This four-disc, 68-track collection paints a broad definition of the blues, with cuts ranging from vintage country blues (Robert Johnson's “Cross Road Blues,” Son House's “Death Letter Blues”) to uptown jazz blues (Nina Simone's “Blues for My Mama,” Billie Holiday's “Billie’s Blues”), Chicago blues (a live version of “Howling Wolf” by Muddy Waters), British blues (Jeff Beck's “JB’s Blues”), and contemporary acoustic blues (“Am I Wrong” by Keb' Mo'), with plenty of stops in between, making for a random but varied playlist that circles the different approaches and musical definitions of the genre.
Road Trips Volume 4 Number 1 is a live album by the rock band the Grateful Dead. The 13th of the Road Trips series of archival releases, it contains two complete performances by the band, recorded on May 23 and 24, 1969. It was released as a three-disc CD on November 16, 2010. Road Trips Volume 4 Number 1 is subtitled Big Rock Pow-Wow '69. It was recorded at a rock festival called the Big Rock Pow-Wow, which took place on Friday, Saturday, and Sunday, May 23, 24, and 25, 1969, at the Hollywood Seminole Indian Reservation in West Hollywood, Florida. Other artists who performed at the festival included Johnny Winter, Sweetwater, Joe South, Aum, NRBQ, Rhinoceros, Muddy Waters, and the Youngbloods. At the end of the Saturday night concert, Timothy Leary spoke from the stage.
The performance here of Samson is definitive. It is lively, colourful and highly dramatic. There is no comparison with the tedious performance by the Sixteen on Coro. The performance of the Messiah with limited modern instrumental forces of the English Chamber Orchestra and Chorus with very good soloists doesn't sacrifice grandeur nor does it go to the other extreme of over-blown pomp. It is a very good performamce on modern instruments under the direction of the Baroque music specialist conductor Raymond Leppard.
This recording by Trevor Pinnock is one of the finest ever. Played on original baroque instruments, the sound is a little thinner than what we are used to with modern orchestras. This is not a fault - it is actually an advantage. It brings Bach to life - every instrument is heard clearly, the feel is gutsy, real, lively. This is the Brandenburgs as Bach himself would have heard it. Wonderful stuff.