George Harrison The Art Of Dying - Another re-Boot request from HQ at FLOPPY BOOT STOMP | a Brother Jobe Special

 George Harrison The Art Of Dying 

@ 224 Kbps

Another re-Boot request from HQ at FLOPPY BOOT STOMP

a Brother Jobe Special

JOBE Says: REBOOTED BY REQUEST. FIRST POSTED 10-18-11

O.K. knuckleheads here it is, my first post here at our new/old site 5 discs of Georgie Porgie for your listening pleasure. You may have this then again you may not.
One thing that has always puzzled me is why did John and Paul feel the song All Things Must Pass wasn't worthy of inclusion on Let It Be. Hell it's a better song than Across The Universe or Dig It or even For You Blue. The versions I've heard of All Things Must Pass with John and Paul doing the harmonizing background vocals blows away the songs I've mentioned. Anyway see scans for details

Soft Machine - BBC Sessions 1969-1974 | FLOPPY BOOT STOMP

 

Soft Machine - BBC Sessions 1969-1974

Rebooted...
Originally posted June 29, 2013

a couple of old sessions from the Boss at Floppy Boot Stomp

nearly a Gig of Sof Machine - check the link for details

Silent Way says: I put these up a long, long while back on MegaUpload and RapidShare.  Here is the whole thing again in 2 files as it is nearly a gig of music. 

DANGEROUS MINDS | Gimme Shelter - A grim read on Monday morning . . . ALTAMONT | WILL HOWARD

 MUSIC

Sunset on the 1960s: the four deaths at The Rolling Stones’ Altamont gig

(Credits: Dangerous Minds / Original Posters)

Will Howard

Sun 26 April 2026 12:00, UK

There’s an argument to be made that the best horror movie of 1970 is actually a music documentary. Possibly because 1970 was a rough year for horror cinema, but also because there are few more harrowing music films one can see than Gimme Shelter, the documentary of the catastrophic gig The Rolling Stones played at Altamont the year before. 

Anyone partially familiar with The Rolling Stones knows the story by now. Mick, Keef and chums got in a big row with the public about the ticket prices of their US comeback tour. Jagger, in his infinite wisdom, got bullied in a press conference into saying that they’d host a free concert for all the people who were priced out of seeing them on the tour. The year before, they’d held their proper comeback show for free in Hyde Park, so they had experience in this.

During that gig, the security had been handled by a number of London branches of the Hell’s Angels, so when the time came to play Altamont, they thought they’d do the same. This proved to be a disastrous mistake as the California branches of the Hells Angels were a very different beast from the London branches. They were even more violent, even more racist, and much more likely to not so much solve a problem with violence as act like a Black man existing was a problem, and “solve it” by murdering where they stood. 

This directly led to the most infamous casualty of Altamont, an 18-year-old Black man by the name of Meredith Hunter. Hunter had a checkered past away from the concert and carried a gun for his own safety. As a Black man in 1960s California, this was a smart move. He was also doing absolutely nothing untoward in the concert. He was simply enjoying a rock ‘n’ roll show in the company of his white girlfriend. This was completely unacceptable to the Angels. 

They pestered him all night, and after he tried to move away to get a better view, a biker punched him in the face. Hunter tried to run and turned to find several bikers sprinting towards him. He pulled his gun. The resulting stabbing was caught on camera and is shown to the mortified Stones in Gimme Shelter. The glint of the abhorrent, racist’s knife in an errant spotlight will stay with me for a long, long time. Hunter could have been saved had he been airlifted away in the Stones’ helicopter, but their management shouldn’t have let them. 

A murder like this would be an unconscionable tragedy. This was only the most high-profile death at Altamont. One of the truly horrific deaths on site. 

Who else died at The Rolling Stones’ gig at Altamont? 

While the death of Meredith Hunter is a horrifying act of racism, the first death at Altamont is a very different kind of horrible. Instead, this is one case of a life snuffed out because of youthful stupidity. The festival site had a canal adjoining it. As the first band on the bill started playing in the early morning, one attendee of the show, 18-year-old Leonard Kryszak, decided to go swimming in said canal, giving the finger to a police officer waving frantically at him not to get in the water. 

Turns out, this was one of the vanishingly few occasions that day that someone in charge of keeping the public safe would actually try to keep the public safe. The canal had a current. One much faster and choppier than Kryszak was expecting. That and the shock of the freezing cold water caused him to drown. He was found two hours after he went into the water, while Santana were playing on the main stage. He was due to turn 19 the next day. 

Even after the gig was finished, death was still abundant. Rather than brave the traffic home the same night, a number of people stayed the night on site. Two of these people made a fire for warmth and sat together, possibly reflecting on the absolutely putrid vibes that came off the whole concert and wondering why their acid trip was going so horrifically wrong. They were hit by a car that swerved off the road on the way out of the speedway and were killed instantly. The driver was never found. 

You might have heard the myth that, yes, there were four deaths at Altamont, but there were also four births there too. Sunrise, sunset, the cosmic ballet continues and all that? Yeah. No. That was part of The Rolling Stones’ desperate PR campaign to save some face after their shoddy standards killed four innocent people. The births were made up, but the deaths were very, very real. 

Not only that, they were very, very preventable too. 

 Directed by Albert Maysles, David Maysles. With Mick Jagger, Keith Richards, Mick Taylor.

Gimme Shelter Blu-ray (Amazon) https://amzn.to/4bVtit1 Gimme Shelter Blu-ray (Criterion) https://criterion.com/films/637

Taj Mahal - Ebbets Field, Denver, CO, 5-16-1973, Early & Late Show | Albums That Should Exist

 A TAJ MAHAL TWOFER from PAUL AT ATSE

Taj Mahal - Ebbets Field, Denver, CO, 5-16-1973, Early Show

Paul says: The recent flood of posts from the Ebbets Field radio broadcasts continues. Here's Taj Mahal. I'll be posting both the early and late shows he did the same night.

This concert was in solo acoustic mode. Mostly, he played guitar. But he also played a little banjo, as well as an African instrument known as the kalimba (also known as the mbira). On the cover image, he can be seen playing a banjo.

His most recent album at the time was "Recycling the Blues and Other Related Stuff," released in 1972. He has an instrumental on that album simply called "Kalimba," which is how I know the name of that song. (I had to figure out most of the song titles, since the bootleg I took the music from was bad with titles.) "Cakewalk into Town" and "Corrina" are the only other songs he played from that album. 

The music here is unreleased. The sound quality is excellent. But I did do a fair amount of audio editing in the Audacity program to improve things. Some parts were too loud, sometimes the vocals were too low, and so on.

This album is 51 minutes long. 

01 Banjo Rag [Instrumental] 
02 talk 
03 Kalimba [Instrumental] thumb piano
04 Cakewalk into Town 
05 Big Legged Mammas Are Back in Style
06 Going Up to the Country, Paint My Mailbox Blue 
07 Ain't Nobody's Business But My Own 
08 Fishin' Blues 
09 Straight Shootin' Blues 
10 Ain't Gwine Whistle Dixie [Any Mo'] 
11 Done Changed My Way of Living 
12 Corrina, Corinna

Taj Mahal - Ebbets Field, Denver, CO, 5-16-1973, Late Show

Paul adds: The album I just posted is Taj Mahal performing at Ebbets Field in Denver on May 16, 1973, for the early show. This is the same, except it's the late show. The two shows have very similar set lists. (And both were broadcast on the radio, which is why they have such excellent sound quality.) Normally, I wouldn't post two concerts that are this similar. But I figure these are quite obscure. I had a difficult time finding them. So I want to post both, to bring them back into wider circulation.

The main difference between this show and the early show is the last two songs, which were only performed in this show. Plus, the last four songs in the early show weren't performed here. So if you want everything without multiple versions of songs, I suggest you save the early show, then add the last two songs from this late show to the end.

By the way, in case you didn't notice, I recently changed the font type and color for the Ebbets Field concerts I've been posting. The first seven or so had a yellow color. But there were some troublesome issues with that font. So when I found another sixty (!) or so concerts from this venue, I decided to use an easier one. I also found a little logo from the venue showing the baseball stadium in New York City that the venue was named after. I decided to stick that on all the albums from that venue. Since that logo was mainly in green, I changed the font color to green. In recent days, I went back and reposted all the yellow ones to the new color scheme, so they'll all be consistent. 

This album is 54 minutes long.

01 talk 
02 Kalimba [Instrumental] 
03 talk 
04 Banjo Rag [Instrumental] 
05 Cakewalk into Town
06 Going Up to the Country, Paint My Mailbox Blue 
07 Ain't Nobody's Business but My Own
08 talk
09 Big Legged Mammas Are Back in Style 
10 Fishin' Blues 
11 Sweet Home Chicago 
12 Linin' Track Blues

Bonnie Raitt on playing music . . . . Don’s Tunes

 

Bonnie Raitt: 

Someone put it best when they said, You can't change the noodle, but you can change the sauce.” 

I play the way I play, just like I sing the way that I sing. I'm not a schooled guitar player, and I can't say I'm getting appreciably better, but I know how to do what I do. It's the songs that change. 

For me to play slide guitar over the Zimbabwean groove of "Hear Me Lord" [from 2002's Silver Lining] is a blast. It's the context that makes it fresh for me. On Souls Alike, the most adventurous thing I did was run my guitar through an Amp Farm wah-wah loop for "God Was in the Water.” 

Taking risks is how I keep moving forward—that and being open to hearing things in a different way. 

Ultimately, I know there's a safety net, and that's the fact that I trust my ears and my instincts. I'll always try something different. That's how you grow, and you also don't want to be overly influenced by an inclination to dismiss something that's new. So I may do something I'm not really into—out of respect for Tchad and the musicians—but if it's not working for me after a few days of letting it sit, then I'll go, "We gave it a try, but this song is sucking." 

Guitar Player Interview 

Don's Tunes

FLAGGING DOWN THE DOUBLE Es: Dylan Bombs in Tallahassee RAY PADGETT

 

Dylan Bombs in Tallahassee

1976-04-27, Florida State University, Tallahassee, FL

RAY PADGETT APR 27 ∙

one of the things I was ruminating on only the other day was how on earth does Dylan keep playing to sell out audiences? I mean is there EVER an empty seat? DO things ever bomb? How is that even possible? Ihad to save to see him the times I have managed it, borrow money or by fixed a tickets as in the last time at London’s Roundhouse back on 26 April 2009 with my driest old friend D.O.P Stephen Blackman who paid for four of us to go! But do they ever NOT SELL OUT? Or is it like here where . . . .well it’s complicated

Photo via Imgur

One big difference between Rolling Thunder ’75 and ’76 I’ve mentioned before: The size of the venues. In 1975, for the most part, Dylan played small theaters, and tickets were hard to come by. In 1976, Dylan mostly played giant arenas and stadiums. Tickets were easier to get, and in a few cases the shows sold so poorly they had to be canceled.

Today’s show in Tallahassee is the first I’ve seen with that 1975 ticket energy. After the big outdoor show in Gainesville, Dylan wanted to play the university gym. Tickets, for once, went fast:

The show almost got canceled before it even began anyway. Dylan’s people were apparently pissed that word leaked out in the Tallahassee Democrat a few days early, in an article headlined “Dylan Coming to Town?” The tour’s advance man Josh Shorr was also concerned about a rumor he heard that an FSU fraternity had acquired a large block of tickets to resell. “He was very unhappy,” the local promoter told the paper. “They don’t want the university community to have more of a chance to get tickets than the ‘street people.’”

During the show, a large group of people who couldn’t get tickets sat on a hill outside the gym to try to hear what was happening inside. One fan remembers security opening a side door so they could hear better, and Joan Baez coming to the door to wave. Another remembers Baez actually pulling a speaker to the doorway to let them enjoy the music too.

Strangely, I found not one but two bomb threats connected to the concert. The first is, admittedly, a tangential connection:

Consider subscribing and read on here . . .

Keith Richards - I'm Waiting For The Man (Lou Reed Cover) (Official Video)

Someone on Instagram posted [again] a little clip of this so here’s the whole thing . . . . I hadn’t heard it before so hopeful some of you haven’t and can enjoy it as much as I did!

Keith Richards - I'm Waiting For The Man (Lou Reed Cover) (Official Video)

Keith Richards

“To me, Lou stood out. The real deal! Something important to American music and to ALL MUSIC! I miss him and his dog.” - Keith Richards

In honor of Lou Reed’s birthday, Keith Richards has recorded a cover of “I’m Waiting for the Man.” The digital single & music video are out now and featured on the upcoming album The Power of the Heart: A Tribute to Lou Reed, which includes newly recorded covers from Keith Richards, Joan Jett and the Blackhearts, Rufus Wainwright, Lucinda Williams, Maxim Ludwig & Angel Olsen, Rickie Lee Jones, Mary Gauthier, Bobby Rush, Automatic, The Afghan Whigs, and Rosanne Cash. This special collection will be released by Light in the Attic Records and available on Vinyl & CD at fine independent record shops worldwide on Record Store Day (April 20th).

It goes without saying that the legendary Lou Reed was a true rock ’n’ roll pioneer. From The Velvet Underground’s debut in 1967 all the way through the end of his days, Reed sang truth from his heart. He lived life to the limit—and then some. The Power of the Heart is a tribute to Reed’s freedom of expression with covers spanning his groundbreaking years with the Velvets into his majestic solo career. Each track is a glorious extension of the Rock ’n’ Roll Animal’s soul, ever adventurous and avant-garde.

Directed by Jane Rose

Edited by Don Fleming

Wendy O. Williams of the Plasmatics, hours after her arrest at The Palms nightclub, Jan. 19, 1981, MiIwaukee,

 

Wendy O. Williams of The Plasmatics, hours after her arrest at The Palms nightclub, Jan. 19, 1981, MiIwaukee

“Wendy O. Williams was roughed up and arrested by Milwaukee police on charges of indecency…[Williams] reportedly asked for a female officer to escort her to the station. Instead of that, she was put into a van where a male officer began what is known as ‘an aggressive search,’ and Williams slapped him for taking liberties. The officer then threw her to the ground and reportedly kicked her in the face.…Williams was later charged with battery of a police officer and resisting arrest.”

Muses and Women of Pop Music - Jane & Peter Asher and their Dad : Nothing to ‘like’ or enjoy here but worthy of note I believe April 26: On this day in 1969, Dr. Richard Asher was found dead.

 

Under the total excuse for enjoying the career of Jane Asher and her connection to Paul, I post this fascinating detail from her family life. Largely because it is about her dear Dad. 

Now it comes about that I have worked with several clients who it is my certain and firm belief had Münchausen's Syndrome and also the development of that which we now call Münchausen’s By Proxy which involves the use and abuse of others in the ‘cry for help’ often meted out upon children and/or other family members. I didn’t know Jane and Peter Asher’s Dad was so important. The man who worked with a claim to name this syndrome is a towering figuring in therapy and psychological development.

https://www.medicalrepublic.com.au/richard-asher-munchausen-man/197 

Nothing to “like” here, folks - just a tragic anniversary noted, FYI. The good doctor was the father of siblings Peter, Jane and Clare; he was also a noted physician, specializing in psychiatric maladies. In 1951, he coined the term “Münchausen syndrome” to describe patients who fabricated dramatic symptoms and illnesses for attention (as distinct from malingering, which entails hypochondria for a specific tactical goal).

Dr. Asher presided over the home on Wimpole Street in London, where he maintained an office for seeing patients. Paul resided in the attic there from 1964 through 1966; in the basement music room, he and John worked on songs, notably “I Want To Hold Your Hand.”

The doctor, hailed as an advanced thinker - ever critical of ideas accepted because they soothed, rather than being supported by empirical evidence - suffered from depression. He gave up his practice during the sixties. At the time his body was found (dead from an overdose of alcohol and barbiturates), he’d been missing for several days. He was 57.

Jeff Beck - Pork Pie (From "Performing This Week Live at Ronnie Scotts”) 2007 [Track of The Week]

 THE MASTER . . . . . . JEFF BECK 

again with the clips . . . so here’s the full version it's PORK PIE at Ronnie Scotts

Jeff Beck - Pork Pie (From "Performing This Week Live at Ronnie Scotts”)

Jeff Beck - Guitar Vinnie Colaiuta - Drums Tal Wilkenfeld - Bass Jason Rebello - Keys

as the guys at The Rock n Roll Bible and Jazz Rock Fusion who posted the snippet post out watch out for Robert Plant in the audience smiling as he is transported like everyone else (even Tal!)

Performing This Week at Ronnie Scotts 2007 complete