1. You Shook Me, 2.Let Me Love You, 3. Morning Dew, 4.Jeff Boogie, 5. Hi Ho Silver Lining, 6. The Sun Is Shining, 7. The Sun Is Shining (Blues De Luxe on cover), 8. I Can t Hold Out, 9. Jeff s Boogie, 10. Sweet Little Angel, 11. Shapes Of Things, 12. Hi Ho Silver Lining, 13. Beck s Bolero, 14. Rock My Plimsoul, 15. Oh Pretty Woman.

This Far East release presents a known soundboard broadcast from The Jeff Beck Group in fantastic quality, the stereo separation is almost brutal and there is no hint of hiss. Jeff Beck Group week long stop at San Francisco s Fillmore West in late July 68 was the highlight of their first US Tour with 6 concerts in all where they opened a bill featuring Moby Grape and Mint Tattoo and thanks to Bill Graham who gave the tapes of the Wednesday show to KSAN, the pioneering FM radio who broadcasted them in late October 1972. These tracks came out on many bootlegs, namely We Love You (Scarecrow 21-22), Blues De Luxe (GFR 870) (6 tracks), Morning Dew (STTP 203) (5 tracks), Fillmore West 1968 (JBG#1) (6 tracks-Japan 2015), Live at the Fillmore West 1968 cdr and then on East & West (EVSD 595) in 2014, However this release has the merit to present a master recording taken from the original tapes. From Wolfgang s Vault description: they begin the set with a take of Willie Dixon s You Shook Me, which soars directly into Let Me Love You, both featured on the Truth  album; within seconds, the band is blazing with energy. Stewart s passionately raspy vocals and Beck s searing guitar lines cannot be ignored. The biting guitar tone and use of sustain and a compelling call and response section between Beck and Stewart are so effectively realized that it is no wonder so many tried to copy this formula. None of this was lost on Jimmy Page, as this sound and approach virtually served as a blueprint for Led Zeppelin s live sound the following year. A cover of Bonnie Dobson s apocalyptic vision, Morning Dew, follows; beginning sparse and foreboding, the song gradually builds momentum, the first verse highlighting Stewart s vocals before the band comes in hard for the second verse. The song vacillates back and forth, but after the return to sparseness in the third verse, they fly off into a furious musical rage. Ron Wood approaches the bass like a guitarist, adding fills and counterpoint, in addition to a fluid bottom end. Beck utilizes the wah-wah to add squawking sounds of death before they ease back down, tagging the song with a sad introspective little guitar coda at the end.  Following Morning Dew, Stewart announces that Jeff is going to liven things up a bit with the showcase song from his Yardbirds days, Jeff's Boogie. Incredible as that original Yardbirds recording was, it is tame in comparison to this. The song alternates between hard swinging rhythm and absolutely scorching solos, gaining in excitement and creativity with every pass. At one point, Beck interjects some humour by whipping into the immediately recognizable theme song from The Beverly Hillbillies! This explosive soloing continues until they suddenly stop, take a brief gasp of air, then continue the staggering barrage in double time! Truly breathtaking. Possibly as homage to the hippiedom of San Francisco, Beck closes the set with the rarely performed single, Hi Ho Silver Lining, taking on the lead vocal himself. This obscure single was as close as Beck ever went toward pure pop psychedelia. With Stewart helping out on the sing-a-long chorus and demented guitar solos galore, this performance smokes the original single in every possible way. Then comes The Sun is Shining, composed by Elmore James, which is a delicious slow blues number, featuring Beck and company playing in a more traditional manner and Stewart sings some verses from Blues De Luxe . It s another winning performance where one can truly appreciate the nuances of Beck s tone, touch and technique, now instead of Blues De Luxe advertised on the back cover there is another live version of The Sun Is Shining which is a bit longer than the previous one (35 seconds) and better sounding, but the same track. According to the back cover the rest of the tracks come from Thee Image Club in Miami, Florida missing the first song, but actually they are from the Luanne s concert held in Dallas a week before, the marker is the band introduction after Jeff s Boogie that is only on the Dallas concert that was already released on cdr as Dallas Bolero (Thumb s Up) and on a silver disc as Tour De Force (Scorpio 033070), lately re released as Doin That Crazy Thing (no name label) and as Tree Image Attack (Breakdown 432), Miami Heat (GFR 680) and Miami 68 cdr both have the Lu Anne recording too. The audience is so calm that Jeff Beck had to say over the microphone: It s like a library in here! in order to get some people clapping along. This is a great audience recording for 1968, in stereo but with an annoying background noise which makes us appreciate more and more the Fillmore tape. The real Miami 68 recording has been partially released on Like a Hurricane, My Primsoul (OPM) and Live Archives 68-69. So this grey market release can certainly be commended for the spectacular sound output of the main concert, let alone the usual mistakes which are the heritage of previous bootleg releases.