Emerson, Lake & Palmer - Pictures At An Exhibition Oil Well RSC 027 CD

Emerson, Lake & Palmer - Pictures At An Exhibition
Oil Well RSC 027 CD

1 Hoedown 4:02
2 Tarkus 7:05
3 The Endless Enigma Part 1 / Fugue / The Endless Enigma Part 2 9.19
4 The Sheriff 3:16
5 Take A Peeble #1 4:58
6 Lucky Man 3:15
7 Piano Solo 10:19
8 Take A Peeble #2 2:43
9 Pictures At An Exhibition 15:16
10 Rondo '69  12:34

Note:
All songs by Keith Emerson/ Greg Lake unless noted.
Live in Denver, August 3, 1972
Live at Arts Center, Saratoga, NY, USA, August 13th 1972.

Lineup:
Keith Emerson – pipe organ, Hammond (C3) and L100) organs, Moog modular synthesizer, Clavinet
Greg Lake – bass guitar, acoustic guitar, vocals
Carl Palmer – drums, percussion

This CD is identical to "The Silver Sheriff", which is released on the same label.
In addition, it is identical to the bootleg "Tortured Dream" - Dynamite Studio, Italy 1991.
This Oil Well version has a fine cover, fine quality. Fold-out insert shows details of other CDs in the series. Limited to 200 copies only. Due to its rarity and good quality, this disc is recommended.
The best release of this show is "Endless Enigma" (2 CDs) - where 'Tarkus' is complete.
Interestingly the publisher have written "All songs by Emerson/Jackson/Davison unless noted".
And the only track where nothing is noted, is 'Rondo' (which really is written by Dave Brubeck).

Audio quality: 
Quality content: 

 © Official released material:
Tracks 1-10 have been releasd officially on: "The Original Bootleg Series from the Manticore Vaults: Volume One" CD7
_______________________________________________________________________

The Original Bootleg Series from the Manticore Vaults
The Original Bootleg Series from the Manticore Vaults is a four-volume "official bootleg" release by Emerson, Lake & Palmer on Castle Records[1] containing live recordings.[2] Each of the four volumes comprised four shows and contained seven or eight CDs. A two disc set of highlights from the first two volumes was released under the name Best of the Bootlegs in 2002

The quality varies wildly from rough on the Gaelic Park show.. though still VERY listenable to very good in the latter shows. I love the first show in particular being such a HUGE fan of their debut album, the Barbarian in particular. The energy and power that made Emerson Lake and Palmer's show such an event are very apparent on listening to the shows. Particularly interesting are how they tackle Tarkus with small but noticeable changes in the arrangements first from the studio version then through the year and a half that this set covers. Yes there are 4 versions of Tarkus here, but the piece evolves over the course of the year and a half that this set covers.

Amoung my favorite moments here is the performance of The Endless Enigma (speaking of...fabulous versions of) during the Saratoga set when the crowd was going SO wild during the beginning of the Fugue section that...being pretentious prog musicians that Emerson Lake and Palmer could be hahah.... stopped Fugue right in the middle of an Emerson piano figure and Greg Lake shuts the crowd up and gets them settled down... and the Emerson goes right back into fugue..as if nothing had happened. Awesome hahahha. Another split review for Micky... for me and fans of ELP 5 stars. It's essential for the ELP fan. For the forum at large... 4 stars. Having this in your collection might clue you in to why us old farts hold Emerson Lake and Palmer in such high regard over some of the stuff that is being issued today in the name of prog.

Who are Emerson, Lake & Palmer
Emerson, Lake & Palmer were progressive rock's first supergroup. Greeted by the rock press and the public as something akin to conquering heroes, they succeeded in broadening the audience for progressive rock from hundreds of thousands into tens of millions of listeners, creating a major radio phenomenon as well. Their flamboyance on record and in the studio echoed the best work of the heavy metal bands of the era, proving that classical rockers could compete for that arena-scale audience. Over and above their own commercial success, the trio also paved the way for the success of such bands as Yes, who would become their chief rivals for much of the 1970s.

Keyboardist Keith Emerson planted the seeds of the group in late 1969 when his band the Nice shared a bill at the Fillmore West with King Crimson, and the two first spoke of the possibility of working together. After the Crimson lineup began disintegrating during their first U.S. tour, Lake opted to leave the group. Upon officially teaming in 1970, Emerson and Lake auditioned several drummers before they approached Carl Palmer, not yet 20 years old and already an overpowering talent, as well as a former member of the Crazy World of Arthur Brown and Atomic Rooster.

Emerson, Lake & PalmerThe trio's first rehearsals mostly picked up from the Nice's and King Crimson's respective repertoires, including such well-known numbers as "Rondo" and "21st Century Schizoid Man." In August of 1970, ELP played their first show at the Plymouth Guildhall, just ahead of the Isle of Wight Festival in August of 1970, where they astonished more than half-a-million onlookers with their sound and instrumental prowess. One month later, the group finished their debut album, Emerson, Lake & Palmer, comprised of their strongest early originals and two dazzling classical adaptations filled with rippling piano and synthesizer playing by Emerson along lightning-fast drumming by Palmer, anchored around Lake's bass work. That album was an instant success, rising to the Top Five in England and the Top 20 in America with considerable help from a last-minute addition -- pressed to fill out the running time of the album, the group settled on a composition that Lake had written as a boy, called "Lucky Man." The latter became their debut single and made the Top 50 in America.


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Joe Cocker - Shut Out The Light OIL WELL label - RSC CD 026

Joe Cocker - Shut Out The Light
Oil Well RSC CD 026

1 With A Little Help From My Friends 9:51
2 Song For You 5:46
3 Allright,Whatcha Gonna Do 4:36
4 Guilty 3:20
5 Put Out The Light 2:56
6 Feelin' Alright 4:04
7 A Whiter Shade Of Pale 5:41
8 You Are So Beautiful 4:02
9 I Heard It Through The Grapevine 4:25
10 The Letter 4:30

Note:
All songs by Joe Cocker unless noted
Live in Oklahoma City, November 14 1972

Tracks 1-5 recorded live at Tower Theater (Philadelphia, PA), May 1 1976
Tracks 6-10 recorded live at Chance Theater in Poughkeepsie, NY, August 1, 1982

1982 Lineup:
Joe Cocker - vocals;
Cliff Goodwin - guitar;
Maxine Greene - vocals;
Howie Hersh - bass;
Linda Lawrance - vocals;
Larry Marshall - keyboards;
Tom Nicholson - piano, vocals;
BJ Wilson - drums

1976 Lineup:
Joe Cocker - vocals;
Gordon Edwards - bass;
Steve Gadd - drums;
 Eric Gale - guitar;
Cornell Dupree - guitar;
Richard Tee - keyboards

This album is a digital clone of: Live U.S.A. - Imtrat ‎– IM 900.043 (1991).
This Oil Well version has a fine cover, fine quality. Fold-out insert shows details of other CDs in the series. This concert has been released unofficially as "Historic Chance Club" on Midnight Dreamer label (MD-202) Limited to 200 copies only. Due to its rarity and good quality, this disc is recommended. On the front cover Joe Cocker performing live during a concert.
For years incorrect information circulated about the real origin of these recordings. We can say that this bootleg actually consists of the union of two different concerts from 1976 and 1982 both in FM/Soundboard quality.

The Tower Theater (Philadelphia, PA), May 1 1976
Kicking off with a high energy, piano-driven instrumental jam, Joe Cocker and his backing band brings down the house at the Tower Theater in Philadelphia back in '76. This show, recorded originally for broadcast on the King Biscuit Flower Hour, is a nearly hour and a half long set of Cocker favorites and tracks off his most recent album, Stingray.

Stingray was an attempt by Cocker to mix reggae music with his signature bluesy rock sound, and the songs included here from that new album include "I Broke Down," "Catfish," "The Jealous Kind," and "A Song For You," among others. The Cocker songs that made him a household name and an institution on FM rock stations are, of course, those classic covers, a remake of Billy Preston's "You Are So Beautiful" and the Beatles' "With A Little Help From My Friends."

Cocker is known across the globe for his raspy vocals which translate exceptionally well with the brand of soul he chooses to sing. Born in Sheffield, Cocker got his start with an English pub band, and an appearance at Woodstock with his cover "A Little Help From My Friends" followed by a subsequent sting with Leon Russell's Mad Dogs and Englishmen tour in 1970.

At the time of this show, he was on his way back into the rock 'n' roll world after a critical and commercial decline due to problems with alcohol. However, it was with the release of his gorgeous 1975 cover "You Are So Beautiful" that brought Cocker back to the attention of the masses. Cocker again found his way back into mainstream success with the duet "Up Where We Belong" that was featured in the movie An Officer and a Gentlemen.

After nearly 40 years on the rock circuit, Joe Cocker continues to be involved with music, most recently releasing Hymn for My Soul in 2007, which includes covers by Stevie Wonder, Bob Dylan, and George Harrison.

The Chance Theater in Poughkeepsie, NY, August 1, 1982
oe Cocker had come a long way from being a bar singer in Sheffield, England when he made this recording for the King Biscuit Flower Hour at the historic Chance club in the New York suburb of Poughkeepsie, NY, in 1982. It had been 13 years since Cocker performed at Woodstock and became a worldwide sensation with his thrilling performance that later appeared in the filmed documentary of the event, and Cocker had released several hits since then.

Although he has written some of his own material, Joe Cocker prefers to offer his own interpretations of the best songs he can find. This show is no exception with a strong variety of hits and legendary songs that had spanned his entire career. He opened the show with "Look What You've Done," the newest single at that time from his LP Sheffield Steel. Dave Mason, who wrote his landmark hit "Feelin' Alright" originally for Traffic, has likely seen more publishing royalties from the Cocker version, featured here. Cocker also does a solid read of Procol Harum's "A Whiter Shade Of Pale." The fact that he has original Procol Harum drummer BJ Wilson in his band didn't hurt this riveting rendition. On Marvin Gaye's "Inner City Blues (Make Me Wanna Holler)" and Bobby Charles' "The Jealous Kind," he changes the arrangement enough to make them sound brand new.

Cocker is a great interpreter of Dylan's material and his cover of "Watching The River Flow" is no exception. Cocker wraps up the set with his well established arrangement of The Beatles classic "With A Little Help From My Friends," a tender read of Billy Preston's "You Are So Beautiful," a thrilling version of the Marvin Gaye's classic, "I Heard It Through The Grapevine," and he gives new life to the '60s pop tune, "The Letter," which had been a hit for the Box Tops in 1966.
https://www.cv.org/joe-cocker/chance-august-01-1982.html

Audio quality: 
Quality content: 
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John Lennon – Come Together Oil Well – RSC 025 CD

John Lennon – Come Together
Oil Well – RSC 025 CD

1 Mother 4:57
2 Imagine 3:27
3 Come Together 4:17
4 Give Peace a Chance 7:41
5 Cold Turkey #1 3:31
6 Too Much Monkey Business 1:15
7 Brown Eyed Handsome Man 2:44
8 Rock Island Line # 1 2:31
9 Chords of Fame 4:07
10 Rock Island Line # 2 2:47
11 Jealous Guy 4:08
12 Dear Prudence 4:38
13 Cold Turkey # 2 4:11
14 New York City 2:56
15 Watching The Wheels 3:51
16 Dear Yoko 3:45
17 My Life 2:29
18 (Just Like) Starting Over 4:55
Total length: 68:10

Note:
All songs by John Lennon unless noted.
Live Providence, Rhode Island 1973

Tracks 1,2,3,4,14 recorded live at Madison Square Garden NY - 30 August 1972
Tracks 5,6,7,8 are from acoustic demos from John Lennon personal archive
Track 10 recorded live in studio
Track 11 with Plastic Ono Band 1971, Imagine sessions
Track 12 from White Album Demo Tape 1968
Track 13 from rehearsal in New York 1972
Track 15 John Lennon demo tape of 1980
Track 16 from John Lennon Early Bermuda Tape 1980
Track 17 from Bermuda demo tape - private archive
Track 18 from John Early Rough Mix, august 1980

Lineup
John Lennon – vocals, rhythm guitar, keyboards
Yoko Ono – keyboards
Wayne 'Tex' Gabriel – lead guitar
Gary Van Scyoc – bass guitar
John Ward – bass guitar
Stan Bronstein – saxophone
Adam Ippolito – keyboards
Richard Frank Jr. – drums

Jim Keltner – drums on "Jealous Guy"
Joey Molland, Tom Evans – acoustic guitar on "Jealous Guy"
Nicky Hopkins – piano on "Jealous Guy"
Alan White – vibraphone on "Jealous Guy"
John Barham – harmonium on "Jealous Guy"
Mike Pinder – tambourine on "Jealous Guy"
The Flux Fiddlers (members of the New York Philharmonic) – orchestral strings on "Jealous Guy"
Klaus Voormann – bass guitar on "Jealous Guy"

This album is a partial clone of "Christmas Present" CD1 - White Fly Records – WF 001/3
This Oil Well version has a fine cover, fine quality. Fold-out insert shows details of other CDs in the series. Limited to 200 copies only. Due to its rarity and good quality, this disc is recommended.

Audio quality: 
Quality content: 

 © Official released material:
Tracks 1,2,3,4,14 have been released on: Live In New York City 
Track 11 has been released on Imagine (The Ultimate Collection) 
Track 12 has been released on The Beatles (White Album - Super Deluxe edition) 
_________________________________________________________________________

Live in New York City
Live in New York City is a posthumous live album by English rock musician John Lennon with the Plastic Ono Elephant's Memory Band. It was prepared under the supervision of his widow, Yoko Ono, and released in 1986 as his second official live album, the first being Live Peace in Toronto 1969.

Recorded on 30 August 1972 at Madison Square Garden in New York City, Lennon performed two shows, one in the afternoon and one in the evening, a benefit concert for the Willowbrook State School for Retarded Children in New York,[5] at friend Geraldo Rivera's request. Rivera introduces Lennon and Ono at the beginning of the album, and he is referenced in Lennon's impromptu revised lyrics in the opening song, "New York City".

The benefit concerts, billed as One to One, also featured other performers in addition to Lennon, including Stevie Wonder, Roberta Flack, Melanie Safka and Sha-Na-Na, although their performances are not included on this album, nor on the simultaneous video release.

Upon its early 1986 release, Ono was criticised by former members of Elephant's Memory for using the first – and weaker – performance instead of the stronger evening show. They also took issue with the simultaneous video release of the concert, which it was alleged had been edited to show Ono as prominently as Lennon. However, on the album release, Ono's vocal performances on such numbers as "Hound Dog" had been mixed out completely. Additionally, all of her solo performances, which included "Sisters, O Sisters", "Born in a Prison", "We're All Water", "Don't Worry Kyoko (Mummy's Only Looking for Her Hand in the Snow)", "Move on Fast" and "Open Your Box", were deleted from the audio edition of the concert, to create a pure Lennon album. The video release retained the Lennon complete set-list including Ono's "Sisters, O Sisters" and "Born in a Prison".
Portions of the evening performance later saw release on the John Lennon Anthology.

Live in New York City reached No. 55 in the UK, and No. 41 in the U.S., and eventually went gold.
The concerts documented on Live in New York City were Lennon's only rehearsed and full-length live performances in his solo career, and his first – and last – formal, full-fledged live concerts since the Beatles retired from the road in 1966. Lennon never mounted a tour during his post-Beatles career. The concerts also marked the last time he performed live with Ono or with Elephant's Memory.

Political activism.
In September of 1971, John Lennon and Yoko Ono relocated to Greenwich Village in New York City and found themselves at the epicenter of political activism. They soon became friends with high profile activists Jerry Rubin and Abbie Hoffman and began making public appearances protesting the Vietnam War and the imprisonment of Angela Davis and John Sinclair. Fearing Lennon's influence and more specifically, that he had the ability to humiliate President Richard Nixon, the FBI began investigating, documenting John and Yoko's every move in an effort to find grounds on which to deport him.

It was against this highly charged political backdrop that John and Yoko began recording their album, Sometime In New York City, with an agenda to protest against the social injustices they observed in the United States. With Phil Spector producing and accompanied by members of the Plastic Ono Band and Elephant's Memory, the album was completed in March of 1972 and remains the most overtly political recordings Lennon ever recorded.

Live in New York City captures Lennon's last full-length concert performance, coming right after the release of Some Time in New York City. Backing Lennon and Ono were Elephant's Memory, who had served as Lennon and Ono's backing band on Some Time in New York City. Although the material Lennon performed was largely drawn from his three most recent albums of the period (John Lennon/Plastic Ono Band, Imagine and Some Time in New York City), he also included in the setlist his Beatles hit "Come Together" and paid tribute to Elvis Presley with "Hound Dog" before leading the audience in a singalong of "Give Peace a Chance". "Come Together", originally in the key of D minor, was performed in E minor.



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Van Morrison - Moonshine Whiskey Oil Well RSC 024 CD

Van Morrison - Moonshine Whiskey
Oil Well RSC 024 CD

1 Dead or Alive (5:19)
2 Moonshine Whiskey (7:48)
3 You're My Woman (5:59)
4 These Dreams Of You (3:26)
5 Domino (6:13)
6 Call Me Up In Dreamland (3:36)
7 Blue Money (4:10)
8 Buona Sera (3:41)
9 Into The Mystic (5:43)
10 I've Been Working (6:13)
11 Friday's Child (5:42)
12 Just Like A Woman (7:37)
 Total time: (68:14)

Note:
All Songs by Van Morrison unless noted.
Live in Sacramento, September 9, 1971 
Recorded live at Pacific High Studios, Marin, CA, September 5, 1971.

Lineup:
Van Morrison - guitar, harmonica, vocal;
Ronnie Montrose - electric and acoustic guitars, mandolin;
Mark Jordan - piano, organ;
Bill Church - bass;
Bill Atwood - trumpet, trombone;
Jack Schroer - soprano, alto, and baritone saxophones, piano;
Rick Shlosser - drums, percussion;
Ellen Schroer - vocals;
Janet Morrison - vocals

This album is a digital clone of: "The Inner Mystic"  - (Oh Boy – OH BOY 2-9040)
This Oil Well version has a fine cover, fine quality. Fold-out insert shows details of other CDs in the series. On the front cover Van Morrison performing live during a concert.
Limited to 200 copies only. Due to its rarity and good quality, this disc is recommended.

This Pacific High Studios material has been frequently booted. It is reviewed in full in the Discography entry for The Inner Mystic. The material also appears (in whole or in part) on a number of other boots, including: "Fridays Child", "I've Been Working"(Alegra – CD 9009), "Into the Mystic" (The Home(r) Entertainment Network  HEN 025-1/2), "This is Van Morrison", "Desert Land","Wild Night in California"(Nota Blu, 930161), and the vinyl "Van the Man"

This show from 5 September 1971 was notable for having lots of cover versions and other rarities, such as acoustic versions.  It was recorded in Pacific High Studios, a recording studio in San Francisco, in front of a small audience. That studio was used by the Grateful Dead to record "Workingman's Dead" in 1970, and Morrison used it around this time to record "St. Dominic's Preview." Local radio station KSAN used it to record live shows and play them over the radio, which is how this got bootlegged. So the sound quality is about as good as a live album from 1971 could possibly get.

This show doesn't really stand out in any particular way. It dates from less than a month from the second show (at the Lion's Share in San Anselmo, California), so it's not surprising that the song selection isn't that different. However, the performance is excellent and the sound quality is too, so the show is a must-have because there are so few concert recordings this good from this early in his career. Also, at one hour and 35 minutes it's a long show, 20 minutes longer than the Lion's Share one.

Audio quality: 
Quality content: 
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Van Morrison - Pacific High Studios (San Francisco, CA) - SEP 5, 1971
One of the most enigmatic songwriters of our time, Van Morrison first gained recognition as the lead singer of the Northern Irish band Them, writing their seminal 1964 hit "Gloria." When Morrison began pursuing his own career in the late 1960s, he began a long journey down one of the most idiosyncratic musical paths in history, becoming one of the most distinctive and influential vocalists in all of modern music. His synthesis of folk, blues, jazz, and Celtic influences is utterly unique. Although stylistically diverse, Morrison's greatest songs fall into two loosely defined categories. His popular hits, such as "Brown Eyed Girl," "Moondance," "Domino," and "Wild Night" are tightly structured around the stylistic conventions
of American soul and R&B, but an equally compelling catalogue consists of spiritually inspired
musical journeys that show the influence of Celtic tradition, jazz, and stream-of-consciousness
narrative, such as his debut album Astral Weeks and lesser known later works such as Veedon
Fleece. Hypnotic, meditative, and having a unique musical power, Morrison's music has always
defied classifications. He is a true innovator whose fusion of R&B, jazz, blues, and Celtic
folk has produced one of the most spiritually transcendent bodies of work of any musician of
the rock era.

Many live recordings have been made over the course of Morrison's career, but none is more celebrated or captures Morrison in better form than the live recording presented here. Recorded before an intimate audience of 200 at Pacific High Recording Studios and broadcast on KSAN radio shortly before the release of the Tupelo Honey album, this performance captures Morrison at a pivotal turning point in his life. He had recently relocated from the Catskill Mountains in upstate New York to the Bay Area. (Right from the start of his solo career, San Francisco embraced Morrison and arguably was the epicenter of his North American following during the early years of his solo career.) In addition to the move, Morrison was now a father; his daughter Shana was born the previous year. On the career front, he had just completed negotiations on a new recording contract, and the saxophone-fueled single, "Wild Night," had just been released, with the soon-to-be-released Tupelo Honey album destined to become the most popular album of his career.

In addition to the public debut of some of Tupelo Honey material, this potent performance includes key tracks from his first four solo albums and several live performances not to be found anywhere else. Additionally, the informal nature of this concert finds Morrison in relaxed and even jovial form, which is a delight in itself. Everything comes together perfectly here--the band, the audience, and Morrison thoroughly enjoying himself while performing. Despite being so comfortable, this is certainly not a laid back performance. In fact, the ferocity, intensity, warmth, and empathy of these performances have rarely ever been equaled. Both Morrison and his superb band are on fire here, so much so that it's a wonder that such desirable recordings were never officially issued. Indeed, this recording provides listeners with a greater sense of Morrison's wide-ranging influences and his ability to control dynamics better than any official release.

Setlist
Morrison sets the stage by beginning the performance with a slow burning buildup on "Into the Mystic," one of the standout tracks from his Moondance album. Propelled by a flawless rhythm section, Morrison and the band then tackle the Chicago-styled blues of " I've Been Working." Mark Jordan's jazzy piano and Ronnie Montrose's electric guitar work are superb here, and the horn section of Bill Atwood and Jack Schroer perfectly shadow Morrison's vocals. With its undeniable momentum and a soft conclusion that finds Morrison whispering "You Send Me," this smoldering performance far surpasses the Street Choir album recording from the previous year.

An extreme rarity surfaces next as Morrison explores "Friday's Child," a plaintive number about leaving home, dating back to his tenure in Them. One of the most amusing sequences of the set follows as Morrison begins singing "Que Sera Sera," then best known in America as the theme to Doris Day's popular television show. This humorous intro leads into a tremendously enjoyable performance of Lieber and Stoller's "Hound Dog." Featuring elements of Big Mama Thornton's bluesy original crossed with the frenetic style of Jerry Lee Lewis, this is both hard rocking and hilarious.

Morrison next performs "Ballerina," a track from his Astral Weeks album. Lacking the urgency of the celebrated album version, this nine-minute exploration is nonetheless thoroughly engaging, albeit in a more relaxed manner. Two tracks from Tupelo Honey are next served up back-to-back, beginning with the title song. One of the most romantic songs ever written, this is a potent performance with Morrison singing as if in a trance. The new single,"Wild Night" follows in gloriously frenetic fashion.

What may be the most passionate performance of this show comes next, as Morrison delivers a truly riveting take on Bob Dylan's "Just Like a Woman." This is drop-dead gorgeous with Morrison bringing a gut-wrenching intensity to the song. Morrison's spontaneous lyric alterations of "Your long time curse hurts, but what's worse is this queer in here, ain't it clear" and "Please don't let on that you knew me when I was weird and you were weird, too" bring the sexual ambiguity that Dylan only implied right to the surface. He sings this song with such tenderness that it is almost unbearable, and this stands as one of the most stunning performances of his career.

Tupelo Honey album
After such intensity, Morrison swings in the opposite direction with the more lighthearted joyousness of "Moonshine Whiskey," another new track from the Tupelo Honey album, followed by the swinging "Dead Or Alive." Another rarity, this latter number finds Morrison in Belfast Cowboy mode, cheerfully improvising lyrics as he goes along. This is another infectious performance that soon becomes a sing-a-long, engaging the audience to participate. Things again take a more serious turn with "You're My Woman," a penetrating ode to Morrison's then wife Janet. In what was likely its debut performance, this last of the Tupelo Honey album previews is another stellar performance.

The remainder of the set focuses on rhythm and blues and includes four of Morrison's own before
concluding with two choice covers. Several of Morrison's most familiar songs are featured here, beginning with a bouncy romp through "These Dreams of You," followed by a celebratory "Domino."
Morrison and his band deliver equally cheerful renditions of "Call Me Up in Dreamland" and "Blue Money," before closing the set with a lazy take on Sam Cooke's blues standard, "Bring It on Home to Me," followed by a utterly unique reading of the Italian farewell song, "Buena Sera, Senorita." This final number begins with the band humorously quoting the "1812 Overture" and takes what was an easy listening standard way over the top. It begins slowly, but approximately a minute and a half in starts rocking hard and concludes this performance on a downright ecstatic note.

This is Van Morrison at the top of his game, delivering a set fueled with unbridled passion.
With no trace of the nervousness or anger that occasionally marred his concert performances during this era and with his sense of humor so prominent, it is no wonder that this recording has achieved such legendary status among Morrison's fans and collectors. This provocative performance is often brilliant and is an enthralling listen from beginning to end.
https://www.cv.org/van-morrison/pacific-high-studios-september-05-1971.html


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