Classic Live Albums Part 4 - 1974 - 1976
Part four covers 1974 to 1976, but it only contains three albums from those two years and the rest come from 1975. They are:
Miles of Aisles - Joni Mitchell
Caught In The Act - Grand Funk Railroad
Caught In The Act - Grand Funk Railroad
Bongo Fury - Frank Zappa and Captain Beefheart
Kiss Alive - Kiss
Another Live - Utopia
Frampton Comes Alive - Peter Frampton
One More From The Road - Lynyrd Skynyrd
MILES OF AISLES
March and August 1974
Joni Mitchell
Joni Mitchell hits a sweet spot in my nostalgic memory. That gentle style of female singer-songwriter folk-pop always plunges me straight back to that portion of childhood which for me was the early 1970s. You're at junior school, no real worries in life, no-one is pressurizing you or expects anything of you. What I'm saying is that I think I reached my peak when I was six years old. What else do we know of Joni? Well according to the movie Love Actually you give her albums as gifts to your partner when your marriage has gone stale and you're thinking of having an affair. For the record, I've never given Mrs RockOdyssey a Joni Mitchell album. Anyway, I found this a quiet joy. Mitchell soothes with her voice, but there is a hard edge to the messages in many of her songs. 'Cold Blue Steel and Sweet Fire' may come in beautiful packaging but the subject matter is quite harrowing once you start to pay attention. Right after the opening 'hit-song-written-as-a-sarky-response-to-record-company-request-for-a-hit-song'of 'You Turn Me On, I'm A Radio', we get 'Big Yellow Taxi', but not the version we always hear on the radio. This is much better because she doesn't do the stupid voice nor the giggle. There's also a much richer, funkier sound to the song. For me it stands with 'After The Goldrush' as the first prominent environmental protest pop song, although today it also sounds hopelessly naive as well. Who cares about piddling problems around pesticides these days? I always had the impression that Mitchell probably didn't know much about DDT, what it did, nor the reasons why it might be used. It's about a bit more than just preventing spots on your apples after all. The other thing about BYT, and still in that part of the song as well, is the reference to 'Hey Farmer, Farmer'. I always feel compelled to replace this with 'Hey Farmer Palmer' after the dog-slaughtering Farmer from Viz comic. ("Eee, wuz worryin' moi sheep. Get orrrrff moi laaaaand!"). I did not realise that 'Woodstock' was one of hers, and I think I'm probably more familiar with the Judy Collins version of 'Both Sides Now'.Most of the performances are from the Universal Amphitheater in LA in August 1974 with just a couple from Berkeley in March.
Band Bantz: In the intro 'Circle Game' she laments the plight of the poor singer, who, unlike a painter, has to keep doing the same song over and over again. It's sweetly done, but underneath it, you can tell there is just a hint that she really does get fed up with having to do 'the hits' all the time.
Heckles And Coughs; 'Circle Game' is also audience participation time but the joining in with the chorus is a bit lacklustre. Joni suggests it benefits from being sung out of tune and she does indeed take some downward tonal swings as she goes along.
Side 1
You Turn Me On I'm A Radio
Big Yellow Taxi
Rainy Night House
Woodstock
Side 2
Cactus Tree
Cold Blue Steel And Sweet Fire
Woman Of Heart And Mind
A Case Of You
Blue
Side 3
Circle Game
People's Parties
All I Want
Real Good For Free
Both Sides Now
Side 4
Carey
The Last Time I Saw Richard
Jericho
Love Or Money
CAUGHT IN THE ACT
February 1975
Grand Funk Railroad
About two thirds through this album, Grand Funk Railroad play their song 'We're An American Band'. As statements of the bleedin' obvious go, it takes some beating. In fact, as purveyors of s's of the b.o. Grand Funk Railroad are clearly world champs. At the end of 'Heartbreaker' they inform the crowd "Thanks. That's Heartbreaker". Well we kinda guessed guys, because every third lyric seems to be "Heartbreaker". Also the lyrics to 'Rock 'N Roll Soul' go "The name of this song is Rock 'N' Roll Soul'. GFR's raison d'etre appears to follow the advice of Tap keyboard player Viv Savage. "Have a good time, all the time. That's my philosophy Marty", and the fans know it, expect it, want it and have a high old time enjoying it when they deliver. It's easy to try and attribute the invention of something to any band, but it's possible that GFR had nailed crowd-pleasing stadium rock at an early point in it's history. They're quite up front about it too. They get down to business straightaway with 'Footstompin' Music' (the b.o. again) and the opening lyric is "Come on everybody, we're gonna have a good time". Another trick they have up their sleeve is to cleverly play on their name in their choice of songs, so we have their own 'The Railroad' (their slow ballad) but also 'The Loco-Motion', a song whose vibrancy even Lou Reed would struggle to dampen down. It sort of seems that sometimes they are simply running the gamut of Rock and Roll cliche, kind of like a generic rock and roll band tribute act. There's an extended drum solo on T.N.U.C. (Oh dear, I was looking it up on Google, but before I could delve deeper, as it were, I suddenly got it without their help) and 'Shinin' On' has that hazy shimmery rockabilly opening so effectively appropriated by the Sex Pistols a couple of years later on Pretty Vatnac. Even the artwork is a rip-off tribute to the Deep Purple In Concert album. Of course, needless to say, I loved it all.
Band Bantz: Inside Looking Out is dedicated to "Everyone out there who is putting that funky smell into the air". There's loads more, mostly along the lines of checking in on everyone that they are feeling alright.
Heckles and Coughs: They finish with a bit of a hamfisted version of the Stones' 'Gimme Shelter' and the crowd are clearly going berserk at this stage. They are present throughout. Band and fans in perfect synch in their determination to Have A Good Time.
Footstompin' Music
Rock 'N Roll Soul
I'm Your Captain/Closer To Home
Heartbreaker
Some Kind Of Wonderful
The Loco-Motion
Black Licorice
The Railroad
We're An American Band
T.N.U.C.
Inside Looking Out
Gimme Shelter
BONGO FURY
May 20th and 21st 1975
Frank Zappa, The Mothers and Captain Beefheart
Standard procedure during the creation of any Rockodyssey album post is to bung the album title into Google and find the Wikipedia entry. Normally, the top answer will be related to the album in question. Perhaps appropriately, when I typed 'Bongo Fury' into the box, the top answer was 'Welcome to Bongo Fury - All you need to know about Mazda Bongos and Ford Freda MPVs & Campervans'. I wouldn't mind betting that that would have amused both Zappa and Beefheart if they were here to see it. It certainly sounds like a usable lyric. The surprising thing about this album is that it combines two artists who are shorthand for what we can most accurately summarize as 'weird shit', and yet it is all rather accessible. Much more so than my previous encounter with Frank and The Mothers at the Fillmore East. But nevertheless, it messes with your head in all sorts of ways. Let's take a line from 'Carolina Hard-Core Ecstasy' where it goes "I had a Roger Daltrey cape on", which is a baffling enough line as it stands, but then you start to wonder if they mean "a Roger Daltrey capon". Now I daresay that Rodge has kept chickens at some time in his life, so the potential double meaning becomes even more plausible. Then you start to think about the Who frontman in some kind of medieval banquet setting, wearing a period costume, including a cape, and chewing thoughtfully on a chicken leg. See what I mean? The thought that Frank and Don are simply chanting stream-of-consciousness nonsense rhymes gets relegated to third most likely explanation. Anyway, otherwise Carolina 'Hard-Core Ecstasy' is a pretty enjoyable listen. Beefheart takes the vocal duties on most of this, and seems to be somewhere between old-testament prophet and rambling wino. 'Muffin Man' is also a highlight, Frank corpses about halfway through the spoken intro (which is studio recorded), and Beefheart comes in rich and fruity when the singing starts, some pretty impressive guitar riffing too.
Band Bantz: Frank introduces "sort of a cowboy song", 'Poofters Froth Wyoming Plans Ahead' by offering a warning that the bicentennial is around the corner and so the audience will be bombarded with offers of things that "you probably shouldn't ought to buy".
Heckles and Coughs: There's not much to go on, some shout-outs as Beefheart rambles on 'Sam With The Showing Scalp Flat Top'
Alive!
May-July 1975
KISS
KISS fall between several ludicrous Rock and Roll stools. Camper than Queen, but not as outrageously so as Twisted Sister. Less committed and downright terrifying than Alice Cooper (and probably not as self-aware either). Their stagewear not quite as leftfield as Angus Young's schoolboy outfit. A taste for greasepaint that suggests cynical image-creation rather than the artistic expression you might associate with Bowie or Gabriel. They even suggest that their name is an acronym by presenting it in capitals, but can't actually come up with something as moderately offensive as WASP (if you're being beaten by Blackie Lawless and crew then you need to worry). The problem can be adequately summarized by considering that Robbie Williams thought that emulating them was a good idea in his 'Let Me Entertain You' video. However, if screaming guitars and screaming vocals are your thing, then KISS are the band for you. It's all quite relentless and although I've given this a fair crack of the whip, it's hard to isolate anything that stands out. There are sirens at the end of 'Firehouse', will that do? There was definitely a drum solo somewhere. One of the songs was a bit slower than the others, but not significantly so, and they still screamed it. If 'She' had been a cover of the Charles Aznavour song, that might have been interesting. I know they have a following and I never try to offend anyone but the artist, who will never read this, but can anyone really put up with this stuff? But what do I know? The modern oracle that is Wikipedia tells me, and I quote, " It is considered to be their breakthrough and a landmark for live albums.". Well, it's a landmark like an abandoned warehouse, empty and a bit of an eyesore. And just look at the state of them on the cover. I ask you.
Band Bantz: Can't you guess? RAWK AND ROLL! IT'S GONNA GET HOT IN HERE TONIGHT. YEAH!
Heckles and Coughs: Being part of the KISS horde is an undemanding task. They scream "ROCK AND ROLL!". You scream "ROCK AND ROLL!" back. Job done.
ANOTHER LIVE
August 1975
Utopia
In my mind, Todd Rundgren seemed to have a reputation as something of a joke in the rock and roll pantheon, but I suspect that, by virtue of a different vowel and the same number of syllables, I was getting him confused with Ted Nugent. Anyway, I'm glad I was pointed in his direction, this is terrific stuff. Prog rock with a clear love of melody and no fear of looking uncool by taking on a bit of populist classicism like West Side Story. Sometimes they sound like Yes (swirling synths) and sometimes like Genesis (hints of 'The Fountain Of Salmacis' in 'The Seven Rays', which also mixes in something that sounds like The Who at the same time. Some trick). I guess if you take those three bands and distill what they have in common then it is a feel for the grandiose, and Utopia achieve that without resorting to a hefty sprinkling of cheese. When 'Something's Coming' started, having not at that stage actually read the tracklist, I thought, oh dear, they've ripped off Bernstein, but then realized that, no, they were actually covering it. That song always reminds me of a TV documentary on the making of a recording of West Side Story, conducted by Bernstein and performed by Jose Carreras (I think) as Tony and Kiri Te Kanawa (definitely) as Maria. It was memorable because Carreras (or whoever) just couldn't sing that particular song to Bernstein's satisfaction. They swing straight away from that into 'Heavy Metal Kids', the most straightforward rocker in the set, but still sounding slightly like it's being performed by The Kids From Fame. The cover of ELOs 'Do Ya' feels like it's going to warp into The Sweet's 'Fox On The Run' at any moment but no-one in their right mind is going to object to that.
There are some moderately frustrating and distracting parts. The enunciation on 'The Wheel' is terrible, and seems to be about someone called Sweel O'Comma. In fact I thought it might be a biting takedown of capitalist ideology in pointing out that you can't get off the "wheel of commerce", but it's much more mundanely hippy-dippy than that and is banging on about "karma" in a sixth-form poetry sort of way.
Band Bantz: Not much grist for the mill here. Just a "Thank you and goodnight" at the end of 'Just One Victory'
Heckles and Coughs: Nah. Just enthusiastic cheering throughout.
Band Bantz: Frank introduces "sort of a cowboy song", 'Poofters Froth Wyoming Plans Ahead' by offering a warning that the bicentennial is around the corner and so the audience will be bombarded with offers of things that "you probably shouldn't ought to buy".
Heckles and Coughs: There's not much to go on, some shout-outs as Beefheart rambles on 'Sam With The Showing Scalp Flat Top'
Debra Kadabra
Caroline Hard Core Ecstasy
Sam With The Showing Scalp Flat Top
Poofters Froth Wyoming Plans Ahead
200 Years Old
Cucamonga
Advance Romance
Man With The Woman Head
Muffin Man
May-July 1975
KISS
KISS fall between several ludicrous Rock and Roll stools. Camper than Queen, but not as outrageously so as Twisted Sister. Less committed and downright terrifying than Alice Cooper (and probably not as self-aware either). Their stagewear not quite as leftfield as Angus Young's schoolboy outfit. A taste for greasepaint that suggests cynical image-creation rather than the artistic expression you might associate with Bowie or Gabriel. They even suggest that their name is an acronym by presenting it in capitals, but can't actually come up with something as moderately offensive as WASP (if you're being beaten by Blackie Lawless and crew then you need to worry). The problem can be adequately summarized by considering that Robbie Williams thought that emulating them was a good idea in his 'Let Me Entertain You' video. However, if screaming guitars and screaming vocals are your thing, then KISS are the band for you. It's all quite relentless and although I've given this a fair crack of the whip, it's hard to isolate anything that stands out. There are sirens at the end of 'Firehouse', will that do? There was definitely a drum solo somewhere. One of the songs was a bit slower than the others, but not significantly so, and they still screamed it. If 'She' had been a cover of the Charles Aznavour song, that might have been interesting. I know they have a following and I never try to offend anyone but the artist, who will never read this, but can anyone really put up with this stuff? But what do I know? The modern oracle that is Wikipedia tells me, and I quote, " It is considered to be their breakthrough and a landmark for live albums.". Well, it's a landmark like an abandoned warehouse, empty and a bit of an eyesore. And just look at the state of them on the cover. I ask you.
Band Bantz: Can't you guess? RAWK AND ROLL! IT'S GONNA GET HOT IN HERE TONIGHT. YEAH!
Heckles and Coughs: Being part of the KISS horde is an undemanding task. They scream "ROCK AND ROLL!". You scream "ROCK AND ROLL!" back. Job done.
Deuce
Strutter
Got To Choose
Hotter Than Hell
Firehouse
Nothin' To Lose
C'mon And Love Me
Parasite
She
Watchin' You
100,000 Years
Black Diamond
Rock Bottom
Cold Gin
Rock And Roll All Nite
Let Me Go, Rock 'N Roll
August 1975
Utopia
In my mind, Todd Rundgren seemed to have a reputation as something of a joke in the rock and roll pantheon, but I suspect that, by virtue of a different vowel and the same number of syllables, I was getting him confused with Ted Nugent. Anyway, I'm glad I was pointed in his direction, this is terrific stuff. Prog rock with a clear love of melody and no fear of looking uncool by taking on a bit of populist classicism like West Side Story. Sometimes they sound like Yes (swirling synths) and sometimes like Genesis (hints of 'The Fountain Of Salmacis' in 'The Seven Rays', which also mixes in something that sounds like The Who at the same time. Some trick). I guess if you take those three bands and distill what they have in common then it is a feel for the grandiose, and Utopia achieve that without resorting to a hefty sprinkling of cheese. When 'Something's Coming' started, having not at that stage actually read the tracklist, I thought, oh dear, they've ripped off Bernstein, but then realized that, no, they were actually covering it. That song always reminds me of a TV documentary on the making of a recording of West Side Story, conducted by Bernstein and performed by Jose Carreras (I think) as Tony and Kiri Te Kanawa (definitely) as Maria. It was memorable because Carreras (or whoever) just couldn't sing that particular song to Bernstein's satisfaction. They swing straight away from that into 'Heavy Metal Kids', the most straightforward rocker in the set, but still sounding slightly like it's being performed by The Kids From Fame. The cover of ELOs 'Do Ya' feels like it's going to warp into The Sweet's 'Fox On The Run' at any moment but no-one in their right mind is going to object to that.
There are some moderately frustrating and distracting parts. The enunciation on 'The Wheel' is terrible, and seems to be about someone called Sweel O'Comma. In fact I thought it might be a biting takedown of capitalist ideology in pointing out that you can't get off the "wheel of commerce", but it's much more mundanely hippy-dippy than that and is banging on about "karma" in a sixth-form poetry sort of way.
Band Bantz: Not much grist for the mill here. Just a "Thank you and goodnight" at the end of 'Just One Victory'
Heckles and Coughs: Nah. Just enthusiastic cheering throughout.
Another Life
The Wheel
The Seven Rays
Intro/Mister Triscuits
Something's Coming
Heavy Metal Kids
Do Ya
Just One Victory
FRAMPTON COMES ALIVE!
Jan-Feb 1976
Peter Frampton
I included this almost out of a sense of duty. It's almost a by-word for the quintessential live rock album and sold by the truckload in the US. Wikipedia alleges 8 million Stateside and 11 million worldwide. Sure enough, it's fine. Enjoyable, well performed and with a few quirks that mark it out from the herd (ho ho), but it's hardly exceptional. A straightforward mid-seventies rock performance. BBC film critic Mark Kermode, in speculating what movie will win the Best Picture oscar this year, has a theory that, it's often the movie that the voting members of the academy dislike the least that wins. That logic might apply to this. It's a good rock-out which will offend no-one. Maybe people just added it to their collection so that they had a live album by a reasonably well established rock star in their collection. Of course the thing that really sets it apart is his use of this new-fangled 'talk box' thing on 'Show Me The Way' and, with much tedious messing about on the final track, 'Do You Feel Like We Do'. It made him look like he was being force fed because he was hunger strike. There's also 'Baby I Love Your Way' which was mashed up with Lynyrd Skynyrd's Freebird by Will To Power (spooky, as Lynyrd Skynyrd are the very next live band in this particular queue). I never liked their version of the song because 1. it's drippy as hell and 2. they give up making the effort halfway through and just sing "la-di-da". I not mad keen on Frampton's original either. The opening track, 'Something's Happening' reminded me of the BBC Saturday afternoon sportsfest, Grandstand theme tune, slowed down to about half pace mind you. It's been driving me mad because I am sure there was a proper, really rather good chart song with the same tune, but for once I simply can't place it, nor find a Google search strategy that will take me to it. Never pass up a Tap reference, that's my motto, so is '(I'll Give You) Money' a reply song? There is also a rather underpowered rendition of 'Jumping Jack Flash'. The Stones knew they had a surefire winner on their hands and it benefits nothing from being messed about with and given a bluesy makeover. He clearly suffers a Jesus-complex judging by the cover, or perhaps The Darkness's Justin Hawkins managed to circumvent the time-space continuum somehow? I've seen him perform, playing second guitar banana to Bowie in the rain in 1987.
Band Bantz: "We'd like to get a little bit funky now. This one's called Doobie Wah" Are you sure Pete? Not Doobie Brothers rip off? And there's simply no excuse for introducing anything as 'an oldie but a goodie'.
Heckles and Coughs: The paying public are trusted with helping out on 'All I Want To Be (Is By Your Side)', but only on the bracketed part. They do provide some much needed 'atmosphere'.
In an earlier post, Deep Purple's 1971 In Concert album, includes Ian Gillan advising us, "Here's a bit of boogaloo!" Well here's a lot of boogaloo. Southern boogaloo to be precise. For me, before listening to this, Lynyrd Skynyrd would be reductively characterized as redneck southern boogie merchants, mainly due to viewing them through the prism of the Southern Man/Sweet Home Alabama song axis. But no. In fact they seem to be pretty complex, thoughtful and reasonably varied too. Before we go on however, it has to be said that this is one of those albums where, if you want to get the experience of listening to the original vinyl release, at least in terms of tracklist and running order, then you have to do a lot of research. There are three versions on Spotify, and I'm not convinced that any of them are a true reflection of the first version. There's a 'Rarities Edition' of 8 tracks, an 'Expanded Edition' (17 songs) and a 'Deluxe Edition' (24 songs). According to Wikipedia, the original double album had 14 tracks, so none of these quite match, but 'Expanded' seems close enough. The running order is different, there are two versions of 'Sweet Home Alabama' and we get 'Simple Man' and 'Gimme Back My Bullets' as well. I enjoyed this a lot, although it did suffer from circumstances which slowed down my album listening pace a little, so I've probably over-listened to it. As a result, the songs have run into each other by now although there is a lot of whiskey drinking and gunplay going on. The opening rebel yell on 'Working For The MCA' is quite exhilarating though and is reminiscent of the middle part of the Beastie Boys 'Sabotage'. This version of 'Sweet Home Alabama' is featured on 'Guitar Hero - World Tour' and I can report from experience that it is a bugger to play on that, when all you have to do is keep the rhythm and arrange 3 of the 5 fingers on your left hand. It all ends with a 13 minute version of 'Free Bird' (admittedly not much longer than the original studio album release), another of those songs that, for me, doesn't really deserve it's reputation and popularity, probably because it does go on waay too long.
Band Bantz: Ronnie Van Zant's stage pronouncements are affable and warm. 'Simple Man' is a song about "what my Grandma told me" and ends it with how he wrote it after being asked by a writer "What are you man?". He admits to having a minor memory lapse before he remembers that they are doing 'Whiskey Rock-a-Roller' next (on the version I listened to, ignore the track listing below if you want this post to make any internal logical sense)
Heckles And Coughs: The performances are from the Fabulous Fox Theater in Atlanta, so if their fan base did rely on an empathy with the Southern way of life, they are preaching to the choir here. There isn't much to pick up from the crowd noise, other than that they love it.
Jan-Feb 1976
Peter Frampton
I included this almost out of a sense of duty. It's almost a by-word for the quintessential live rock album and sold by the truckload in the US. Wikipedia alleges 8 million Stateside and 11 million worldwide. Sure enough, it's fine. Enjoyable, well performed and with a few quirks that mark it out from the herd (ho ho), but it's hardly exceptional. A straightforward mid-seventies rock performance. BBC film critic Mark Kermode, in speculating what movie will win the Best Picture oscar this year, has a theory that, it's often the movie that the voting members of the academy dislike the least that wins. That logic might apply to this. It's a good rock-out which will offend no-one. Maybe people just added it to their collection so that they had a live album by a reasonably well established rock star in their collection. Of course the thing that really sets it apart is his use of this new-fangled 'talk box' thing on 'Show Me The Way' and, with much tedious messing about on the final track, 'Do You Feel Like We Do'. It made him look like he was being force fed because he was hunger strike. There's also 'Baby I Love Your Way' which was mashed up with Lynyrd Skynyrd's Freebird by Will To Power (spooky, as Lynyrd Skynyrd are the very next live band in this particular queue). I never liked their version of the song because 1. it's drippy as hell and 2. they give up making the effort halfway through and just sing "la-di-da". I not mad keen on Frampton's original either. The opening track, 'Something's Happening' reminded me of the BBC Saturday afternoon sportsfest, Grandstand theme tune, slowed down to about half pace mind you. It's been driving me mad because I am sure there was a proper, really rather good chart song with the same tune, but for once I simply can't place it, nor find a Google search strategy that will take me to it. Never pass up a Tap reference, that's my motto, so is '(I'll Give You) Money' a reply song? There is also a rather underpowered rendition of 'Jumping Jack Flash'. The Stones knew they had a surefire winner on their hands and it benefits nothing from being messed about with and given a bluesy makeover. He clearly suffers a Jesus-complex judging by the cover, or perhaps The Darkness's Justin Hawkins managed to circumvent the time-space continuum somehow? I've seen him perform, playing second guitar banana to Bowie in the rain in 1987.
Band Bantz: "We'd like to get a little bit funky now. This one's called Doobie Wah" Are you sure Pete? Not Doobie Brothers rip off? And there's simply no excuse for introducing anything as 'an oldie but a goodie'.
Heckles and Coughs: The paying public are trusted with helping out on 'All I Want To Be (Is By Your Side)', but only on the bracketed part. They do provide some much needed 'atmosphere'.
Side 1
Something's Happening
Doobie Wah
Show Me The Way
It's A Plain Shame
Side 2
All I Want To Be (Is By Your Side)
Wind Of Change
Baby I Love Your Way
I Wanna Go To The Sun
Side 3
Penny For Your Thoughts
(I'll Give You) Money
Shine On
Jumpin' Jack Flash
Side 4
Lines On My Face
Do You Feel Like We Do
ONE MORE FROM THE ROAD
July 7-9 1976
Lynyrd Skynyrd
Band Bantz: Ronnie Van Zant's stage pronouncements are affable and warm. 'Simple Man' is a song about "what my Grandma told me" and ends it with how he wrote it after being asked by a writer "What are you man?". He admits to having a minor memory lapse before he remembers that they are doing 'Whiskey Rock-a-Roller' next (on the version I listened to, ignore the track listing below if you want this post to make any internal logical sense)
Heckles And Coughs: The performances are from the Fabulous Fox Theater in Atlanta, so if their fan base did rely on an empathy with the Southern way of life, they are preaching to the choir here. There isn't much to pick up from the crowd noise, other than that they love it.
Side 1
Workin' For The MCA
I Ain't The One
Searchin'
Tuesday's Gone
Side 2
Saturday Night Special
Travelin' Man
Whiskey Rock-a-Roller
Sweet Home Alabama
Side 3
Gimme Three Steps
Call Me The Breeze
T For Texas
Side 4
The Needle And The Spoon
Crossroads
Free Bird