Byrds - Live at Royal Albert Hall 1971
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Free Music Notes for Live at Royal Albert Hall 1971
Free Music Review: What species of ears hast thou?
Hit: 5 Stars
I'm a bit confused by the comments of the two reviewers so far. Yes, Clarence White's guitar IS down in the mix of the first song, "Lover of the Bayou," but it's not inaudible, and this minor problem vanishes for the rest of the CD and Mr. White's liquid fingers remain in your face throughout.
Way back in the way, way back, I must have seen this particular incarnation of the Byrds (give or take a John York or Skip Battin) at least ten times, and I have to say that this performance, even with a ragged corner or two, captures the energy and pizzazz of the band as I remember it live better than any other released live versions. If anything, the occasional lack of audio polish reflects wonderfully the rough 'n' ready glory of the band.
Another fine feature is having live versions of "Lover of the Bayou," "Truck Stop Girl," and Chestnut Mare" with background vocals (which were inexplicably absent from previous studio or live versions). In fact, the Byrds are in fine vocal mettle throughout this concert, particularly in the the songs just mentioned as well as the lovely "I Trust" and a red-hot "Jesus is Just Alright."
When I first heard of this CD, I'd initially sighed, thinking, Yet another scraping from the lower levels of the barrel? even as I knew that I would of course have to order it. Well, I couldn't be more pleased (it's playing a second time as I write this) that finally a record of the autumnal Byrds at their live and lively best is finally available for all--this will add to their reputation.
Free Music Review: A Very Special Night
Hit: 5 Stars
This live performance from 1971 catches the Byrds' later day lineup at its very best. By this time the very tight ensemble of Roger McGuinn, Clarence White, Gene Parsons and Skip Battin probably had logged 300+ live shows together, and it really shows. McGuinn leads the way with his disetinctive electric twelve-sring sound and unique vocals, creating a solid bridge to the band's storied past. The addition of White, a true guitar virtuoso, added a twangy new dimension to the earlier hits, while adding it's own signature to newer songs such as "Chestnut Mare" and "Lover of the Bayou." The band especially sizzles through an 18-minute exploration of the Byrds' jazz-rock masterpiece, "Eight Miles High." During that extended jam, the drum and bass solo put together by Parsons and Battin it an absolute gem. White shines on vocals in "Truck Stop Girl" and "Jamaica Say You Will." There is an acoutic set that shows off the bands versatility in bluegrass, country, folk and folk-rock. Thank goodness Roger McGuinn found this incredible tape in his garage some 35 years after this fabulous concert!
Pete Hanrahan
Free Music Review: Only Released In 2008.
Hit: 5 Stars
At present I now have 3 live recordings by The Byrds.
Live At The Fillmore (1969) is very good, the live sections of Untitled/Unissued (1970) have some some high spots and then Roger McGuinn unearths Live At The Royal Albert Hall 1971.
I would'nt be without the first two, however I don't think they can match this release, which had never been intended for the wider public to hear.
Of the 19 tracks there is not one duff song, even Take A Whiff (On Me) appears better than the studio version from Untitled/Unissued.
Where to start with the superlatives to do this album justice ?
Lover Of The Bayou stars off all guns blazing, Jamacia say You Will is given a fine redition, Black Mountain Rag/Soldier's Joy is a smashing instrumental, then there are the excellent Jesus Is Just Alright and So You Want To Be A Rock'N'Roll Star.
Even an 18 minute Eight Miles High is not a drag as it was on Untitled/Unissued.
Finally Chuck Berry's Roll Over Beethoven and Amazing Grace, sung a capella, round off a must have album for all Byrds fans and others should try it too.
Free Music Review: Byrds/Clarence White Live at their Best
Hit: 5 Stars
I have loved the Byrds since the days of Turn Turn Turn and Mr. Tamborine Man, but the early band was better as a vocal group than as instrumentalists. After Sweethearts of the Rodeo, the band added Clarence White, who had been a sessions musician on several of the previous albums, as a band member. During the time that he was with the band, Clarence made it one of the best live acts going. Only the Grateful Dead had a guitar player as innovative. This album shows the band live in 1971 and highlights both Clarence's pedalsteel-like Telecaster playing and his awsome acoustic bluegrass skills. Clarence had been one of the people who created newgrass with his band Kentucky Colonels and with Muleskinner, which had many of the same musicians as Old and In the Way. His death at the hands of a drunk driver was a major loss to music. This album has the best version I've heard of Clarence's showstopper, Black Mountain Rag/Soldier's Joy. My only problem with the album is that the mix seems off on the first couple of tunes -- a problem with live recordings. After that the album is pure gold.Free Music Review: Byrds fans pounce
Hit: 5 Stars
Yes, the mix is spotty. But except for Clarence being MIA on Bayou, it is more than acceptable. After Bayou, everything is distinct if a bit uneven.
The performance is rock solid. I saw the Byrds in 1971 (with Canned Heat). What a show. This disc shows the power of the Byrds with this lineup. Clarence White should always be included in the upper echelon of guitarists. Vastly under-appreciated. I always thought Skip much stronger than York, and Gene Parsons is always solid.
The set/performance is very strong, mixing essentials with covers and a couple nice surprises (baby what you want me to do; I trust). For me, 8 miles high is not as strong as Untitled, seems to take awhile to get cooking; beginning kind of loose and rambling. Gene/Skip eventually kick it into overdrive. The encores (rock-roll-star to an a-ca-pella Amazing Grace !wow!) soar!!
Bottom line is this is essential for fans or anyone who wants to hear a seminal band at their peak.