It was just about a year ago that Los Lobos nearly tore the roof off of Higher Ground. This year’s appearance at the South Burlington venue was slightly shorter and slightly less ambitious, but no less satisfying in its own way.
The recently announced late 2007 New York appearances of Sly and the Family Stone will no doubt focus attention on the re-mastered limited-edition catalog titles released earlier in the year.
Listen My Friends, a twenty track Moby Grape compilation, is arguably superior to the now out-of-print double-cd Vintage simply because this one focuses solely on the group’s strengths.
Warren Zevon invaded the mainstream only briefly during his career but in so doing forged a memorable persona with the public. Preludes, a double disc package of unreleased demo recordings combined with an interview on cd, illustrates how much more there is to the man than the combination of comic absurdity and latent violence in songs such as “Excitable Boy” and “Werewolves of London.”
Dirt Farmer is Levon Helm’s first solo studio recording in a quarter of a century and the debut album on his own label. . An outgrowth of informal sessions in his Woodstock barn studio, its music flows with all the ease and grace with which Levon sings. Meanwhile, musicians including multi-instrumentalist Larry Campbell and Helm’s daughter Amy (co-producers of the project) imbue the music with warmth and an inviting informality.
Considering how much has been written, spoken and contemplated about Bob Dylan’s appearances at the Newport Folk Festival, especially his (literally and figuratively) electric set in 1965, it boggles the mind it’s taken forty years for the film of those shows to find broad circulation. But the wait to see Murray Lerner’s The Other Side of the Mirror is worth it, because the director lets the performances speak for themselves, and they constitute a profound statement indeed.
Jerry Garcia would chuckle to think of a multi-day event hosted by a major American university designed to dissect Grateful Dead culture and history. No doubt too as the weekend long series of events progressed, he would become more than bemused by the proceedings.
On John Fogerty’s new album Revival the ex-leader of Creedence Clearwater Revival acknowledges the brilliance of his past work rather than deny it. But the wry likes of “Creedence Song” notwithstanding, an air of self-consciousness pervades the album, which begs the question of whether Fogerty’s embrace of his past now overcompensates for that period he boycotted it over twenty-years ago?
The reissue of the Grateful Dead’s very first two archive titles, simultaneous with the release of Three From the Vault, reaffirms how endlessly fascinating it is to follow this band. And it’s not just the music, but also the way the group meshed aesthetic and business activities.
Rose Hill Drive’s performance set reached a frenzied conclusion, before a dwindling crowd. The threesome enganged in more free-form improvisation than their previous visit to this same venue back in May of this year: recall the instrumental conflagrations of Cream in their heyday, if you would, and relish the self-renewing aspect of great rock and roll.
