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Monday, October 19, 2026
ADVERT BREAK : "MonaLisa Twins play Beatles & more Vol. 4" is OUT NOW!
Johnny Rivers - Rewind • Realisation (1967-68) | Plain & Fancy [[Rockasteria]
Johnny Rivers - Rewind • Realisation (1967-68)
With a big, clean production, and quality L.A. session musicians, Rewind is a great collection of blue-eyed soul and rock. The album's two Motown covers, "Baby I Need Your Loving" and "Tracks of My Tears," are more similar to tributes than attempts to outshine the originals. Rivers sounds like a well-adjusted Southern hipster on tracks like "The Eleventh Song," which makes him sound like a cooler version of Sonny Bono. "Rosecrans Boulevard" showcases superb vocal harmonies and horn playing.The most interesting track would have to be "Sidewalk Song/27th Street," which is pretty mediocre as a song, but are the bizarre sound clips possibly attacking commercialism? No one really knows. Produced by Lou Adler, arranged by Jimmy Webb, featuring Joe Osborne on bass, Larry Knechtel on piano, and Hal Blaine on drums, this record is a solid, tight recording, with excellent production and inventive arrangements provided by Webb.by Zach CurdNot a concept album, but a song cycle depicting life in southern California in the late '60s, Realization is a fine cycle to catch a ride on. It's also a serious surprise -- when psychedelia reared its head in 1967, the results were frequently disastrous for those performers who'd been specializing in straight-ahead rock & roll, and few had rocked harder or more straight-ahead than Johnny Rivers. Instead of jumping on a bandwagon that had nothing to do with where he was musically, he hijacked the sounds of psychedelic rock -- much as the Temptations did at Motown -- and took it where he was going.Acting as his own producer for the first time, Rivers opened up a slightly gentler side to his work that's equally valid and a lot more interesting, if not quite as exciting as his rock & roll classics. After a few sonic digressions as a lead-in, "Hey Joe" gets going, carrying listeners into Rivers' gorgeous rendition of James Hendricks' "Look to Your Soul." His own achingly beautiful "The Way We Live" follows, and then comes Hendricks' "Summer Rain," which turned into Rivers' last big hit of the 1960s. And then he has the temerity to take "A Whiter Shade of Pale" and make it prettier and harder -- but less spacy -- than the Procol Harum original; from there he plunges into blue-eyed soul on "Brother, Where Are You."The surprises continue right through to the rather delicate, introspective reading of "Positively Fourth Street" at the close, Rivers succeeding in evoking a vast array of thoughts and emotions. For his trouble, helped by the two hits, he was rewarded with a Top Five charting album, and one that has continued to find new admirers across the decades.by Bruce Eder
Tracks
1. The Tracks Of My Tears (Warren "Pete" Moore, Smokey Robinson, Marvin Tarplin) - 3:00
2. Carpet Man (Jimmy Webb) - 3:05
3. Tunesmith (Jimmy Webb) - 3:12
4. Sidewalk Song / 27th Street (Jimmy Webb) - 2:27
5. It'll Never Happen Again (Tim Hardin) - 3:28
6. Do What You Gotta Do (Jimmy Webb) - 2:22
7. Baby I Need Your Lovin' (Brian Holland, Edward Holland, Jr., Lamont Dozier) - 3:10
8. For Emily, Wherever I May Find Her (Paul Simon) - 2:53
9. Rosecrans Boulevard (Jimmy Webb) - 2:34
10.The Eleventh Song (Jimmy Webb) - 2:21
11.Sweet Smiling Children (Jimmy Webb) - 2:14
12.Hey Joe (Billy Roberts) - 4:33
13.Look To Your Soul (James Hendricks) - 3:11
14.The Way We Live (Johnny Rivers) - 3:09
15.Summer Rain (James Hendricks) - 3:52
16.Whiter Shade Of Pale (Gary Brooks, Keith Reid) - 5:39
17.Broker Where Are You (Oscar Brown, Jr.) - 3:37
18.Something's Strange (James Hendricks, Johnny Rivers) - 3:28
19.What's The Difference (Scott McKenzie) - 2:48
20.Going Back To Big Sur (Johnny Rivers) - 3:28
21.Positively 4th Street (Bob Dylan) - 5:03
Musicians
*Johnny Rivers – Vocals, Guitar
*Larry Knechtel – Piano
*Mike Deasy Sr. – Guitar
*Joe Osborn – Bass
*Mike Deasy Jr. – Vocals
*Hal Blaine - Drums, Percussion
*James Burton - Guitar
*James Hendricks - Rhythm Guitar
*Marty Paich - Horn, Strings
Johnny Rivers - Positively Fourth Street [Dylan cover]
John Martin - I’d Rather be The Devil |jt1674
. . . . .speaking of the Devil . . .we were I swear! Another Christian shibboleth (well Abrahamic invention at best Islam and Judasism all recognise the need for the baddy in black. . . in the form of a fallen Angel! Superstitious primitive mumbo jumbo of course . . . . . morning all!
Let Me Take You Down . . . . . . .
. . . . . .I think we should yeah . . . . . . ? or even Penny Lane
Sunday, October 18, 2026
David Bowie : HEROES [acoustic] for the Bridge School Benefit Mountain View California (Neil and Pegi Young)
The Bridge School is a school in Mountain View, California, that helps children with severe disabilities through assisted technologies and educational methods that have been deeply innovative. Neil Young and his wife Pegi Young founded the school because their son Ben was born with cerebral palsy. Every year the two would organize a concert to raise funds. In addition to the paying audience, all the school's students and their families attended the concert. Bowie played it in 1996. His performance of "Heroes" was particularly touching and has remained in Bridge School's history for this. "We can be heroes, just for one day" is not a cry of exaltation but the dream of two boys unsure of what they want, and yet also aware that things must be desired deeply in order to hope that one day they will come true. The same strong and sweet music, which Bowie dedicates to the Bridge School's "guest" angels. Here is the Duke Bowie, introducing the heroes of all time. He, the symbol of an era in which white and black and color were in a state of flux, in an era of the seventies, in which people still knew where they were going, getting dirty along the way of involuntary poetry. Back then, pioneering was a matter of fantasy, madness, courage. And Mister Jones had a lot to sell. Today, however, the same talents are the background noise on a planet tired of everything; so confused, that it is even tiring to build one's own idols. ★ ®️bowiepersempre
Shawn Colvin “Shotgun Down the Avalanche” from “Live from the Paradiso” Amsterdam 2007
Shawn posts a new video single performance etc every Monday and this one struck me . . . . .
“Shotgun Down the Avalanche” from “Live from the Paradiso”
Acoustic Night 26 : Friend of The Devil (Grateful Dead cover; J Garcia, J Dawson and Robert Hunter lyrics)
Beppe says : "Here's the first video from Acoustic Night 26, the exciting event that brings together international artists on the stage of the Teatro Ivo Chiesa, Teatro Nazionale di Genova This year's theme led us to focus on a time and place of hope: 1960s San Francisco, where the first jam bands were born. All the guest artists (Trey Hensley Maddie Denton Music, and Hayes Griffin) have extraordinary improvisational skills that impressed the Genoese audience. The song "Friend of the Devil" perfectly captures the evening's atmosphere; among the free improvisations, a strong applause went to the citation of the theme from "Andrea" by singer-songwriter Fabrizio De Andrè. Thanks to our friend Bruno Costa for the beautiful footage, mixing, and editing of the video. As always, the stage setting was designed by artist Sergio Bianco.The dates for Acoustic Night 27 will be May 20-21-22, 2027. Advance tickets will go on sale in September. Come visit us in Genoa!"
David Bowie 50th Birthday with Lou Reed Dirty Boulevard White Light,White Heat
David Bowie 50th Birthday with Lou Reed Dirty Boulevard White Light,White Heat
Talking Heads - “Love → Building on Fire” [TALKING HEADS: 77]
This month in 1977, David Byrne & Co. released their debut album, 𝘛𝘢𝘭𝘬𝘪𝘯𝘨 𝘏𝘦𝘢𝘥𝘴: 77. And one song from the album that was left off, appearing only on CD reissues decades later, was “"Love → Building on Fire"” Pearl Jam’s Eddie Vedder regularly performed it live. It’s one of my Talking Heads’ fave tracks; I even used it as my ring tone for almost a year : )“Love → Building on Fire” was Talking Heads’ very first commercial release, officially introducing their idiosyncratic, art-school style to the music industry.While never a mainstream chart-topper, the song served as the foundational spark for the band’s career and remains a landmark release of the early new wave ear; music historians frequently cite it as one of the quintessential debut singles of post-punk.“𝘓𝘪𝘬𝘦 𝘚𝘱𝘢𝘳𝘬𝘴, 𝘵𝘩𝘦𝘴𝘦 𝘢𝘳𝘦 𝘴𝘱𝘰𝘪𝘭𝘦𝘥 𝘬𝘪𝘥𝘴, 𝘣𝘶𝘵 𝘸𝘪𝘵𝘩𝘰𝘶𝘵 𝘵𝘩𝘦 𝘤𝘢𝘭𝘭𝘰𝘸𝘯𝘦𝘴𝘴 𝘰𝘳 𝘢𝘥𝘰𝘭𝘦𝘴𝘤𝘦𝘯𝘵 𝘮𝘪𝘴𝘰𝘨𝘺𝘯𝘺; 𝘭𝘪𝘬𝘦 𝘠𝘦𝘴, 𝘵𝘩𝘦𝘺 𝘢𝘳𝘦 𝘸𝘪𝘮𝘱𝘴, 𝘣𝘶𝘵 𝘸𝘪𝘵𝘩𝘰𝘶𝘵 𝘷𝘢𝘨𝘶𝘦𝘯𝘦𝘴𝘴 𝘰𝘳 𝘤𝘩𝘦𝘢𝘱 𝘳𝘰𝘮𝘢𝘯𝘵𝘪𝘤𝘪𝘴𝘮. 𝘌𝘷𝘦𝘳𝘺 𝘵𝘪𝘯𝘬𝘭𝘪𝘯𝘨 𝘩𝘢𝘳𝘮𝘰𝘯𝘺 𝘪𝘴 𝘳𝘪𝘨𝘩𝘵𝘦𝘥 𝘸𝘪𝘵𝘩 𝘢 𝘴𝘤𝘳𝘦𝘦𝘤𝘩, 𝘦𝘷𝘦𝘳𝘺 𝘴𝘦𝘭𝘧-𝘩𝘦𝘭𝘱 𝘩𝘰𝘮𝘪𝘭𝘺 𝘤𝘰𝘯𝘵𝘦𝘹𝘵𝘶𝘢𝘭𝘪𝘻𝘦𝘥 𝘥𝘳𝘢𝘮𝘢𝘵𝘪𝘤𝘢𝘭𝘭𝘺, 𝘴𝘰 𝘵𝘩𝘢𝘵 𝘪𝘯 𝘵𝘩𝘦 𝘦𝘯𝘥 𝘵𝘩𝘦 𝘳𝘦𝘤𝘰𝘳𝘥 𝘱𝘳𝘰𝘷𝘦𝘴 𝘯𝘰𝘵 𝘰𝘯𝘭𝘺 𝘵𝘩𝘢𝘵 𝘵𝘩𝘦 𝘥𝘦𝘵𝘢𝘤𝘩𝘮𝘦𝘯𝘵 𝘰𝘧 𝘤𝘳𝘢𝘧𝘵 𝘤𝘢𝘯 𝘤𝘰𝘦𝘹𝘪𝘴𝘵 𝘸𝘪𝘵𝘩 𝘢 𝘧𝘳𝘪𝘨𝘩𝘵𝘦𝘯𝘪𝘯𝘨 𝘪𝘯𝘵𝘦𝘯𝘴𝘪𝘵𝘺 𝘰𝘧 𝘧𝘦𝘦𝘭𝘪𝘯𝘨—𝘴𝘰𝘮𝘦𝘵𝘩𝘪𝘯𝘨 𝘮𝘰𝘴𝘵 𝘢𝘳𝘵𝘪𝘴𝘵𝘴 𝘬𝘯𝘰𝘸—𝘣𝘶𝘵 𝘵𝘩𝘢𝘵 𝘵𝘩𝘦 𝘮𝘰𝘴𝘵 𝘪𝘯𝘢𝘳𝘵𝘪𝘤𝘶𝘭𝘢𝘵𝘦 𝘳𝘢𝘨𝘦 𝘤𝘢𝘯 𝘣𝘦 𝘳𝘢𝘵𝘪𝘰𝘯𝘢𝘭𝘪𝘻𝘦𝘥. 𝘞𝘩𝘪𝘤𝘩 𝘮𝘦𝘢𝘯𝘴 𝘵𝘩𝘦𝘺'𝘳𝘦 𝘱𝘶𝘯𝘬𝘴 𝘢𝘧𝘵𝘦𝘳 𝘢𝘭𝘭,” —Robert Christgau/The Village Voice
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