DIR - 39 JOE COCKER - WOODSTOCK 1969-NEW YORK 1970

JOE COCKER - WOODSTOCK 1969-NEW YORK 1970
Il Dizionario Del Rock – N.° 39

1 Delta Lady 5:22
2 Space Captain 4:48
3 She Came In Trough The Bathroom Window 2:48
4 With A Little Help From My Friends 7:53
5 Feeling Alright 5:27
6 Honky Tonk Women 3:41
7 The Letter 4:15
8 Cry Me A River 3:51
9 Let's Go Get Stoned 7:22
10 Stick And Stones 2:29
11 Girl From The North Country 2:12

Note:
Tracks 1-3; 5-11 from 27–28 March 1970 at Fillmore East
Track 4 from Woodstock Festival 17th August 1969

1970 Lineup
Joe Cocker, Rita Coolidge, Donna Washburn, Claudia Lennear, Denny Cordell, Daniel Moore, Pamela Polland, Matthew Moore, Nicole Barclay, Bobby Jones - vocals
Leon Russell - lead guitar, piano, backing vocals
Don Preston - guitar, backing vocals
Chris Stainton - organ, piano
Carl Radle - bass guitar
Jim Gordon, Jim Keltner, Chuck Blackwell - drums
Chuck Blackwell, Sandy Konikoff, Bobby Torres - percussion
Jim Horn, Bobby Keys - saxophone
Jim Price - trumpet

1969 Lineup
Joe Cocker - lead vocals
Henry McCullough - lead guitar
Neil Hubbard - rhythm guitar
Alan Spenner - bass
Bruce Rowland - drums
Chris Stainton - keyboard

This album is part of the italian series made by Armando Curcio Editore.

This album as been digitally remastered in 1991, it has a fine cover, fine audio quality for the time.

Due to its rarity and good quality, this disc is recommended. These bootlegs offer an excellent image of the various bands, in some cases, better than the official material of the time. Please note that many of these bootlegs and songs have been released officially in different moments:

Please read below for other infos.

Audio quality: 
Quality content: 

 © Official released material:
This album is a copy of Mad Dogs & Englishmen.
All tracks have been recorded 27–28 March 1970 at Fillmore East expect With A Little Help From My Friends from Woodstock Festival.
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Mad Dogs & Englishmen
Listening to this CD brings back a lot of memories. Mad Dogs & Englishmen was just about the most elaborate album that A&M Records had ever released, back in 1971, a double LP in a three-panel, fold-out, gatefold sleeve, with almost 80 minutes of music inside and a ton of photos, graphics, and annotation wrapping around it. A live recording done in tandem with a killer documentary film of the same U.S. tour, it was recorded at the Fillmore East, where the movie was a cross-country affair, and the two were, thus, completely separate entities -- also, as people couldn't "buy" the film in those days, the double LP has lingered longer in the memory, by virtue of its being on shelves, and also being taken off those shelves to be played. Unlike a lot of other "coffee table"-type rock releases of the era, such as Woodstock and The Concert for Bangladesh, people actually listened to Mad Dogs & Englishmen -- most of its content was exciting, and its sound, a veritable definition of big-band rock with three dozen players working behind the singer, was unique.

The CD offers a seriously good sound, whether it's just Joe Cocker and a pianist and organist in the opening of "Bird on a Wire," or the entire band going full-tilt on "Cry Me a River"; the remastering was set at a high volume level and there was a decent amount of care taken to get the detail right, so you can appreciate the presence of the multiple drummers, and the legion of guitarists and singers, plus the multiple keyboard players. The lead guitar and solo piano on "Feelin' Alright," for example, come through, but so do the 34 other players and singers behind the lead. This record was also just as much a showcase for Leon Russell as it was for Joe Cocker, which A&M probably didn't mind a bit, as Russell was selling millions of records at the time. As is now known, and it's recounted in the new notes, the tour from which this album was drawn all but wiped out Joe Cocker -- on a psychic level -- because the music was presented on such a vast scale (and there is a moment in the movie where he mentions breaking up his former backing group, the Grease Band, with a hint of regret in his voice) and his own contribution was so muted by Russell's work as arranger and bandleader. He may well have been the "victim" of a "hijacking" of sorts, but the musical results, apart from the dubious "Give Peace a Chance," are difficult to argue about upon hearing this record anew, decades after the fact -- it's almost all bracing and beautiful.

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