Genesis King Biscuit Flower Hour 1976

The two discs of Steve Miller Band: On Tour 1973-1976 feature two Steve Miller Band concerts recorded in 1973 and 1976, respectively, by (and for eventual broadcast on) the infamous King Biscuit Flower Hour. The soundboard recordings are pristine, with each bandmember occupying an equal part of the spectrum. The 1973 incarnation, captured at Shady Grove in Washington, D.C., still holds some connection to the earlier, more blues-based years of the band. As such, the disc contains a good deal of blues-rock jamming, much of which is admirably tight, though it falls prey to some of the era's excesses. Also contained is an early version of "Fly Like an Eagle," which Miller road-tested in several versions before setting it to wax. Following extensive touring around that period, Miller took an extended hiatus from the road, during which time he recorded both Fly Like an Eagle and Book of Dreams, what would prove to be his two most successful albums. Following the recording of those albums, Miller took to the road again, with a new band featuring Gary Mallaber, Lonnie Turner, Norton Buffalo, David Denny, and Byron Allred. The music is different, too. The blues influence is still there, but the band is sleeker and more modern.

David Crosby - Live On The King Biscuit Flower Hour (1989) {King Biscuit Flower Hour Records KBFHCD009 rel 1998}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 487 Mb | MP3 @320 -> 178 Mb
Full Artwork @ 300 dpi (png) -> 23 Mb | 5% repair rar
© 1989, 1998 King Biscuit Flower Hour Records / Pinnacle Ent. | KBFHCD009
Rock / Folk Rock / Soft Rock

After a stint in prison, David Crosby (guitar/vocals) emerged from his year-long incarceration a completely clean and sober (gasp!) man. His revitalization was marked by a period of unbridled creativity, yielding his second solo effort Oh Yes I Can (1989). Crosby was supporting the album during the spring 1989 tour that produced the material on this disc. The set was recorded live at the Tower Theatre in Philadelphia and backed by a powerhouse combo that included longtime CSN bandmate Michael Finnigan (keyboards), Dan Dugmore (guitar), Jody Cortez (drums), and Davey Farragher (bass/vocals). Indeed, abstemiousness suits Crosby as his powerful, emotive vocals, and strident fretwork have rarely been as well defined or as energetic as they are here.

This album was recorded their gig at San Diego Sports Arena in San Diego, California, February 8, 1974. The line-up featured Mick Box, David Byron, Ken Hensley, Lee Kerslake, Gary Thain, were so called "classic" Heep line up and it's easy to hear why. This night was a powerful night.

For his 2001 All-Star Band outing – his fourth captured on album – Ringo Starr is joined by fellow old-timers like bassist Greg Lake, Ian Hunter on guitars, Sheila E., Howard Jones, and Supertramp's Roger Hodgson (who contributes three songs, with the rest relegated to a single track apiece)…

The show captured on King Biscuit Flower Hour (In Concert) (1996) was recorded circa Greg Lake's 1981 self-titled debut, and features Lake (guitar/bass/vocals) leading an impressive backing combo with Gary Moore (guitar), Ted McKenna (drums), Tommy Eyre (keyboards), and Tristian Margetts (bass). The set originated as a King Biscuit Flower Hour broadcast from the Hammersmith Odeon in London on November 5, 1981. During this time, Lake was on an extended hiatus from Emerson, Lake and Palmer (ELP), and issued a pair of solo efforts…

This concert captures Gentle Giant at the top of their form and the peak of their fame in the United States, coming off of a Top 50 U.S. chart placement the previous year for The Power and the Glory…

This live performance presented by the King Biscuit Flower Hour is an above average production of Wakeman's best-loved tunes. King Biscuit appropriately keeps the concert full-length, without any splicing, so that the songs are enjoyed exactly as they were during the staging. Wakeman electrifies San Francisco's Winterland Theater with stunning versions of "Lancelot and the Black Night" and "Merlin the Magician," two of this album's finest cuts. Particular attention is given to "The Forest," a track rarely played live from Wakeman, but placed fittingly in the middle of the eight selections here. Recorded in 1975 at the height of progressive rock's glory days, Wakeman's attentiveness and passion can be felt from the opening keyboard surge.