Fairuz à L'olympia فيروز في الأولمبيا Live 1979

There are a few number of live albums released by Fairuz (apart from the musical plays), considering the great number of concerts she has made in the entire world and 'At the Olympia' must be one of the greatest among these albums. The number of the songs is very big, more than 25 and there is also a number of instrumentals. The concert(s) was held in the Olympia, Paris, France on the 3rd and 4th of May 1979.
Inside the booklet there are some documents and articles on Fairouz and the Rahbani, their beginnings, tours, etc… , but all in French (which I only know of 'Je n'parle pas le Francias mais Je parle l'englaih', I am not even sure about the spelling). There are also some pictures taken from the concert, the airport? and the Olympia hall.
The quality of the album is unbelievable. If you have a good sound system setup, close your eyes and play this album and you'll feel as if you're IN the concert. Voix de l'Orient couldn't make it all the way good, they crammed the songs on 3 tracks on each CD, which is to say the least, misuse of the CD technology. Bottomline: Get it.
www.fairouz.com

On Friday 21st June 1979, the Steve Hillage Band performed a headline set of soaring psychedelic guitar riffs of cosmic aspirations. The summer solstice night was a pivotal point in Steve Hillage's musical journey, and this recording, provided from Steve's personal archives, will cement the performance as historic. Prior to the festival, Steve and the band spent two weeks rehearsing in a barn at Worthy Farm, site of the Glastonbury Festival. They crafted a set fitting and psychedelically uplifting enough to truly celebrate the longest day of Summer at such an auspicious location. Steve was an integral member of the Glasto team alongside Michael Eavis, 'Pyramid' Bill Harkin and Turbosound/Funktion One's Tony Andrews. Their work focalised the 1979 Fayre, helping the rebirth of the first of the modern Glastonbury Festivals. After spending the 80's in music production, Steve and his partner Miquette Giraudy returned to recording and live performance in the 90's with the dance oriented System 7 and was fundamental in the introduction of the Dance Stage to Glastonbury in 1995.

Accompanied by Johnny Winter and his band, Muddy Waters turns in an enthusiastic performance on Muddy "Mississippi" Waters Live. The set list contains most of his biggest hits, and the sound quality and performances are mostly energetic. Still, there's something faintly repetitive about this record. For one thing, there's only one song here, "Deep Down in Florida," that comes from any of Waters' recent albums. All of the others are old standards, which makes this album rather superfluous, since there are equally forceful performances of these cuts elsewhere. It doesn't help any that "Deep Down in Florida" isn't an especially noteworthy song, sounding more like a rewrite of Waters' older, better cuts. Without much in the way of new material, or anything especially notable about the performances, it sometimes comes off as little more than a set of Muddy Waters' greatest hits, with applause as the sole new ingredient…

Mother's Finest tried to smash the embargo blocking black rock acts with this live record. It was the closest any album came to actually conveying the kind of nonstop excitement, spontaneity, and unpredictability of their live shows, although it also showed how vocally erratic they could be in performance. The failure of a band that had as exciting a vocalist as Joyce Kennedy and did both solid rock and fine grinding funk proved one of the '80s' more puzzling questions. It couldn't just be attributed to racism either, because Mother's Finest actually did better among white audiences than black ones.

Accompanied by Johnny Winter and his band, Muddy Waters turns in an enthusiastic performance on Muddy "Mississippi" Waters Live. The set list contains most of his biggest hits, and the sound quality and performances are mostly energetic. Still, there's something faintly repetitive about this record. For one thing, there's only one song here, "Deep Down in Florida," that comes from any of Waters' recent albums. All of the others are old standards, which makes this album rather superfluous, since there are equally forceful performances of these cuts elsewhere. It doesn't help any that "Deep Down in Florida" isn't an especially noteworthy song, sounding more like a rewrite of Waters' older, better cuts. Without much in the way of new material, or anything especially notable about the performances, it sometimes comes off as little more than a set of Muddy Waters' greatest hits, with applause as the sole new ingredient…

In 1977, after three years' time off working on various solo projects - which were to have culminated with a trio of solo albums - Emerson, Lake & Palmer reunited to release Works, Vol. 1, a double LP containing the best of the solo works plus a side of group-conceived pieces. All in all, it was the most ambitious and wide-ranging body of music they'd ever released, and was followed by the more modestly proportioned but still successful Works, Vol. 2 in November of that year, and a tour that fall and winter; in keeping with the albums that spawned it, the concerts initially featured a 90-piece orchestra supporting the trio. They weren't able to keep the orchestra for more than a handful of shows before the money ran out, and the group spent the rest of the tour working as a trio to pay off what was owed, but they recognized the importance of those performances with the orchestra…