Top 9 Rock Festivals of All Time

This week Classic Rock Review joins the celebration of the 45th Anniversary of the historic 1969 Woodstock Music Festival. In conjunction with Top 9 Lists, we present a list of the Top 9 Rock Festivals of all time, along with a bonus list of Top 9 Single Day, Single Location Concerts.

Woodstock from behind the stage

1. Woodstock

August 15-18, 1969
Bethel, New York

This remains the mother of all music festivals, held at a 600-acre dairy farm owned by Max Yasgur. A series of coincidental events unfolded which effected the location and operation of this festival, which grew to become a “free” event for over 400,000 attendees. Regarded as a pivotal moment in popular music history, 32 acts performed during the rainy weekend, starting with Richie Havens, and concluding with a memorable performance by Jimi Hendrix as the crowd dispersed mid-morning on Monday, August 18th. Woodstock was immortalized in a later documentary movie as well as a song by Joni Mitchell, who was one of many major acts that did not attend by later regretted it.

Woodstock Performers: Richie Havens, Sweetwater, Bert Sommer, Tim Hardin, Ravi Shankar, Melanie, Arlo Guthrie, Joan Baez, Quill, Country Joe McDonald, Santana, John Sebastian, Keef Hartley Band, The Incredible String Band, Canned Heat, Mountain, Grateful Dead, Creedence Clearwater Revival, Janis Joplin with The Kozmic Blues Band, Sly and the Family Stone, The Who, Jefferson Airplane, Joe Cocker and The Grease Band, Ten Years After, The Band, Johnny Winter, Blood, Sweat & Tears, Crosby, Stills, & Nash, Paul Butterfield Blues Band, Sha Na Na, Jimi Hendrix and Gypsy Sun Rainbows

Buy Woodstock soundtrack
Buy Woodstock: Three Days of Peace & Music DVD

2. Monterey Pop Festival

June 16-18, 1967
Monterey, California

Jimi Hendrix at MontereyCredited as the event which sparked the “The Summer of Love”, The three-day Monterey International Pop Music Festival had a rather modest attendance but was soon recognized for its importance to the performers and significance to the sixties pop scene. The lineup consisted of a blend of rock and pop acts with memorable performances by The Who and Jimi Hendrix Experience.

Monterey Pop Performers: Jefferson Airplane, The Who, The Jimi Hendrix Experience, Janis Joplin, Otis Redding, Booker T. & the MG’s, Ravi Shankar, The Mamas and the Papas

Buy Monterey Pop Festival Live album

3. Live Aid

July 13, 1985
London and Philadelphia

Live Aid, PhiladelphiaStill the largest benefit concert 30 years on, Live Aid was a also the first live multi-venue event, with over 70,000 at London’s Wembley Stadium and close to 100,000 at JFK Stadium in Philadelphia. Organized by musician Bob Geldof of the Boomtown Rats as relief for the Ethiopian famine, the concert evolved from Band Aid, a multi-artist group who recorded “Do They Know It’s Christmas?” in 1984. Live Aid was also one of the largest worldwide television broadcasts, with an estimated audience of 1.9 billion in about 150 nations. Memorable performances and moments included those by Queen, U2, Dire Straits, a reunited Black Sabbath, and a loose reunion by members Led Zeppelin, the first since their breakup in 1980.

Live Aid Performers: Status Quo, The Style Council, The Boomtown Rats, Adam Ant, Spandau Ballet, Elvis Costello, Nik Kershaw, Sade, Sting, Phil Collins, Branford Marsalis, Howard Jones, Bryan Ferry, David Gilmour, Paul Young, U2, Dire Straits, Queen, David Bowie, Thomas Dolby, The Who, Elton John, Paul McCartney, Band Aid, Joan Baez, The Hooters, Four Tops, Billy Ocean, Black Sabbath, Run–D.M.C., Rick Springfield, REO Speedwagon, Crosby, Stills and Nash, Judas Priest, Bryan Adams, The Beach Boys, George Thorogood and the Destroyers, Simple Minds, The Pretenders, Santana, Ashford & Simpson, Madonna, Tom Petty and the Heartbreakers, Kenny Loggins, The Cars, Neil Young, The Power Station, Thompson Twins, Eric Clapton, Led Zeppelin (announced as “Jimmy Page, Robert Plant, John Paul Jones, Tony Thompson, Paul Martinez, Phil Collins”), Duran Duran, Patti LaBelle, Hall & Oates, Mick Jagger, Eddie Kendricks, David Ruffin, Tina Turner, Bob Dylan, Keith Richards, Ronnie Wood, USA for Africa

Buy Live Aid DVD

4. Isle of Wight Festival

August 26-30, 1970
Isle of Wight, UK

Isle Of Wight Festival, 1970In sheer numbers, the 1970 Isle of Wight Festival may be the largest ever, with estimates of over 600,000, which is an increase of about 50% over Woodstock. Promoted by local brothers Ronnie, Ray and Bill Foulk, the 5-day event caused such logistical problems (all attendees had to be ferried to the small island) that Parliament passed the “Isle of Wight Act” in 1971, preventing gatherings of more than 5,000 people on the island without a special license. Memorable performances included late career appearances by Jimi Hendrix and The Doors, and The Who, who released their entire set on the 1996 album Live at the Isle of Wight Festival 1970.

Isle of Wight 1970 Performers: Judas Jump, Kathy Smith, Rosalie Sorrels, David Bromberg, Redbone, Kris Kristofferson, Mighty Baby, Gary Farr, Supertramp, Howl, Black Widow, The Groundhogs, Terry Reid, Gilberto Gil and Caetano Veloso, Fairfield Parlour, Arrival, Lighthouse, Taste, Rory Gallagher, Chicago, Procol Harum, Voices of East Harlem, Cactus, John Sebastian, Shawn Phillips, Joni Mitchell, Tiny Tim, Miles Davis, Ten Years After, Emerson, Lake & Palmer, The Doors, The Who, Sly & the Family Stone, Melanie, Good News, Ralph McTell, Heaven, Free, Donovan, Pentangle, The Moody Blues, Jethro Tull, Jimi Hendrix, Joan Baez, Leonard Cohen, Richie Havens

Buy Message to Love, The Isle of Wight Festival DVD

5. Ozark Music Festival

July 19-21, 1974
Sedalia, Missouri

Ozark Music Festival stage“No Hassles Guaranteed” was the motto of the Ozark Music Festival, held at the Missouri State Fairgrounds in 1974. While this festival offered an impressive lineup of artists as well as a crowd upwards of 350,000 people, the Missouri Senate later described the festival as a disaster, due to the behaviors and destructive tendencies of the crowd.

Ozark Music Festival Performers: Bachman–Turner Overdrive, Aerosmith, Premiata Forneria Marconi, Blue Öyster Cult, The Eagles, America, Marshall Tucker Band, The Nitty Gritty Dirt Band, Boz Scaggs, Ted Nugent, David Bromberg, Leo Kottke, Cactus, The Earl Scruggs Revue, Lynyrd Skynyrd, Electric Flag, Bob Seger & the Silver Bullet Band, Joe Walsh and Barnstorm, The Souther Hillman Furay Band, The Ozark Mountain Daredevils, Charlie Daniels Band, REO Speedwagon, Spirit

6. US Festival

May 28-30, 1983
Devore, California

Steve Wozniak’s US Festivals were staged on two occasions in September 1982 and May 1983. The second of these was packed with a lineup of top-notch eighties acts who performed in an enormous state-of-the-art temporary amphitheatre at Glen Helen Regional Park.

1983 US Festival Performers: Divinyls, INXS, Wall of Voodoo, Oingo Boingo, The English Beat, A Flock of Seagulls, Stray Cats, Men at Work, The Clash, Quiet Riot, Mötley Crüe, Ozzy Osbourne, Judas Priest, Triumph, Scorpions, Van Halen, Los Lobos, Little Steven & the Disciples of Soul, Berlin, Quarterflash, U2, Missing Persons, The Pretenders, Joe Walsh, Stevie Nicks, David Bowie

7. The Crossroads Guitar Festival

June 4-6, 2004
Dallas, Texas

Crossroads Festival 2004 adStarting in 2004, the Crossroads Guitar Festivals have been held every three years to benefit the Crossroads Centre for drug treatment in Antigua, founded by Eric Clapton. These concerts showcase a variety of guitarists, with the first lineup at the Cotton Bowl stadium in 2004 featuring some legends along with up-and-comers hand-picked by Clapton himself.

2004 Crossroads Guitar Festival Performers: Eric Clapton, Johnny A, Vishwa Mohan Bhatt, Ron Block, Booker T. & the M.G.’s, Doyle Bramhall II, JJ Cale, Larry Carlton, Robert Cray, Sheryl Crow, Bo Diddley, Jerry Douglas, David Honeyboy Edwards, Vince Gill, Buddy Guy, David Hidalgo, Zakir Hussain, Eric Johnson, B.B. King, Sonny Landreth, Jonny Lang, Robert Lockwood, Jr., John Mayer, John McLaughlin, Robert Randolph, Duke Robillard, Carlos Santana, Hubert Sumlin, James Taylor, Dan Tyminski, Steve Vai, Jimmie Vaughan, Joe Walsh, ZZ Top, David Johansen

Buy Eric Clapton: Crossroads Guitar Festival 2004 DVD

8. Live 8

July 2, 2005
Locations world wide

Pink Floyd at Live 8Held 20 years after he organized Live Aid, Bob Geldof’s Live 8 was even more ambitious, being held in nine different locations around the world on the same day. Timed to coincide with the G8 conference in Scotland that year, the goal was to raise money to fight poverty in Africa. The most memorable moment from the concerts was at Hyde Park in London where the classic lineup of Pink Floyd reunited for the first time in over two decades.

Live 8 Performers: U2, Paul McCartney, Annie Lennox, Mariah Carey, R.E.M. The Killers, The Who, UB40, Pink Floyd, Elton John, Bob Geldof, Velvet Revolver, Madonna, Coldplay, Robbie Williams, Will Smith, Alicia Keys, The Black Eyed Peas, Kanye West, Linkin Park, Jay-Z, Rob Thomas, Sarah McLachlan, Stevie Wonder, Maroon 5, Deep Purple, Neil Young, Buck Cherry, Bryan Adams, Mötley Crüe, Brian Wilson, Green Day, a-Ha, Roxy Music, Dido, Peter Gabriel, Snow Patrol, The Corrs, Zola, Lucky Dube, Jungo, Pet Shop Boys, Muse, The Cure

Buy Live 8 DVD

9. Woodstock ’94

August 12-14, 1994
Saugerties, New York

Organized to commemorate the 25th anniversary of the original Woodstock festival, Woodstock ’94 was promoted as “3 More Days of Peace and Music”. in fact, this concert took place near the originally intended location of that first show and other similarities such as common performers, similar crowd size, rain, and mud.

Woodstock ’94 Performers: Blues Traveler, Candlebox, Collective Soul, Jackyl, King’s X, Live, Orleans, Sheryl Crow, Violent Femmes, Joe Cocker, Blind Melon, Cypress Hill, Rollins Band, Melissa Etheridge, Crosby, Stills, & Nash, John Sebastian, Nine Inch Nails, Metallica, Aerosmith, Country Joe McDonald, Sisters of Glory, Arrested Development, Allman Brothers Band, Traffic, Santana, Green Day, Paul Rodgers Rock and Blues Revue, Spin Doctors, Porno For Pyros, Bob Dylan, Red Hot Chili Peppers, Peter Gabriel

Read more on Woodstock ’94 from our recent Comebacks and Reunions special feature


Bonus Top 9 List: Best Single Day, Single Location Shows

The Who at Concert for New York City

1. The Concert for New York City October 20, 2001. New York, NY
2. The Band’s Last Waltz November 25, 1976. San Francisco, CA
3. Atlantic Records 40th Anniversary Celebration May 14, 1988. New York, NY
4. Concert for Bangladesh August 1, 1971. New York, NY
5. Knebworh Festival June 30, 1990. Knebworth, UK
6. Texxas Jam July 1, 1978. Dallas, TX
7. Farm Aid September 22, 1985. Champaign, IL
8. Canada Jam August 26, 1990. Bowmanville, Ontario
9. Altamont Free Concert December 6, 1969. Tracy, CA

~

Ric Albano

Brothers and Sisters by Allman Brothers Band

Buy Brothers and Sisters

Brothers and Sisters by Allman Brothers BandBrothers and Sisters was at once the career peak and the first step into the abyss for The Allman Brothers Band. It was released in the wake of dual tragedies, a year apart, which took the lives of two founding members and saw the emergence of another founding member as the group’s primary driver. On the upside, this album served as the band’s commercial peak while still maintaining much of the quality blend which brought the band to critical prominence in earlier years. On the downside, this success marked the beginning of an era of celebrity which saw the band drift away from its music-centric approach of their earliest albums and start to produce “country-fried hit records and egos that ripped them all apart”, as drummer Butch Trucks would later state.

Like with the group’s previous album, Eat a Peach, a member of the band died while the band was in the process of recording, resulting in an album where the member only played on select tracks. In the previous case, the victim was lead guitarist Duane Allman, who offered much to that double LP but was completely absent from this one. Bassist Berry Oakley played on the first two tracks of Brothers and Sisters before he was tragically killed on November 11, 1972 from injuries he sustained in a motorcycle accident. Oakley declined medical treatment at the scene, thinking he was alright, but three hours later he was rushed to the hospital due to extreme pain, and died of cerebral swelling caused by a fractured skull. Ironically, Oakley’s accident in Macon, Georgia was just three blocks from where Duane Allman had his fatal motorcycle accident the year before and both had died of head injuries. Lamar Williams replaced Oakley on bass for the remainder of the album’s session.

More than any other group member, guitarist Dickey Betts stepped into the leadership role and shines brightest on this album, composing five of the seven tracks and maintaining guitar excellence throughout. Betts and Allman had established a harmonized guitar repertoire during the band’s early years, with Betts’ country flavored style contrasting perfectly with Allman’s blues/jazz fusion style. Following the death of Duane Allman, Betts stepped up to be the group’s sole guitarist, furiously practicing the slide guitar methods in order to cover the majority of Duane Allman’s parts. Led by Betts, the band put together a light but enjoyable album with a crisp sound which melts their unique style of rock with doses of country, blues, and borderline funk.


Brothers and Sisters by Allman Brothers Band
Released: August, 1973 (Capricorn)
Produced by: Johnny Sandline & Allman Brothers Band
Recorded: Capricorn Sound Studios, Macon, GA, October-December 1972
Side One Side Two
Wasted Words
Ramblin’ Man
Come and Go Blues
Jelly Jelly
Southbound
Jessica
Pony Boy
Band Musicians
Greg Allman – Piano, Keyboards, Vocals
Dickey Betts – Guitars, Vocals
Berry Oakley – Bass
Lamar Williams – Bass
Jaimoe – Drums, Percussion
Butch Trucks – Drums, Percussion

Gregg Allman‘s “Wasted Words” opens the album as a perfect “outlaw country” tune with Betts’s guitar riffs mocking the vocal melody and accompanied by a nice honky tonk piano, making for an upbeat introduction to Brothers and Sisters. “Ramblin’ Man” is, by far, the most popular song on this album and the only Top Ten of the band’s career. It would be the most typical of country/rock songs if not for the fantastic guitars throughout by Betts who composed and sings lead on the track.
Still, the song has rarely been performed live due its rigid structure not allowing for much improvisation, a must in the band’s concert performances. the recording was also the final track to feature Oakley.

“Come and Go Blues” is a nice break in the action from all the country and Gregg Allman’s finest moment on the album. This moderate funk jam contains great piano which drives the verse music and later comes to the forefront with a lead and a counter-riff during the intense final verse. The drumming and percussion by the dual of Trucks and Jaimoe and Butch Trucks is exceptional on this really cool track. The sides are bookmarked by a couple of live-sounding blues jams which sound like they could have been cut from the same session. “Jelly Jelly”, written by songwriter and producer Trade Martin, is the more forgettable of the two, not terrible but too overtly bluesy for a complex band like the Allmans. “Southbound” contains a little more funk but is rather mediocre compared to the band’s better material.

The instrumental “Jessica” is Betts’s finest moment on record, led by the three-part harmonized signature riff where the guitarist is joined by Allman on Hammond organ and Chuck Leavell on Fender Rhodes electric piano. Levell later plays piano during an intense long middle part, which also includes a further great lead section by Betts. One of the more focused jams in rock history, this song is really one last look back at the monumental music which built this band. The opening acoustic guitar is played by Les Dudek and the song is named for Betts then two-year-old daughter. “Pony Boy” starts as pure southern blues before morphing into a bluegrass beat. Sung by Betts who provides slide acoustic guitar and is accompanied by piano and upbeat country drum beat in a great, scaled down jam that provides a fitting conclusion to the album.

Brothers and Sisters five weeks at #1 on the U.S. albums chart and made The Allman Brothers Band one of the top concert draws in the country. However, personality conflicts started to tear the band apart and future releases suffered with the band never again reaching this level of critical or commercial prominence.

~

1973 Images

Part of Classic Rock Review’s celebration of 1973 albums.

 

Eat a Peach by The Allman Brothers Band

Buy Eat a Peach

Eat a Peach by The Allman Brothers BandA unique hybrid album that bridges two eras of The Allman Brothers Band, the 1972 double album Eat a Peach was recorded prior to and in the wake of the tragedy which took the life of lead guitarist Duanne Allman. Allman was killed in a motorcycle accident in October 1971 and the album is a tribute to him and his fantastic guitar work. The album consists of live performances recorded at Filmore East in New York City in early 1971 (and not included in that year’s Live From Filmore east along with studio tracks recorded before and after Allman’s death. The original 4-sided vinyl version of Eat a Peach was uniquely laid out with the three tracks recorded post-Duane Allman on side one, live and studio songs featuring Allman on side three and the colossal, 34-minute live “Mountain Jam” split to occupy the entirety of sides two and four (on CD versions of the album this is one complete track #4).

There has been a long-standing rumour that the album’s title (and cover art) referred to the truck involved in Duane’s fatal motorcycle accident. But that was not a peach truck, but a flatbed lumber truck. The album name actually came from a quote by Duane Allman who, when asked what he was doing to help the “revolution” replied;

There ain’t no revolution, it’s evolution, but every time I’m in Georgia I eat a peach for peace.”

This album showcases the band at their peak. It was originally intended to be light and free form but this mission soon tilted towards best showcasing Duane’s talent and paying tribute to him in his absence. In all it makes for one of the most interesting, diverse, and entertaining albums ever.


Eat a Peach by The Allman Brothers Band
Released: February 12, 1972 (Capricorn)
Produced by: Tom Dowd
Recorded: Filmore East, New York & Criteria Studios, Miami, March-December 1971
Record One Record Two
Ain’t Wastin’ Time No More
Les Bres in A Minor
Melissa
Mountain Jam (Part 1)
One Way Out
Trouble No More
Stand Back
Blue Sky
Little Martha
Mountain Jam (Part 2)
Band Musicians
Gregg Allman – Lead Vocals, Piano, Keyboards
Duane Allman – Guitars
Dickey Betts – Guitars, Vocals
Berry Oakley – Bass
Jai Johnny Johnason & Butch Trucks – Drums, Percussion

“Mountain Jam” may be the longest song ever attempted on a mainstream rock album and (understandably) may be a little hard to sit through for typical rock fans. Still, there is remarkably little repetition is this tune which is credited to all band members. Anchored in solid rock, the tune explores jazz-like improvisation, with guitarist Dicky Betts adding sharp but in-sync accompaniment to Duane Allman’s soaring leads. This track is really where the album should begin as it is chronologically the oldest and its opening notes can actually be heard in the fadeout of At Fillmore East‘s closer “Whipping Post”.

Other songs recorded at the Fillmore include two blues covers. Sonny Boy Williamson’s “One Way Out”, one of the most famous recordings ever by the band. Duane plays call and response licks to his brother Gregg Allman‘s vocals, which is later topped off by a more blazing slide guitar solo by Betts. It may demonstrate the Allmans at their absolute peak as they perform their core blues-rock roadhouse style. Muddy Water’s “Trouble No More” follows with more slide guitar by Duane on slide again in an updated version of a song the band originally recorded for their 1969 debut album.

Greg Allman’s “Stand Back” is the first of the three studio tracks with Duane. More funk-oriented and harder rocking than anything else on the album, with a more typical lyrical theme of scorned love. Dicky Betts “Blue Sky” was a minor radio hit written for his wife (whose Native American name translated to “Blue Sky”). There are some excellent harmonized guitar riffs between the verses and a long lead section of traded riffs between Betts and Duanne Allman during the middle section, all above a pleasant acoustic diddy. “Little Martha” was Duane Allman’s instrumental coda, an acoustic duet piece which ends the modern version of the album. It was the only Allman Brothers track written solely by Duane and was the most recent recorded prior to his death, making it a fitting tribute.

Allman Brothers Band in 1972

After Duane’s death, the shocked band members immediately went separate ways, assuming the group was over. However within a month, they got back together and began planning the format for this album, which included recorded three more tracks to generate enough material for a double album. “Ain’t Wasting Time No More,” was the first track by this “new” band, with Gregg Allman vocalizing both sadness and defiance with the wistful and melancholy lines. This simple but powerful and bluesy pop/rock song Makes a great contrast to the more extended tracks to follow. “Les Brers in A Minor” is a long instrumental composed by Betts, starting with very improvised, Miles Davis-like jam for the first three minutes or so before breaking into a much tighter rock/funk groove led by the bass of Berry Oakley and highlighted by the newer guitar/organ harmonies between Betts and Allman and some wild percussion parts by dual drummers Jai Johnny Johnason & Butch Trucks.

The most haunting and beautiful song on the album is “Melissa”, a sweet and melodic love song featuring somber vocals and acoustic guitar by Gregg Allman and weeping, decayed guitar notes by Betts. The song was actually originally written by Gregg Allman in 1967 and first recorded by his then-group called The 31st of February. A favorite of Duane Allman’s, The Allman Brothers had planned to record it on their debut album but it was never completed. Although Duane does not play on this track it all, it is clear his spirit echoes through every floating note on the beautiful ballad.

With three sides of “old” and one side of “new”, Eat a Peach was both a sad ending and hopeful beginning, and showed the band had great perseverance to carry on. Although the group would not be quite the same without Duane, they did put out some respectable albums in the years after his life was cut tragically short.

~

1972 Images

Part of Classic Rock Review’s celebration of the 40th anniversary of 1972 albums.

 

The Live Album

CRR Special on The Live AlbumWe pretty much cover studio albums exclusively at Classic Rock Review and will continue to do so with the exception of the few studio/live hybrids that we explore later in this article. The reason we do this is because of the generally ubiquitous nature of these live albums as well as the inconsistency in sound and the art of production. In short, we feel the only true way to hear a band live is to hear a band live and we’ll stick to that whole other entertainment art form, the studio album. However, this surely does not mean that the live album has now place in the world of classic rock. So today we will examine some of the more important live albums through time, with a special look at 1976, the current year we are reviewing with our regular features and one year that was especially rich with quality live albums.

The Classic Live Albums

Ever since Thomas Edison invented the phonograph in 1877 there have been live recordings, starting with the the first commercially available music recordings in the 1880s. All recordings were “live”, whether in a studio or concert hall for about 70 years until the 1950s when the first multi track recordings began. But it wasn’t really until 1960s when the true distinction of a live album was made. Although rock n’ roll would be the genre most strongly tied to the live album, two of the most influential recordings came from artists tied mainly to other styles, James Brown and Johnny Cash.

Live At the Apollo by James BrownLive At the Apollo was recorded on October 24, 1962 at the famed theatre in Harlem, New York and released the following year. It was produced at Brown’s expense when his record label opposed the concept of recording an album full of live versions of songs which had already been released. To everyone’s surprise, Live At the Apollo sold rapidly and spent more than a year on the Billboard Pop Albums chart. It was so popular that many radio DJs began playing the album in its entirety, only pausing for commercials during the side break.

Live at Folsom Prison by Johnny CashJohnny Cash met much of the same resistance from his own record label when he proposed recording an album live at the prison he made famous over a decade earlier with his song “Folsom Prison Blues”. The album was recorded at the state prison in California during two shows on the morning and afternoon of January 10, 1968 and released later that year. Cash was supported in this project by his future wife June Carter, his backing band The Tennessee Three, supporting act The Statler Brothers, as well as then-California Governor Ronald Reagan, but with little investment by Columbia records. Nonetheless, the album still rocketed to number one on the Country Charts and the top twenty on the mainstream charts. Further, the album revitalized Cash’s career and lead to his producing a second prison album, At San Quentin.

Woodstock Original SoundtrackA third mega-successful live album from the recordings in the 1960s was the Woodstock soundtrack, a 6-sided triple album released on May 11, 1970. The album was unique at the time not only because of the variety of performers (18 different artists performed on the original version), but also for its “feel” as just about each track contained stage announcements and conversations among the musicians, which acted as a narrator of the overall Woodstock story. The original LP was also laid out with side one backed with side six, side two backed with side five, and side three backed with side four, to accommodate the popular record changer turntables, something which would become standard for most multi-disk live albums.

Early 1970s Live Albums
Some of the better Live Albums of the early 1970s

Starting in 1970, a prolific period of several top-notch live recordings began. That year featured many great live albums such as Live At Leeds by The Who, Absolutely Live by The Doors, Band of Gypsys by Jimi Hendrix, and Mad Dogs and Englishmen by Joe Cocker, which had sales fueled by his impressive performance on the the a fore-mentioned Woodstock soundtrack. Subsequent years saw more classic live recordings such as At Filmore East by the Allman Brothers in 1971, Made In Japan by Deep Purple in 1972, Yessongs by Yes in 1973, Alive by Kiss in 1975, along with a couple of original live recordings by the Grateful Dead.

As the golden age of live albums started to wane in the late seventies and early eighties, the quality live albums were fewer and further between. In 1978 Aerosmith released the fine Live Bootleg while the newcomers Cheap Trick released At Budokan. The Eagles finished off their remarkable career with Eagles Live in 1980 while another band with a long career capitalized on their new found fame with Showtime! in 1982. The following year, U2 displayed their talents on Under a Blood Red Sky.

The great live album that never was should have been released following the plethora of great performances at Live Aid in 1985. No tradition “album” was released from these performances with a four DVD set finally coming out in 2004.

Top Live Albums from the Later Classic Rock Period
Top Live Albums from the Later Classic Rock Period

Live Albums in 1976

At this articles date of publication, the year the Classic Rock Review is examining is 1976, which also happened to be a very strong year for live recordings. In fact, the deliberation on whether to cover some these live albums with regular reviews is what initially sparked the idea for this special feature. So we’ll give a little bit of special attention to some of the great live albums from the bicentennial year.

Frampton Comes Alive by Peter FramptonFrampton Comes Alive! by Peter Frampton
Released January 6, 1976 (Double LP)

Perhaps one of the most successful commercial live albums ever, Frampton Comes Alive! was a double live that sold at a price comparable to “single” albums of the day. This marketing scheme may have incentivized fans to check out this artist whose previous four solo albums had little commercial success, but it was the quality of the material and performance that created the snowball effect making this a true breakthrough for Frampton.

Robin Trower LiveRobin Tower Live by Robin Tower
Released March 3, 1976 (Single LP)

Recorded in Sweden over a year before its release, this album by a true power trio lead by the former axeman of Procol Harum captures the group extremely loose and freewheeling. This is because the shows were recorded by the Swedish Broadcasting Company while the band was completely unaware that the show was being taped.

Live Bullet by Bob SegerLive Bullet by Bob Segar
Released April 12, 1976 (Double LP)

Live Bullet forecast the popular rise of Bob Seger by first becoming a staple on Detroit rock radio and later reaching a much further audience due to some of the timeless classics on the album. Although Seger’s success was still mainly regional, this album played a large role in him headlining before 78,000 at the Pontiac Silverdome in June 1976.

One More From the Road by Lynard SkynardOne More From the Road by Lynard Skynard
Released September 13, 1976 (Double LP)

This was Lynard Skynard’s first, and sadly last live album during the “classic” era of the band, which ended with a plane crash in 1977 that killed several members. The version of “Freebird” propelled that then-five-year-old song into FM radio super status for decades to come.

The Song Remains the Same by Led ZeppelinThe Song Remains the Same by Led Zeppelin
Released September 28, 1976 (Double LP)

Led Zeppelin was a fantastic live act, as we later found out from the various bootlegs and eventual collections released in the 1990s and 2000s. Unfortunately, the band’s only concerted effort at capturing the live magic was done during a couple of sub-par shows at the end of their 1973 tour. Producer Jimmy Page and the band spent three years overdubbing and patching in both audio and video for the dual film and soundtrack. It was great because it was Zeppelin live and it was all we had for decades. But it could have been so much greater.

All the World's a Stage by RushAll the World’s a Stage by Rush
Released September 29, 1976 (Double LP)

All the World’s a Stage was the first live album by Rush, marking the conclusion of the first four studio, one live album “phase” of the band. They would repeat this pattern several more times through their long career. The performances were recorded in June 1976 in the trio’s home city of Toronto.

Wings Over America by WingsWings Over America by Wings
Released December 10, 1976 (Triple LP)

A decade after the Beatles stopped playing live gigs, fans finally got a chance to hear Paul McCartney perform live with his new band, Wings. Although the triple album was made up mostly of songs from McCartney’s post-Beatles career, Wings Over America did offer five Beatles songs becoming the most modern recordings to date of these compositions.

Hybrid Albums

Through the years there were a select number of albums which contained a hybrid of live and recorded material. These include Cream‘s Wheels Of Fire from 1968, Pink Floyd‘s Ummagumma from 1969, Eat a Peach by the Allman Brothers and Everybody’s In Showbiz by The Kinks from 1972, and Rust Never Sleeps by Neil Young & Crazy Horse in 1979. Classic Rock Review may review these as regular albums when the time comes.

Hybrid Albums

Ironically, as more and more live albums proliferated through the 1990s their prestige seemed to wane and fewer and fewer were considered “classic” recordings. This is likely due to the relative simplicity of digital recordings and hence the less capturing of “lightning in a bottle” with live performances. Still, we’ve only just scratched the surface of all the fine live albums through the decades, so please feel free to comment on some of these omissions.

~
Ric Albano