Classic Rock Musings, Rants & Raves

Covering the same classic rock beat can get tedious at times. Oh sure, I try to dance outside the box, occasionally seeking out stuff that grazes the peripheral, not quite “classic” in the traditional sense, but in possession of certain attributes and justifiable links like loud guitars, wailing drums, tuneful vocals and solid songs.

Over at Vintage Rock, we skip the rope fandango and forego the bee’s wax, but we give a lot of real estate to the big guns — the Beatles, the Stones, the Zeps, the Floyds — lofting away in their McMansions of mortality, mucking up in millions years after their peak. No one gets a medal if you were actually there, but the good times are ingrained in the old membrane — memories more vital and meaningful when it comes to certain bands of the past.

So last week, I hitched a ride to the Coach House in San Juan Capistrano to see two so-called “classic rock” acts I had vivid memories of: Y&T and Leatherwolf. Like all hard rock/heavy metal groups of the 70s and 80s, these guys have become victims of time, conveniently labeled “classic rock” even as the virtuous ring of the term often pops hollow. It’s just too weird to think of bands like Metallica and Depeche Mode sharing space under the ever-broadening classic rock umbrella.

Of the two at the Coach House, Y&T bears the brunt of true classic rock credentials. They were — before jumping on the 80s bandwagon, singing about “Summertime Girls” and touring with Twisted Sister — a hard rocking band of the 70s, then called “Yesterday & Today” (taken from the title of a Beatles album), cutting their teeth with Aerosmith and KISS. After 35 years, they’ve sold four million records, which isn’t exactly earth-shattering by megastar standards. But Y&T is revered by many, still one of those bands that conjures allegiance and devotion from fans and peers, alike.

I had the chance to catch Y&T in the 80s and was mildly impressed; tonight, however, they bowled me over with their energy, songs and superb musicianship. Dave Meniketti, the group’s lead singer, lead guitarist and sole remaining original member, was no worse for wear, even after announcing it was the group’s 35th anniversary. The voice, the lead work, even the hair, are intact and powerfully potent. For over two hours, Meniketti and company — bassist Phil Kennemore, guitarist John Nymann and drummer Mike Vanderhule — pulverized and slayed one hard rockin’ tome after another, including “Rock & Roll’s Gonna Save The World,” “Looks Like Trouble” and the classic “Forever.” By the end of the night, I felt supremely satisfied, taken back by how good a high-quality rock and roll band can make you feel.

Earlier in the evening, I was in a completely different headspace. Seeing Leatherwolf on stage, my mind flashed back to the mid 80s when I used to run a rehearsal studio roughly 40 miles north from the Coach House. One of my regular clients was Leatherwolf, back then ambitious young turks who had just signed a deal with Island Records and were ready to storm the world with their Triple Axe Attack. Although I never actually told them so at the time, I thought they were an amazing band, sort of Huntington Beach’s answer to Iron Maiden, yet far more melodic and fluid.

I must have seen Leatherwolf rehearse and play out a hundred times or more. I even promoted a show they headlined in Orange County, and sat idly by in the basement of Gazzarri’s on the Sunset Strip one afternoon as they were interviewed by the lovely Tawn Mastrey on KNAC. Exciting times indeed.

Like so many bands of the torrential 80s, Leatherwolf got swept aside by grunge, left for dead (although hardly out of the game) until they re-emerged with a vengeance in the late 90s. Over the years, they have amassed a rabid cult following in the States and Europe. The lineup has weathered its share of mutiny, maturity and movement, but the present roster still features Dean Roberts holding down the bottom end with a heavy duty kit that includes two cannon-sized bass drums.

Dean is joined by original vocalist/guitarist Michael Olivieri and original guitarist Carey Howe. Although a couple of the other guys I knew have come and gone over the years, guitarist Greg Erba and bassist Patrick Guyton presently round out Leatherwolf for 2009.

I immediately recognized tracks like “The Calling,” and felt the crunch of the newer material, especially “Behind The Gun.” These guys have hardly mellowed with age. As I would learn, they hadn’t played in awhile, but they sounded tight and the crowd was enthralled. Leatherwolf fans were hanging from the rafters and buying me beers. It felt like 1987 at the Pit all over again.

Just before Y&T took the stage, I wandered up to the dressing rooms and bumped into Dean, Mike and Carey. “Congratulations, ” I told Mike, “You’re now a classic rock band.” Later, just before heading out, Dean handed me a copy of the group’s new CD, New World Asylum as he talked with fans and signed autographs at the merchandise table.

Even though Leatherwolf hadn’t exactly conquered the world, here they were, kicking some serious ass and ripping down the sonic wallpaper for an appreciative hometown crowd. Maybe it means more now than it did in the 80s when everyone was trying to figure out how to make it to the big time. That was then, but the moment was now. And it was truly a night to remember…

Once again the Grammys have come and gone. leaving its share of followers and detractors in its wake. I have three of the five nominated albums of the year, so I felt I had a stake in the outcome. I’ve always felt that way, even back in the 70s and 80s when I didn’t always have the nominated albums. For some criminal reason, albums like The Dark Side Of The Moon, Led Zeppelin IV and Who’s Next — all reigning classics — didn’t get a nod from the Grammys. Certainly, there have been exceptions (Sgt. Pepper’s Lonely Hearts Club Band won Album Of The Year in 1968; The Concert For Bangla Desh did the same in 1972), but it wasn’t until legends like Eric Clapton and Carlos Santana amassed a roomful of Grammy trophies in the 90s did it seem like the great classic rock artists of the 60s and 70s were finally getting their just rewards.

At this year’s ceremony, classic rockers Peter Gabriel, Tom Petty, Bruce Springsteen and Robert Plant all picked up Grammys. Plant, who never won when he sang with Led Zeppelin (they were given a token lifetime achievement award in 2005), shared five awards with Alison Krauss, including Record of The Year and Album Of The Year. Paul McCartney was nominated, but he didn’t win. Still his presence loomed large as the camera fawned over the former Beatle/Wings singer sitting front row center on the floor of the Staples Center like the rock and roll elder statesman he is. Sort of like Jack Nicholson at the Oscars. His performance of “I Saw Her Stanidng There” with Dave Grohl on drums was nothing special, but it didn’t suck either.

Other acts also grabbed my attention. U2 opened the night with a spectacular new song, “Get On Your Boots.” Radiohead continues to blow my mind, turning up for a little jam with the USC Marching Band. The jury is still out on Coldplay, and the same goes for Kid Rock. Don’t even get me started on Lil Wayne or any number of rappers or country crooners. Sorry folks, I just don’t get it.

Then there’s white boys like Justin Timberlake and the Jonas Brothers doing their damndest to be soulful. I’ll give credit where credit is due. The Jonas Brothers and Stevie Wonder weren’t as bad as I expected. On the other hand, Al Green blew Timberlake away when they duetted on “Let’s Stay Together.” Even when he was presenting the Song Of The Year to Coldplay, Reverend Green was blowing his pipes.

I was much more taken by some of the ladies. I can’t say I’m a follower, but at least Carrie Underwood, Jennifer Hudson and Miley Cyrus can sing. Adele, who took home the Grammy for Best New Artist, is a decent singer too, but her songs are pretty forgettable. No one will even know who Katy Perry is a year from now.

Other highpoints of the show included a tribute to the Four Tops, featuring Smokey Robinson, actor Jamie Foxx and the last remaining original member, Abdul “Duke” Fakir, and a guitar tribute to Bo Diddley featuring John Mayer, BB King, Buddy Guy and Keith Urban. Neil Diamond received a huge ovation and had the corwd on their feet, including Sir Paul, singing “Sweet Caroline.”

The best thing about the 2009 Grammys was that Plant and Krauss owned the night. Their performance that closed the show was straightforward and uneventful, and yet they still sounded better than most everyone else. Krauss has more Grammys than any other female on the planet (26 and counting), so it was just another award night for her. To see Robert Plant pick up his first Grammys was really a sight to behold.

He mentioned that the song “Please Read The Letter,” which won Record Of The Year, was written with Jimmy Page. Think of all the great classics they wrote together, and this is the one that gave them a Grammy for Record Of The Year (they won another Grammy in 1998, but it wasn’t a high profile category like this). Can you imagine Page’s reaction? “Holy shit, I just won my first Grammy for Record Of The Year,” he may have said. To which someone else may have replied: “Guess that puts the kabosh on a Zeppelin tour.” I’ve yet to hear an official word from Page.

Why stop at 10, when you can go to 11? After all, it’s “one” louder. OK, so maybe this sounds like a scene right out of This Is Spinal Tap, but the fact is I couldn’t narrow it down any further. Now that DVDs have all but replaced CDs in total rock and roll immersion, I was knocked out and bowled over with all the hot discs that flooded my mailbox in 2008. Did I miss any? Probably. But I think the 11 Classic Rock DVDs presented below are the cream of the crop when it comes to full-length music documentaries and live action concerts featuring the world’s greatest rock and rollers. Read on and decide for yourself.

1. Rush ~ Snakes & Arrows Live
2. The Who ~ At Kilburn 1977
3. The Yardbirds ~ The Story Of The Yardbirds
4. Lou Reed ~ Berlin
5. Genesis ~ When In Rome
6. Deep Purple ~ Around The World Live
7. Pink Floyd ~ A Technicolor Dream
8. ZZ Top ~ Live From Texas
9. Classic Albums: The Doors
10. Sunshine Superman: The Journey Of Donovan
11. Classic Albums: John Lennon’s Plastic Ono Band

Mitch Mitchell, drummer for the Jimi Hendrix Experience, was found dead this morning in a Portland, Oregon hotel room. At press time, I have heard little else regarding the cause or circumstances, although some reports indicate Mitchell apparently died of natural causes.

I saw the 62-year-old Mitchell earlier this month at the Experience Hendrix concert in Los Angeles (the tour wrapped on November 8 in Portland). Although he didn’t play much, he looked in great spirits. Any Hendrix fan knows Mitchell was integral to the guitarist’s short-lived career. No only did Mitchell, bassist Noel Redding and Hendrix go on to stardom as the Jimi Hendrix Experience; Mitchell and Hendrix also played together at the Woodstock and Isle of Wight concerts.

The drummer was tapped by John Lennon to join the Dirty Mac (which included Keith Richards and Eric Clapton) for a one-time appearance at the Rolling Stones Rock & Roll Circus. In 1970, Mitchell almost joined keyboardist Keith Emerson and Greg Lake in a new group. Last year, during my interview with Keith Emerson, he told me that Mitchell talked about bringing Hendrix into the fold, but internal problems arose, Carl Palmer came along and the new group became Emerson, Lake and Palmer. In 1974, Mitchell apparently auditioned for Paul McCartney & Wings, but he didn’t make the cut.

Since the 70s, little has been heard or seen of Mitchell. He did participate in some latter-day Hendrix posthumous releases, but that’s about it. The man was innovative for his unique drumming style, and will forever be tied to the legend of the Jimi Hendrix Experience. Hopefully, he’ll rejoin Hendrix, who died in 1970, and Redding, who passed in 2003, for some heavenly jams…

As a ghoulish Halloween treat to loyal fans, Bruce Springsteen is offering a free audio download and streaming peek at the video for the previously unheard track “A Night With The Jersey Devil” on his web site, www.brucespringsteen.net. Both audio and video will be available on the site from 12:01am Friday, October 31 until 11:59pm Sunday, November 2. The creepy video for “A Night With The Jersey Devil” was directed by long-time Springsteen visual-collaborator Thom Zimny.

Springsteen posted the following note on the site:

Dear Friends and Fans,

If you grew up in Central or South Jersey you grew up with the ‘Jersey Devil’. Here’s a little musical Halloween treat. Have fun!

Bruce Springsteen
Happy Halloween!

The lyrics to “A Night With The Jersey Devil” are as follows:

Hear me now!
I was born 13th child, ‘neath the 13th moon
Spit out all hungry and born anew
Daddy drag me to the river tie me in rocks

Throw me in where it’s deep and wide
I go down, I don’t die
Hole in the river bottom, I crawl through
Come back kill six brothers and sisters, kill papa too

Sway down Mama, sway down low
They gonna know me wherever I go
Into my bed with her kerosene my mama creep
Set my flesh to burning, whilst I sleep

I burn, burn, burn, till my soul burn black
Black rains fall, I come back, I come back
Get down Mama, get down low
They gonna know me wherever I go

16 witches, cast 16 spells
Make me a guitar outta skin and human skull
Sing you a song like the wind in the sandy loam
Bring you baby out your happy home

Ram’s head, forked tail, clove hoof, love’s my trail
I sup on your body, sip on your blood like wine
Out world theirs, this world mine
So kiss me baby till it hurts

God lost in heaven, we lost on earth
Sway down Mama, sway down low
They gonna know me wherever I go
Wherever I go, wherever I go

Well I got a brand new lover
I love her yes I do,
She’s my one and only and her name is Baby Blue…

Click below to hear “A Night With The Jersey Devil”
DownloadA Night with the Jersey Devil

With the world’s economy in the dumper, Black Ice, the first new studio album in eight years from AC/DC, could be just what the doctor ordered. Think about it: When all else has failed, why not throw your cares away with wild abandon and rock till you drop. And no one can take you there better than AC/DC. For a band that isn’t exactly reinventing the wheel, it’s a revelation they’re as popular and well-loved as ever. Maybe it’s because they don’t over think their strategy. And that’s only if they have a strategy.

There’s certainly no shortage of good old reliable “rock” on this AC/DC disc. In fact, four of the 15 tunes on Black Ice have the very word ingrained in their titles. No further explanation is necessary. It starts the minute “Rock N’ Roll Train” (very much in tune with the opening bars of “You Shook Me All Night Long,” “Back In Black” and probably every other AC/DC anthem) comes booming out of the speakers. You know the formula — guitarists Angus and Malcolm Young cock and load a hook-filled chord sequence, drummer Phil Rudd and bassist Cliff Williams establish a simple and sturdy foundation, and the blood-curdling screech of Brian Johnson, which may not be as guttural as it once was, pulls you in for the kill. The same basic approach is routinely deployed on “Skies On Fire,” “Big Jack,” “”War Machine,” “Smash N’ Grab” and “She Likes Rock N’ Roll.”

Black Ice rarely strays beyond AC/DC’s crash-and-burn style. There are no ballads, no epics over five minutes long, and no esoteric, heavy lyrics to ponder. Even loose departures like “Anything Goes” and “Wheels” end up conforming to the familiar framework of sustainable, rank-and-file riffs built to bounce the noggin and pump the fist. By keeping it simple and stupid, AC/DC effectively spit in the faces of all those “artists” who push the envelope and aspire to greatness. Few bands can avoid change or trends and expect to stay afloat, but AC/DC has mastered the art of utilitarianism to a tee. It makes prefect sense the only big-box retailer selling Black Ice is Wal-Mart. Both are easy, well-stocked and good for the economy.

From roughly 1970 to 1980, Classic Rock (which wasn’t actually called “Classic Rock” at the time) reigned supreme, filling the void left by the Fab Four (The Beatles broke up and separately sauntered down their own long and windy roads) and Tragic Trilogy (Jimi Hendrix, Janis Joplin, and Jim Morrison, RIP), among other denizens of those wacky ’60s. Indeed, the peace and love vibe may have dissipated and perhaps the dream really was over, but the music continued to thrive and cultivate.

In fact, rock became far more diverse and began to broaden its horizons in new and wonderful ways. David Bowie, Alice Cooper and Kiss turned glam rock into theater, while Pink Floyd and Jethro Tull treaded the mercurial waters with elaborate, conceptual musical spectacles. FM radio spawned album-oriented rock (AOR), displacing the three minute hit single with such diverse epics as “Stairway To Heaven,” “Freebird” and “Bohemian Rhapsody.”

Oftentimes, I get so caught up in the expanded reissues, compilations and documentary DVDs coming out from a slew of Classic Rock artists that I forget there’s a cache overflowing with new groups. Yeah, a good majority of them are pretty pathetic, but there’s a select few who are stirring up the pot in an attempt to keep the rock and roll flame burning. The Raconteurs are heading up the charge.

Led by Jack White, the male half of the quirky boutique garage band the White Stripes, the Raconteurs aren’t exactly reinventing the wheel, but they’re doing a damn good job keeping it greased up. The first night of their two-day stand at the Greek Theatre in Los Angeles comprised a 75-minute, no-frills set without pretense or bullshit. White knows he’s the main draw, but on this night he often came across as just another member of the band, which also includes vocalist/guitarist Brendan Benson, bassist Jack Lawrence, drummer Patrick Keeler and keyboardist Mark Watrous.

With all due respect to drummer Meg White, the other half of the White Stripes, Jack needs a full band to get his explosive, quirky ideas across. Having a clutch rhythm section like Lawrence and Keeler makes it easy. The groove that morphed into “Consolers Of The Lonely” wouldn’t have been nearly as dynamic coming from a two-piece. And White’s whining yelp of a rock and roll voice didn’t even come into the song until halfway through. Benson, a solo artist in his own right, played the less abrasive counterpoint, providing that sort of Lennon-McCartney, Ying-Yang thing that sets the foundation and extends the possibilities.

After White wrapped his guitar around a couple of numbers, he jumped over on a Fender Rhoads and went into a bluesy, gospel mode on “Blue Veins.” This song is pure old school, but White made it soulful and fresh. From there, he strapped on an acoustic and fell into a Delta blues number called “Top Yourself.” Here, Benson got a chance to slip and slide up and down his bottleneck like a possessed Jimmy Page from 1971.

“Intimate Secretary” was a churning bucket of commotion with White’s piercing, staccato leads popping holes in the ozone, while the frenetic blues-based romp of “Keep It Clean” tapped into the root of White’s chakra. By this time, the spelling game was tumbling across the sea of faces like lost luggage, never to be found again. “You Don’t Understand Me” put White back behind the keys, where he could have just as easily confessed to a shopping list of indiscretions, but instead pored his heart into a simple case of miscommunication. “Old Enough,” with keyboardist Mark Watrous handling the fiddle, stuck out as a spunky reflection of the group’s adopted home-base of Nashville (White and Benson are from Michigan).

Then it was another trip through the murkiness of the blues with “Rich Kid’s Blues” before finishing the main set with the group’s first single from 2006, “Steady, As She Goes.” White joked that the song was “a hit for us back in 1974,” but there was no doubt in my mind the driving riff would have fit right in back then.

The encore of “Many Shades Of Black” and “Salute Your Solution/Broken Boy Soldier” confirmed what I already figured out: the Raconteurs are a hot rod unit that meander and whittle away with the best of the Bonnaroo jam bands. That alone gives them a lot of credibility in my book. And my book doesn’t necessarily follow the dictum of Classic Rock.

In the world of Classic Rock, you hear a lot of old guys whining how the good old days are forever gone and that new music just out and out sucks. These are the same guys who won’t give Radiohead and Beck any credit for creating new and wondrous music, then claim the last Lynyrd Skynyrd album was their best. Go figure. So where does that leave a group like the Raconteurs? Perched at the crossroads of what was and what can be could very well mean they are the future of rock and roll. I’ll be keeping my eye out on this one to see if it’s true.

From 1976 onward, live albums became more varied and widespread, but they never lost their potency to reel in fans. Here then, is the Top 10 Live Albums: 1976 - poresent.

1. Pink Floyd - Is There Anybody Out There? (2000)
This live version of “The Wall,” performed in its entirety, is the last sanctioned recording from members Roger Waters, David Gilmour, Nick Mason and Richard Wright. “Is There Anybody Out There?” was culled from various shows performed on the 1980-81 tour, but wasn’t released until almost 20 years later. Included are two tracks not on the original, “What Shall We Do Now?” & “The Last Few Bricks.”

2. Bob Dylan - Live 1966 - The “Royal Albert Hall” Concert (1998)
Live 1966 is another example of a legendary concert not being released until many years after-the-fact. Perhaps the most famous bootleg of all time, “Royal Albert Hall,” in quotes because of its incorrect location — it was actually recorded at the Free Trade Hall in England — marked the first time Dylan plugged in and pissed off his Folkie following. It is truly history in the making!

3. Peter Frampton - Frampton Comes Alive (1976)
Not a teenager in the 70s didn’t own a copy of “Frampton Comes Alive,” the best-selling live album of all time. It was recently re-released for its 25th anniversary, and features three live bonus tracks, “Just the Time of Year,” “Nowhere’s Too Far for My Baby,” and “White Sugar,” a radio performance of “Day’s Dawning” and extensive liner notes. No other album quite represents the 70s like this!

4. Neil Young & Crazy Horse - Live Rust (1979)
“Live Rust” blended the best of Neil’s acoustic sentimentality with ear-shattering electric rock, as he took listeners on a journey from older classics to then-new material. The soundtrack to the concert film of the same name, it was recorded in the fall of 1978 at the Cow Palace in San Francisco. Other live Neil Young albums have since been released, but “Live Rust” is a standout among them.

5. Cheap Trick - At Budokan (1979)
“At Budokan” captures live, 70s power pop in all its glory like no other! Cheap Trick had a few minor radio hits, but it wasn’t until this blistering performance for screaming Japanese fans that the band realized the stardom that had eluded them. The platinum album remains a timeless favorite among Classic Rock fans, and “Surrender” sounds as fresh and powerful now as it did in ‘79.

6. Queen - Live Killers (1979)
“Live Killers” is a great representation of 70s Queen, showcasing the band at the height of their glitz and glamour. Most of the hits are present, plus forgotten gems such as “Brighton Rock,” and a medley that included “Killer Queen,” “Bicycle Race” and “I’m In Love With My Car.” Recorded on their 1979 European tour, “Live Killers” captures loud, triumphant, arena rock at its foot-stomping finest.

7. Paul McCartney & Wings - Wings Over America (1976)
McCartney pissed off a lot of people when he covered several fab four songs on Wings’ 1976 tour, but fans were itching to hear the old tunes again. “Wings Over America” silenced critics who charged that Paul couldn’t rock out with the best of ‘em, and became one of most spectacular, high-energy shows ever recorded. Includes the version of “Maybe I’m Amazed” that became a Top-10 hit.

8. Lynyrd Skynyrd - One More From the Road (1976)
This 25th anniversary deluxe edition of the classic Skynyrd album, which was recorded during the July 7-9, 1976 shows at the Fox Theater in Atlanta, Georgia, features ten additional songs from the same show. Recorded just a mere three years after the group’s debut, it captures raw, southern-fried rock and roll at its finest, and demonstrates why Skynyrd has become the premiere southern rock band.

9. The Eagles - Hell Freezes Over (1994)
Aside from the fact that the “Hell Freezes Over” tour can be indirectly blamed for skyrocketing concert ticket prices — they exceeded $100 a seat — the tour was the event of the decade. For the first time in years Don Henley, Glenn Frey, Don Felder, Timothy B. Schmidt and Joe Walsh took the stage together, and the historic event was captured for posterity. Also features four new studio tracks.

10. David Gilmour - Live In Gdansk(2008)
The newest and possibly the strongest entry on the list for a number of reasons, namely that David Gilmour not only plays his album “On An Island,” with a full orchestra; he also explores the nether regions of the Pink Floyd cataloging with subtle aplomb and astonishing results. This show is the final performance of Gilmour’s wildly successfully 2006 tour, and, sadly, the last show on record that Pink Floyd keyboardist Richard Wright would ever play. “Echoes” and “Comfortably Numb” has never sounded so poetic.

You’re either a fan of live music or you’re not; there doesn’t seem to be any in-between. But if you count yourself among the millions who prefer their music served up in a raw, energetic concert environment, then you’ll find something to satisfy your craving from the list below. Also be sure to check out our list of the Top 10 Live Albums: 1976-Present.

1. Rolling Stones - Get Yer Ya Ya’s Out (1970)
After a three-year absence from the American concert scene, the Rolling Stones triumphantly returned to Madison Square Garden in New York City in November, 1969, and the powerful, tight performance was recorded for posterity. The concert featured new guitarist Mick Taylor, and in addition to the usual Rolling Stones fare, two outstanding Chuck Berry covers, “Carol” and “Little Queenie.”

2. The Who - Live At Leeds (1970)
Recorded at Leeds University in England on Valentine’s Day, 1970, this digitally remastered deluxe edition features the historic concert in its entirety for the first time, including several recordings not available on the original. Also notable is the splicing of songs from “Tommy,” originally spread throughout the show, on Disc-2 of the set. This is the Who at their absolute, live best!

3. Allman Brothers Band - Live At The Fillmore East (1971)
Recorded live at the Fillmore East in New York City on March 12-13, this remastered version of the landmark 1971 features the original line-up of the premiere southern rock band, before the untimely deaths of Duane Allman and Berry Oakley. Live At The Fillmore East set the standard for all blues/jam rock bands to follow, and remains unparalleled to this day.

4. Cream - Wheels Of Fire (1968)
While not completely a live album (Disc 1 was recorded in the studio, and includes two outstanding covers of Howlin’ Wolf and Albert King), “Wheels of Fire” captures the power-trio of Clapton, Bruce and Baker at their explosive peak! Disc 2 was recorded live over four days at San Francisco’s Winterland and Fillmore West, and features a version of “Crossroads” that will blow you away.

5. Deep Purple - Made In Japan (1972)
Once referred to by Rolling Stone as “simply the best live album ever made,” “Made In Japan” featured the “classic” line-up of Ritchie Blackmore, Ian Gillan, Jon Lord, Roger Glover, and Ian Paice, and was recorded over two days in August, 1972, in Osaka and Tokyo, Japan. The remastered CD not only offers superior sound quality, but also a bonus disc of encores and a book of extensive liner notes.

6. Grateful Dead - Europe ‘72 (1972)
Culled from various shows on their 1972 European tour, this is basically a live album on steroids, as several songs were overdubbed in the studio after the tour. Yet the richer-than-usual, multi-layered sound doesn’t distract from the live feel of the music. Europe ‘72 marked the last formal recording of Ron “Pigpen” McKernan before his death, and the introduction of Keith and Donna Godchaux

7. Grand Funk Railroad - Caught In The Act (1975)
The general consensus among GFR fans is that although a sloppy editing job was done on this remastered CD (it leaves out part of drum solo on “T.N.U.C.,” and “Closer to Home” doesn’t segue into “Heartbreaker” as originally performed), it’s still a kick-ass album. Just the live versions of “Footstomping Music” and a cover of the Stones’ “Gimme Shelter” make this a stand-out among live recordings.

8. Yes - Yessongs (1973)
Some speculate that Yessongs was released to silence critics who accused Yes of being merely a studio band, unable to recreate their songs live. But performances of material from “The Yes Album,” “Close to the Edge” and “Fragile” removed all doubt, and established Yes as a dominant force in Prog. Although sound quality on the original was inferior, the remaster is nothing short of spectacular.

9. Uriah Heep Live (1973)
Recorded over several dates in Northern England at the height of their career, “Live ‘73″ represents early Heep in all their thunderous, riveting glory. Now available as a remastered set, with all 12 original tracks including the fun, 7-song closer, “Rock ‘n’ Roll Medley,” additional photos and new liner notes.

10. Crosby, Stills, Nash & Young - 4 Way Street (1971)
A true snapshot of the 70s, “4 Way Street” is often criticized as lacking the luscious harmonies for which the foursome is most well-known. Yet many consider this recording a “must-have,” if only for the standout, acoustic-only Disc 1. The remaster contains bonus tracks “King Midas In Reverse,” “Laughing” and “Black Queen,” plus the Neil Young medley “The Loner/Cinnamon Girl/Down by the River.”