Ten Years After - Live New York 1971
01 I Can't Keep From Cryin' Sometimes
02 One Of These Days
03 Once There Was A Time
04 Baby Won't You Let Me Rock And Roll You
05 Slow Blues In C
06 No Title - Hobbit
07 Here They Come
Sides 1 and 2:01 Tawn Mastrey - Westwood One In Concert 91-24 Intro02 Commercial - AT&T03 Commercial - T.G.I. Fridays04 Tawn Mastrey - Westwood OneIn Concert 91-24 Segment Intro05 The Faces - Cindy Incidentally06 The Faces - Memphis, Tennessee07 The Faces - Angel08 Tawn Mastrey - Westwood One In Concert 91-24 Break09 Commercial - Dentyne10 Commercial - Bacardi11 Commercial - Schick12 Tawn Mastrey - Westwood One In Concert 91-24 Break13 Tawn Mastrey - Westwood One In Concert 91-24 Segment Intro14 The Faces - Stay With Me15 The Faces - Twistin' The Night Away16 Tawn Mastrey - Westwood One In Concert 91-24 Break17 Commercial - U.S. Army18 Commercial - Bacardi19 Commercial - Dentyne20 Tawn Mastrey - Westwood One In Concert 91-24 Break21 Tawn Mastrey - Westwood One In Concert 91-24 Segment Intro22 Rod Stewart - Three Time Loser23 Rod Stewart - You Wear It Well24 Rod Stewart - Big Bayou25 Tawn Mastrey - Westwood One In Concert 91-24 Break26 Commercial - T.G.I. Fridays27 Commercial - Schick28 Tawn Mastrey - Westwood One In Concert 91-24 BreakSides 3 and 4:29 Rod Stewart - Tonight's The Night30 Rod Stewart - The Wild Side Of Life31 Rod Stewart - This Old Heart of Mine32 Tawn Mastrey - Westwood One In Concert 91-24 Break33 Commercial - Bacardi34 Commercial - T.G.I. Fridays35 Tawn Mastrey - Westwood One In Concert 91-24 Break36 Rod Stewart - Sweet Little Rock and Roller37 Rod Stewart - I Don't Want To Talk About It38 Tawn Mastrey - Westwood One In Concert 91-24 Break39 Commercial - Bacardi40 Commercial - Dentyne41 Commercial - U.S. Army42 Tawn Mastrey - Westwood One In Concert 91-24 Break43 Rod Stewart - Get Back44 Rod Stewart - Sailing45 Tawn Mastrey - Westwood One In Concert 91-24 Outro46 Tawn Mastrey - Westwood One In Concert 91-24 Promo
Again thanks to TWILIGHTZONE!
More Chuck Prophet and Stephanie Finch - 'Stop! In the Name of Love’
(Supremes cover)
After the novel "Being There"'s release and the subsequent purchase of rights to the book, Peter Sellers successfully lobbied for the lead role by sending a telegram to author Jerzy Kosinski with the message, "Gardener available for work". It was during casting and after the success of the later Pink Panther movies that Sellers became the only choice for the lead role.
Sellers prepared for the role of Chance in the 1979 film by recording his voice over and over again, experimenting with different styles and tones, and finally incorporating an accent that was neither wholly British nor American, creating a distinct alien feel to his character. . He chose a deliberately blank style to convey the character.
In a 2019 interview, costume designer May Routh stated that Sellers would refuse to work if the colors green and purple were visible on set. Routh would also claim that she was warned if she spoke to Sellers she would be fired from the film.
In different versions of the movie, the end credits are either shown over several outtakes of Sellers trying to say a line (the message for Raphael) ultimately not used in the movie version (restored to the home video version), or they are shown over TV white noise. Sellers was at the film's screening at the 1980 Cannes Film Festival. He was furious with director Hal Ashby and the producers for including the outtakes version of the end credits for this performance and at the audience's reaction to them. This incident may have finally persuaded the producers to change their minds. Some said the reason Sellers lost the Academy Award for his performance was because of these outtakes, including Sellers himself, who believed they "broke the spell" of the movie.
A favourite film and towering performance (if such an understated deadpan performance can be referred to as such) from Peter Sellers. A role he was born to play IMHO. A favourite writer in Jerzy Kosinski and I believe I have everything he published. Delayed in Europe he had been due to fly back to the States with his old friend Roman Polanski, (they were both from Lodz in Poland had they taken the flight they were scheduled to, their luggage was lost in New York and they were delayed they would have been in the house in Benedict Canyon and come face to face with Manson Family who killed his wife and unborn son.
Kosinski committed suicide (1991) after the stress and strains of baseless accusations of plagiarism depressed him so and his health suffered terribly accordingly so he suffocated himself after imbibing a cocktail of drink and drugs
* Kosinski wrote ‘Pinball’ for his friend George Harrison . . . . yes that one
Peter Sellers passed away in 1980 after a series of heart attacks, he was 54
Of playing with Cream, Ginger Baker once said: "It was as if something else had taken over. You're not conscious of playing.
"You're listening to this fantastic sound that you're a part of. And your part is just… happening. It was a gift, and we three had it in abundance."
Jimmy’s Page a good player. I don’t think Led Zeppelin filled the void that Cream left, but they made a lot of money. I probably like about 5% of what they did - a couple of things were really cool. What I don’t like is the heavy bish-bash, jing-bap, jing-bash bullshit.
Credit: Bill Wood/Rex Features
Track: Brand - New - Life (Peel Session)
Album: Colossal Youth
Year: 1980
Albums bought when they came out. . . . . . . . . Young Marble Giants - Colossal Youth
again thanks for the reminder from O My Soul
Freddie McKay - When I Am Grey (1971)
Guess I’m says: "Sadly reggae singer Freddie McKay never got old and grey, dying of a heart attack at age 39. Still, he left behind some great tracks, including this one, recorded with Coxsone Dodd at Studio One. It’s got such a cool sound."
not wrong this is great!
Straight from Brazil and The Reconstructor says:
"Our choices for this album are quite simple: every single song Bob recorded in 1971. From the March sessions produced by Leon Russell, we have "When I Paint My Masterpiece" and "Watching the River Flow". From the September session with Happy Traum we have re-recordings of "Only a Hobo", "You Ain't Goin' Nowhere", "Down in the Flood" and "I Shall Be Released". And finally, from the November sessions, we have both the solo acoustic and "Big Band" versions of "George Jackson" and "Wallflower". With that, we have eight songs and nine versions, clocking in at 31 minutes. That might not seem like much, but it's already longer than Nashville Skyline, meaning it's well within the realm of possibility. We could have included some New Morning outtakes such as "Tomorrow is a Long Time", which was featured on Greatest Hits in a live version from 1963, or his cover of "Spanish is the Loving Tongue", which was the b-side to "Watching the River Flow", but the fact that we've managed to break the 30-minute barrier tells us to keep well enough alone.
Including two versions of "George Jackson" might seem like cheating on our part, but the fact that Dylan later did the same thing with "Forever Young" on Planet Waves sets a precedent that we'll be happy to indulge in, given the dearth of material available to us. When it comes to sequencing, I mostly followed the track listing to Greatest Hits Vol. II, as that's where the vast majority of the songs here were released, and shows us how Dylan might have dealt with that material, as well as giving us a nice framework from which to start. With that in mind, we also kick things off with "Watching the River Flow", and side two has the four last songs on GH2 in the very same order they were featured there, making "Down in the Flood" the album closer. The big band version of "George Jackson" closes off side one, and the acoustic version opens side two, again taking a cue from "Forever Young"'s placement on Planet Waves. With that, all we need to do is fill out the first side with "Wallflower" and Greatest Hits Vol. II outtake "Only a Hobo", which only saw release twenty years later, and our work is mostly done.
Wallflowers is a transitional album, his first not to be produced by Bob Johnston since Bringing it All Back Home and part of a move away from straight country music started on New Morning the previous year. The fact that this album features four re-recordings of older material, which weren't released in any other Dylan studio album before this one but were already widely known through other artists' recordings. For that reason, I can see contemporary critics labeling it as lazy or uninspired, which is a fair criticism, even though all four of those versions are quite good. You could even make the argument that this is a sequel to Self Portrait, only this time he's paying homage to his own past work and not other people's. It was titled after what I think is the best song on the album, a gentle country ballad that was inexplicably the only 1971 original composition Bob didn't release at the time. It would surely be interesting to see this coming out instead of Greatest Hits Vol. II, filling a pretty big hole in Bob's life where he had become reclusive and unproductive, himself a Wallflower."
Sources:
This . . . .
Smog - I Was a Stranger, 1997.
|