Tracks
Side 1:
1. Big Talk (5:41)
2. Sugar Moon (5:49)
3. Medicine (8:11)
4. Tombstone Child (4:07)
Tracks Side
2:
1. California Burning (4:24)
2. Deceit & Woo (10:45)
3. Share The Ride (4:18)
Tracks Side 3:
1. Tired Of Loving You (11:02)
2. Outta Step & Ill At Ease (6:06)
Tracks Side 4:
1. Double Crossing Man (4:33)
2. Love Dimension (9:37)
Where did all the live albums go? In the Second Great Age of Rock – also
known as the 1970s – they were the absolute cat’s pyjamas. After
Frampton Came Alive, every long-haired band of brothers was committing
their concert performances to wax, plugging gaps in album release
schedules, capitalising on new markets (we’re big in Japan, mum!) and
generally making an unseemly amount of money.
But it wasn’t just about the money. The humble double live album gave
popular music some of its greatest monuments: Thin Lizzy’s Live And
Dangerous, Motorhead’s No Sleep Til Hammersmith, Scorpions’ Tokyo Tapes,
B.B. King’s Live at the Regal, Dylan’s At Budokan, AC/DC’s If You Want
Blood…You Got It, Rainbow’s On Stage, the Stones’ Get Yer Ya-Yas Out,
The Who’s Live at Leeds…. It’s a long and prestigious list.
They were meatier, beatier, bigger and bouncier than their studio
counterparts. They were LOUDER, they were richer, they were faster. They
contained screaming hordes of fans, from the jet-engine whine of Cheap
Trick’s At Budokan (common title, that) to the all-male bellowing of
Whitesnake’s Live…In The Heart of the City. In a time before Snapchat
stories and Facebook Live, they were crystallisations of ‘you had to be
there’ moments; totemic happenings that only the privileged faithful
could truly experience.
Growing up, I dreamed – literally dreamed – of getting to witness one of
these legendary performances for myself. Live albums aren’t just about
songs – they’re about the raw, electric power of live music in a room
full of people going nuts.
Which brings us to DeWolff. The great revivalists, true to their 70s
bell-bottomed creed, have released not one but two double live albums –
this is Live & Outta Sight II. Their slab-sided, riff-tastic,
organ-burping music just cries out for the live treatment, and on this
record they give it both barrels. Their stamp of classic rock is really
just evolved blues, and the blues was born in two-bit sleazy dives. It
wants to breathe. It wants out of the cage. It wants to smell its
audience in the flesh.
Where did all the live albums go? In the Second Great Age of Rock – also
known as the 1970s – they were the absolute cat’s pyjamas. After
Frampton Came Alive, every long-haired band of brothers was committing
their concert performances to wax, plugging gaps in album release
schedules, capitalising on new markets (we’re big in Japan, mum!) and
generally making an unseemly amount of money.
But it wasn’t just about the money. The humble double live album gave
popular music some of its greatest monuments: Thin Lizzy’s Live And
Dangerous, Motorhead’s No Sleep Til Hammersmith, Scorpions’ Tokyo Tapes,
B.B. King’s Live at the Regal, Dylan’s At Budokan, AC/DC’s If You Want
Blood…You Got It, Rainbow’s On Stage, the Stones’ Get Yer Ya-Yas Out,
The Who’s Live at Leeds…. It’s a long and prestigious list.
They were meatier, beatier, bigger and bouncier than their studio
counterparts. They were LOUDER, they were richer, they were faster. They
contained screaming hordes of fans, from the jet-engine whine of Cheap
Trick’s At Budokan (common title, that) to the all-male bellowing of
Whitesnake’s Live…In The Heart of the City. In a time before Snapchat
stories and Facebook Live, they were crystallisations of ‘you had to be
there’ moments; totemic happenings that only the privileged faithful
could truly experience.
Growing up, I dreamed – literally dreamed – of getting to witness one of
these legendary performances for myself. Live albums aren’t just about
songs – they’re about the raw, electric power of live music in a room
full of people going nuts.
Which brings us to DeWolff. The great revivalists, true to their 70s
bell-bottomed creed, have released not one but two double live albums –
this is Live & Outta Sight II. Their slab-sided, riff-tastic,
organ-burping music just cries out for the live treatment, and on this
record they give it both barrels. Their stamp of classic rock is really
just evolved blues, and the blues was born in two-bit sleazy dives. It
wants to breathe. It wants out of the cage. It wants to smell its
audience in the flesh.
I’ve seen these guys do their thing in person, in a tiny club in Camden,
and it’s ferocious. Noisy and hairy they may be, but they’re also
incredibly gifted musicians. In the spirit of bands like Deep Purple and
Yes, the durm and strang are built not on bloody-mindedness but on
powerful playing. It’s the unrestrained delight of brilliant musicians
booting the conductor out of the way and going crazy.
With all that said, Live & Outta Sight II is a predictably riotous
listen. DeWolff are straight up joyous to listen to, unconcerned by
fashion or propriety, just raising their goblets of rock in a toast to
those who rock, rolling their eyes like there’s something wrong. There
are plenty of times for head banging, some times for studious listening
and blissed out arm-waving, some times for laughing, and it’s all time
to let go.
Deep, deep down in the human psyche, buried there on some primordial
plain untold thousands of years past, there is a little remnant memory
of the terror-inducing roar of lions on the prowl. It slept there
dormant until the 1960s, when men with sideburns put Hammond organs next
to Les Pauls and Marshall stacks and suddenly the fear leapt back to
the surface, mixed with adrenaline and gave us the knee-shaking,
grin-pasting joy of rock. DeWolff know how to get right down to it and
pull it up to the surface. Their music grabs you by the stomach.
This is a fine example of the lost art of live albums. Enjoy the music,
enjoy the moment and enjoy at sufficient volume to bring the fear up
from the depths. (JOSH HINTON, JUNE 15, 2019/culturefly.co.uk)
Pablo Van De Poel - Guitars, Vocals
Luka Van De Poel - Drums
Robin Piso - Hammond Organ, Vocals
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