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Live in Keele 1977
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Live in Keele 1977
Current price: $16.99
Barnes and Noble
Live in Keele 1977
Current price: $16.99
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Live in Keele 1977
can be seen as a sort of companion to the previous
Can
archival release,
Live in Aston 1977
. Both date from the same tour, during the period when former
Traffic
member
Rosko Gee
was the group's bassist, and the oft-misunderstood Afro-Latin funk excursion
Saw Delight
was released. Like the other releases in the
archival live series, the tracks are presented as numerically titled jams, though actual set lists for these concerts have circulated, and similar to other volumes in the series, the album doesn't include the entire concert. "Fizz," which appeared on
Music (Live 1971-1977)
and was listed as dating from this show, is absent, though a recording of the piece was present on
. What this release does include is 75 minutes of free-form live energy performed by the band's four main members, plus
Gee
. The first track is a ten-minute funk-rock jam with plenty of wah-wah guitar and exuberant keyboard riffs, plus the occasional strange noises and voices supplied by
Holger Czukay
, who was no longer playing bass for the group. "Zwei" begins with a spoken introduction and mysterious hellos, followed by an extended period of shadowy, suspenseful organ. The full band gradually work their way up to a fractured yet heavy groove, and they continue accelerating and going further; by the end, it's absolutely dazzling. The group continue at a comfortably high velocity, delivering some blazing solos and sporadically interjecting more voices, possibly from
Czukay
's electronics, though it's hard to tell. The audience even gets in on the fun, clapping and cheering along during "Vier," which has an especially strong lead guitar, as well as haunting keyboards. The final track lasts for nearly half an hour, and it progresses from intense polyrhythms and commanding guitar to a more hypercharged, elevated state. The band were clearly feeling some sort of supernatural force by the end.
is one of the better entries in the
live series, proving that their on-stage power was still in full effect, even as they were approaching the end of their run. ~ Paul Simpson
can be seen as a sort of companion to the previous
Can
archival release,
Live in Aston 1977
. Both date from the same tour, during the period when former
Traffic
member
Rosko Gee
was the group's bassist, and the oft-misunderstood Afro-Latin funk excursion
Saw Delight
was released. Like the other releases in the
archival live series, the tracks are presented as numerically titled jams, though actual set lists for these concerts have circulated, and similar to other volumes in the series, the album doesn't include the entire concert. "Fizz," which appeared on
Music (Live 1971-1977)
and was listed as dating from this show, is absent, though a recording of the piece was present on
. What this release does include is 75 minutes of free-form live energy performed by the band's four main members, plus
Gee
. The first track is a ten-minute funk-rock jam with plenty of wah-wah guitar and exuberant keyboard riffs, plus the occasional strange noises and voices supplied by
Holger Czukay
, who was no longer playing bass for the group. "Zwei" begins with a spoken introduction and mysterious hellos, followed by an extended period of shadowy, suspenseful organ. The full band gradually work their way up to a fractured yet heavy groove, and they continue accelerating and going further; by the end, it's absolutely dazzling. The group continue at a comfortably high velocity, delivering some blazing solos and sporadically interjecting more voices, possibly from
Czukay
's electronics, though it's hard to tell. The audience even gets in on the fun, clapping and cheering along during "Vier," which has an especially strong lead guitar, as well as haunting keyboards. The final track lasts for nearly half an hour, and it progresses from intense polyrhythms and commanding guitar to a more hypercharged, elevated state. The band were clearly feeling some sort of supernatural force by the end.
is one of the better entries in the
live series, proving that their on-stage power was still in full effect, even as they were approaching the end of their run. ~ Paul Simpson