Leonard Cohen - It’s Torn [Thanks For The Dance] | HERBERG DE KELDER

 It’s Torn

It’s Torn 
Leonard Cohen
Thanks for the Dance

HERBERG DE KELDER

Leonard Cohen - The Story of Thanks for the Dance 

and we might just sign off the day with this classic from our Leonard Cohen

Bob Dylan - The Water Is Wide (trad arr) | HERBERG DE KELDER

 

The Water is Wide

Oh love is gentle, love is kind
Gay as a jewel when first it’s new
But love grows old and waxes cold
And fades away like some morning dew.
The water is wide and I can’t cross over
Neither have I wings to fly
Build me a boat that can carry two
And both shall row my love and I

HERBERG DE KELDER

Lou Reed - Live Palace Theatre, Dayton, OHIO Oct 27th 1974

Lou Reed - Live Palace Theater 1974

 Lou Reed - Live Palace Theater

Dayton, OH.

October 27, 1974

Soundboard @flac

A SILENT WAY SPECIAL

"....when you flip out on Thorazine and crystal smoke, you CHOKE like a son of a gun.....”

Silent Way notes:

WARNING: this is probably the best Lou Reed live recording you will ever hear - play LOUD!(with some tracks from the Felt Forum, New York, 09 October 1974)

Disc 1
01 Tuning* 1.26
02 Intro* 2.38
03 Sweet Jane* 5.21
04 Vicious* 6.26
05 Ride Sally Ride 4.24
06 Heroin 11.13
07 Kill Your Sons 7.35
08 NY Stars 5.00

Disc 2
01 Animal Language 3.08
02 Waiting For The Man/Sally Can't Dance 9.38
D203 Bass Solo 3.46
04 Walk On The Wild Side* 4.26
05 White Light White Heat 5.40
06 NY Telephone Conversation/Goodnight Ladies 1.44
07 Rock And Roll 12.38

* Original Notes *  

Tracks D101, D102, D103, D104 and D204 are MONO soundboard recordings from the 

Felt Forum, New York, 09 October 1974
The remaining tracks are STEREO soundboard recordings from the Palace Theatre, Dayton, 27 October 1974

Lou Reed: vocals. amphetamines, foul language
Danny Weiss: guitar
Prakash John: bass 

(definitely tracks D101, D102, D103, D104, D204 and possibly all the others)
Peter Hodgeson (?): bass (possibly the tracks recorded at Dayton)
Michael Fonfara: keyboards
Peter "Mouse" Johnson: drums

The late 1974 US tour to promote "Sally Can't Dance" was Lou's amphetamine and alcohol - fueled assault on the unsuspecting youth of North America. The RCA publicity machine had moved into top gear, but Lou was speeding way, way ahead of them. While they were pushing him as a user-friendly glam-rock/white soul superstar, he was dying iron crosses in his hair, living with a half-Mexican transsexual called Rachel and (simulating) shooting up on stage. The new LP and 45 were being being heavily promoted via nationwide TV ads featuring our man in trademark leather jacket, blonde hair and shades (...follow the bouncing ball and sing along with Lou.....). Whatever RCA were doing, it worked, and "Sally" was in the US top 10 LP chart. Lou was later quoted as saying "....I slept through that LP - whatever they suggested I said yes....". It seemed that the further Lou descended into self-parody, the more records he sold, and the more pressure RCA put on him to produce even more "product". This would ultimately backfire in mid 1975, when he vomited up "Metal Machine Music" and then had a very public breakdown during the Australian leg of the '75 world tour. Lou wouldn't perform in public again until late 1976.

I think this is a simply outstanding show. Lou may be out of it, but the band most certainly are not. I love the way you can hear Lou slapping the mic stand at the end of "Vicious". The vocals alternate between detached and manic throughout this set, but are particularly expressive during "Kill Your Sons" (surely the best EVER live version of this song). It's as if he's standing on the edge of a cliff and he's just about to jump off because he KNOWS he can fly. This tour was the only outing for "NY Stars" and "Animal Language" - these live renditions sound better than the studio versions to me. You can hear him sneering as he spits out the words to "NY Stars". It sounds as if someone broke a string during "Animal Language": the band start a loose jam while it's being replaced. Lou starts vamping the words to "Waiting" during the jam, and just continues singing it when the band move on to the "Sally Can't Dance" riff. The end result is a unique medley of "Waiting" and "Sally" (you have to wonder how long it took Lou to realise he was singing the wrong song - he did pretty much the same at the Chalmette show in November, singing "Vicious" while the band played "Sweet Jane"). "White Light White Heat" is a heavy metal prototype for every late 1970s punk band. "Goodnight Ladies" is a gas, with the whole band gathering round the microphone - you can (just) hear someone in the background asking where the "Jacks" (Jack Daniels) is.....they were having a good time. "Rock And Roll" is simply sublime.

The stereo recording made at Dayton was missing "Intro/Sweet Jane" and part of "Vicious" and there was a tape break during "Wild Side": mono soundboard recordings from the New York concert have been used to replace those songs.

Scans included with torrent files:

1: US Press Kit for "Sally Can't Dance"
2: US "Sally Can't Dance" 1974 tour itinerary
3: Ticket stubs - New York 09 October 1974 and Dayton 27 October 1974

share the music!

Rock 'n Roll (Live in Dayton, Ohio) · Lou Reed

too fast Lou - can’t think why!

Lou Reed - Vicious 1974

Art of The Day - Tracy Emin

Tracey Emin

An Insane Desire For You

2019

Acrylic on canvas

 I love Tracy’s work . . . . . she is a truly phenomenal artist

Song Roots - Biddy Mulligan: The Pride of The Coombe

 I was recalling this old Folk song from my Merseyside roots and hearing someone (my mother? my maternal grandma? possibly even my dad curiously - he did enjoy the occasional vaudeville tune! his favourite being The Old Sow: Susannah's a Funicle Man!! yes really! ) someone singing this one and I recalled it being used in Ricky Gervais’ ‘Derek’ where he has it sung by a little old lady, 'Lizzie’ in the Care Home

The Dubliners: Biddy Mulligan- The Pride of The Coombe

The history of the song Biddy Mulligan: The Pride of The Coombe

Lizzie sings Biddy Mulligan The Pride of The Coombe - ‘Derek’ 

"They Recorded Covers of 'Abbey Road' Before The Beatles Released It”! | Gary Lucas

 GARY LUCAS RECOMMENDS!

Check this out Gary says:

Best podcast on YouTube!

Gary Lucas

Lively Up Yourself (if that’s not too many mixed references!?) TWO TONE MEETS THE POGUES!

 Lynval Golding joins The Pogues on stage at The Town and Country Club, London in 1988 to perform "A Message To You, Rudy

2 Tone - Before, During & After

FLAGGING DOWN THE DOUBLE Es : Bob Dylan Concert Posters in the 1980s | RAY PADGETT

 

RAY SAYS: This is a preview of a paid subscribers’ entry. If you want the rest, subscriptions are $6/month or $60/year and get you more newsletters, more downloads, access to a private Discord chat, the entire archives, a private Dylan-boots streaming platform, and more.

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Bob Dylan Concert Posters in the 1980s

How he advertised giant tours with Santana, Tom Petty, and the Grateful Dead—plus the first Never Ending Tour shows

RAY PADGETT SEP 20 ∙ PREVIEW

Heads up for Blood on the Tracks fans with deep pockets: There’s an auction going on for never-seen handwritten lyric drafts that ends Thursday. Find the auction at RR Auction and read more about the lyrics at Anne Margaret Daniel’s site. Okay, onto today’s newsletter…

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I began this entry thinking that there weren’t as many posters for Bob Dylan in the 1980s as there were in the 1970s and the 1960s. Turns out, that’s only partly true. He did a number of big tours in the 1980s. While some of those tours didn’t have many posters, others had a ton.

As usual, I’ll start with the standard poster formats—the ones that Dylan used for many shows—then share some favorite one-offs at the end. (Credit as always to DylanStubs, where most of these come from.)

Disclaimer: I’m using the term “poster” a little loosely. “Printed concert advertising material” is more accurate, but makes for a cumbersome headline. Working off digital images of these decades later, it can sometimes be difficult to determine whether these were posters hung up on walls, flyers handed out, or even ads in magazines or newspapers. Where I do know, I’ll say.

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The gospel tours of 1979, 1980, and 1981 seemed to be mostly sold via newspaper advertisement, but I found a couple standardized posters used sporadically. The one on the left was used a few times in November 1980 on the West Coast, then the one on the right was used fairly often in Summer 1981 in Europe. Love that Annie Leibovitz photo, taken in 1977 during his Rolling Stone cover shoot. If it looks familiar, it’s because he also used that photo for a bunch of 1978 posters.

Here’s a photo of that second poster in action that was printed in the Bob Dylan Songbook (thanks Ian Woodward for sharing):

Then, in Fall 1981, they switched to this template. Which I like in terms of design (it has a Never Ending Tour flavor, especially that “SEE LIVE!!!” tagline—like a precursor to “Don’t You Dare Miss It”), but that’s kind of a ghoulish drawing of Bob, no?

His next tour, 1984, proved a rich one for posters. No surprise, maybe: Dylan was playing giant stadiums with Santana, and they had a lot of tickets to sell. Joan Baez was on the first batch of dates too, and they used this design, which looks great.

Both of the alternate poster designs below got used a few times too. I like them slapping on the tiny “BOB” in the one on the left, in the little box above “DYLAN.” Like it might not otherwise be clear which Dylan they were referring to. Was Dylan McDermott touring with Santana?

When the 1984 tour came to the UK—promoted by superpromoter Harvey Goldsmith, who I interviewed here—they switched to this design. No Baez anymore, but a variety of openers. As you’ll see, those openers are the primary difference between these two examples:

Note the red-white-and-blue theme around the Fourth of July, and the American and British flags too.

Now for a personal favorite tour, the first Dylan/Petty run—“True Confessions” 1986. I wrote a whole series on it earlier this year. A couple standard poster templates across Australia, Japan, and the U.S.:

There was also this horizontal variant, which included their photoshoot together:

A few of those summer shows featured the Grateful Dead on the bill too (Dead scholar Jesse Jarnow recently wrote about them here). The Dead people came up with this excellent Dylan+Dead graphic for the occasion:

Strangely, the next summer, when Dylan was (in)famously using The Dead as his backing band, they didn’t bring back that logo. Then again, they did have a great new photo to use. Posters looked like this. You’ll notice they repurpose the phrase “Alone + Together” from the Petty tours.

In the fall, Dylan was back with Tom Petty and The Heartbreakers for one more round. The tour name changed for this final run from “True Confessions” to “Temple in Flames.” The poster designs mostly changed too, though a few places used variations on the 1986 version. Here are some designs that popped up a lot in Europe:

Which brings us to…drumroll…the Never Ending Tour!

The 1980s only have two Never Ending Tour years, but three primary poster designs. The first two, which seemed to get used interchangeably for 1988 and the first part of 1989, were these. There are many design variations on them for different shows, but these are the two photos that come up over and over again:

I do love on these early Never Ending Tour posters that they list the band members. G.E. Smith might well be known to Saturday Night Live viewers. You can find early newspaper ads that list Marshall Crenshaw too, who was hired and fired as Bob’s bassist before playing a single show.

Then, in fall 1989, all of a sudden the posters and promo materials switched to this blown-out live photo where you can’t really see his face. 

CAPTAIN BEEFHEART & THE MAGIC BAND - My Head Is My Only House Unless it Rains [Clear Spot] / Too Much Time [Clear Spot

 I was sat drinking coffee look at the birds in my garden and thought every bird that goes by gets me high . . . . . . . . where is that from!? As if I didn’t know . . . from perhaps my favourite Captain Beefheart Album ‘Clear Spot’ and the song Too Much Time largely because this was the work performed the last time I saw them . . . . . . 1973? Oxford Polytechnic . . . life changing! 

"Mr Zoot Horn Rollo play that long lunar note , . . . . . and let it float"

My Head Is My Only House Unless It Rains

My head is my only house unless it rains

I'll let a train be my feet if it's too far to walk to you

If a train don't go there I'll get a jet or a bus

'Cause I'm going to find you

You're going to see my shadow soon around you

And my head is my only house unless it rains

I walk the meadow plains

Water deserts are my eyes until I find you

I won't sleep until I find you

I won't eat until I find you

My heart won't beat until I wrap my arms around you

My arms are just two things in the way

Til' I can wrap them around you

You can make my sad song happy

And a bad world good

I can feel you out there moving

You're mine, I know I'll find you

And my head is my only house until I've found you

I hate to have other people hear me sing this song

But if it reaches you before I do

Follow this song to "I love you"

That's where I'll find you

And my head is my only house unless it rains

Songwriter: Don Van Vliet 1972

OOOPS Spot the deliberate mistake?!

Every war that’s waged makes me cry, every bird that goes by get’s me high

Captain Beefheart and The Magic Band - Too Much Time (Clear Spot)

Too Much Time

I got a-too much time

Too much time

I got too much time to be without love

Too much time

I got a-too much time

I got too much time

Too much time to be without love

[Verse 1]

In my life, I've got a deep devotion

Wide as the sky and deep as the ocean

Every war that's waged makes me cry

Every bird that goes by gets me high

[Verse 2]

Sometimes when it's late and I'm a little hungry

I heat up some old stale beans

Open up a can of sardines

Eat crackers and dream about somebody to cook for me

[Chorus]

(Too much time) Too much time

(I got too much time) Too much time

(Too much time) Too much time

Too much time to be without love

(songwriter - Don Van Vliet) 1972

N.B most folk slag off the albums Bluejeans and Moonbeams and especially Unconditionally Guaranteed but Clear Spot less so - discuss! It has just as many love songs ( for Jan ) on it but somehow features higher up than the previous two mentioned album

Stephen Stills & Manassas - Winterland, San Francisco, CA, 10-7-1973 | Albums That Should Exist

 

Stephen Stills & Manassas - Winterland, San Francisco, CA, 10-7-1973

Paul says: Back in 2018, I posted a Crosby, Stills, Nash and Young (CSNY) concert is very closely linked to this one, taking place just three days earlier at the same venue. I'll explain more about that shortly. I was certain that I had posted this album at the same time. However, recently I was updating broken links, and I noticed there was no link for this album. I looked closer, and realized I'd never posted it. So better late than ever.

Manassas was a band led by Stephen Stills of CSNY. But included many other great musicians, especially Chris Hillman, formerly of the Byrds, who wrote and sang lead vocals on some songs. The idea was this would be Stills' main band for many years. They released the cleverly titled "Manassas" in 1972 and "Down the Road" in 1973. CSNY had been apart since late 1970. But around the time of this concert, they began getting back together.

A concert taking place on October 4, 1973 was billed as a Manassas concert. But CSNY basically crashed the band's first set and played a bunch of songs acoustically, which meant they didn't need Manassas to back them up. That reunion a very big deal in the music world. CSNY had been called the "American Beatles" and had sold zillions of albums, way more than Manassas. Chris Hillman later commented that this was the night he realized the future of Manassas was done, due to Stills naturally wanting to rejoin the much more popular CSNY. It would turn out Hillman was right. Manassas would break up not long after this, after they played a few more concerts to finish their tour.

Here's the link to the CSNY set (mostly) from that concert:

https://albumsthatshouldexist.blogspot.com/2018/05/crosby-stills-nash-young-winterland.html

However, "the show must go on." Despite being upstaged by the CSNY reunion, Stills and the rest of Manassas still had their second set to perform. But it must have been frustrating and bittersweet for them (except for Stills). Their encore, "Daylight Again - Find the Cost of Freedom," was performed by Manassas and CSNY together. That may have been awkward. By the way, I've included that song on both album, since it was both a CSNY performance and a Manassas one.

Then, three days later, on this date, October 7, 1973, the whole process repeated itself. CSNY performed another set in the middle of another Manassas concert at this same venue. For whatever reason, I believe only the Manassas set from this date is available, so that's what I'm posting here. This apparently includes everything that was performed except for the songs with just CSNY. As for CSNY, the album I've posted from them consists mostly from their October 4, 1973 concert, with a few different songs from October 7th added in.

At least some of two concerts were professionally filmed for some reason, and I think this one was broadcast live on the radio as well. That's why we have a recording with soundboard-level sound quality. I don't believe the film footage has been officially released in any way, but you can find it on YouTube. 

This album is an hour and 18 minutes long.

01 Song of Love 
02 Rock and Roll Crazies 
03 Jet Set [Sigh] 
04 Anyway 
05 So You Want to Be a Rock 'N' Roll Star 
06 talk 
07 Johnny's Garden 
08 talk 
09 Go Back Home 
10 talk
11 Six Days on the Road 
12 talk
13 Safe at Home 
14 Fallen Eagle 
15 Hide It So Deep 
16 You're Still on My Mind 
17 talk 
18 Pensamiento 
19 talk 
20 49 Bye-Byes - Drum Solo 
21 For What It's Worth 
22 talk 
23 Lies 
24 talk 
25 The Treasure - Carry On 
26 talk 
27 Daylight Again - Find the Cost of Freedom (Crosby, Stills, Nash & Young & Manassas)

(all tracks Stephen Stills and Manassas except where noted)