Someone posted a clip of this on Flickennabokk and I don’t think I would ever NOT post it when coming across it . . . . . . As close as an atheist gets to heaven!
It seems Gary didn’t even know this was out there until most recently, so if you are a fan of Gary, his alternate incarnations as Gods & Monsters or his work with Captain Beefheart and Jeff Buckley you will enjoy this!
"It was on this date back in 1992, Gary Lucas Gods and Monsters performed at the 7th St. Entry in Minneapolis, MN. Gary starts the show off with a solo set and then Gods and Monsters tears the roof off the joint. Here I present the full show.
- God is a Shout in the Street
- Third World Too
- Over the Hills and Far Away
- Broad Joe
- Fools Cap
- Rise Up to Be
- The Devil Rides Out
- ?
- Whip Named Lash
- Theme from Psycho
- Poison Tree
- Jack Johnson / Ghostrider
- Glo Worm
- Skin the Rabbit
- Eastenders Theme
- The Brain from Planet Eros
- Astronomy Domine
- European Sun
- Linus and Lucy
- The Train Kept a Rollin’"
It is audio only sadly but worth it for us fans anyway . . . .
Prince - Lovesexy Live (Remastered)
Dortmund, Germany
September 8th or 9th, 1988
Laser disc rip @320
ORIGINAL NOTES
This entire set was taken from a LaserDisc rip and has been segued, tweak and remastered by me. I have also added the album title name along with cover art. This has never been released officially and the video sources (VHS/Betamax/LaserDisc) are long out of print.
https://www.discogs.com/release/9121041-Prince-Lovesexy-Live-In-Dortmund-1988
Read full article here . . . .
David Bowie and Iggy Pop : Dangerous Minds
This is really fascinating
The friendship between Iggy Pop and David Bowie should have ended in disaster.
The two legends spent the whole 1970s as close as they were addicted to drugs, and few people have ever been as addicted to drugs as the Thin White Duke and The Stooges’mainman were in that decade.
"I played acoustic growing up, starting at 14 or 15. My dad gave me one of his old Martins when I was about 15 for Christmas one year and I cried because I was so excited. I wrote a bunch of songs on that, and that’s when I first started songwriting. I didn’t play electric guitar until I was about 22 or 23. I had graduated college at 20, so I was out of college for a couple of years before I ever picked up a guitar, other than acoustic. I was playing acoustic at shows but it was more folky and songwriter-y kind of stuff.Then I fell in love with blues. I had some friends who used to play at Johnny D’s in Somerville, Massachusetts, every Sunday for the blues jam. They needed singers so they asked me to come down, and then I realized, “Well, shoot, this would be a great place to try out playing the guitar.” There weren’t a lot of people there and it was pretty chill, so that’s what I did. I would go down and sing a few tunes, then I’d start playing rhythm. I never really soloed for the first couple of years on electric. I just wanted to learn to learn how to play rhythm and play along with stuff so I could try to accompany myself while singing.I played along with a lot of Freddie King and Johnny Guitar Watson and Otis Rush and Magic Sam – and I fell in love with blues. I wore out Big Mama Thornton’s Hound Dog record and Koko Taylor and all sorts of stuff. I fell in love with it and I realized, “This is what I want to do. I want to be Freddie King and Johnny Guitar Watson!” It’s funny because I did a tour with Etta James and she asked me, “Who are your influences? Who do you want to be?” I said, “I want to be Johnny Guitar Watson.” And she said, “Ah! That’s who I want to be!” [Laughs]
Portable music . . . its how we used to roll! . . . . . Pocket Record player! . . . . . . of course!
The reason this has been found is due to musical associate Progsprog, who sent it to me. So a big thanks to him. I've looked high and low, and this hasn't been available on the Internet for a long time. Let's hope this puts it back into wide circulation, because it's a great concert.
Thompson broke up with his wife and musical duo partner Linda Thompson in 1982. He put out a solo album, "Hands of Kindness," in 1983. Many of the songs here are from that, though he also does songs written earlier in his musical career, as well as some covers ("Amaryllis - Nonesuch a la Mode de France," "Pennsylvania 6-5000," "Danny Boy," and "Great Balls of Fire").
Most of this was broadcast by the BBC, and later given to me by Progsprog. But not all of it. It turns out there also is a surprisingly good sounding audience bootleg of this exact concert. I compared the two, and found three songs on the audience boot that weren't broadcast by the BBC: "Wall of Death," "Down Where the Drunkards Roll," and "Great Balls of Fire." So I did some audio editing to try to bring them up to the same sound quality as the rest. I used the MVSEP program to boost the lead vocals relative to the instruments, and also to erase the crowd noise in the middle of those songs. Furthermore, I used the X-Minus program to get rid of some excessive echo on them. The final result is pretty impressive. Most of the time, it's hard to tell which ones of these are from the audience boot, except for the different sound of audience applause at the ends, and a brief flawed area in the middle of "Wall of Death" that I couldn't fix.
Furthermore, the first 15 or so seconds of the first song, "The Wrong Heartbeat," were missed. So I patched in the missing portion from the audience boot. That's why that one song has "[Edit]" in its title.
This album is an hour and 31 minutes long.
01 The Wrong Heartbeat [Edit]
02 A Poisoned Heart and a Twisted Memory
03 Tear Stained Letter
04 How I Wanted To
05 talk
06 Amaryllis - Nonesuch a la Mode de France [Instrumental]
07 Don't Renege on Our Love
08 Shoot Out the Lights
09 talk
10 Hand of Kindness
11 Wall of Death
12 talk
13 Pennsylvania 6-5000 [Instrumental]
14 talk
15 A Man in Need
16 Two Left Feet
17 talk
18 Back Street Slide
19 talk
20 Both Ends Burning
21 Danny Boy
22 talk
23 Down Where the Drunkards Roll
24 Great Balls of Fire
all songs Richard Thompson
I know not every visitor here rates our Bobby as highly as I but for them you must appreciate the mastery of the word that is perhaps his finest album? Everybody's no.1 Bobby album? Prolly . . . . . the times they are a changing huh?
Photo Courtesy of Kirk West
Duane Allman occasionally used a 1961 Gibson SG (serial number 15263) finished in cherry red which he got from Dickey Betts – who himself played it in the early days of the Allman Brothers. Most notably, he played this guitar on Statesboro Blues.
Dickey Betts: "What happened back then was I had this SG when we started the band, and then I got a Les Paul, my ’57, and when Duane wanted to play slide he would have to re-tune his one guitar every f**** time. And I got tired of it and said, “Here, take this guitar and tune it, and leave it tuned!” and gave him my SG. He loved that guitar."The SG originally featured a Gibson sideways Vibrola tremolo, as can be seen from the screw holes left on the body, but it was removed and replaced with a stop bar by the time it got in Duane’s hands. It was equipped with two Gibson PAF humbucking pickups, and it featured the original small pickguard. Also, the truss rod cover seems to be either replaced, since it shows no “Les Paul” logo and does not have the white edge, or it was removed altogether.The guitar was sold by Graham Nash at an auction. The opening bid was $125,000, but the guitar eventually fetched $591,000.
In case you hadn’t noticed but someone ran down Emily in their car as she was out cycling and broke her leg - hit and run too!
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Last Night in Brighton (by Jack Walters)
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Last night, Bob Dylan played Brighton for the first time since 2002 (with Nick Cave spotted in the audience!). Jack Walters reports in:
At 84, Bob Dylan has lived a thousand lives and has worn more masks than a Venetian masquerade ball, putting the lecherous Byron to shame. And yet he is still on the road; his Coyote spirit alive. One gets the impression that Dylan has, somehow, performed in Solomon’s Temple, aboard the Arbella, with Bob Wills at one of Burt “Foreman” Phillips’ County Barn Dances, and at the March on Washington—well he did. But you get the point: Dylan seems to contain all these references. Wherever and in whatever century, Dylan performs. And we, the audience, are a station to his Calvary or, prosaically, witnesses to his journey, meeting and leaving him in shadows, wondering if performing, at its most dignified, truthful, sublime, is, paradoxically, best rendered in distance—if possible, absence.
When Dylan last performed at the 4500-cap, Brutalist-designed Brighton Centre in 2002, he opened with “I Am the Man, Thomas,” a jaunty bluegrass number about Thomas the Apostle, bringing Caravaggio’s The Incredulity of Saint Thomas to life with light, drama, beauty. Anyway, that was then (when Dylan was a cowpoke), this is now (when Dylan is half-hidden).
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