder Revue can be seen as a reaction to his tour of the year before with the Band. Playing arenas in a pressurized atmosphere left little room for the kind of happy musical accidents that were so central to Dylan's live ethos. Rolling Thunder was more suited to his mercurial vision; a spontaneously planned and executed series of gigs with an odd assortment of players in a ragtag kind of gypsy caravan. In the repertoire, Dylan found a way to have fun with his legacy by reinventing some of his classics and simultaneously present tunes from his more contemporary albums (BLOOD ON THE TRACKS and DESIRE) with suitable verve. In this regard, these shows can actually be seen as a template for his subsequent Never Ending Tour. The songs from DESIRE, from the allegorical "Isis" to the biting, sociopolitical narrative "Hurricane" are powered by Scarlet Rivera's electric violin and the thick, aggressive guitar tone of Mick Ronson. Dylan's early folk days get a nod via some heart-tugging solo acoustic performances and a series of duets with Joan Baez. Obviously charged with passion and fully immersed in the moment, Dylan singing with gut-wrenching intensity on both the ballads and the rockers, providing a kind of transcendent catharsis that's now happily documented for posterity. Includes liner notes by Larry "Ratso" Sloman. Personnel: Bob Dylan (vocals, acoustic & electric guitar); Joan Baez, Roger McGuinn (vocals, guitar); Bobby Neuwirth, Steven Soles (guitar, background vocals); Mick Ronson, T-Bone Burnett (guitar); David Mansfield (steel guitar, dobro, mandolin, violin); Scarlet Rivera (violin); Howie Wyeth (piano, drums); Rob Stoner (bass); Luther Rix (drums, congas, percussion); Ronee Blakely (drums). Compilation producers: Jeff Rosen, Steve Berkowitz.

Complete Monterey Pop Festival review In 1964, when the Beatles where still singing "I Want to Hold Your Hand," Bob Dylan was quietly making history at New York's Philharmonic Hall (now Avery Fisher Hall). ANOTHER SIDE OF BOB DYLAN had recently been released, but even the flights of fancy on "Spanish Harlem Incident" and "To Ramona" (both performed here), while unprecedented, couldn't have prepared the audience for the Big Bang of songwriting represented by the still-unrecorded "Gates of Eden" and "It's Alright Ma (I'm Only Bleeding)." In a voice full of youthful vitality and insouciance, Dylan delivered groundbreaking poetic epics to a crowd that must have been equally confounded and exhilarated. Disc Two contains more of Dylan's older, more conventional material as well as four duets with Joan Baez, including the folk ballad "Silver Dagger," which Dylan would never record. As full of life as this second half of the Philharmonic concert is, it still serves as a breath-catching period in the wake of the world-changing new songs heard in the first set. Probably only a few of those in attendance realized it at the time, but music would never be the same again. Includes a 52-page booklet. Concert At Philhamonic Hall. 2cds. Recorded at Philharmonic Hall, New York, New York on October 31, 1964. Includes liner notes by Sean Wilentz. Personnel: Bob Dylan (vocals, acoustic guitar); Joan Baez. Audio Mixer: Michael Brauer. Liner Note Authors: Robert Shelton; Bob Dylan. Recording information: Philharmonic Hall, New York, NY (10/31/1964). Photographers: Hank Parker; Daniel Kramer; Sandy Speiser; Barry Feinstein; Douglas R. Gilbert. Arrangers: Joan Baez; Bob Dylan.