re: Non-Phish Show Of The Day Thread

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re: Non-Phish Show Of The Day Thread
2/27/22…Riviera Maya, Mexico—Phish


Oh, wait…

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Although Slade saw their biggest commercial success between 1972 and 1974, this show, culled from the archives of promoter Bill Graham, showed the Brit rockers were still red-hot as a live act in 1975.

Opening with "Them Kinda Monkeys Can't Swing," they move next into "Bangin' Man," a song that described life as a rock star in the mid-1970s. Another highlight is an extended version of "Let The Good Times Roll," which moves into "Get Down and Get With It." There are more big hits thrown in for good measure, making this a complete Slade show.

Formed in 1966 in the English industrial midlands as the N'Betweens, the band soon built up a formidable following on the live circuit playing their own versions of contemporary rock covers and obscure U.S. R&B records. A name change to Ambrose Slade and a record deal with Fontana records followed, but it wasn't until 1969, when they were signed up by former Jimi Hendrix manager and Animals bass player Chas Chandler, did Slade begin to make themselves known to a wider audience.

Chandler changed their name to simply Slade, and it was he along with publicist Keith Altham who changed their image to that of "Britain's first skinhead band," a move that, while it got them the publicity they wanted, didn't help with any chart success until 1971, when they released their version of an obscure Bobby Marchan track entitled "Get Down With It." That song propelled the band into the charts of the day with a #16 hit. By now they had grown their hair, and as the U.K.'s flagship TV pop show, Top Of The Pops was now being transmitted in color, they adopted a "primary colors rule" approach and were one of the pioneering bands of the glam look. "Get Down With It" was soon followed up by the first of their six U.K. #1 hits "Coz I Luv."

Slade then embarked upon a five-year run of constant chart success in their homeland and were huge in Europe and Australia. Despite many attempts at breaking the U.S. market, they never really caught on with the record-buying public but were influential nonetheless with Gene Simmons and Paul Stanley, who witnessed them at New York's Academy. Simmons has recently admitted that without Slade, there would have been no KISS.

It would take America another decade before Slade received their first chart hits with the early-'80s songs, "My Oh My" and "Run Runaway." This success followed the publicity they received after Quiet Riot had scored successive #1 U.S. hits with covers of two of Slade's biggest hits "Cum On Feel The Noize" and "Mama Weer All Crazee Now," the latter which can be heard here as the show's closer.

This show was recorded in August of 1975 while Slade was touring to promote the soundtrack LP from their feature film Flame, which had been released to critical acclaim in their homeland. Many of the songs here are from that album, including "How Does It Feel?," widely regarded as the band's finest moment. The classic hits are represented too, including "Gudbye T'Jane," "Far Far Away" and "Mama Weer All Crazee Now," as well as long-time stage favorite "Just Want A Little Bit," which features the blistering bass of virtuoso Jimmy Lea.

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After Reed left the Velvet Underground in mid-1970, he didn't do any recording or touring for over a year. In fact, for a time there, he worked as a typist in his father's accounting firm! But he put out an album in early 1972, simply called "Lou Reed," and another one in late 1972, "Transformer," and resumed touring around the middle of the year. All the other bootlegs of him from 1972 that I've heard sound fairly poor to awful.. But this one stands out because it was recorded for the radio

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The good news is the sound quality is fantastic, due to it being professionally recorded for the radio. The bad news is the show is on the short side, probably due to that radio station giving Reed a limited amount of time. This is just shy of one hour long. Reed seems to have opted for playing his best known songs at that point in his career, so it's almost like a greatest hits. His "Transformer" album had been released the month before, and "Walk on the Wild Side" became an unlikely hit. He played four songs from that album, two songs from his first solo album, and five songs from his Velvet Underground days.

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If you're a fan of the Velvet Underground, you should love this. The band was tight and rocking. Most of the songs are from his Velvet Underground days, since many of the songs on Reed's first two solo albums actually were written back then. Plus, the sound quality is far superior to virtually all known Velvet Underground live recordings.

01 talk (Lou Reed)
02 White Light-White Heat (Lou Reed)
03 talk (Lou Reed)
04 Vicious (Lou Reed)
05 I'm Waiting for the Man (Lou Reed)
06 talk (Lou Reed)
07 Walk and Talk It (Lou Reed)
08 talk (Lou Reed)
09 Sweet Jane (Lou Reed)
10 Heroin (Lou Reed)
11 talk (Lou Reed)
12 Satellite of Love (Lou Reed)
13 Walk on the Wild Side (Lou Reed)
14 I'm So Free (Lou Reed)
15 talk (Lou Reed)
16 Berlin (Lou Reed)
17 talk (Lou Reed)
18 Rock and Roll (Lou Reed)

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Aadam Jacobs surreptitiously recorded his first live concert in 1984, though he doesn’t remember whose concert it was. It’s hard to blame him: after 40 years and over 10,000 shows, it’s no wonder a few performances have fallen through the cracks. Luckily for the beneficiaries of Jacobs’s labor of love, though, his life’s work is finding a forever home. Thanks to nonprofit digital library Internet Archive and a collective of meticulous volunteers, each of Jacobs’ recordings are being cleaned up, digitized, and uploaded for free listening through the Aadam Jacobs Collection. Thus far, almost 2,500 concerts have made it online via the site’s “No Tape Left Behind” initiative, with thousands more to come.

Jacobs is a bit of an antihero on the live music scene, a Robin Hood character whose impact will soon be immortalized. Though unauthorized distribution of live performances is usually strictly verboten in the industry, Jacobs’ efforts have amassed a mythology all their own. The native Chicagoan’s adoration for concerts has become something of a galvanizing symbol for younger fans, his refusal to charge listeners an ode to the purity of the art form. Though he ran into security roadblocks at the beginning of his efforts to record every show he attended live, he eventually became a sort of cultural institution in the city, a beloved eccentric whose dedication earned him free tickets and local acclaim.

Jacobs’ collection is vast. Focused primarily from the mid ‘80s to the early 2000s, the tapes track the growth of the burgeoning indie and punk rock genres through Chicago and other U.S. cities. A stroll (or, rather, a scroll) through the part of the collection already online shows that it boasts artists from Hüsker Dü, Camper Van Beethoven, and Fugazi to Neko Case, Depeche Mode, and John Cale. Jacobs also recorded pivotal early-career performances by Nirvana, Sonic Youth, the Cure, and the Replacements, and more. (The Replacements loved his recording so much they actually released a mix of it in a 2023 live album.) His is the eye of a non-discriminatory music lover: Boogie Down Productions, Dinosaur Jr., and Belle and Sebastian might be seen during a single 10-second scroll of the archive. He started with a Dictaphone borrowed from his grandmother; he graduated eventually to a Walkman, and more than once his home console cassette machine.

Now, volunteers across the United States and Europe are sharing Jacobs’ gifts with the world. It’s no easy task; song titles are often unclear, and the pressure to accurately document setlists from decades ago is intense. But getting to hear Liz Phair belt “Divorce Song” at an unpublicized 1999 Lounge Ax show, R.E.M.’s 1987 rendition of “I Believe” with hundreds of fans singing along, or even a snippet of Fred Armisen doing improv for 24 hours straight (if that’s more your vibe) makes it all feel quite worth it. And the hundreds of smaller artists catalogued by Jacobs and his volunteers are sure to keep curious listeners occupied for a long time.

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