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Live At Montreux 1980

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Audio-CD, 19. August 2011
"Bitte wiederholen"
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  • Live At Montreux 1980
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Titelverzeichnis

Disk: 1

  1. Sweet little Lisa
  2. So it goes
  3. I knew the bride
  4. Queen of hearts
  5. Switchboard Susan
  6. Trouble boys
  7. Teacher teacher
  8. Girls talk
  9. 3 time loser
  10. You ain't nothin' but fine
  11. Crawling from the wreckage
  12. Let it rock
  13. I hear you knocking
  14. They called it rock
  15. Juju man
  16. Let's talk about us


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Format: Audio CD
Wollte man nörgeln, könnte man sagen: Der Mix ist etwas unausgewogen, der Gesang ist manchmal ein Tick zu sehr im Vorder-, dann wieder ein Tick zu sehr im Hintergrund, die Balance zwischen den Instrumenten ist nicht immer ganz gleichmäßig. Aber bitteschön: Wer will schon nörgeln? Denn dies hier ist (bis auf Weiteres) das einzige offizielle Live-Stereo-Dokument dieser Hammerband, die bei allem Respekt vor ihren Studioproduktionen eben nur live so richtig bei sich war - und wie. Ein Kracher nach dem anderen, keine Atempause, eventuelle Ansagen beim Konzert wurden herausgeschnitten, es geht wirklich Schlag auf Schlag. Und 1980 (kurz vor der Auflösung) hatten die Herren Edmunds, Lowe, Bremner und Williams ein derart traumwandlerisch sicheres Zusammenspiel erreicht bei nach wie vor unbändiger Spiellaune, dass einem hier im Affentempo ein Hochenergie-Kraftwerk um die Ohren bläst, dass es eine wahre Freude ist. Noch interessanter wäre möglicherweise eine vergleichbare Live-Aufnahme aus der Zeit um 1977/78, als die Band noch nicht offiziell unter dem Namen Rockpile auftreten durfte und nach allem, was man so in Video-Aufzeichnungen von damals sehen kann, noch eine Spur krachiger war. Kann man also nur nachdrücklichst empfehlen! (Im Gegensatz zur kürzlich veröffentlichten Rockpile-Rockpalast-Edition, die klanglich gegen diese CD hier klar abstinkt, dafür den Vorteil hat, dass man auf der DVD die Band auch sehen kann.)
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Format: Audio CD Verifizierter Kauf
Für Fans der legendären Rockpile ein absolutes Muss - vor allem weil es bisher keine offizielle Liveplatte gab. Tolle Aufnahmen - super Stimmung. Da wird man richtig wehmütig. Und dazu ein süper Preis und vorbildlichen Lieferservice
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Amazon.com: 4.6 von 5 Sternen 3 Rezensionen
1 von 1 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Five Stars 23. Juni 2015
Von Wallace Phillips - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
Very energetic show from a great band
8 von 8 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Pure Pleasure, Now and Always 12. Juni 2014
Von eurocrank - Veröffentlicht auf Amazon.com
Format: Audio CD
Rockpile was a rarity: a supergroup that didn't sound or act like one. It was the perfect 1980 band, combining love for and experience in the music of the past three decades ('50s, '60s, '70s) into its own perfect album and tours. Rockpile came into existence when one of the all-time great songwriters, Nick Lowe, joined a great guitarist with a notable history, Dave Edmunds, a great drummer, Terry Williams (soon-to-be of Dire Straits), and a fine guitarist in his own right, Billy Bremner. They got together to have fun, and they split up when the fun was over. Perfect.

'Live at Montreux 1980' is their perfect live album. Tight, hot, wham-bam-ohCharlieonemoretime!-thank-you-ma'am, unbelievably lively. Reports are they got dropped from a tour with stablemate Bad Company because the guys made Paul Rodgers & Co. irrelevant; they left the stage with the audience in their pocket. I'm listening to 'Montreux' as I write this review, and there's no doubt why.

Malcolm Dome wrote the liner notes to 'Montreux' with a similar sentiment to mine. A metalhead ('Kerrang!') liking rockabilly? Huh? Listen to this CD, and you'll hopefully see why.

Rockabilly isn't my favorite kind of music, either, but 'Live at Montreux 1980' should be on every rock fan's list of to-do's. Your honey might even thank you for it.
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4.0 von 5 Sternen They Called It Rockpile 28. Februar 2015
Von Gary Pig Gold - Veröffentlicht auf Amazon.com
Format: Audio CD
Just like most near-lifelong Beatlemaniacs stuck in the summer of 1980, news that no less than John Lennon was about to re-enter the recording studio after an unprecedented five year AWOL filled me and my ears with eager, excited anticipation. I mean, there could be no doubt the Chief Beatle would have identified with, not to mention greatly appreciated, the leather-jacketed back-to-raw-basics approach the late Seventies' p-rockers had brought to an otherwise milquetoast music scene during his hiatus. So, naturally, these new Lennon recordings would undoubtedly reflect said fire and fury, righting all that was wrong upon my AM and maybe even FM radio dial. Right?

"Imagine" then my utter disappointment when the resultant Double Fantasy - at least John's tracks - appeared coated with layer upon layer of innocuous goop that sounded far, far more Billy Joel than Joey Ramone.

I can understand, I suppose, that Lennon was being delicately eased back into the early Eighties marketplace with the least offensive, most mainstream audio sheen possible. But just a minute: This was a man who had until then never once feared to recklessly puncture the sonic envelope, public opinion not to mention the Billboard Hot 100 be damned. So why was he now making music with a buncha too-high-paid, perfectly-pitched NYC studio cats as opposed to with, duh, a real band?

Listen, forget Paul, George, and even Ringo - there already existed in 1980 a fab foursome that were more than up-to-the-task of injecting what turned out to be John's final recordings with all the fun and frantic force they so richly deserved. Why, these guys were even fellow Brits, one of whom had concocted a little retro-masterpiece called "I Hear You Knocking" which Lennon once remembered to be his favorite record of 1970!

Not only that, said combo had, on the very heels of "Double Fantasy," released a galloping gem of a record called Seconds of Pleasure which could stand the vinyl test against "Power To The People" and possibly even "Please Please Me" (to say nothing of "Cleanup Time") with one '59 Telecaster tied behind its back.

Alas though, as John chose to exit his recording career via the dreaded middle of the road, Billy Bremner, Terry Williams, Dave Edmunds and Nick Lowe, dba Rockpile, were busy bashing out some of the most brilliantly base rock 'n' bop you or I have ever heard. Even today, all these decades and D-chords later, songs such as "Teacher Teacher" and "Play That Fast Thing (One More Time)," to say nothing of albums like Labour of Lust, Repeat When Necessary, and the above-mentioned "Seconds...," flip flop and fry with all the majesty of your typical vintage Elvis or even, dare I say it, (With The) Beatles number. Yes, unless someone out there can prove to me otherwise, it appears Rockpile were just about the best band at work anyway, anyhow, and anywhere as those Seventies became the, gulp, Eighties.

Proof extremely positive of this claim can now immediately be found upon "Live At Montreux 1980," which in sixteen tracks and a mere, lightning 49 minutes captures the quartet at their absolute, astonishing popabilly peak.

Now remember that, due to myriad contractual (and other) snafu's at the time, Rockpile all too seldomly found themselves together on stage performing the dozens of songs they'd helped write, perform, and/or produce for slews of Mickey Jupp, Carlene Carter, Elvis Costello and of course Edmunds and Lowe records. In fact, only one "Seconds of Pleasure" track - the blackboard jangle classic "Teacher Teacher" - made its way to Montreux. Yet with numbers the caliber of Graham Parker's "Crawling From The Wreckage," the aforementioned Costello's "Girls Talk," and even a "Let It Rock" which, with its note-perfect "Rock Around the Clock" break, sounds so much more nutty yet nuanced than the Rolling Stones' previous reading, there's more than enough pleasures to go around and around.

For example: a thoroughly pub rock-soaked "Sweet Little Lisa," a "Queen of Hearts" precisely the way it's meant to be heard (so sorry, Ms. Newton), an undeniably adulterous "I Knew The Bride" not to mention possibly definitive versions of "So It Goes" and "Switchboard Susan." Why, even that oldie but still goodie "I Hear You Knocking" makes an appearance in typical R-pile reckless abandon. In other words, here is a band captured at its completely fully-stoked prime, ripping across their on-stage repertoire in a manner which, tempered and duly tamed, formed the basis upon which most every subsequent American "new wave" hit was built, from Greg Kihn on down to all the Tommy Tutones and Rick Springfields you'd ever care to recall.

But then, what of our heroes themselves?

Rockpile most unfortunately splintered soon after their Montreux grandstand, Dave Edmunds moving on to produce the reformed Everly Brothers, for example, and sustaining his solo career all the way through 1990's King Of Love while his erstwhile partner Nick Lowe eased into life as the undoubtable Cary Grant of rock 'n' roll (buoyed by abundant "What's So Funny 'Bout Peace, Love and Understanding" Bodyguard royalties for starters).

Tragically, I must report no other band has appeared since to fill the smash-happy void Rockpile left in our world. But at least we finally have, with "Live At Montreux," both aural evidence of what all the buzz was about and another sixteen reasons to mourn what could have only been if Billy, Terry, Dave and Nick had continued to call it rock for us all.

But! There remains plenty of "Double Fantasy" out-takes still begging for them to overdub upon, of course...
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