Vintage fare, two live LPs; record one at The Matrix, San Francisco, 1967 and record two live at California Hall, San Francisco 1966 LPs make up the record. Janis Joplin fronted Big Brother and the Holding Company, David Getz (drums), Sam Andrew (guitar), James Gurley (guitar) and Peter Albin (bass, vocals) the other members.
Joplin’s big, raw-bond lead vocals aided by drums, lead guitar and bass from ensure the shows are awash in hard-hitting, smoking rock ‘n’ blues fashioned music. Much has been said about the wild living Joplin and the era, but here you have the opportunity to drink in the music that poured from the battered soul of Joplin and her band. Her impassioned vocal style as she sings lead on the likes of Big Mama Thornton’s smouldering blues ballad “Ball And Chain”, “Women Is Losers” (of the two versions featured the first is the strongest in every department) and the chugging “Hey Baby” plus a frenetic version of folk standard “Coo Coo” are typical of the band. While with guitars blazing instrumental “In The Hall Of The Mountain Kings” has all the hallmarks of the bands ‘freak-rock’ as you had psychedelic smattered with possible occasional hints of oriental; it was wild music, complete with inevitable excessive forays. If her vocals aren’t given the room I would have preferred that is another matter, it only makes it sweeter still when she is given the freedom to press home on the likes of “Let The Good Times Roll”, on which Joplin shares vocals with Albin and they have stellar support from the band too. They sound good. Likewise is the story on “I Know You Rider”, but it is Albin who kicks away in style “Moanin’ At Midnight”. With lots of guitar riffs, and a muddy rhythm it is real gusty, down in the mud blues sound and appropriate Joplin gets to come in once things warm up with her abrasive tones. Another blast is “White Guru” with Albin on lead, and on using strains of another melody (or two as you have bits of “Boony Maronie” and others also thrown in) plus a little semi-monologue and the players, plus harmonies of Joplin right on the button the energy builds to it reaching near exploding point! Nice one band.
On occasions I feel Joplin’s microphone could have been turned up a little and her tones heard in all their gritty splendour, although this is not the case on her own “Turtle Blues” and “Bye, Bye Baby” (arguably her best performance on the record) and a hint of just how good she could be as a solo performer. It is such a shame her flame was extinguished long before her time. And, yes the twin-vinyl set comes in gate fold fashion and contains some interesting liner notes.
Maurice Hope