Not bad, but not much to excite me or to encourage me look out for their earlier stuff. Until now I was only familiar with their 80s Centerfold and Freeze Frame output. Philip Qvist: Wow - this was an excellent choice. I'll bet this one will be in my 'hot' file until their next album is out, and if this is any kind of clue, it ought to be one bad jam!" ( Rolling Stone) "There are damn few live albums that hold up as strong as this all the way through - or that you'll ever want to play again. Clocking in at just under 40 minutes, it packs a relentless punch that leaves the listener drunk with pleasure from the powerful momentum the band brought to the stage and left them wanting more." ( All About Jazz (opens in new tab))
WHAMMER JAMMER J GELLS BAND FULL
"Minute for Minute, "Live" Full House is one of the densest rock live albums ever produced. "Live" Full House is a short, punchy shot of rock & roll genius by one of the great bands of the '70s and one of the best live albums ever recorded." ( AllMusic (opens in new tab)) Geils himself on guitar when you have a magnetic frontman like Peter Wolf or the unstoppable force that is harp player Magic Dick (check Whammer Jammer for proof of his greatness), but his soloing on this track serves notice that he could tear off a ferocious solo with the best of them.
WHAMMER JAMMER J GELLS BAND CRACK
The album may have failed to crack the Billboard Top 50, but it was a huge critical success with a potent presence on underground radio, and it remains one of the finest live documents of its era. Geils Band – wailing harp, churning organ solos, pungent blues licks and the irrepressible Wolf – into the best part of 10 glorious minutes. Perhaps the best of the bunch was a monumental version of John Lee Hooker’s Serves You Right To Suffer, a song that folded everything vital about the J. The result was the kinetic Full House, which featured strutting takes of First I Look At The Purse, Looking For A Love and Otis Rush’s Homework, alongside two-fisted originals Whammer Jammer and Hard Drivin’ Man. In April ’72 the band headed for Detroit, a favoured stronghold, and pitched up for two nights at The Cinderella Ballroom. Why don’t you just do a live record? Just capture what you’re doin’ on stage.’” “He came to see us play,” said singer Peter Wolf, "and said: ‘You’re a great live band, but I listened to your albums and I’m just not getting it. Enter manager Dee Anthony, then overseeing rock heavyweights Humble Pie, Emerson, Lake & Palmer and Joe Cocker.
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