The Album version to close the day . . . . . .
Robert Plant and Saving Grace perform "It's a Beautiful Day Today," from the album 'Saving Grace,' out now on Nonesuch Records: https://robertplant.lnk.to/savinggrace
Saturday, November 29, 2025
Remembering George Harrison February 25, 1943 - November 29, 2001
Remembering George HarrisonFebruary 25, 1943 - November 29, 2001
“George was a giant, a great great soul w/all of the humanity
all of the wit & humour ~ all of the wisdom ~ the spirituality ~
the common sense of a man & compassion for people.
He inspired love & had the strength of a hundred men.
He was like the sun, the flowers & the moon & we will miss him enormously.
The world is a profoundly emptier place without him.”
Bob Dylan
Unable to make a tribute concert dedicated to Harrison in 2002, Dylan sang his own version of George’s Abbey Road contribution ‘Something’ to a New York audience.
“I just want to do this song for George,” he told those present, “because we were such good buddies.”
Bob Dylan - ‘Something’ NY 2002
"The Concert for George" was a tribute to George Harrison, held one year after his passing on November 29, 2002, at London's Royal Albert Hall. Unable to attend, Dylan instead performed "Something" in Harrison's honor as a special, extra third encore at his show on November 13, 2002 at New York's Madison Square Garden. In an emotional voice Dylan told the audience, "There’s a tribute going on, I guess it’s next week or the week after, it’s over in England, for George Harrison. And, you know there’s all kinds of people going over there, I’m not sure who. But we can’t make it, and that’s why I'm going to do this song now in remembrance of George, because we were such good buddies." The soft tones of Dylan's tender introduction are replaced by an enthusiastic roar of recognition from the crowd immediately upon hearing the song's first two or three unmistakable notes. It seemed like a special moment for the musicians and the audience, with Charlie Sexton pouring himself into his guitar solo at Bob's prompt, Larry Campbell providing gorgeous backing on mandolin, and Dylan clearly moved and highly emotional throughout. That mood continuing through the musicians' several moments standing at the front of the stage taking in and acknowledging the crowd's long rounds of applause, loud cheers, and whoops of appreciation before the lights went down the final time. This performance of "Something" from 2002 was the first video posted here and is still the most heavily viewed of all of them, by several orders of magnitude. The original was encoded in DVD format by my late husband Jon in 2003 along with a few other sample clips that married my videos with his DAT audios, to share with a few friends. This new version has been upgraded to 4K, offering much improved video quality, and I've re-synced and remastered the accompanying DAT audio track to make Dylan's introduction more clearly audible and, at least I hope, to also improve the sound on the clip in general. Thanks to a new, second PC I finally acquired a few weeks ago that is an actual fully decked out, kickass-quality, professional digital video workstation, I'll now be able to produce many more videos with 4K resolution, and prepare new clips for upload much faster than before. It wil also allow me to step up the pace on the larger project of digitizing and sharing some of the volumes of other musical material from the "Casper Audio and Video Music Archive" - including more from Dylan as well other musicians.
George - If Not For You [Bob Dylan 30th Anniversary ]
Russia buys Brexit!
“£8.4 million — it was the biggest ever political donation in British history, and made by an insurance salesman made uneasy by immigration and who opposed Britain’s membership of the European Union. Arron Banks gave this enormous sum of money to the 2016 Brexit campaign.
If that money came direct from Banks’s bank account, then it was perfectly legal. (Perhaps unbelievably Banks has not been found to have breached electoral law). Foreign donations to elections and referendum campaigns have to be declared and identified. One of the biggest failures of the 1997 Labour government was not to adopt clear laws limiting political donations. Britain failed to ban donations by rich individuals or rich trade unions who want to buy influence.
Instead money continues to flow into political parties from the super rich, in exchange for access, peerages, and contracts.
Banks’s close associations with the Russian government are not disputed. His own published accounts of his involvement in the Brexit campaign recorded meetings with the Russian ambassador Alexander Yakovenko, a close Putin associate.”
thearticle.exchange"
Atticus Blue - Buskers playing Tom Petty ‘Free Falling . . . .
They Started Playing Tom Petty - Free Fallin’ . . . . .
we love thtis song . . . and we miss Tom don’t we . . . . . thanks boys
Lightning Hopkins - Mojo Hand | blues.in.colour
Somebody posted this take of Lightning playing Mojo Hand with his band and then refuised to share so here’s a colourised version . . . . . .
The one and only Lightning Hopkins filmed in Baden-Baden, Germany for the series 'Jazz Gehört und Gesehen' by Südwestfunk channel in September 1964.
Lightning Hopkins - Guitar & VocalWillie Dixon - BassClifton James - Drums
I don't make anything colourising and putting these videos together so please support the channel with the link here if you can its greatly appreciated! https://www.paypal.com/paypalme/bluesincolour
Emmylou Harris - Luxury Liner 40 Tons of Steel
Emmylou Harris
Luxury Liner 40 tons of steel
With Albert Lee (guitar) and The Hot Band
Jane Asher - Muses contd. 137 ( Deep End 1970)
DEEP END (1970) dir. Jerzy Skolimowski
“I remember sitting up late every night rewriting my dialogue. But Susan was terrific to play. She’s at that stage where she’s completely aware of her sexual power and uses it ruthlessly.” (x)
Possibly Asher most controversial and openly erotic work on film . . . . . powerful actor
Another AI artwork from Kelly Eldridge Boesch
Kelly posts another one I like . . . .its about conspiracy theories
Kelly says:
"I really love this image style. The surreal realism. And the lighting is beautiful. This song is called “Rabbit Holes” and is about conspiracy theories and strange things people believe. I am completely fascinated with how some people are susceptible to falling for this stuff. I listened to a podcast about a young woman from a very liberal family who went down the Qanon rabbit hole in one weekend on YouTube and turned into a Qanon conspiracy theorist and ended up going to the Capitol and getting crushed and suffocated to death on the stairs of the capitol. Insane story. Or some of the totally strange things in some religions. I am not a religious person but I am spiritual in ways. I just don’t buy into organized religion. But to each his own and just as I wouldn’t want anyone telling me what to believe I would never tell anyone else. We all need to follow our own path. I believe in kindness and empathy and treating people with respect. Loving our earth and animals. I am very thankful for the beautiful messages people send to me. I want to compile some and share them. It means a lot to me that you take time out of your day to watch and write. Thank you so much. I do try to respond the best I can but I post on 6 platforms and get thousands of messages so it gets really hard. I do all of this myself. Creating, posting, uploading, answering. Sometimes I see my followers answering questions people ask and it’s so sweet. Like where to find the music etc. I appreciate all of you ❤️❤️❤️”
I LIKE HER!
(have I said!?)
Billy [Preston that is!] drops by on the Beatles . . . . . .
We have had this clip before but it always get’s to me! Billy Preston drops by to see his old friends from touring with Little Richard and sits in (sic) on electric piano as The Beatles thrash out Abbey Road from I’ve Got a Feeling right through to Get Back etc and the ‘concert’ on top of the Savile Row rooftop!!
The Memphis Blues Box | Bear Family Records | BUTTERBOY
The Memphis Blues Box, Original Recordings First Released on 78s and 45s, 1914–1969 [2023] (20 x CDs)
This is amazing and another from the legendary Bear Family Records. If you like your blues early and regional consider this Memphis spread of over 500 tracks . . . . .
MEMPHIS BLUES
Released in November 2023 by Bear Family Records, The Memphis Blues Box is a monumental 20-CD anthology that traces the evolution of Memphis blues across five decades. Spanning recordings first issued on 78s and 45s between 1914 and 1969, the set offers a panoramic portrait of the city’s musical soul, from its acoustic street-corner origins to its electrified postwar transformations.
Curated and part-written by Martin Hawkins, with contributions from Charlie Musselwhite, David Evans, Paul Swinton, and others, the box includes 534 tracks and a hardcover book filled with newly researched biographies, discographical notes, essays, and rare photographs. This is a sonic biography of Memphis itself.
The early discs document the jug bands, country blues, and vaudeville-inflected street music of artists like Frank Stokes, Furry Lewis, Will Shade, and Gus Cannon. These recordings, often made in hotel rooms or field sessions, reflect a porous musical culture where storytelling, syncopation, and communal rhythm were central. Labels like Victor, Paramount, and Bluebird captured this raw immediacy, preserving the sound of Beale Street before the war.
As the chronology unfolds, the box traces the rise of urban blues, gospel-inflected ballads, and proto-R&B, spotlighting figures such as Memphis Minnie, Robert Wilkins, Willie Nix, and Doctor Ross. The transition from acoustic to electric instrumentation is gradual but unmistakable. Guitars gain bite, vocals grow more assertive, and arrangements tighten into groove-based structures that prefigure soul and rock. Labels like Sun, Checker, RPM, and Meteor emerge as key players in this sonic shift.
Later volumes delve into the postwar club scene, where artists like Rosco Gordon, Junior Parker, and Bobby “Blue” Bland fuse blues with jump rhythms, horn sections, and gospel cadences. These recordings reflect Memphis’s growing role as a regional hub for Black music, feeding into the rise of Stax, Hi Records, and the broader Southern soul movement. The box closes just before that explosion, offering a prequel to the soul era while remaining firmly rooted in blues tradition.
Bear Family’s production is meticulous. The remastering is sympathetic, preserving surface noise where appropriate to retain historical texture. The accompanying book provides session dates, label provenance, artist histories, and contextual essays that situate each track within Memphis’s broader musical ecology. The set avoids redundancy, favoring rare sides, field recordings, and under-documented artists, making it a vital resource for researchers, collectors, and historians.
The Memphis Blues Box is rich with rarities, offering a trove of previously unreissued tracks, field recordings, and limited-run 78s and 45s that rarely surface outside specialist archives. Bear Family Records prioritized obscure artists, alternate takes, and under-documented labels, restoring sides from Victor, Bluebird, Sun, Meteor, and Library of Congress sessions with sympathetic remastering. These aren’t filler, they’re essential artifacts that illuminate Memphis’s porous musical culture, capturing the city’s street-level creativity before the blues became codified. For collectors and historians, the rarities are the heartbeat of the box.
More than a retrospective, The Memphis Blues Box is a living document. It captures the texture of a city in motion, where rural traditions met urban realities, and where blues evolved through dialogue, migration, and community. For anyone seeking to understand the roots of American music, this box set offers not just a compilation, but a narrative, resonant, foundational, and profoundly human. (B)
BUTTERBOY
check the links for expansive track listings
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