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Live At Royal Albert Hall 1971 [Import allemand] CD, Import
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Disque : 1
Description du produit
(2008/SUNDAZED) 19 titres - emballages Stereo / étui
(2008/SUNDAZED) 19 tracks - Stereo / slipcase packaging
From their earliest days as 12-string-wielding folk-rockers, to the thrilling psychedelic excursions of their raga-rock period to their 1968 birthing of country-rock, the Byrds were always accorded a hero's welcome in England.What better place to record founding Byrds member/guitarist/singer Roger McGuinn's new version of the band-featuring fretboard ace Clarence White, bassist Skip Battin and drummer Gene Parsons-than London's Royal Albert Hall!
Rescued from a tape that had sat forgotten in McGuinn's climatized garage for decades, this stellar 1971 set, featuring live versions of the current band's studio faves ("Lover of the Bayou," "Chestnut Mare") as well as adventurous reworkings of Byrds classics ("Mr. Tambourine Man," "My Back Pages," "Eight Miles High,""So You Want to Be a Rock'n'Roll Star") might be the most accurate and stirring live performance yet of the legendary Los Angeles combo. By 1971, the guitar interplay of McGuinn andWhite had become a jaw-dropping highlight of their live performances,as had their stripped down, acoustic mini-set and peerless four-part vocal harmonies.
As McGuinn, in typically understated fashion, says of this new Sundazed release, available now on both compact disc and as a high-definition vinyl, double-gatefold LP: "It was a great night, so I'm happy there's a record of it!"
Also available as a digital download on iTunes.
"...the set verily smokes, with White's edge-of-distortion, Bender-equipped Tele right in your face...with a ripping rendition of White's instrumental "Nashville West" and an acoustic tour de force on "Black Mountain Rag" pa...
Meilleurs commentaires des clients
Retrouvé par Roger Mc Guinn leader permanent du groupe, il est au moins égal au Fillmore 69 sorti aussi après coup.
Tout ce qui peut être réjouissant dans les "live" du groupe est ici : la conjonction de l'ancien répertoire et du nouveau, les styles de guitare de la rickenbaker de Mc Guinn - quoique sonnant moins bien qu'en studio- le picking de Clarence White, les voix si expressives.
Et pour finir, il me semble que le disque dont le son est sinon exceptionnel mais bon, suffisant, met très en valeur la section rythmique : Skip Battin à la basse et Gene Parsons à la batterie.
Pour citer une fois encore les livres de Richie Unterberger sur le sujet "Turn, turn, turn" et la suite "Eight miles high" on peut croire Gene Parsons qui sans diminuer la première formation avec Crosby, Hillman et Clarke - créative en studio,moins performante en live - qu'en ce qui les concerne c'est cette pratique nuit après nuit - avant les uns ou les autres de rejoindre le groupe - qui faisait la différence.
Cela s'entend et faisait des Byrds fin 60's et début 70's un des tous meilleurs groupes du rock.
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Being a huge Clarence White fan means that it should receive the highest accolades just because it gives us one more permanent document of a genius close to the height of his considerable powers. If you are a Byrds fan, or more importantly, a Clarence White fan, then you can purchase this recording and feel secure that it is well-worth the cost. I expect it to be a pleasure forever, and that in time its more subtle charms will make it essential for more than the great songs, well-played by one of America's true treasures (The Byrds). It is a joy that on this live recorded date, The Byrds were blessed with a truly innovative guitarist.
By extension, we are blessed to be able to hear him, and them, again...and again...and again. Unfortunately, this recording also serves to point up the loss suffered due to his being taken from us way too soon, and in such a tragically senseless way.
However, these latter day Byrds, especially White, were no less than terrific when performing live and this album may be the definitive document of those performances.
White's guitar playing is absolutely terrific. Although White's guitar mastery has always been well known by both bluegrass and rock insiders, he has never seemed to achieve the public acclaim of Hendrix, Clapton, or Page. Maybe that's because those Byrd albums were inconsistent, or because he approached the guitar from a bluegrass, rather than blues, perspective. But White was at least as technically proficient as any rock guitarist, and this album proves that he was also tremendously inventive.
Although McGuinn's guitar playing doesn't display the kind of warm individuality of his "classic" Byrds period, his singing and guitar playing is certainly complementary to White's. Indeed, McGuinn's performance is smart and inventive, and highly enjoyable throughout.
And the rhythm section of Skip Battin (bass) and Gene Parsons (drums) work beautifully with the two guitarists.
Although this album bears a number of similarities to the live portion of Untitled, there are actually a number of subtle and not so subtle differences. The most obvious difference is that this is presented as a complete (or near complete) show, whereas Untitled is presented as "highlights" from two or three shows. Because of that, and perhaps because this wasn't recorded specifically for release, this performance has a much warmer, more spontaneous feel to it. The song performances themselves seem to be more relaxed, personal, and inventive than those on Untitled. The (short) acoustic set is surprisingly enjoyable. And, on at least few songs, the vocal harmonies, while certainly not reminicient of "classic" Byrd harmonies, are excellent.
On the bad side, the sound quality on the first track does seem to be less than ideal. And "Eight Miles High", similar to on Untitled, is about eight miles (minutes) longer than ideal. But these are minor quibles.
This is a great live album from a great live band.
Hopefully, McGuinn will continue to release more great live material from throughout his career.
The Battin/Parsons rhythm section propel the two guitarists in a fine manner; Gene Parsons has long been an underrated drummer. For a recording that was originally meant just as a band reference tape, the sound is fine; many live recordings from this era sound no better than this. I saw the Byrds live around the time of Untitled, and the sound was no more or less clear inside the concert hall itself.
A great addition to this band's catalog; buy without reservations.
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